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"content": "\u003cp>If you are a woman who sometimes leaves her home and walks around in the world, this won't surprise you: A recent study (\u003ca href=\"http://www.stopstreetharassment.org/resources/statistics/sshstudies/\" target=\"_blank\">we're thinking this one?\u003c/a>) showed that some 95 percent of women have experienced sexual harassment of some kind on the street, whether it's a vulgar comment shouted from a car window or an actual physical assault.\u003c/p>\n\u003cp>BBC journalist Sarah Teale was in the middle of reporting on this infuriating statistic when a literal walking illustration of the problem ambled into the frame. Check out the video, which BBC Nottingham posted to its Facebook page, below. The look of unsurprised resignation on Teale's face at the end really says it all.\u003c/p>\n\u003cp>https://www.facebook.com/video.php?v=905295322858888&set=vb.313752532013173\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Entertainment Commission: Nightlife Heroes, or 'Instrument of Destruction'?",
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"content": "\u003cp>\u003cem>SF Sounds\u003c/em> is a new music publication, printed in a run of 25,000 and distributed for free throughout San Francisco. The first issue, released in September, is boosterish and basic. It previews shows and fluffs local artists with snappy interviews in the serviceable way one would expect from a handout underwritten by a managing partner at the \u003ca href=\"http://parishmusicgroup.com/\" target=\"_blank\" rel=\"noopener\">Parish Entertainment Group\u003c/a>, the umbrella company for venues including the Brick & Mortar Music Hall, a nightclub in San Francisco, and Leo’s Music Club and the New Parish, in Oakland.\u003c/p>\n\u003cp>That benevolent, advertorial bent is also the reason why its central editorial statement — a screed alleging egregious corruption and conflicts of interest at the \u003ca href=\"http://www.sfgov2.org/index.aspx?page=335\" target=\"_blank\" rel=\"noopener\">San Francisco Entertainment Commission\u003c/a>, drearily titled “The Selling of Our Cultural Soul” — seems so surprisingly vindictive.\u003c/p>\n\u003cfigure id=\"attachment_10974932\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10974932\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/sfsoundsp1.jpg\" alt=\"The debut issue of SF Sounds, a paper underwritten by club owner Jason Perkins.\" width=\"640\" height=\"693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/sfsoundsp1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/sfsoundsp1-400x433.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/sfsoundsp1-554x600.jpg 554w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The debut issue of SF Sounds, a paper underwritten by club owner Jason Perkins.\u003c/figcaption>\u003c/figure>\n\u003cp>The editorial in \u003cem>SF Sounds\u003c/em> \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/SFSounds_sm.pdf\" target=\"_blank\" rel=\"noopener\">[PDF; 10MB]\u003c/a> is unsigned, but when interviewed for this story, Parish Entertainment Group managing partner Jason Perkins acknowledges co-authorship.\u003c/p>\n\u003cp>Perkins’ editorial aims at Commissioner Audrey Joseph, a nightlife veteran and celebrated figure in the LGBTQ community who was appointed to the Commission in 2003. It also lambasts the Commission for allegedly fast-tracking large venues operated by corporations like Live Nation and Goldenvoice, and for watching “idly” as venues like Cafe du Nord, the Elbo Room and Viracocha are “dismantled by rising rents and sound complaints.”\u003c/p>\n\u003cp>His campaign has a vengeful tone: Beyond the strongly worded editorial, Perkins cries corruption in comments on articles about the commissioner’s \u003ca href=\"http://ww2.kqed.org/arts/2015/08/26/veteran-club-promoter-running-new-venue-in-kink-coms-armory/\" target=\"_blank\" rel=\"noopener\">new role as Director of Events at the Mission District’s historic Armory Building\u003c/a>, and, to KQED, declares the Commission an “instrument of our destruction.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And yet, amidst the current tech boom, Perkins’ anger resonates with many local musicians and fans. Local clubs are in a bad way: In the past year, Cafe Du Nord’s new ownership has \u003ca href=\"http://ww2.kqed.org/arts/2015/06/15/cafe-du-nord-to-reopen-as-sit-down-restaurant-with-quiet-music/\" target=\"_blank\" rel=\"noopener\">done away with louder bands\u003c/a> and introduced dinnertime music. Submission, one of very few places for all-ages events, shuttered. Yoshi’s spinoff the Addition \u003ca href=\"http://ww2.kqed.org/arts/2015/01/12/the-addition-formerly-yoshis-in-san-francisco-to-abruptly-close/\" target=\"_blank\" rel=\"noopener\">floundered\u003c/a>, leaving behind massive debt. The Elbo Room is \u003ca href=\"http://ww2.kqed.org/arts/2015/08/19/the-elbo-room-will-live-to-see-2016/\" target=\"_blank\" rel=\"noopener\">hanging on by a thread\u003c/a>. Meanwhile, massive venues clamber to host the high-profile headliners for whom San Francisco is a crucial market. Both Perkins and Joseph style themselves as crusaders for local music; their clash exemplifies the fraught and emotional discourse surrounding an invaluable component of the city’s cultural character.\u003c/p>\n\u003cp>At this precarious, transitional moment for San Francisco nightlife, it warrants investigation: is Perkins exposing a broken system? Separating his bluster from basic facts reveals some inaccuracies, but also some salient concerns.\u003c/p>\n\u003cfigure id=\"attachment_10917676\" class=\"wp-caption alignright\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917676\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg\" alt=\"Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015\" width=\"698\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph-400x229.jpg 400w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015 \u003ccite>(Courtesy: Audrey Joseph)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘On a rampage’\u003c/h3>\n\u003cp>Strife between Perkins and the Commission dates back to 2013, when the club owner \u003ca href=\"http://www.sfweekly.com/shookdown/2013/05/22/club-owner-alleges-city-inspector-punishes-venues-that-dont-use-his-security-company\" target=\"_blank\" rel=\"noopener\">alleged that Brick & Mortar’s decibel threshold was downgraded\u003c/a> because he declined to employ a security company tied to Vajra Granelli, at the time an inspector for the Entertainment Commission.\u003c/p>\n\u003cp>Indeed, his article rehashes the episode in stark terms, asserting that “32 clubs [were] forced to pay Inspector Granelli $64/hour to stay open and out of trouble with the Entertainment Commission.” At the time, the Entertainment Commission’s executive director Jocelyn Kane defended Granelli in the press. (Reached recently by phone, Kane acknowledged that Granelli resigned amid the allegations; a subsequent San Francisco City Attorney investigation resulted in no charges.)\u003c/p>\n\u003cp>Perkins’ article also points to Joseph’s current position at the Armory — a building best known for housing fetish-porn site Kink.com — as evidence of a regulatory fast-lane in permitting the large space for live events, such as a Chemical Brothers show this past July.\u003c/p>\n\u003cp>“It’s shocking to me to see such incredibly bad governance and conflicts of interest,” Perkins says. “The thing that really struck was how naked it was.”\u003c/p>\n\u003cp>For her part, Joseph was flummoxed by the piece. “[It’s] full of inaccuracies and sounded like an attack on me personally,” she writes in an email. “It seems like Mr. Perkins is on a rampage.” In a later phone call, she adds, “I have no idea why he decided to attack me.”\u003c/p>\n\u003cp>Perkins’ assertion that permitting the space was inappropriately exempted from public hearing doesn’t hold; the Armory hosts occasional happenings via one-time event permits, regularly applied for and granted without hearing. And to Perkins’ charge that the Armory is awry in the eyes of the Planning Department, a representative said that though the space is not approved for regularly scheduled music events, it operates in compliance with its Temporary Use Authorization.\u003c/p>\n\u003cp>Which isn’t to say that an aspirant 4,000 capacity venue employing a Commissioner doesn’t deserve scrutiny. Even while acknowledging that Joseph is allowed, by City Hall, to work in her field, critics quoted in \u003ca href=\"http://www.sfweekly.com/sanfrancisco/for-entertainment-purposes-only/Content?oid=2173295&showFullText=true\" target=\"_blank\" rel=\"noopener\">extensive prior reporting\u003c/a> on the Entertainment Commission call it an “ethical minefield.”\u003c/p>\n\u003cfigure id=\"attachment_10917233\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10917233\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/drillcourt_a-800x450.jpg\" alt=\"Drill Court, the new 4,000-person venue inside the Kink.com Armory\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drill Court, the new 4,000-person venue inside the Kink.com Armory. \u003ccite>(Photo courtesy the Armory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Consulting and transparency\u003c/h3>\n\u003cp>For many years, in addition to the Entertainment Commission job, Joseph ran a consulting company. Last year, she consulted for the Armory; her 2014 Statement of Economic Interests form \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/JosephSEI2014.pdf\" target=\"_blank\" rel=\"noopener\">[PDF; 146kb]\u003c/a> states that her eponymous company grossed between $10,000 and $100,000 in income from the Armory Community Center. (By phone, Joseph’s own estimates hover around $14,000.) Joseph became director of the Armory on Jan. 5 of this year, and she acknowledges that her new role at the Armory forces her to recuse herself on Armory matters with the Commission, and excludes interactions with any and all city departments on behalf of the Armory.\u003c/p>\n\u003cp>Over email, however, the Planning Department’s Senior Advisor for Special Projects, Daniel Sider, writes in regards to the Armory’s ongoing efforts towards becoming a full-fledged venue that “[Joseph] works for the Armory and has been — at least to the extent I’ve been involved with this case — the primary point of contact.” That appears to violate the Commission’s Statement of Incompatible Activities \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Entertainment_Commission_SIA.pdf\" target=\"_blank\" rel=\"noopener\">[PDF; 59kb]\u003c/a> and city ethics rules prohibiting inter-departmental lobbying on behalf of citizens. (Joseph denies directly interacting with the Planning Department.)\u003c/p>\n\u003cp>On her 2014 form, Joseph also reported a $600 gift in the form of festival tickets from Another Planet Entertainment, one of the large promoters she noted in KQED’s recent interview as a potential source of future bookings at the Armory. Earlier this month, Perkins continued his campaign against Joseph by formally complaining to the Ethics Commission about the free festival tickets. (The complaint has not yet been settled, but isn’t without precedent; in 2009, SFGate \u003ca href=\"http://blog.sfgate.com/cityinsider/2009/08/17/complaint-filed-against-city-commissioner/\" target=\"_blank\" rel=\"noopener\">reported on another complaint\u003c/a> after Joseph appeared before the Small Business Commission to vouch for two hopeful club owners who she clearly identified as clients.)\u003c/p>\n\u003cp>Ethics Commission complaints and investigations are typically conducted confidentially, but Perkins is keen to take credit for his recent filing. Indeed, he makes a point of contrasting his belief in transparency with what he considers the Commission’s opaque dealings.\u003c/p>\n\u003cp>And that’s the thing: attacks on the grounds of conflicts of interest and transparency tend to boomerang.\u003c/p>\n\u003cfigure id=\"attachment_10974933\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10974933\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-600x600.jpg\" alt=\"Ghost and Gale perform at the Brick and Mortar Music Hall.\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Ghost and Gale perform at the Brick and Mortar Music Hall. \u003ccite>(Travis Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As mentioned, the \u003cem>SF Sounds\u003c/em> editorial is not bylined; Perkins’ name appears nowhere on the paper’s masthead. Furthermore, there’s no acknowledgment that the Parish Entertainment Group’s managing partner underwrites the paper, which predominantly features ads and editorial copy promoting the company’s own shows. It also includes an interview with one of its own employees — Gina Madrid, a.k.a. Raw-G — without disclosure. And the editorial botches numbers, inflating the Armory’s capacity by 500, for instance. Also, it oddly claims that the Masonic Auditorium, operated by Live Nation, was not given public hearing, but records clearly indicate extensive — and contentious — public comment from members of the Nob Hill community.\u003c/p>\n\u003cp>Plus, the \u003cem>SF Sounds\u003c/em> editorial doesn’t state that Joseph was offered any opportunity to respond. Perkins tells me that he reached out to Joseph “ten times,” but hasn’t forwarded the emails. Joseph staunchly denies receiving request for comment.\u003c/p>\n\u003ch3>‘We don’t have the money’\u003c/h3>\n\u003cp>Though \u003cem>SF Sounds\u003c/em> doesn’t demonstrate the journalistic credibility that Perkins asks from other media outlets, a broader takeaway from his editorial does feel resonant.\u003c/p>\n\u003cp>The Commission’s \u003ca href=\"http://www.sfgov2.org/index.aspx?page=335\" target=\"_blank\" rel=\"noopener\">stated purpose\u003c/a> includes both regulation and promotion of nightlife — a strange dual calling, whose inherent conflict has long been fodder for critics. Promoting nightlife entails enabling it to generate revenue — not the strong suit of many much-beloved smaller clubs — and trumpeting its cash flow: when \u003ca href=\"http://ww2.kqed.org/arts/2015/08/26/veteran-club-promoter-running-new-venue-in-kink-coms-armory/\" target=\"_blank\" rel=\"noopener\">asked by KQED recently how she viewed the local club scene\u003c/a>, for example, Joseph emphasized its economic impact in jobs, payroll taxes, and dollars spent in the city.\u003c/p>\n\u003cp>Larger concert promoters like Live Nation and Goldenvoice, who book primarily touring acts, supply a sizable economic impact from concerts at the Regency Ballroom, the Fillmore, the Masonic Auditorium, the Warfield, and AT&T Park. In dealing with City Hall, these larger corporations are also able to hire consultants to navigate permits, and attorneys to challenge citations.\u003c/p>\n\u003cp>Small club owners, meanwhile, are the ones booking and paying local musicians. And some of them feel that the Commission’s oversight further burdens their struggle against the riptide of displacement.\u003c/p>\n\u003cfigure id=\"attachment_10974934\" class=\"wp-caption alignright\" style=\"max-width: 1136px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10974934\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/TheLab.jpg\" alt=\"Chris Corsano, Okkyung Lee, and Bill Orcutt perform recently at the Lab, where Executive Director Dena Beard says the Entertainment Commission has been inflexible, thus displacing experimental music from the city.\" width=\"1136\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab.jpg 1136w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab-960x541.jpg 960w\" sizes=\"(max-width: 1136px) 100vw, 1136px\">\u003cfigcaption class=\"wp-caption-text\">Chris Corsano, Okkyung Lee, and Bill Orcutt perform recently at the Lab, where Executive Director Dena Beard says the Entertainment Commission has been inflexible, thus displacing experimental music from the city. \u003ccite>(Photo: The Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m not convinced that the City of San Francisco supports edgier nonprofit art spaces,” says Dena Beard, Executive Director of Mission District arts space \u003ca href=\"http://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a>. She commends Supervisor David Campos’ office, but says that the Commission was intractable regarding the Lab’s request to host one higher decibel level show per month.\u003c/p>\n\u003cp>“As a result, we’ve had to dissolve a significant part of our experimental music program, displacing those artists to smaller venues in Oakland and denying San Francisco access to some of the greatest sound artists in the world,” Beard says, adding, “It’s disheartening, to say the least.”\u003c/p>\n\u003cp>Don Alan, who’s owned \u003ca href=\"http://www.casanovasf.com/\" target=\"_blank\" rel=\"noopener\">Casanova Lounge\u003c/a> and rock fixture the \u003ca href=\"http://www.hemlocktavern.com/\" target=\"_blank\" rel=\"noopener\">Hemlock Tavern\u003c/a> for a combined 31 years, takes a broad view of the Commission. He speaks for the smaller clubs for whom live entertainment is more of a liability than a commercial asset — especially when subject to the strictures of an inflexible bureaucracy’s microscopic oversight.\u003c/p>\n\u003cp>“People who run smaller clubs are more vulnerable to regulatory sources, because we don’t have the money to hire lawyers and lobbyists,” Alan says. “I’ve had problems. We had a bar where people played records. No one complained, but [the Entertainment Commission] said we couldn’t. They solved a problem that didn’t exist.” Referencing Granelli, he adds, “The guy who enforced it turned out to be corrupt.”\u003c/p>\n\u003cp>Of course, small club owners like Alan benefited when the Commission earlier this year joined several city departments in approving \u003ca href=\"http://ww2.kqed.org/arts/2015/05/07/legislation-passes-to-protect-sf-nightclubs-from-complainy-pants-neighbors/\" target=\"_blank\" rel=\"noopener\">legislation aimed at curbing the damage of San Francisco newcomers’ complaints\u003c/a>. The measure, spearheaded by Board of Supervisors President London Breed, obligates developers to disclose nearby nightlife to prospective tenants, and limits residents’ ability to file noise complaints against clubs that comply with their permits.\u003c/p>\n\u003cp>Alan adds of the Entertainment Commission, “I feel like if the Hemlock were under attack I’d at least have a forum. It used to be more vulnerable for us… Back in the day, you had police captains using their influence to push agendas. That made life very difficult for some club owners, but easy for favored ones. The Commission was set up to neutralize that.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Perkins, who finds the SFPD “to be far more ethical and have far higher standards of interacting with club owners,” says he’d rather deal with the cops.\u003c/p>\n\n",
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"excerpt": "Club owner Jason Perkins alleges the governmental body established to promote nightlife in San Francisco is actually ruining it. Is there any truth to his bluster?",
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"description": "Club owner Jason Perkins alleges the governmental body established to promote nightlife in San Francisco is actually ruining it. Is there any truth to his bluster?",
"title": "Entertainment Commission: Nightlife Heroes, or 'Instrument of Destruction'? | KQED",
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"headline": "Entertainment Commission: Nightlife Heroes, or 'Instrument of Destruction'?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>SF Sounds\u003c/em> is a new music publication, printed in a run of 25,000 and distributed for free throughout San Francisco. The first issue, released in September, is boosterish and basic. It previews shows and fluffs local artists with snappy interviews in the serviceable way one would expect from a handout underwritten by a managing partner at the \u003ca href=\"http://parishmusicgroup.com/\" target=\"_blank\" rel=\"noopener\">Parish Entertainment Group\u003c/a>, the umbrella company for venues including the Brick & Mortar Music Hall, a nightclub in San Francisco, and Leo’s Music Club and the New Parish, in Oakland.\u003c/p>\n\u003cp>That benevolent, advertorial bent is also the reason why its central editorial statement — a screed alleging egregious corruption and conflicts of interest at the \u003ca href=\"http://www.sfgov2.org/index.aspx?page=335\" target=\"_blank\" rel=\"noopener\">San Francisco Entertainment Commission\u003c/a>, drearily titled “The Selling of Our Cultural Soul” — seems so surprisingly vindictive.\u003c/p>\n\u003cfigure id=\"attachment_10974932\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10974932\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/sfsoundsp1.jpg\" alt=\"The debut issue of SF Sounds, a paper underwritten by club owner Jason Perkins.\" width=\"640\" height=\"693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/sfsoundsp1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/sfsoundsp1-400x433.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/sfsoundsp1-554x600.jpg 554w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The debut issue of SF Sounds, a paper underwritten by club owner Jason Perkins.\u003c/figcaption>\u003c/figure>\n\u003cp>The editorial in \u003cem>SF Sounds\u003c/em> \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/SFSounds_sm.pdf\" target=\"_blank\" rel=\"noopener\">[PDF; 10MB]\u003c/a> is unsigned, but when interviewed for this story, Parish Entertainment Group managing partner Jason Perkins acknowledges co-authorship.\u003c/p>\n\u003cp>Perkins’ editorial aims at Commissioner Audrey Joseph, a nightlife veteran and celebrated figure in the LGBTQ community who was appointed to the Commission in 2003. It also lambasts the Commission for allegedly fast-tracking large venues operated by corporations like Live Nation and Goldenvoice, and for watching “idly” as venues like Cafe du Nord, the Elbo Room and Viracocha are “dismantled by rising rents and sound complaints.”\u003c/p>\n\u003cp>His campaign has a vengeful tone: Beyond the strongly worded editorial, Perkins cries corruption in comments on articles about the commissioner’s \u003ca href=\"http://ww2.kqed.org/arts/2015/08/26/veteran-club-promoter-running-new-venue-in-kink-coms-armory/\" target=\"_blank\" rel=\"noopener\">new role as Director of Events at the Mission District’s historic Armory Building\u003c/a>, and, to KQED, declares the Commission an “instrument of our destruction.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And yet, amidst the current tech boom, Perkins’ anger resonates with many local musicians and fans. Local clubs are in a bad way: In the past year, Cafe Du Nord’s new ownership has \u003ca href=\"http://ww2.kqed.org/arts/2015/06/15/cafe-du-nord-to-reopen-as-sit-down-restaurant-with-quiet-music/\" target=\"_blank\" rel=\"noopener\">done away with louder bands\u003c/a> and introduced dinnertime music. Submission, one of very few places for all-ages events, shuttered. Yoshi’s spinoff the Addition \u003ca href=\"http://ww2.kqed.org/arts/2015/01/12/the-addition-formerly-yoshis-in-san-francisco-to-abruptly-close/\" target=\"_blank\" rel=\"noopener\">floundered\u003c/a>, leaving behind massive debt. The Elbo Room is \u003ca href=\"http://ww2.kqed.org/arts/2015/08/19/the-elbo-room-will-live-to-see-2016/\" target=\"_blank\" rel=\"noopener\">hanging on by a thread\u003c/a>. Meanwhile, massive venues clamber to host the high-profile headliners for whom San Francisco is a crucial market. Both Perkins and Joseph style themselves as crusaders for local music; their clash exemplifies the fraught and emotional discourse surrounding an invaluable component of the city’s cultural character.\u003c/p>\n\u003cp>At this precarious, transitional moment for San Francisco nightlife, it warrants investigation: is Perkins exposing a broken system? Separating his bluster from basic facts reveals some inaccuracies, but also some salient concerns.\u003c/p>\n\u003cfigure id=\"attachment_10917676\" class=\"wp-caption alignright\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917676\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg\" alt=\"Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015\" width=\"698\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph-400x229.jpg 400w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015 \u003ccite>(Courtesy: Audrey Joseph)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘On a rampage’\u003c/h3>\n\u003cp>Strife between Perkins and the Commission dates back to 2013, when the club owner \u003ca href=\"http://www.sfweekly.com/shookdown/2013/05/22/club-owner-alleges-city-inspector-punishes-venues-that-dont-use-his-security-company\" target=\"_blank\" rel=\"noopener\">alleged that Brick & Mortar’s decibel threshold was downgraded\u003c/a> because he declined to employ a security company tied to Vajra Granelli, at the time an inspector for the Entertainment Commission.\u003c/p>\n\u003cp>Indeed, his article rehashes the episode in stark terms, asserting that “32 clubs [were] forced to pay Inspector Granelli $64/hour to stay open and out of trouble with the Entertainment Commission.” At the time, the Entertainment Commission’s executive director Jocelyn Kane defended Granelli in the press. (Reached recently by phone, Kane acknowledged that Granelli resigned amid the allegations; a subsequent San Francisco City Attorney investigation resulted in no charges.)\u003c/p>\n\u003cp>Perkins’ article also points to Joseph’s current position at the Armory — a building best known for housing fetish-porn site Kink.com — as evidence of a regulatory fast-lane in permitting the large space for live events, such as a Chemical Brothers show this past July.\u003c/p>\n\u003cp>“It’s shocking to me to see such incredibly bad governance and conflicts of interest,” Perkins says. “The thing that really struck was how naked it was.”\u003c/p>\n\u003cp>For her part, Joseph was flummoxed by the piece. “[It’s] full of inaccuracies and sounded like an attack on me personally,” she writes in an email. “It seems like Mr. Perkins is on a rampage.” In a later phone call, she adds, “I have no idea why he decided to attack me.”\u003c/p>\n\u003cp>Perkins’ assertion that permitting the space was inappropriately exempted from public hearing doesn’t hold; the Armory hosts occasional happenings via one-time event permits, regularly applied for and granted without hearing. And to Perkins’ charge that the Armory is awry in the eyes of the Planning Department, a representative said that though the space is not approved for regularly scheduled music events, it operates in compliance with its Temporary Use Authorization.\u003c/p>\n\u003cp>Which isn’t to say that an aspirant 4,000 capacity venue employing a Commissioner doesn’t deserve scrutiny. Even while acknowledging that Joseph is allowed, by City Hall, to work in her field, critics quoted in \u003ca href=\"http://www.sfweekly.com/sanfrancisco/for-entertainment-purposes-only/Content?oid=2173295&showFullText=true\" target=\"_blank\" rel=\"noopener\">extensive prior reporting\u003c/a> on the Entertainment Commission call it an “ethical minefield.”\u003c/p>\n\u003cfigure id=\"attachment_10917233\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10917233\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/drillcourt_a-800x450.jpg\" alt=\"Drill Court, the new 4,000-person venue inside the Kink.com Armory\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drill Court, the new 4,000-person venue inside the Kink.com Armory. \u003ccite>(Photo courtesy the Armory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Consulting and transparency\u003c/h3>\n\u003cp>For many years, in addition to the Entertainment Commission job, Joseph ran a consulting company. Last year, she consulted for the Armory; her 2014 Statement of Economic Interests form \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/JosephSEI2014.pdf\" target=\"_blank\" rel=\"noopener\">[PDF; 146kb]\u003c/a> states that her eponymous company grossed between $10,000 and $100,000 in income from the Armory Community Center. (By phone, Joseph’s own estimates hover around $14,000.) Joseph became director of the Armory on Jan. 5 of this year, and she acknowledges that her new role at the Armory forces her to recuse herself on Armory matters with the Commission, and excludes interactions with any and all city departments on behalf of the Armory.\u003c/p>\n\u003cp>Over email, however, the Planning Department’s Senior Advisor for Special Projects, Daniel Sider, writes in regards to the Armory’s ongoing efforts towards becoming a full-fledged venue that “[Joseph] works for the Armory and has been — at least to the extent I’ve been involved with this case — the primary point of contact.” That appears to violate the Commission’s Statement of Incompatible Activities \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Entertainment_Commission_SIA.pdf\" target=\"_blank\" rel=\"noopener\">[PDF; 59kb]\u003c/a> and city ethics rules prohibiting inter-departmental lobbying on behalf of citizens. (Joseph denies directly interacting with the Planning Department.)\u003c/p>\n\u003cp>On her 2014 form, Joseph also reported a $600 gift in the form of festival tickets from Another Planet Entertainment, one of the large promoters she noted in KQED’s recent interview as a potential source of future bookings at the Armory. Earlier this month, Perkins continued his campaign against Joseph by formally complaining to the Ethics Commission about the free festival tickets. (The complaint has not yet been settled, but isn’t without precedent; in 2009, SFGate \u003ca href=\"http://blog.sfgate.com/cityinsider/2009/08/17/complaint-filed-against-city-commissioner/\" target=\"_blank\" rel=\"noopener\">reported on another complaint\u003c/a> after Joseph appeared before the Small Business Commission to vouch for two hopeful club owners who she clearly identified as clients.)\u003c/p>\n\u003cp>Ethics Commission complaints and investigations are typically conducted confidentially, but Perkins is keen to take credit for his recent filing. Indeed, he makes a point of contrasting his belief in transparency with what he considers the Commission’s opaque dealings.\u003c/p>\n\u003cp>And that’s the thing: attacks on the grounds of conflicts of interest and transparency tend to boomerang.\u003c/p>\n\u003cfigure id=\"attachment_10974933\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10974933\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-600x600.jpg\" alt=\"Ghost and Gale perform at the Brick and Mortar Music Hall.\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Ghost and Gale perform at the Brick and Mortar Music Hall. \u003ccite>(Travis Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As mentioned, the \u003cem>SF Sounds\u003c/em> editorial is not bylined; Perkins’ name appears nowhere on the paper’s masthead. Furthermore, there’s no acknowledgment that the Parish Entertainment Group’s managing partner underwrites the paper, which predominantly features ads and editorial copy promoting the company’s own shows. It also includes an interview with one of its own employees — Gina Madrid, a.k.a. Raw-G — without disclosure. And the editorial botches numbers, inflating the Armory’s capacity by 500, for instance. Also, it oddly claims that the Masonic Auditorium, operated by Live Nation, was not given public hearing, but records clearly indicate extensive — and contentious — public comment from members of the Nob Hill community.\u003c/p>\n\u003cp>Plus, the \u003cem>SF Sounds\u003c/em> editorial doesn’t state that Joseph was offered any opportunity to respond. Perkins tells me that he reached out to Joseph “ten times,” but hasn’t forwarded the emails. Joseph staunchly denies receiving request for comment.\u003c/p>\n\u003ch3>‘We don’t have the money’\u003c/h3>\n\u003cp>Though \u003cem>SF Sounds\u003c/em> doesn’t demonstrate the journalistic credibility that Perkins asks from other media outlets, a broader takeaway from his editorial does feel resonant.\u003c/p>\n\u003cp>The Commission’s \u003ca href=\"http://www.sfgov2.org/index.aspx?page=335\" target=\"_blank\" rel=\"noopener\">stated purpose\u003c/a> includes both regulation and promotion of nightlife — a strange dual calling, whose inherent conflict has long been fodder for critics. Promoting nightlife entails enabling it to generate revenue — not the strong suit of many much-beloved smaller clubs — and trumpeting its cash flow: when \u003ca href=\"http://ww2.kqed.org/arts/2015/08/26/veteran-club-promoter-running-new-venue-in-kink-coms-armory/\" target=\"_blank\" rel=\"noopener\">asked by KQED recently how she viewed the local club scene\u003c/a>, for example, Joseph emphasized its economic impact in jobs, payroll taxes, and dollars spent in the city.\u003c/p>\n\u003cp>Larger concert promoters like Live Nation and Goldenvoice, who book primarily touring acts, supply a sizable economic impact from concerts at the Regency Ballroom, the Fillmore, the Masonic Auditorium, the Warfield, and AT&T Park. In dealing with City Hall, these larger corporations are also able to hire consultants to navigate permits, and attorneys to challenge citations.\u003c/p>\n\u003cp>Small club owners, meanwhile, are the ones booking and paying local musicians. And some of them feel that the Commission’s oversight further burdens their struggle against the riptide of displacement.\u003c/p>\n\u003cfigure id=\"attachment_10974934\" class=\"wp-caption alignright\" style=\"max-width: 1136px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10974934\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/TheLab.jpg\" alt=\"Chris Corsano, Okkyung Lee, and Bill Orcutt perform recently at the Lab, where Executive Director Dena Beard says the Entertainment Commission has been inflexible, thus displacing experimental music from the city.\" width=\"1136\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab.jpg 1136w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab-960x541.jpg 960w\" sizes=\"(max-width: 1136px) 100vw, 1136px\">\u003cfigcaption class=\"wp-caption-text\">Chris Corsano, Okkyung Lee, and Bill Orcutt perform recently at the Lab, where Executive Director Dena Beard says the Entertainment Commission has been inflexible, thus displacing experimental music from the city. \u003ccite>(Photo: The Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m not convinced that the City of San Francisco supports edgier nonprofit art spaces,” says Dena Beard, Executive Director of Mission District arts space \u003ca href=\"http://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a>. She commends Supervisor David Campos’ office, but says that the Commission was intractable regarding the Lab’s request to host one higher decibel level show per month.\u003c/p>\n\u003cp>“As a result, we’ve had to dissolve a significant part of our experimental music program, displacing those artists to smaller venues in Oakland and denying San Francisco access to some of the greatest sound artists in the world,” Beard says, adding, “It’s disheartening, to say the least.”\u003c/p>\n\u003cp>Don Alan, who’s owned \u003ca href=\"http://www.casanovasf.com/\" target=\"_blank\" rel=\"noopener\">Casanova Lounge\u003c/a> and rock fixture the \u003ca href=\"http://www.hemlocktavern.com/\" target=\"_blank\" rel=\"noopener\">Hemlock Tavern\u003c/a> for a combined 31 years, takes a broad view of the Commission. He speaks for the smaller clubs for whom live entertainment is more of a liability than a commercial asset — especially when subject to the strictures of an inflexible bureaucracy’s microscopic oversight.\u003c/p>\n\u003cp>“People who run smaller clubs are more vulnerable to regulatory sources, because we don’t have the money to hire lawyers and lobbyists,” Alan says. “I’ve had problems. We had a bar where people played records. No one complained, but [the Entertainment Commission] said we couldn’t. They solved a problem that didn’t exist.” Referencing Granelli, he adds, “The guy who enforced it turned out to be corrupt.”\u003c/p>\n\u003cp>Of course, small club owners like Alan benefited when the Commission earlier this year joined several city departments in approving \u003ca href=\"http://ww2.kqed.org/arts/2015/05/07/legislation-passes-to-protect-sf-nightclubs-from-complainy-pants-neighbors/\" target=\"_blank\" rel=\"noopener\">legislation aimed at curbing the damage of San Francisco newcomers’ complaints\u003c/a>. The measure, spearheaded by Board of Supervisors President London Breed, obligates developers to disclose nearby nightlife to prospective tenants, and limits residents’ ability to file noise complaints against clubs that comply with their permits.\u003c/p>\n\u003cp>Alan adds of the Entertainment Commission, “I feel like if the Hemlock were under attack I’d at least have a forum. It used to be more vulnerable for us… Back in the day, you had police captains using their influence to push agendas. That made life very difficult for some club owners, but easy for favored ones. The Commission was set up to neutralize that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Breaking news, dear readers: The Bay Area is an expensive place to live these days. We’re guessing you don’t need another trend story about $4 toast or $8 coffee or $15 cocktails to understand this, either — your ludicrous rent or mortgage payment is due in just a few days’ time!\u003c/p>\n\u003cp>But take heart: contrary to popular belief, it is still possible to go out and have a good time in these parts without selling your organs for cash on the black market. Cheap Date is a new column in which we will round up ways to do just that. All events featured here have a strict cap of $20, with a special emphasis on parties, shows, and screenings that are actually — gasp — free of charge.\u003c/p>\n\u003cp>So go on out. Pack a flask. Save your dollars. You’ll need ’em for tomorrow’s toast and coffee.\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Sept. 23: \u003ca href=\"http://ww2.kqed.org/arts/2015/09/20/in-the-beginning-ruby-ray-discusses-the-earliest-days-of-sf-punk/\" target=\"_blank\" rel=\"noopener\">\u003cem>Tunnel Vision\u003c/em>, SF Punk Renaissance Kickoff.\u003c/a> \u003c/strong>In the early days of San Francisco punk rock, as bands like the Dead Kennedys and the Avengers forged a sound that would shape West Coast punk for years to come, even those who couldn’t play an instrument were instrumental in helping the scene stand out. V.Vale’s zine \u003ci>Search And Destroy,\u003c/i> with its in-depth interviews and pro-level photographs was just one way these exciting times were documented. The \u003ci>Tunnel Vision\u003c/i> photography exhibit\u003ci> \u003c/i>has pushed photographers and documentarians to dig through their archives and pull out some amazing footage from those days, including the still-in-progress film \u003ci>Buried In The Mix\u003c/i>. The $10 entry fee for this opening party includes a drink ticket. \u003ca href=\"http://ww2.kqed.org/arts/2015/09/20/in-the-beginning-ruby-ray-discusses-the-earliest-days-of-sf-punk/\" target=\"_blank\" rel=\"noopener\">Read more about the exhibition from KQED’s Kevin L. Jones here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Sept. 25: \u003ca href=\"http://thenewparish.com/event.cfm?id=221007&cart\" target=\"_blank\" rel=\"noopener\">Kool A.D. at The New Parish.\u003c/a> \u003c/strong>Das Racist, the New York based hip-hop collective, is still the project for which San Francisco native Victor Vazquez (aka Kool A.D.) is best known. But it doesn’t take much digging to realize that’s only the tip of the hyper-literate rapper/musician’s creative iceberg: Through a slew of solo projects and guest appearances that run the gamut from hardcore noise-punk to nerd rap (and, recently, visual art), he’s established himself as an artist who’s not afraid to take chances. Which is to say: thoroughly Bay Area to his core. $10 – $15; \u003ca href=\"http://thenewparish.com/event.cfm?id=221007&cart\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_rXE8KiQqAk\u003c/p>\n\u003cp>\u003cstrong>Saturday, Sept. 26: \u003ca href=\"http://sfntf.squarespace.com/filmnight/\" target=\"_blank\" rel=\"noopener\">\u003cem>Back to the Future\u003c/em> in Dolores Park.\u003c/a>\u003c/strong> Summer ain’t over ’til everyone has a sunburn, a slight hangover, and a sense of nostalgia for days gone by — whether they were three weeks ago or three decades ago. Achieve all of these elements and more at the season’s last outdoor movie screening in Dolores Park, featuring the 1985 classic in all its Delorean-esque glory. Best of all, it’s free! Come early to snag a spot; last year’s \u003cem>Clueless\u003c/em> screening filled up faster than you could say “As\u003cem> if.\u003c/em>” \u003ca href=\"http://sfntf.squarespace.com/filmnight/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Sept. 26 – Sunday, Sept. 27: \u003ca href=\"http://www.sresproductions.com/events/bay-area-blues-festival/\" target=\"_blank\" rel=\"noopener\">Bay Area Blues Festival.\u003c/a>\u003c/strong> This is one of those cases where a merger is a great thing: The longstanding Downtown Martinez Italian Street Painting Festival and San Francisco’s Polk Street Blues Festival have combined forces, and the result is this sprawling multi-day music celebration on the streets of Martinez (which have a little more room to spread out, one might note, than those in San Francisco). Hear performances from local blues staples like Frankie G and the Conviction, Buckaroo Bonet, the West Coast Playboys, and more. \u003ca href=\"http://www.sresproductions.com/events/bay-area-blues-festival/\" target=\"_blank\" rel=\"noopener\">Free; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Sept. 27: \u003ca href=\"http://www.folsomstreetfair.com/\" target=\"_blank\" rel=\"noopener\">Folsom Street Fair.\u003c/a>\u003c/strong>\u003ca href=\"http://www.folsomstreetfair.com/\" target=\"_blank\" rel=\"noopener\"> \u003c/a>If you’ve been to the Folsom Street Fair, well, there’s no need for us to describe this gleefully irreverent celebration of all things kink and leather, with some 400,000 enthusiasts lining Folsom between 8th and 12th Streets in downtown SF. If you haven’t? Consider it a requirement before you can call yourself a San Franciscan. This free S&M fest isn’t for the faint of heart, to be sure — but that’s kinda the whole point. Grab a paddle and come prepared to see a politician or other locally famous figure in a whole new light. Haters not welcome! \u003ca href=\"http://www.folsomstreetfair.com/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Breaking news, dear readers: The Bay Area is an expensive place to live these days. We’re guessing you don’t need another trend story about $4 toast or $8 coffee or $15 cocktails to understand this, either — your ludicrous rent or mortgage payment is due in just a few days’ time!\u003c/p>\n\u003cp>But take heart: contrary to popular belief, it is still possible to go out and have a good time in these parts without selling your organs for cash on the black market. Cheap Date is a new column in which we will round up ways to do just that. All events featured here have a strict cap of $20, with a special emphasis on parties, shows, and screenings that are actually — gasp — free of charge.\u003c/p>\n\u003cp>So go on out. Pack a flask. Save your dollars. You’ll need ’em for tomorrow’s toast and coffee.\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Sept. 23: \u003ca href=\"http://ww2.kqed.org/arts/2015/09/20/in-the-beginning-ruby-ray-discusses-the-earliest-days-of-sf-punk/\" target=\"_blank\" rel=\"noopener\">\u003cem>Tunnel Vision\u003c/em>, SF Punk Renaissance Kickoff.\u003c/a> \u003c/strong>In the early days of San Francisco punk rock, as bands like the Dead Kennedys and the Avengers forged a sound that would shape West Coast punk for years to come, even those who couldn’t play an instrument were instrumental in helping the scene stand out. V.Vale’s zine \u003ci>Search And Destroy,\u003c/i> with its in-depth interviews and pro-level photographs was just one way these exciting times were documented. The \u003ci>Tunnel Vision\u003c/i> photography exhibit\u003ci> \u003c/i>has pushed photographers and documentarians to dig through their archives and pull out some amazing footage from those days, including the still-in-progress film \u003ci>Buried In The Mix\u003c/i>. The $10 entry fee for this opening party includes a drink ticket. \u003ca href=\"http://ww2.kqed.org/arts/2015/09/20/in-the-beginning-ruby-ray-discusses-the-earliest-days-of-sf-punk/\" target=\"_blank\" rel=\"noopener\">Read more about the exhibition from KQED’s Kevin L. Jones here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Sept. 25: \u003ca href=\"http://thenewparish.com/event.cfm?id=221007&cart\" target=\"_blank\" rel=\"noopener\">Kool A.D. at The New Parish.\u003c/a> \u003c/strong>Das Racist, the New York based hip-hop collective, is still the project for which San Francisco native Victor Vazquez (aka Kool A.D.) is best known. But it doesn’t take much digging to realize that’s only the tip of the hyper-literate rapper/musician’s creative iceberg: Through a slew of solo projects and guest appearances that run the gamut from hardcore noise-punk to nerd rap (and, recently, visual art), he’s established himself as an artist who’s not afraid to take chances. Which is to say: thoroughly Bay Area to his core. $10 – $15; \u003ca href=\"http://thenewparish.com/event.cfm?id=221007&cart\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\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/_rXE8KiQqAk'\n title='//www.youtube.com/embed/_rXE8KiQqAk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Saturday, Sept. 26: \u003ca href=\"http://sfntf.squarespace.com/filmnight/\" target=\"_blank\" rel=\"noopener\">\u003cem>Back to the Future\u003c/em> in Dolores Park.\u003c/a>\u003c/strong> Summer ain’t over ’til everyone has a sunburn, a slight hangover, and a sense of nostalgia for days gone by — whether they were three weeks ago or three decades ago. Achieve all of these elements and more at the season’s last outdoor movie screening in Dolores Park, featuring the 1985 classic in all its Delorean-esque glory. Best of all, it’s free! Come early to snag a spot; last year’s \u003cem>Clueless\u003c/em> screening filled up faster than you could say “As\u003cem> if.\u003c/em>” \u003ca href=\"http://sfntf.squarespace.com/filmnight/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Sept. 26 – Sunday, Sept. 27: \u003ca href=\"http://www.sresproductions.com/events/bay-area-blues-festival/\" target=\"_blank\" rel=\"noopener\">Bay Area Blues Festival.\u003c/a>\u003c/strong> This is one of those cases where a merger is a great thing: The longstanding Downtown Martinez Italian Street Painting Festival and San Francisco’s Polk Street Blues Festival have combined forces, and the result is this sprawling multi-day music celebration on the streets of Martinez (which have a little more room to spread out, one might note, than those in San Francisco). Hear performances from local blues staples like Frankie G and the Conviction, Buckaroo Bonet, the West Coast Playboys, and more. \u003ca href=\"http://www.sresproductions.com/events/bay-area-blues-festival/\" target=\"_blank\" rel=\"noopener\">Free; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Sept. 27: \u003ca href=\"http://www.folsomstreetfair.com/\" target=\"_blank\" rel=\"noopener\">Folsom Street Fair.\u003c/a>\u003c/strong>\u003ca href=\"http://www.folsomstreetfair.com/\" target=\"_blank\" rel=\"noopener\"> \u003c/a>If you’ve been to the Folsom Street Fair, well, there’s no need for us to describe this gleefully irreverent celebration of all things kink and leather, with some 400,000 enthusiasts lining Folsom between 8th and 12th Streets in downtown SF. If you haven’t? Consider it a requirement before you can call yourself a San Franciscan. This free S&M fest isn’t for the faint of heart, to be sure — but that’s kinda the whole point. Grab a paddle and come prepared to see a politician or other locally famous figure in a whole new light. Haters not welcome! \u003ca href=\"http://www.folsomstreetfair.com/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Judge Throws Out Publisher's Claim to 'Happy Birthday' Copyright",
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"content": "\u003cp>LOS ANGELES — In a gift to many musicians, moviemakers and other content creators, a federal judge has found that the song \"Happy Birthday To You\" is entirely in the public domain.\u003c/p>\n\u003cp>The ruling could mean millions lost for the music publishing company that has been collecting on the copyright to one of the most widely sung songs in the world.\u003c/p>\n\u003cfigure id=\"attachment_10694173\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684.jpg\">\u003cimg class=\"wp-image-10694173 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684-400x334.jpg\" alt='Words and music to the song, \"Happy Birthday\" -- also known as \"Happy Birthday to You.\"' width=\"400\" height=\"334\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684-400x334.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684-800x668.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684.jpg 849w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Words and music to the song 'Happy Birthday' -- also known as 'Happy Birthday to You.'\u003c/figcaption>\u003c/figure>\n\u003cp>U.S. District Judge George H. King found Tuesday that the song's original copyright, obtained by the Clayton F. Summy Co. from the song's writers and bought for $15 million in 1988 by Warner/Chappell Music Inc., covered only specific piano arrangements of the song, not its lyrics.\u003c/p>\n\u003cp>The basic \"Happy Birthday\" melody, derived from another popular children's song, \"Good Morning to All,\" has long been in the public domain, and King's decision, though it could be appealed, makes the entirety fair game for use.\u003c/p>\n\u003cp>\" 'Happy Birthday' is finally free after 80 years,\" Randall Newman, one of the plaintiffs' attorneys, told the Los Angeles Times.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the co-plaintiffs, \u003ca href=\"https://www.facebook.com/rupamarya\" target=\"_blank\">Rupa Marya\u003c/a> of the San Francisco-based group \u003ca href=\"http://www.theaprilfishes.com/\" target=\"_blank\">Rupa and The April Fishes\u003c/a>, also praised the decision as momentous, saying, \"I hope we can start reimagining copyright law to do what it's supposed to do -- protect the creations of people who make stuff so that we can continue to make more stuff.\"\u003c/p>\n\u003cp>Marya said she had paid Warner/Chappell $455 to include the song on a live album during which members of her band and the audience sang the song to her the night before her birthday.\u003c/p>\n\u003cp>Warner/Chappell has said it doesn't try to collect royalties from just anyone singing the song but those who use it in a commercial enterprise.\u003c/p>\n\u003cp>\"We are looking at the court's lengthy opinion and considering our options,\" Warner/Chappell said in a statement following Tuesday's ruling.\u003c/p>\n\u003cp>King's decision comes in a lawsuit filed two years ago by Good Morning To You Productions Corp., which is working on a documentary film tentatively titled \"Happy Birthday.\" The company challenged the copyright, arguing that the song should be \"dedicated to public use and in the public domain.\"\u003c/p>\n\u003cp>\"Because Summy Co. never acquired the rights to the 'Happy Birthday' lyrics, defendants, as Summy Co.'s purported successors-in-interest, do not own a valid copyright in the Happy Birthday lyrics,\" King concluded in his 43-page ruling.\u003c/p>\n\u003cp>The lawsuit also asked for monetary damages and restitution of more than $5 million in licensing fees it said in 2013 that Warner/Chappell had collected from thousands of people and groups who have paid to use the song over the years.\u003c/p>\n\u003cp>Marshall Lamm, a spokesman for one of the plaintiffs' lawyers, said that issue would be determined later.\u003c/p>\n\u003cp>In his ruling, King went into great detail about the history of \"Happy Birthday To You,\" and its derivation from \"Good Morning to All.\"\u003c/p>\n\u003cp>That song was written by sisters Mildred Hill and Patty Hill sometime before 1893, the judge said, adding that the sisters assigned the rights to it and other songs to Clayton F. Summy, who copyrighted and published them in a book titled \"Song Stories for the Kindergarten.\"\u003c/p>\n\u003cp>\"The origins of the lyrics to Happy Birthday ... are less clear,\" the judge continued, adding the first known reference to them appeared in a 1901 article in the Inland Educator and Indiana School Journal.\u003c/p>\n\u003cp>The full lyrics themselves, King said, didn't appear in print until 1911.\u003c/p>\n\u003cp>Since then, they have become the most famous lyrics in the English language, according to Guinness World Records. The song is also sung in countless other languages around the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press Writer Andrew Dalton contributed to this report.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>LOS ANGELES — In a gift to many musicians, moviemakers and other content creators, a federal judge has found that the song \"Happy Birthday To You\" is entirely in the public domain.\u003c/p>\n\u003cp>The ruling could mean millions lost for the music publishing company that has been collecting on the copyright to one of the most widely sung songs in the world.\u003c/p>\n\u003cfigure id=\"attachment_10694173\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684.jpg\">\u003cimg class=\"wp-image-10694173 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684-400x334.jpg\" alt='Words and music to the song, \"Happy Birthday\" -- also known as \"Happy Birthday to You.\"' width=\"400\" height=\"334\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684-400x334.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684-800x668.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684.jpg 849w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Words and music to the song 'Happy Birthday' -- also known as 'Happy Birthday to You.'\u003c/figcaption>\u003c/figure>\n\u003cp>U.S. District Judge George H. King found Tuesday that the song's original copyright, obtained by the Clayton F. Summy Co. from the song's writers and bought for $15 million in 1988 by Warner/Chappell Music Inc., covered only specific piano arrangements of the song, not its lyrics.\u003c/p>\n\u003cp>The basic \"Happy Birthday\" melody, derived from another popular children's song, \"Good Morning to All,\" has long been in the public domain, and King's decision, though it could be appealed, makes the entirety fair game for use.\u003c/p>\n\u003cp>\" 'Happy Birthday' is finally free after 80 years,\" Randall Newman, one of the plaintiffs' attorneys, told the Los Angeles Times.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the co-plaintiffs, \u003ca href=\"https://www.facebook.com/rupamarya\" target=\"_blank\">Rupa Marya\u003c/a> of the San Francisco-based group \u003ca href=\"http://www.theaprilfishes.com/\" target=\"_blank\">Rupa and The April Fishes\u003c/a>, also praised the decision as momentous, saying, \"I hope we can start reimagining copyright law to do what it's supposed to do -- protect the creations of people who make stuff so that we can continue to make more stuff.\"\u003c/p>\n\u003cp>Marya said she had paid Warner/Chappell $455 to include the song on a live album during which members of her band and the audience sang the song to her the night before her birthday.\u003c/p>\n\u003cp>Warner/Chappell has said it doesn't try to collect royalties from just anyone singing the song but those who use it in a commercial enterprise.\u003c/p>\n\u003cp>\"We are looking at the court's lengthy opinion and considering our options,\" Warner/Chappell said in a statement following Tuesday's ruling.\u003c/p>\n\u003cp>King's decision comes in a lawsuit filed two years ago by Good Morning To You Productions Corp., which is working on a documentary film tentatively titled \"Happy Birthday.\" The company challenged the copyright, arguing that the song should be \"dedicated to public use and in the public domain.\"\u003c/p>\n\u003cp>\"Because Summy Co. never acquired the rights to the 'Happy Birthday' lyrics, defendants, as Summy Co.'s purported successors-in-interest, do not own a valid copyright in the Happy Birthday lyrics,\" King concluded in his 43-page ruling.\u003c/p>\n\u003cp>The lawsuit also asked for monetary damages and restitution of more than $5 million in licensing fees it said in 2013 that Warner/Chappell had collected from thousands of people and groups who have paid to use the song over the years.\u003c/p>\n\u003cp>Marshall Lamm, a spokesman for one of the plaintiffs' lawyers, said that issue would be determined later.\u003c/p>\n\u003cp>In his ruling, King went into great detail about the history of \"Happy Birthday To You,\" and its derivation from \"Good Morning to All.\"\u003c/p>\n\u003cp>That song was written by sisters Mildred Hill and Patty Hill sometime before 1893, the judge said, adding that the sisters assigned the rights to it and other songs to Clayton F. Summy, who copyrighted and published them in a book titled \"Song Stories for the Kindergarten.\"\u003c/p>\n\u003cp>\"The origins of the lyrics to Happy Birthday ... are less clear,\" the judge continued, adding the first known reference to them appeared in a 1901 article in the Inland Educator and Indiana School Journal.\u003c/p>\n\u003cp>The full lyrics themselves, King said, didn't appear in print until 1911.\u003c/p>\n\u003cp>Since then, they have become the most famous lyrics in the English language, according to Guinness World Records. The song is also sung in countless other languages around the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press Writer Andrew Dalton contributed to this report.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco Opera appoints Matthew Shilvock as New General Director",
"headTitle": "San Francisco Opera appoints Matthew Shilvock as New General Director | KQED",
"content": "\u003cp>\u003cem>Editor’s Note: KQED is a partner of San Francisco Opera. The orgnizations collaborate on the annual broadcast of opera productions. \u003c/em>\u003c/p>\n\u003cp>Staging a night of opera is “a very complicated jigsaw puzzle,” says Matthew Shilvock. Music, theater, dance, architecture and writing must be arranged into a coherent whole. Today, the \u003ca href=\"http://sfopera.com/Home.aspx\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> announced Shilvock will become their primary puzzlemaster next August, as he steps into the role of general director, replacing David Gockley as he retires after 10 years at the helm of one of the country’s biggest opera companies.\u003c/p>\n\u003cp>Shilvock first came on board with the San Francisco Opera as part of Gockley’s transition team a decade ago and went on to become the company’s associate general director in 2010. The two men had worked together at Houston Grand Opera for three years prior to coming to the Bay Area, where Gockley was general director and Shilvock was his liaison.\u003c/p>\n\u003cp>Currently Shilvock manages and leads six departments: music operations, electronic media, education, rehersal, development and the opera’s professional artist training programs. Under his guidance, the opera began in 2007 it’s program of \u003ca href=\"http://sfopera.com/Season-Tickets/Opera-in-the-Park.aspx\" target=\"_blank\" rel=\"noopener\">free live opera simulcasts at the AT&T ballpark\u003c/a>. Shilvock also negotiated the media rights to make it possible to commercially release performances on home video, television and the internet.\u003c/p>\n\u003cp>Over the past 10 years, the San Francisco Opera has transformed from running deep deficits to having relatively stable finances. Some opera aficionados have accused Gockley of staging one too many crowd-pleasing Puccini productions, but he’s also known for mounting world premieres and for bringing musicals (including \u003cem>Porgy and Bess\u003c/em>, \u003cem>Show Boat\u003c/em> and this season’s \u003cem>Sweeney Todd\u003c/em>) to the opera stage. (Read \u003ca href=\"http://ww2.kqed.org/arts/2015/09/11/looking-back-at-david-gockleys-puccini-ful-years-at-sf-opera/\" target=\"_blank\" rel=\"noopener\">Charlise Tiee’s retrospective of Gockley’s years \u003c/a>at the San Francisco Opera for more on Gockley’s tenure.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Matthew now has the ultimate balancing act,” says Marc Scorca, president and CEO of \u003ca href=\"http://www.operaamerica.org/\" target=\"_blank\" rel=\"noopener\">OPERA America\u003c/a>, an opera service organization. Scorca, who describes Shilvock as “thorough, meticulous and gracious at every minute,” has known the new director designate since 2002, when Shilvock became an OPERA America fellow.\u003c/p>\n\u003cp>“I’m not the first person to say this, but every financial decision has an artistic implication and every artistic decision has a financial implication,” Scorca says. “Matthew now holds the reins of doing something so hard to do, which is to make great art, keep the finances of the company strong and the audience curious and excited.”\u003c/p>\n\u003cp>Bay Area opera fans shouldn’t expect drastic changes as Shilvock takes over the directorship.\u003c/p>\n\u003cp>“We live and breathe on our relationship with our community,” Shilvock says. “That’s going to be as important now as it ever has been. I think taking advantage of the great energy and change that is happening in San Francisco at the moment is going to be essential as we look to the future.”\u003c/p>\n\u003cp>As part of his strategy, Shilvock says the company may form closer partnerships with performers, composers, directors and opera companies in Pacific Rim countries, particularly in China. He’s also eager to develop the programming at the company’s new 300-seat \u003ca href=\"http://sfopera.com/Support-Us/Individual-Giving/Wilsey-Center/Wilsey-Center-Detailed-Information.aspx\" target=\"_blank\" rel=\"noopener\">Diane B. Wilsey Center for Opera\u003c/a>, opening next year at the Veterans Building. Between now and his appointment as director next August, Shilvock says he will be diving into programming the 2018/19 season.\u003c/p>\n\u003cp>Despite the fact that Shilvock is a protégé of Gockley’s, Scorca says not to expect Shilvock to be a carbon copy of the outgoing director. “But Matthew had great responsibility for realizing many of the productions at San Francisco and Houston Grand Opera,” Scorca says. “We know the sensibilities that have shaped him over the last 13 years. I think he’s going to be looking for vocal excellence, a wide mix of works from the classical repertoire and new material. So the values that San Francisco holds dear I think will be promoted by Matthew.”\u003c/p>\n\u003cp>Born and educated in England in 1976, Shilvock studied music at Oxford University and holds a master’s degree in public administration from the University of Massachusetts Amherst. Shilvock lives in Marin County with his wife Kate and their two children.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The appointment of Shilvock comes at the end of a 10-month-long, international search. His five year contract as general director will last through July 2021.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: KQED is a partner of San Francisco Opera. The orgnizations collaborate on the annual broadcast of opera productions. \u003c/em>\u003c/p>\n\u003cp>Staging a night of opera is “a very complicated jigsaw puzzle,” says Matthew Shilvock. Music, theater, dance, architecture and writing must be arranged into a coherent whole. Today, the \u003ca href=\"http://sfopera.com/Home.aspx\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> announced Shilvock will become their primary puzzlemaster next August, as he steps into the role of general director, replacing David Gockley as he retires after 10 years at the helm of one of the country’s biggest opera companies.\u003c/p>\n\u003cp>Shilvock first came on board with the San Francisco Opera as part of Gockley’s transition team a decade ago and went on to become the company’s associate general director in 2010. The two men had worked together at Houston Grand Opera for three years prior to coming to the Bay Area, where Gockley was general director and Shilvock was his liaison.\u003c/p>\n\u003cp>Currently Shilvock manages and leads six departments: music operations, electronic media, education, rehersal, development and the opera’s professional artist training programs. Under his guidance, the opera began in 2007 it’s program of \u003ca href=\"http://sfopera.com/Season-Tickets/Opera-in-the-Park.aspx\" target=\"_blank\" rel=\"noopener\">free live opera simulcasts at the AT&T ballpark\u003c/a>. Shilvock also negotiated the media rights to make it possible to commercially release performances on home video, television and the internet.\u003c/p>\n\u003cp>Over the past 10 years, the San Francisco Opera has transformed from running deep deficits to having relatively stable finances. Some opera aficionados have accused Gockley of staging one too many crowd-pleasing Puccini productions, but he’s also known for mounting world premieres and for bringing musicals (including \u003cem>Porgy and Bess\u003c/em>, \u003cem>Show Boat\u003c/em> and this season’s \u003cem>Sweeney Todd\u003c/em>) to the opera stage. (Read \u003ca href=\"http://ww2.kqed.org/arts/2015/09/11/looking-back-at-david-gockleys-puccini-ful-years-at-sf-opera/\" target=\"_blank\" rel=\"noopener\">Charlise Tiee’s retrospective of Gockley’s years \u003c/a>at the San Francisco Opera for more on Gockley’s tenure.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Matthew now has the ultimate balancing act,” says Marc Scorca, president and CEO of \u003ca href=\"http://www.operaamerica.org/\" target=\"_blank\" rel=\"noopener\">OPERA America\u003c/a>, an opera service organization. Scorca, who describes Shilvock as “thorough, meticulous and gracious at every minute,” has known the new director designate since 2002, when Shilvock became an OPERA America fellow.\u003c/p>\n\u003cp>“I’m not the first person to say this, but every financial decision has an artistic implication and every artistic decision has a financial implication,” Scorca says. “Matthew now holds the reins of doing something so hard to do, which is to make great art, keep the finances of the company strong and the audience curious and excited.”\u003c/p>\n\u003cp>Bay Area opera fans shouldn’t expect drastic changes as Shilvock takes over the directorship.\u003c/p>\n\u003cp>“We live and breathe on our relationship with our community,” Shilvock says. “That’s going to be as important now as it ever has been. I think taking advantage of the great energy and change that is happening in San Francisco at the moment is going to be essential as we look to the future.”\u003c/p>\n\u003cp>As part of his strategy, Shilvock says the company may form closer partnerships with performers, composers, directors and opera companies in Pacific Rim countries, particularly in China. He’s also eager to develop the programming at the company’s new 300-seat \u003ca href=\"http://sfopera.com/Support-Us/Individual-Giving/Wilsey-Center/Wilsey-Center-Detailed-Information.aspx\" target=\"_blank\" rel=\"noopener\">Diane B. Wilsey Center for Opera\u003c/a>, opening next year at the Veterans Building. Between now and his appointment as director next August, Shilvock says he will be diving into programming the 2018/19 season.\u003c/p>\n\u003cp>Despite the fact that Shilvock is a protégé of Gockley’s, Scorca says not to expect Shilvock to be a carbon copy of the outgoing director. “But Matthew had great responsibility for realizing many of the productions at San Francisco and Houston Grand Opera,” Scorca says. “We know the sensibilities that have shaped him over the last 13 years. I think he’s going to be looking for vocal excellence, a wide mix of works from the classical repertoire and new material. So the values that San Francisco holds dear I think will be promoted by Matthew.”\u003c/p>\n\u003cp>Born and educated in England in 1976, Shilvock studied music at Oxford University and holds a master’s degree in public administration from the University of Massachusetts Amherst. Shilvock lives in Marin County with his wife Kate and their two children.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The appointment of Shilvock comes at the end of a 10-month-long, international search. His five year contract as general director will last through July 2021.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Jack Larson, Jimmy Olsen From Early 'Superman' Show, Dies",
"title": "Jack Larson, Jimmy Olsen From Early 'Superman' Show, Dies",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>The man who made a mark in Baby Boom America as a cub reporter has died: Actor Jack Larson, who played a sidekick to Superman's alter ego Clark Kent at the fictional Daily Planet newspaper, was 87.\u003c/p>\n\u003cp>The actor and playwright died at his home in the Los Angeles community of Brentwood, according to \u003ca href=\"http://losangeles.cbslocal.com/2015/09/21/actor-playwright-jack-larson-dies-at-87/\">CBS Los Angeles\u003c/a>, \u003cem>Variety \u003c/em>and multiple news outlets. A cause of death was not mentioned.\u003c/p>\n\u003cp>Larson rose to prominence in the 1950s, when \"The Adventures of Superman\" sidetracked his dreams of being a stage actor on Broadway. The runaway success of that show, starring George Reeves, made it hard for Larson to find new work; he eventually found success in writing plays and librettos.\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2015/09/21/arts/television/jack-larson-a-playwright-better-known-as-jimmy-olsen-in-superman-dies-at-87.html\">The New York Times\u003c/a> reports:\u003c/p>\n\u003cblockquote>\u003cp>\"Although Mr. Larson was pleased that Jimmy Olsen developed into a comic role, his fears of being typecast were realized. After a particularly upsetting encounter with the producer Mervyn LeRoy, he was advised by the actor Montgomery Clift, with whom Mr. Larson was having a romantic relationship, to stop putting himself in those casting situations. So Mr. Larson gave up acting and made a new career.\"\u003c/p>\u003c/blockquote>\n\u003cp>That new career saw Larson write librettos and plays, including \"The Candied House\" (1966) and \"Chuck\" (1968), as well as helping produce films such as \"Perfect\" (1985) and \"Bright Lights, Big City\" (1988). On both plays and films, he often collaborated with his longtime partner, James Bridges.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In turning to writing, Larson was also returning to the thing that had first brought him to the world of theater, when his instructors at Pasadena Junior College encouraged him to write.\u003c/p>\n\u003cp>Born in Los Angeles in 1928, Larson grew up in the Los Angeles suburb of Montebello. His mother worked as a Western Union clerk, and his father drove a milk truck and bowled -- something he passed along to his son.\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.supermanhomepage.com/tv/tv.php?topic=cast-crew/jack-larson\">Superman Homepage\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\"While he did not enjoy school, Larson did like to bowl. By the age of 14, he had become the California state champion for his age group and was good enough to think that he would eventually turn professional. But, in the fall of 1945, Larson enrolled in the Pasadena Junior College (now known as Pasadena City College), an event that would drastically change his life. Larson said, 'My instructors discovered that I had a gift for writing and motivated me to write plays, and to be in plays as well.'\"\u003c/p>\u003c/blockquote>\n\u003cp>When he first started auditioning for parts in film studio projects, Larson later recounted, he lost out on one early job (portraying a kid on a bike) to a young woman who would go on to be a star.\u003c/p>\n\u003cp>\"Marilyn Monroe got that part. It was her first part,\" he said in an interview for David Poland's \"\u003ca href=\"https://www.youtube.com/watch?v=AA7n8Xszg08\">Oral History of Hollywood\u003c/a>\" series. With a laugh, he added, \"We wonder how she got it. But they changed it from a boy on a bicycle to a girl on a bicycle.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the 1990s, Larson appeared in episodes of \"Superboy\" and \"Lois and Clark: The New Adventures of Superman.\" In the latter, he portrayed an older version of Jimmy Olsen.\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=Jack+Larson%2C+Jimmy+Olsen+From+%27Superman%27+TV+Shows%2C+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The man who made a mark in Baby Boom America as a cub reporter has died: Actor Jack Larson, who played a sidekick to Superman's alter ego Clark Kent at the fictional Daily Planet newspaper, was 87.\u003c/p>\n\u003cp>The actor and playwright died at his home in the Los Angeles community of Brentwood, according to \u003ca href=\"http://losangeles.cbslocal.com/2015/09/21/actor-playwright-jack-larson-dies-at-87/\">CBS Los Angeles\u003c/a>, \u003cem>Variety \u003c/em>and multiple news outlets. A cause of death was not mentioned.\u003c/p>\n\u003cp>Larson rose to prominence in the 1950s, when \"The Adventures of Superman\" sidetracked his dreams of being a stage actor on Broadway. The runaway success of that show, starring George Reeves, made it hard for Larson to find new work; he eventually found success in writing plays and librettos.\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2015/09/21/arts/television/jack-larson-a-playwright-better-known-as-jimmy-olsen-in-superman-dies-at-87.html\">The New York Times\u003c/a> reports:\u003c/p>\n\u003cblockquote>\u003cp>\"Although Mr. Larson was pleased that Jimmy Olsen developed into a comic role, his fears of being typecast were realized. After a particularly upsetting encounter with the producer Mervyn LeRoy, he was advised by the actor Montgomery Clift, with whom Mr. Larson was having a romantic relationship, to stop putting himself in those casting situations. So Mr. Larson gave up acting and made a new career.\"\u003c/p>\u003c/blockquote>\n\u003cp>That new career saw Larson write librettos and plays, including \"The Candied House\" (1966) and \"Chuck\" (1968), as well as helping produce films such as \"Perfect\" (1985) and \"Bright Lights, Big City\" (1988). On both plays and films, he often collaborated with his longtime partner, James Bridges.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In turning to writing, Larson was also returning to the thing that had first brought him to the world of theater, when his instructors at Pasadena Junior College encouraged him to write.\u003c/p>\n\u003cp>Born in Los Angeles in 1928, Larson grew up in the Los Angeles suburb of Montebello. His mother worked as a Western Union clerk, and his father drove a milk truck and bowled -- something he passed along to his son.\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.supermanhomepage.com/tv/tv.php?topic=cast-crew/jack-larson\">Superman Homepage\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\"While he did not enjoy school, Larson did like to bowl. By the age of 14, he had become the California state champion for his age group and was good enough to think that he would eventually turn professional. But, in the fall of 1945, Larson enrolled in the Pasadena Junior College (now known as Pasadena City College), an event that would drastically change his life. Larson said, 'My instructors discovered that I had a gift for writing and motivated me to write plays, and to be in plays as well.'\"\u003c/p>\u003c/blockquote>\n\u003cp>When he first started auditioning for parts in film studio projects, Larson later recounted, he lost out on one early job (portraying a kid on a bike) to a young woman who would go on to be a star.\u003c/p>\n\u003cp>\"Marilyn Monroe got that part. It was her first part,\" he said in an interview for David Poland's \"\u003ca href=\"https://www.youtube.com/watch?v=AA7n8Xszg08\">Oral History of Hollywood\u003c/a>\" series. With a laugh, he added, \"We wonder how she got it. But they changed it from a boy on a bicycle to a girl on a bicycle.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the 1990s, Larson appeared in episodes of \"Superboy\" and \"Lois and Clark: The New Adventures of Superman.\" In the latter, he portrayed an older version of Jimmy Olsen.\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=Jack+Larson%2C+Jimmy+Olsen+From+%27Superman%27+TV+Shows%2C+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Lake County Cracks Down on Looting of Native American Artifacts",
"title": "Lake County Cracks Down on Looting of Native American Artifacts",
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"content": "\u003cp>The wildfires ravaging Lake County this summer might have an impact unnoticed by most people: the increased looting of ancient Native American artifacts.\u003c/p>\n\u003cp>Local Pomo residents worry that the fires, which have cleared trees and structures off land, and the drought, which has lowered water levels at Clear Lake, are making it easier for looters to unearth relics that belonged to their ancestors.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/225040171\" 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>Although theft at Native American sites is nothing new, local sheriff's deputies are being trained for the first time in how to identify and investigate these crimes. That led to the arrest last month of a man suspected of stealing obsidian arrowheads and other artifacts.\u003c/p>\n\u003cp>The case may be the first arrest of its kind in Lake County, according to the Lake County Sheriff’s Office.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Cultural treasures\u003c/strong>\u003c/p>\n\u003cp>The obsidian cutting tools at the center of this case look similar to the arrowheads that Batsulwin Brown is pulling out of a small box at Big Valley Rancheria near the city of Lakeport. The reservation is home to Pomo Indians who have a long history of hunting and fishing in Clear Lake, the largest natural freshwater lake wholly within the state.\u003c/p>\n\u003cp>Brown, tribal historic preservation officer at Big Valley, picks through the arrowheads, which he estimates are at least 500 years old.\u003c/p>\n\u003cfigure id=\"attachment_10692360\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10692360\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/ObsidianHeads-800x562.jpg\" alt=\"Obsidian spear and arrowheads such as these at the Big Valley Rancheria of Pomo Indians in Lake County may fetch hundreds of dollars in the black market. Local Pomo people want to recover these items and stop these crimes.\" width=\"800\" height=\"562\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads-800x562.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads-400x281.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads-1440x1011.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads-1180x828.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads-960x674.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Obsidian spear and arrowheads such as these at the Big Valley Rancheria of Pomo Indians in Lake County may fetch hundreds of dollars in the black market. Local Pomo people want to recover these items and stop these crimes. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is one of the most defined pieces here. Feel the edges. It still has a very sharp edge,” says Brown.\u003c/p>\n\u003cp>Next, he carefully removes a collection of clam shell beads from labeled plastic bags. He estimates these beads are about 5,000 years old.\u003c/p>\n\u003cp>“They are fragile. You can see some of the white residue coming on my fingers from the shells,” says Brown, adding that local authorities returned these beads to the Big Valley Band of Pomo Indians after a landowner dug them up from his garden and turned them in.\u003c/p>\n\u003cp>For Brown, these artifacts are invaluable. They connect today’s Pomo to their ancestors in a physical way.\u003c/p>\n\u003cp>“Helps paint a picture for us of what went on out there if we don’t have any members or direct descendants who lived at that site to give us more information,” says Brown, who grew up at the Elem Pomo reservation near the town of Clearlake Oaks, playing at a \u003ca href=\"http://www.epa.gov/superfund/eparecovery/sulphur_bank.html\" target=\"_blank\">Superfund site\u003c/a> next door.\u003c/p>\n\u003cp>He considers the mercury pollution from that mine, which he says led to deadly cancers among his relatives, as one of many injustices faced by local tribes.\u003c/p>\n\u003cfigure id=\"attachment_10692355\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10692355 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/BatsulwinBrown-800x489.jpg\" alt=\"Batsulwin Brown, tribal historic preservation officer for the Big Valley Band of Pomo Indians, at Clear Lake on Sept. 10. Brown is concerned that the lake’s drop in water levels and wildfires are making archaeological sites easier to loot.\" width=\"800\" height=\"489\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown-800x489.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown-400x244.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown-1440x880.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown-1180x721.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown-960x587.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Batsulwin Brown, tribal historic preservation officer for the Big Valley Rancheria at Clear Lake on Sept. 10. Brown is concerned that wildfires and the lake’s drop in water levels are making archaeological sites more accessible to looters. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of the healing needed by Native American communities, says Brown, is brought about by piecing together their rich history from ancient artifacts.\u003c/p>\n\u003cp>But Brown and other native residents fear that in many cases, tools, effigies and other remains from Pomo archaeological sites are stolen for commercial gain.\u003c/p>\n\u003cp>\u003cstrong>The arrest\u003c/strong>\u003c/p>\n\u003cp>On Aug. 22, Lake County Deputy Sheriff Richard Kreutzer discovered obsidian cutting tools and other artifacts inside the van of a man he suspected of being high on methamphetamines and trespassing on private property.\u003c/p>\n\u003cp>“I booked him on felony possession of these artifacts, and the investigation is ongoing,” says Kreutzer, who has worked with the sheriff’s office since 2012. “I’m currently trying to confirm where the items were removed from to bring this evidence to a judge.”\u003c/p>\n\u003cfigure id=\"attachment_10685641\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut.jpg\">\u003cimg class=\"wp-image-10685641 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-800x533.jpg\" alt=\"Two days after receiving a training on archaeological crimes, Lake County Deputy Sheriff Richard Kreutzer arrested a transient man suspected of looting Native American artifacts on August 22. This arrest may be the first its kind in Lake County. Kreutzer was photographed at the Sheriff's offices in Lakeport.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Two days after receiving a training on archaeological crimes, Lake County Deputy Sheriff Richard Kreutzer arrested a transient man suspected of looting Native American artifacts on Aug. 22. This arrest may be the first its kind in Lake County. Kreutzer was photographed at the Sheriff's offices in Lakeport. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The arrest came only two days after Kreutzer and other deputies took an intensive, three-day training on archeological crimes. The event was co-hosted by the \u003ca href=\"http://www.koination.com/\" target=\"_blank\">Koi Nation of Northern California\u003c/a>, the \u003ca href=\"http://www.upperlakepomo.com/\" target=\"_blank\">Habematolel Pomo of Upper Lake\u003c/a> and Kreutzer’s boss, Sheriff Brian Martin, who took office this year.\u003c/p>\n\u003cp>Federal and state laws prohibit people from taking these artifacts. In California, the \u003ca href=\"http://www.leginfo.ca.gov/pub/01-02/bill/sen/sb_1801-1850/sb_1816_bill_20020630_amended_asm.pdf\" target=\"_blank\">Native American Historic Resource Protection Act\u003c/a> punishes the unlawful excavation or destruction of Native American sites as a misdemeanor.\u003c/p>\n\u003cp>But until now, this law hadn't been enforced here. That is why the sheriff’s office says this arrest might be the first of its kind in Lake County.\u003c/p>\n\u003cp>“In all honesty, I might have come across these types of things in other calls but didn’t necessarily knew what they were,” says Kreutzer. “Now thanks to this training ... we are a little more aware of what we are looking at.”\u003c/p>\n\u003cp>Forensic archaeologist Martin McAllister led the training and has worked on hundreds of cases involving looters in Arizona and other parts of the country since 1977. He says archaeological crimes are frequently connected to drug use, especially meth, with looters selling relics to buy drugs.\u003c/p>\n\u003cfigure id=\"attachment_10692364\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10692364 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/BeadsAndHead-800x530.jpg\" alt=\"Clam shell beads and an obsidian spearhead are some of the items recovered by the Big Valley Band of Pomo Indians near Clear Lake.\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead-400x265.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead-1440x955.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clam shell beads and an obsidian spearhead were recovered by the Big Valley Band of Pomo Indians near the city of Lakeport. A local landowner found the beads in his property and turned them in to local authorities, while the Big Valley historic preservation team identified the spearhead during a public works project. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Typically (looters) are going to be high on some type of drug like methamphetamine. They are going to be armed, and they know what they are doing is illegal, so it can create a very dangerous situation out there on the ground,” says McAllister by phone from Missoula, Montana, where he resides.\u003c/p>\n\u003cp>McAllister says that once these items wind up in the black market, they can fetch big money.\u003c/p>\n\u003cp>“It’s a multimillion-dollar industry here in the United States,” says McAllister, adding that the international black market for all archaeologically significant items is estimated at $7 billion. “It’s second only to drugs and weapons, in terms of the amount of money it generates every year.”\u003c/p>\n\u003cp>The high incidence of meth use in Lake County likely plays a role in looting, says McAllister. Lake County leads the state's 58 counties in terms of drug-induced deaths, according to the most recent \u003ca href=\"http://www.cdph.ca.gov/programs/ohir/Documents/OHIRProfiles2015.pdf\">figures\u003c/a> from the California Department of Public Health.\u003c/p>\n\u003cp>McAllister says that drought conditions and wildfires are exposing archaeological sites around Clear Lake that were not visible, making these potential troves more accessible than before.\u003c/p>\n\u003cp>\u003cstrong>Wildfires and drought increase access in Lake County\u003c/strong>\u003c/p>\n\u003cp>Wildfires raging in the area since July have burned vegetation and structures in 171,000 acres so far. At the same time, the state’s four-year drought is making Clear Lake’s shoreline recede as water levels drop.\u003c/p>\n\u003cp>In September 2011, Clear Lake’s water levels were about 2 feet higher than today, says Andrew Watson, field office chief at the U.S. Geological Survey Ukiah branch. During a wet year such as 1984, water levels were 10 feet higher than today, he says.\u003c/p>\n\u003cp>[contextly_sidebar id=\"tv6V4uHzKsYZriZwzLbfJiFDY0J1FgoL\"]\u003c/p>\n\u003cp>But Dino Beltran, from the Koi Nation, says the theft of Native American relics has occurred for many decades, regardless of the weather. He first alerted authorities to these crimes after he spotted a pair of suspicious diggers on marshland near his ancestral home.\u003c/p>\n\u003cp>“People trying to benefit from somebody else's belongings that should be left on the ground,” says Beltran, who pushed for the training with local law enforcement. “I mean they are sacred objects. You don’t see Native Americans going to a cemetery and digging up the cemetery, so why would anyone want to do anything sacrilegious to a Native American site?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Though the looting case in Lake County is still under investigation, the sheriff’s office and Beltran believe that the items recovered by Kreutzer are most likely from the Koi Nation. The suspect was released on bail a few days after the arrest.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The wildfires ravaging Lake County this summer might have an impact unnoticed by most people: the increased looting of ancient Native American artifacts.\u003c/p>\n\u003cp>Local Pomo residents worry that the fires, which have cleared trees and structures off land, and the drought, which has lowered water levels at Clear Lake, are making it easier for looters to unearth relics that belonged to their ancestors.\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/225040171&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/225040171'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Although theft at Native American sites is nothing new, local sheriff's deputies are being trained for the first time in how to identify and investigate these crimes. That led to the arrest last month of a man suspected of stealing obsidian arrowheads and other artifacts.\u003c/p>\n\u003cp>The case may be the first arrest of its kind in Lake County, according to the Lake County Sheriff’s Office.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Cultural treasures\u003c/strong>\u003c/p>\n\u003cp>The obsidian cutting tools at the center of this case look similar to the arrowheads that Batsulwin Brown is pulling out of a small box at Big Valley Rancheria near the city of Lakeport. The reservation is home to Pomo Indians who have a long history of hunting and fishing in Clear Lake, the largest natural freshwater lake wholly within the state.\u003c/p>\n\u003cp>Brown, tribal historic preservation officer at Big Valley, picks through the arrowheads, which he estimates are at least 500 years old.\u003c/p>\n\u003cfigure id=\"attachment_10692360\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10692360\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/ObsidianHeads-800x562.jpg\" alt=\"Obsidian spear and arrowheads such as these at the Big Valley Rancheria of Pomo Indians in Lake County may fetch hundreds of dollars in the black market. Local Pomo people want to recover these items and stop these crimes.\" width=\"800\" height=\"562\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads-800x562.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads-400x281.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads-1440x1011.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads-1180x828.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads-960x674.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Obsidian spear and arrowheads such as these at the Big Valley Rancheria of Pomo Indians in Lake County may fetch hundreds of dollars in the black market. Local Pomo people want to recover these items and stop these crimes. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is one of the most defined pieces here. Feel the edges. It still has a very sharp edge,” says Brown.\u003c/p>\n\u003cp>Next, he carefully removes a collection of clam shell beads from labeled plastic bags. He estimates these beads are about 5,000 years old.\u003c/p>\n\u003cp>“They are fragile. You can see some of the white residue coming on my fingers from the shells,” says Brown, adding that local authorities returned these beads to the Big Valley Band of Pomo Indians after a landowner dug them up from his garden and turned them in.\u003c/p>\n\u003cp>For Brown, these artifacts are invaluable. They connect today’s Pomo to their ancestors in a physical way.\u003c/p>\n\u003cp>“Helps paint a picture for us of what went on out there if we don’t have any members or direct descendants who lived at that site to give us more information,” says Brown, who grew up at the Elem Pomo reservation near the town of Clearlake Oaks, playing at a \u003ca href=\"http://www.epa.gov/superfund/eparecovery/sulphur_bank.html\" target=\"_blank\">Superfund site\u003c/a> next door.\u003c/p>\n\u003cp>He considers the mercury pollution from that mine, which he says led to deadly cancers among his relatives, as one of many injustices faced by local tribes.\u003c/p>\n\u003cfigure id=\"attachment_10692355\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10692355 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/BatsulwinBrown-800x489.jpg\" alt=\"Batsulwin Brown, tribal historic preservation officer for the Big Valley Band of Pomo Indians, at Clear Lake on Sept. 10. Brown is concerned that the lake’s drop in water levels and wildfires are making archaeological sites easier to loot.\" width=\"800\" height=\"489\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown-800x489.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown-400x244.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown-1440x880.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown-1180x721.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown-960x587.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Batsulwin Brown, tribal historic preservation officer for the Big Valley Rancheria at Clear Lake on Sept. 10. Brown is concerned that wildfires and the lake’s drop in water levels are making archaeological sites more accessible to looters. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of the healing needed by Native American communities, says Brown, is brought about by piecing together their rich history from ancient artifacts.\u003c/p>\n\u003cp>But Brown and other native residents fear that in many cases, tools, effigies and other remains from Pomo archaeological sites are stolen for commercial gain.\u003c/p>\n\u003cp>\u003cstrong>The arrest\u003c/strong>\u003c/p>\n\u003cp>On Aug. 22, Lake County Deputy Sheriff Richard Kreutzer discovered obsidian cutting tools and other artifacts inside the van of a man he suspected of being high on methamphetamines and trespassing on private property.\u003c/p>\n\u003cp>“I booked him on felony possession of these artifacts, and the investigation is ongoing,” says Kreutzer, who has worked with the sheriff’s office since 2012. “I’m currently trying to confirm where the items were removed from to bring this evidence to a judge.”\u003c/p>\n\u003cfigure id=\"attachment_10685641\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut.jpg\">\u003cimg class=\"wp-image-10685641 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-800x533.jpg\" alt=\"Two days after receiving a training on archaeological crimes, Lake County Deputy Sheriff Richard Kreutzer arrested a transient man suspected of looting Native American artifacts on August 22. This arrest may be the first its kind in Lake County. Kreutzer was photographed at the Sheriff's offices in Lakeport.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Two days after receiving a training on archaeological crimes, Lake County Deputy Sheriff Richard Kreutzer arrested a transient man suspected of looting Native American artifacts on Aug. 22. This arrest may be the first its kind in Lake County. Kreutzer was photographed at the Sheriff's offices in Lakeport. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The arrest came only two days after Kreutzer and other deputies took an intensive, three-day training on archeological crimes. The event was co-hosted by the \u003ca href=\"http://www.koination.com/\" target=\"_blank\">Koi Nation of Northern California\u003c/a>, the \u003ca href=\"http://www.upperlakepomo.com/\" target=\"_blank\">Habematolel Pomo of Upper Lake\u003c/a> and Kreutzer’s boss, Sheriff Brian Martin, who took office this year.\u003c/p>\n\u003cp>Federal and state laws prohibit people from taking these artifacts. In California, the \u003ca href=\"http://www.leginfo.ca.gov/pub/01-02/bill/sen/sb_1801-1850/sb_1816_bill_20020630_amended_asm.pdf\" target=\"_blank\">Native American Historic Resource Protection Act\u003c/a> punishes the unlawful excavation or destruction of Native American sites as a misdemeanor.\u003c/p>\n\u003cp>But until now, this law hadn't been enforced here. That is why the sheriff’s office says this arrest might be the first of its kind in Lake County.\u003c/p>\n\u003cp>“In all honesty, I might have come across these types of things in other calls but didn’t necessarily knew what they were,” says Kreutzer. “Now thanks to this training ... we are a little more aware of what we are looking at.”\u003c/p>\n\u003cp>Forensic archaeologist Martin McAllister led the training and has worked on hundreds of cases involving looters in Arizona and other parts of the country since 1977. He says archaeological crimes are frequently connected to drug use, especially meth, with looters selling relics to buy drugs.\u003c/p>\n\u003cfigure id=\"attachment_10692364\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10692364 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/BeadsAndHead-800x530.jpg\" alt=\"Clam shell beads and an obsidian spearhead are some of the items recovered by the Big Valley Band of Pomo Indians near Clear Lake.\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead-400x265.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead-1440x955.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clam shell beads and an obsidian spearhead were recovered by the Big Valley Band of Pomo Indians near the city of Lakeport. A local landowner found the beads in his property and turned them in to local authorities, while the Big Valley historic preservation team identified the spearhead during a public works project. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Typically (looters) are going to be high on some type of drug like methamphetamine. They are going to be armed, and they know what they are doing is illegal, so it can create a very dangerous situation out there on the ground,” says McAllister by phone from Missoula, Montana, where he resides.\u003c/p>\n\u003cp>McAllister says that once these items wind up in the black market, they can fetch big money.\u003c/p>\n\u003cp>“It’s a multimillion-dollar industry here in the United States,” says McAllister, adding that the international black market for all archaeologically significant items is estimated at $7 billion. “It’s second only to drugs and weapons, in terms of the amount of money it generates every year.”\u003c/p>\n\u003cp>The high incidence of meth use in Lake County likely plays a role in looting, says McAllister. Lake County leads the state's 58 counties in terms of drug-induced deaths, according to the most recent \u003ca href=\"http://www.cdph.ca.gov/programs/ohir/Documents/OHIRProfiles2015.pdf\">figures\u003c/a> from the California Department of Public Health.\u003c/p>\n\u003cp>McAllister says that drought conditions and wildfires are exposing archaeological sites around Clear Lake that were not visible, making these potential troves more accessible than before.\u003c/p>\n\u003cp>\u003cstrong>Wildfires and drought increase access in Lake County\u003c/strong>\u003c/p>\n\u003cp>Wildfires raging in the area since July have burned vegetation and structures in 171,000 acres so far. At the same time, the state’s four-year drought is making Clear Lake’s shoreline recede as water levels drop.\u003c/p>\n\u003cp>In September 2011, Clear Lake’s water levels were about 2 feet higher than today, says Andrew Watson, field office chief at the U.S. Geological Survey Ukiah branch. During a wet year such as 1984, water levels were 10 feet higher than today, he says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But Dino Beltran, from the Koi Nation, says the theft of Native American relics has occurred for many decades, regardless of the weather. He first alerted authorities to these crimes after he spotted a pair of suspicious diggers on marshland near his ancestral home.\u003c/p>\n\u003cp>“People trying to benefit from somebody else's belongings that should be left on the ground,” says Beltran, who pushed for the training with local law enforcement. “I mean they are sacred objects. You don’t see Native Americans going to a cemetery and digging up the cemetery, so why would anyone want to do anything sacrilegious to a Native American site?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though the looting case in Lake County is still under investigation, the sheriff’s office and Beltran believe that the items recovered by Kreutzer are most likely from the Koi Nation. The suspect was released on bail a few days after the arrest.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "While Fire Still Burns, Evacuees Find Solace in Music",
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"content": "\u003cp>Kay Ashley is celebrating her 47\u003csup>th\u003c/sup> birthday at the Valley Fire evacuation site on the Napa County Fairgrounds. She and a group of her friends, all musicians, set up some amps and microphones in the bleachers at the Calistoga Speedway.\u003c/p>\n\u003cp>They let Ashley take a few solos first, and she plays one of her songs, \"Long Tall Man.\"\u003c/p>\n\u003cp>\"My heart is trembling. My heart is trembling,\" she sings in a low alto.\u003c/p>\n\u003cp>On this birthday, gifts aren’t on her mind. Rather, a list of things she’s lost.\u003c/p>\n\u003cp>\"I lost several guitars. A mandolin that my father built,\" she says. \"A tamboura from India. Ukulele, piano.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her friend rescued her cat. But Ashley’s pretty sure everything else is gone. She says playing music out here is helping her keep her sanity.\u003c/p>\n\u003cfigure id=\"attachment_79368\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/09/IMG_1271-e1442530767820.jpg\">\u003cimg class=\"size-thumbnail wp-image-79368\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/09/IMG_1271-e1442530753556-400x533.jpg\" alt=\"Sophie Lauterborn. a Valley Fire evacuees, play washboard with other musicians a the Napa County Fairgrounds evacuation center in Calistoga. \" width=\"400\" height=\"533\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sophie Lauterborn. a Valley Fire evacuees, play washboard with other musicians a the Napa County Fairgrounds evacuation center in Calistoga. \u003ccite>(April Dembosky/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Playing the guitar, strumming the strings, feeling the vibration. It’s like, working it out. Moving the energy.\"\u003c/p>\n\u003cp>These musicians know each other from \u003ca href=\"http://harbin.org\" target=\"_blank\">Harbin Hot Springs\u003c/a>,\u003cstrong>\u003cem> \u003c/em>\u003c/strong>the New Age resort that was mostly \u003ca href=\"http://ww2.kqed.org/news/2015/09/15/harbin-hot-springs-a-love-letter\" target=\"_blank\">destroyed in the fire\u003c/a>. Together, they’re mourning the loss of a place they considered spiritual and sacred.\u003c/p>\n\u003cp>\"Locking in with music is like locking in with the fabric of everything, and it’s a way to stay present,\" Ashley says. \"It’s a way to not panic about what has happened or what’s going to happen. It’s grounding.\"\u003c/p>\n\u003cp>Ashley knows this emotional landscape. In 2001, she lived in New York City and worked at the World Trade Center. She wasn't at work on Sept. 11; but many people she knew were and were killed. Ten years later, she moved to Harbin Hot Springs.\u003c/p>\n\u003cp>\"The years I remained in New York I didn’t heal. I was just numb,\" she says. \"I was shut down in fundamental ways for a very long time. And my healing really started when I got away from New York.\"\u003c/p>\n\u003cp>Now she's trying to wrap her head around a double anniversary. The Valley Fire broke out on Sept. 12.\u003c/p>\n\u003cp>\"The day after the anniversary. This place I came to heal and grow, Harbin Hot Springs, is ash,\" she says. \"Just like Lower Manhattan was.\"\u003c/p>\n\u003cp>Ashley says, at the evacuation center, music has been healing for her, and for others.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/224301263\" 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 guy has been walking around the tent city singing and letting people play his guitar. There have been spontaneous drum circles and Beatles sing-a-longs. Also,\u003cstrong>\u003cem> \u003c/em>\u003c/strong>a lot of renditions of the Janis Joplin classic, Me and Bobby McGee -- especially the refrain, \"Freedom's just another word for nothing left to lose.\"\u003c/p>\n\u003cp>Ashley’s taking the cue.\u003c/p>\n\u003cp>\"I feel strangely relieved and free,\" she says. \"It’s so shocking to have everything go so quickly. And now, I’m free.\"\u003c/p>\n\u003cp>She had rented her house and didn’t have insurance. While others are vowing to rebuild, she’s thinking about moving on.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I’m feeling like wow, if I can get a minivan, I’m just going to hit the road and just play music all the time, you know, why not?\" she says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kay Ashley is celebrating her 47\u003csup>th\u003c/sup> birthday at the Valley Fire evacuation site on the Napa County Fairgrounds. She and a group of her friends, all musicians, set up some amps and microphones in the bleachers at the Calistoga Speedway.\u003c/p>\n\u003cp>They let Ashley take a few solos first, and she plays one of her songs, \"Long Tall Man.\"\u003c/p>\n\u003cp>\"My heart is trembling. My heart is trembling,\" she sings in a low alto.\u003c/p>\n\u003cp>On this birthday, gifts aren’t on her mind. Rather, a list of things she’s lost.\u003c/p>\n\u003cp>\"I lost several guitars. A mandolin that my father built,\" she says. \"A tamboura from India. Ukulele, piano.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her friend rescued her cat. But Ashley’s pretty sure everything else is gone. She says playing music out here is helping her keep her sanity.\u003c/p>\n\u003cfigure id=\"attachment_79368\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/09/IMG_1271-e1442530767820.jpg\">\u003cimg class=\"size-thumbnail wp-image-79368\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/09/IMG_1271-e1442530753556-400x533.jpg\" alt=\"Sophie Lauterborn. a Valley Fire evacuees, play washboard with other musicians a the Napa County Fairgrounds evacuation center in Calistoga. \" width=\"400\" height=\"533\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sophie Lauterborn. a Valley Fire evacuees, play washboard with other musicians a the Napa County Fairgrounds evacuation center in Calistoga. \u003ccite>(April Dembosky/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Playing the guitar, strumming the strings, feeling the vibration. It’s like, working it out. Moving the energy.\"\u003c/p>\n\u003cp>These musicians know each other from \u003ca href=\"http://harbin.org\" target=\"_blank\">Harbin Hot Springs\u003c/a>,\u003cstrong>\u003cem> \u003c/em>\u003c/strong>the New Age resort that was mostly \u003ca href=\"http://ww2.kqed.org/news/2015/09/15/harbin-hot-springs-a-love-letter\" target=\"_blank\">destroyed in the fire\u003c/a>. Together, they’re mourning the loss of a place they considered spiritual and sacred.\u003c/p>\n\u003cp>\"Locking in with music is like locking in with the fabric of everything, and it’s a way to stay present,\" Ashley says. \"It’s a way to not panic about what has happened or what’s going to happen. It’s grounding.\"\u003c/p>\n\u003cp>Ashley knows this emotional landscape. In 2001, she lived in New York City and worked at the World Trade Center. She wasn't at work on Sept. 11; but many people she knew were and were killed. Ten years later, she moved to Harbin Hot Springs.\u003c/p>\n\u003cp>\"The years I remained in New York I didn’t heal. I was just numb,\" she says. \"I was shut down in fundamental ways for a very long time. And my healing really started when I got away from New York.\"\u003c/p>\n\u003cp>Now she's trying to wrap her head around a double anniversary. The Valley Fire broke out on Sept. 12.\u003c/p>\n\u003cp>\"The day after the anniversary. This place I came to heal and grow, Harbin Hot Springs, is ash,\" she says. \"Just like Lower Manhattan was.\"\u003c/p>\n\u003cp>Ashley says, at the evacuation center, music has been healing for her, and for others.\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/224301263&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/224301263'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A guy has been walking around the tent city singing and letting people play his guitar. There have been spontaneous drum circles and Beatles sing-a-longs. Also,\u003cstrong>\u003cem> \u003c/em>\u003c/strong>a lot of renditions of the Janis Joplin classic, Me and Bobby McGee -- especially the refrain, \"Freedom's just another word for nothing left to lose.\"\u003c/p>\n\u003cp>Ashley’s taking the cue.\u003c/p>\n\u003cp>\"I feel strangely relieved and free,\" she says. \"It’s so shocking to have everything go so quickly. And now, I’m free.\"\u003c/p>\n\u003cp>She had rented her house and didn’t have insurance. While others are vowing to rebuild, she’s thinking about moving on.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I’m feeling like wow, if I can get a minivan, I’m just going to hit the road and just play music all the time, you know, why not?\" she says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A new survey confirms what many in San Francisco already know: market forces are pushing artists out of the city.\u003c/p>\n\u003cp>Beginning in July, the \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a> heard from nearly 600 artists that either live or recently lived in the city. The survey found that over 70 percent of the respondents had been or were being displaced from their workplace, home, or both. As for the 30 percent that weren’t being displaced, potential displacement in the near future was a common concern.\u003c/p>\n\u003cfigure id=\"attachment_10961095\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/SF-Arts-Commission-800x450.jpg\" alt=\"San Francisco Arts Commission meeting\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10961095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/SF-Arts-Commission.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/SF-Arts-Commission-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Arts Commission meeting \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I would’ve reported this survey as being alarming,” John Elberling, director of the Tenants and Owners Development Corporation (TODCO), said. “It’s going to be a wipeout.”\u003c/p>\n\u003cp>The survey also found that the most common reasons for artists losing their leases on workspaces and homes were business-related: building conversion, rent increases, new owners and/or owners moving into the space.\u003c/p>\n\u003cp>The average size of workplaces utilized by the artists polled was 500 sq. ft. And though the average monthly cost of rent was reported at $1.75 per sq. ft., some artists were being charged as much as $17.33 per sq. ft.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anecdotal evidence of the survey’s findings has already been widespread, but the commission conducted the survey to obtain hard data on artist displacement, which it will use to help guide city policy, according to Tom DeCaigny, the San Francisco Arts Commission’s Director of Cultural Affairs. \u003c/p>\n\u003cp>“So as there’s tension in our real estate market, we want to understand what it is that artists are currently paying so that we can make sure that those artists have affordable space for the long term,” DeCaigny said.\u003c/p>\n\u003cfigure id=\"attachment_10962213\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Individual-Artists-Space-Need-Analysis_DISPLACEMENT.jpg\" alt=\"Example slide from SFAC report\" width=\"800\" height=\"600\" class=\"size-full wp-image-10962213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Individual-Artists-Space-Need-Analysis_DISPLACEMENT.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Individual-Artists-Space-Need-Analysis_DISPLACEMENT-400x300.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Example slide from SFAC report \u003ccite>(Courtesy: SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>DeCaigny also noted at a meeting Tuesday that the commission provides grants that can be used toward creative spaces, and that the Mayor’s office increased the grant budget from $1.9 million to $2.9 million this year. (Deadline for applications is Oct. 15; go to the \u003ca href=\"http://www.sfartscommission.org/CAE/grants/\" target=\"_blank\" rel=\"noopener\">commission’s website for more information\u003c/a>.) \u003c/p>\n\u003cp>The release of the survey results on Tuesday led to a handful of artists showing up to the commission’s meeting Tuesday afternoon to express their concerns about its findings. Some of them included artists who were part of Studio 17, the 70-member artist collective that was forced out of the \u003ca href=\"http://ww2.kqed.org/arts/2015/08/24/after-displacement-redlick-artists-rally-against-changing-mission/\" target=\"_blank\" rel=\"noopener\">Redlick Building by landlords in June of this year\u003c/a>. \u003c/p>\n\u003cp>“Please know that this issue is much greater than the loss of artists’ space,” Truong Tran, a former Studio 17 member, said. “It is about the displacement of communities, and cultures of the working class and people of color. We artists see ourselves in these communities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To read more about the commission’s survey, download the \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Individual-Artists-Space-Need-Analysis_FINAL.pdf\" target=\"_blank\" rel=\"noopener\">snapshot of the Individual Artists Space Need Analysis.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new survey confirms what many in San Francisco already know: market forces are pushing artists out of the city.\u003c/p>\n\u003cp>Beginning in July, the \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a> heard from nearly 600 artists that either live or recently lived in the city. The survey found that over 70 percent of the respondents had been or were being displaced from their workplace, home, or both. As for the 30 percent that weren’t being displaced, potential displacement in the near future was a common concern.\u003c/p>\n\u003cfigure id=\"attachment_10961095\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/SF-Arts-Commission-800x450.jpg\" alt=\"San Francisco Arts Commission meeting\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10961095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/SF-Arts-Commission.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/SF-Arts-Commission-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Arts Commission meeting \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I would’ve reported this survey as being alarming,” John Elberling, director of the Tenants and Owners Development Corporation (TODCO), said. “It’s going to be a wipeout.”\u003c/p>\n\u003cp>The survey also found that the most common reasons for artists losing their leases on workspaces and homes were business-related: building conversion, rent increases, new owners and/or owners moving into the space.\u003c/p>\n\u003cp>The average size of workplaces utilized by the artists polled was 500 sq. ft. And though the average monthly cost of rent was reported at $1.75 per sq. ft., some artists were being charged as much as $17.33 per sq. ft.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Anecdotal evidence of the survey’s findings has already been widespread, but the commission conducted the survey to obtain hard data on artist displacement, which it will use to help guide city policy, according to Tom DeCaigny, the San Francisco Arts Commission’s Director of Cultural Affairs. \u003c/p>\n\u003cp>“So as there’s tension in our real estate market, we want to understand what it is that artists are currently paying so that we can make sure that those artists have affordable space for the long term,” DeCaigny said.\u003c/p>\n\u003cfigure id=\"attachment_10962213\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Individual-Artists-Space-Need-Analysis_DISPLACEMENT.jpg\" alt=\"Example slide from SFAC report\" width=\"800\" height=\"600\" class=\"size-full wp-image-10962213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Individual-Artists-Space-Need-Analysis_DISPLACEMENT.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Individual-Artists-Space-Need-Analysis_DISPLACEMENT-400x300.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Example slide from SFAC report \u003ccite>(Courtesy: SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>DeCaigny also noted at a meeting Tuesday that the commission provides grants that can be used toward creative spaces, and that the Mayor’s office increased the grant budget from $1.9 million to $2.9 million this year. (Deadline for applications is Oct. 15; go to the \u003ca href=\"http://www.sfartscommission.org/CAE/grants/\" target=\"_blank\" rel=\"noopener\">commission’s website for more information\u003c/a>.) \u003c/p>\n\u003cp>The release of the survey results on Tuesday led to a handful of artists showing up to the commission’s meeting Tuesday afternoon to express their concerns about its findings. Some of them included artists who were part of Studio 17, the 70-member artist collective that was forced out of the \u003ca href=\"http://ww2.kqed.org/arts/2015/08/24/after-displacement-redlick-artists-rally-against-changing-mission/\" target=\"_blank\" rel=\"noopener\">Redlick Building by landlords in June of this year\u003c/a>. \u003c/p>\n\u003cp>“Please know that this issue is much greater than the loss of artists’ space,” Truong Tran, a former Studio 17 member, said. “It is about the displacement of communities, and cultures of the working class and people of color. We artists see ourselves in these communities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To read more about the commission’s survey, download the \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Individual-Artists-Space-Need-Analysis_FINAL.pdf\" target=\"_blank\" rel=\"noopener\">snapshot of the Individual Artists Space Need Analysis.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.loc.gov/poetry/laureate.html\">Juan Felipe Herrera\u003c/a>, the first Latino to serve as \u003ca href=\"http://www.loc.gov/poetry/about_laureate.html\">U.S. poet laureate\u003c/a>, gives his inaugural reading Tuesday night at the Library of Congress in Washington, D.C. If his name sounds familiar, it’s probably because he served as \u003ca href=\"http://www.cac.ca.gov/initiatives/pl.php\">California poet laureate \u003c/a>from 2012-2014.\u003c/p>\n\u003cp>His life and work have been about pushing beyond borders, from moving between languages to write in Spanglish, to moving up and down the state with his migrant farmworker parents, to exploring the intersection of poetry and life.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/223999632″ 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 poem doesn’t tell you what to do,” says Herrera. “It doesn’t push you around. It doesn’t have a set of rules that you have to abide by. It’s kind of a kind letter that just happens to be in front of you, and it wants to talk to you.”\u003c/p>\n\u003cp>Herrera is the author of 28 books, including poetry, novels for young adults and collections for children. He was born near Fresno, and retired there after teaching at UC Riverside and Cal State Fresno. He’s the second \u003ca href=\"http://ww2.kqed.org/news/2015/02/20/philip-levine-benjamin-boone-fresno-jazz-poetry\">Fresno poet\u003c/a> in four years to be named U.S. poet laureate — and that’s a point of pride for a city that doesn’t get much credit for its arts scene.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”VRqloIJHRG1vRXRmDiRsCReYSSr52nCO”]\u003c/p>\n\u003cp>A point of pride for \u003cem>The California Report\u003c/em>: Herrera wrote \u003ca href=\"http://ww2.kqed.org/news/2015/06/12/in-the-studio-with-juan-felipe-herrera-so-much-to-say\">his first live radio poem\u003c/a> just for our show, as he was talking with Scott Shafer earlier this summer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Herrera’s project as poet laureate will be to invite people across the nation to \u003ca href=\"http://www.loc.gov/today/pr/2015/15-156.html\">contribute a verse\u003c/a> to an epic, collective poem about the American Experience. He’s calling it “La Casa de Colores,” the House of Colors.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.loc.gov/poetry/laureate.html\">Juan Felipe Herrera\u003c/a>, the first Latino to serve as \u003ca href=\"http://www.loc.gov/poetry/about_laureate.html\">U.S. poet laureate\u003c/a>, gives his inaugural reading Tuesday night at the Library of Congress in Washington, D.C. If his name sounds familiar, it’s probably because he served as \u003ca href=\"http://www.cac.ca.gov/initiatives/pl.php\">California poet laureate \u003c/a>from 2012-2014.\u003c/p>\n\u003cp>His life and work have been about pushing beyond borders, from moving between languages to write in Spanglish, to moving up and down the state with his migrant farmworker parents, to exploring the intersection of poetry and life.\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/223999632″&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/223999632″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“A poem doesn’t tell you what to do,” says Herrera. “It doesn’t push you around. It doesn’t have a set of rules that you have to abide by. It’s kind of a kind letter that just happens to be in front of you, and it wants to talk to you.”\u003c/p>\n\u003cp>Herrera is the author of 28 books, including poetry, novels for young adults and collections for children. He was born near Fresno, and retired there after teaching at UC Riverside and Cal State Fresno. He’s the second \u003ca href=\"http://ww2.kqed.org/news/2015/02/20/philip-levine-benjamin-boone-fresno-jazz-poetry\">Fresno poet\u003c/a> in four years to be named U.S. poet laureate — and that’s a point of pride for a city that doesn’t get much credit for its arts scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A point of pride for \u003cem>The California Report\u003c/em>: Herrera wrote \u003ca href=\"http://ww2.kqed.org/news/2015/06/12/in-the-studio-with-juan-felipe-herrera-so-much-to-say\">his first live radio poem\u003c/a> just for our show, as he was talking with Scott Shafer earlier this summer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Herrera’s project as poet laureate will be to invite people across the nation to \u003ca href=\"http://www.loc.gov/today/pr/2015/15-156.html\">contribute a verse\u003c/a> to an epic, collective poem about the American Experience. He’s calling it “La Casa de Colores,” the House of Colors.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Smoking Gun in the Case of Who Owns 'Happy Birthday to You'",
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"content": "\u003cp>Rupa Marya leads the band \u003ca href=\"http://www.theaprilfishes.com/\" target=\"_blank\" rel=\"noopener\">Rupa and the April Fishes\u003c/a>, and back in 2013, they recorded a live concert in San Francisco, on the eve of Marya’s birthday.\u003c/p>\n\u003cfigure id=\"attachment_10958538\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10958538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1180x690.jpg\" alt=\"Rupa and the April Fishes\" width=\"640\" height=\"374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1920x1122.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rupa and the April Fishes \u003ccite>(Photo: Courtesy of Rupa and the April Fishes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And at midnight,” Marya recalls, “the band and audience started singing happy birthday. And it was so touching for me, especially as I was pregnant.”\u003c/p>\n\u003cp>So touching, Marya decided to include the song on the album, \u003cem>Live at the Independent\u003c/em>.\u003c/p>\n\u003cp>She was surprised later when her attorney, Daniel Schacht, told her that if she wanted to include the song, she’d have to pay $455 in royalties to Warner/Chappell, which is a lot for a recording project with a budget of just $12,000. Marya also thought it was ridiculous that a corporation could claim to own “Happy Birthday to You,” a song every child learns to associate with birthday cake at the age of one.\u003c/p>\n\u003cp>“Because it’s a song that’s sung all over the world, and it belongs to everybody,” Marya said.\u003c/p>\n\u003cfigure id=\"attachment_10958535\" class=\"wp-caption alignright\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10958535\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes.jpg\" alt=\"Rupa Marya of Rupa and the April Fishes\" width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-75x75.jpg 75w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rupa Marya of Rupa and the April Fishes \u003ccite>(Photo: Courtesy Rupa Marya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Everybody may sing it, but, at least for now, it belongs to Warner/Chappell.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two sisters, Patty and Mildred Hill, wrote “Happy Birthday to You” in 1893. Patty was a kindergarten teacher and the song began as a good morning tune for the kids and teacher to sing to each other, with the birthday lyrics added as an optional third verse.\u003c/p>\n\u003cp>Warner/Chappell Music acquired \u003ca href=\"http://www.warnerchappell.com/song-details/WW001266210000\" target=\"_blank\" rel=\"noopener\">the rights to the song in 1988\u003c/a>, and still collects about $2 million-a-year in royalties for its use in movies, on television and recordings like the one by Rupa and the April Fishes.\u003c/p>\n\u003cp>So Marya joined LA based documentary maker Jennifer Nelson in challenging Warner/Chappell’s copyright in federal court. Nelson says she paid Warner/Chappell $1,500 to use “Happy Birthday to You” in her movie about the song.\u003c/p>\n\u003cp>For Marya, the fight was not over money, but principle. \u003c/p>\n\u003cp>“I’m a big fan of copyright law. Of copyrights protecting the work of artists so we can support our livelihood and make our work,” Marya said. “I’m not a fan of copyright law being used to make millions for corporations.”\u003c/p>\n\u003cp>And then attorneys for the plaintiffs found new evidence.\u003c/p>\n\u003cp>“It’s rare to have a Perry Mason moment in a case,” said Marya’s \u003ca href=\"http://donahue.com/attorneys/daniel-j-schacht/\" target=\"_blank\" rel=\"noopener\">attorney Schacht,\u003c/a> referring to the fictional defense attorney who often elicited confessions on the witness stand.\u003c/p>\n\u003cfigure id=\"attachment_10958537\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10958537\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-775x1180.jpg\" alt=\"Everyday Song Book, published by The Cable Company in 1922\" width=\"640\" height=\"974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-775x1180.jpg 775w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-400x609.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-394x600.jpg 394w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Everyday Song Book, published by The Cable Company in 1922 \u003ccite>(Courtesy: Atty Daniel Schacht)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The evidence, what Schacht called “the smoking gun,” was a songbook from 1922, containing music and lyrics for “Happy Birthday to You.” The publication appears to have been authorized by the Hill sisters’ publisher, but without a copyright notice.\u003c/p>\n\u003cp>“If it was done without a copyright notice,” Schacht said, “it falls immediately into the public domain.”\u003c/p>\n\u003cp>Warner/Chappell did not return emails requesting a comment on the case, but \u003ca href=\"http://www.scribd.com/doc/272870978/Warner-Chappell\" target=\"_blank\" rel=\"noopener\">they’ve argued in court documents \u003c/a>that the sisters never authorized the 1922 songbook, and the copyright still stands.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Both sides have asked a judge for summary judgement in the case, and that could come at any time. A ruling against Warner/Chappell could mean the company would have to pay back decades worth of royalties worth tens of millions of dollars.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rupa Marya leads the band \u003ca href=\"http://www.theaprilfishes.com/\" target=\"_blank\" rel=\"noopener\">Rupa and the April Fishes\u003c/a>, and back in 2013, they recorded a live concert in San Francisco, on the eve of Marya’s birthday.\u003c/p>\n\u003cfigure id=\"attachment_10958538\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10958538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1180x690.jpg\" alt=\"Rupa and the April Fishes\" width=\"640\" height=\"374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1920x1122.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rupa and the April Fishes \u003ccite>(Photo: Courtesy of Rupa and the April Fishes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And at midnight,” Marya recalls, “the band and audience started singing happy birthday. And it was so touching for me, especially as I was pregnant.”\u003c/p>\n\u003cp>So touching, Marya decided to include the song on the album, \u003cem>Live at the Independent\u003c/em>.\u003c/p>\n\u003cp>She was surprised later when her attorney, Daniel Schacht, told her that if she wanted to include the song, she’d have to pay $455 in royalties to Warner/Chappell, which is a lot for a recording project with a budget of just $12,000. Marya also thought it was ridiculous that a corporation could claim to own “Happy Birthday to You,” a song every child learns to associate with birthday cake at the age of one.\u003c/p>\n\u003cp>“Because it’s a song that’s sung all over the world, and it belongs to everybody,” Marya said.\u003c/p>\n\u003cfigure id=\"attachment_10958535\" class=\"wp-caption alignright\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10958535\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes.jpg\" alt=\"Rupa Marya of Rupa and the April Fishes\" width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-And-the-April-Fishes-75x75.jpg 75w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rupa Marya of Rupa and the April Fishes \u003ccite>(Photo: Courtesy Rupa Marya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Everybody may sing it, but, at least for now, it belongs to Warner/Chappell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two sisters, Patty and Mildred Hill, wrote “Happy Birthday to You” in 1893. Patty was a kindergarten teacher and the song began as a good morning tune for the kids and teacher to sing to each other, with the birthday lyrics added as an optional third verse.\u003c/p>\n\u003cp>Warner/Chappell Music acquired \u003ca href=\"http://www.warnerchappell.com/song-details/WW001266210000\" target=\"_blank\" rel=\"noopener\">the rights to the song in 1988\u003c/a>, and still collects about $2 million-a-year in royalties for its use in movies, on television and recordings like the one by Rupa and the April Fishes.\u003c/p>\n\u003cp>So Marya joined LA based documentary maker Jennifer Nelson in challenging Warner/Chappell’s copyright in federal court. Nelson says she paid Warner/Chappell $1,500 to use “Happy Birthday to You” in her movie about the song.\u003c/p>\n\u003cp>For Marya, the fight was not over money, but principle. \u003c/p>\n\u003cp>“I’m a big fan of copyright law. Of copyrights protecting the work of artists so we can support our livelihood and make our work,” Marya said. “I’m not a fan of copyright law being used to make millions for corporations.”\u003c/p>\n\u003cp>And then attorneys for the plaintiffs found new evidence.\u003c/p>\n\u003cp>“It’s rare to have a Perry Mason moment in a case,” said Marya’s \u003ca href=\"http://donahue.com/attorneys/daniel-j-schacht/\" target=\"_blank\" rel=\"noopener\">attorney Schacht,\u003c/a> referring to the fictional defense attorney who often elicited confessions on the witness stand.\u003c/p>\n\u003cfigure id=\"attachment_10958537\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10958537\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-775x1180.jpg\" alt=\"Everyday Song Book, published by The Cable Company in 1922\" width=\"640\" height=\"974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-775x1180.jpg 775w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-400x609.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER-394x600.jpg 394w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1922-Everyday-Song-BookCOVER.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Everyday Song Book, published by The Cable Company in 1922 \u003ccite>(Courtesy: Atty Daniel Schacht)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The evidence, what Schacht called “the smoking gun,” was a songbook from 1922, containing music and lyrics for “Happy Birthday to You.” The publication appears to have been authorized by the Hill sisters’ publisher, but without a copyright notice.\u003c/p>\n\u003cp>“If it was done without a copyright notice,” Schacht said, “it falls immediately into the public domain.”\u003c/p>\n\u003cp>Warner/Chappell did not return emails requesting a comment on the case, but \u003ca href=\"http://www.scribd.com/doc/272870978/Warner-Chappell\" target=\"_blank\" rel=\"noopener\">they’ve argued in court documents \u003c/a>that the sisters never authorized the 1922 songbook, and the copyright still stands.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Both sides have asked a judge for summary judgement in the case, and that could come at any time. A ruling against Warner/Chappell could mean the company would have to pay back decades worth of royalties worth tens of millions of dollars.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Looking Back at David Gockley's 'Puccini-ful' Years at SF Opera",
"headTitle": "Looking Back at David Gockley’s ‘Puccini-ful’ Years at SF Opera | KQED",
"content": "\u003cp>\u003cem>Editor’s Note: KQED is a partner of San Francisco Opera. The orgnizations collaborate on the annual broadcast of opera productions. \u003c/em>\u003c/p>\n\u003cp>Hailed by his fans as the savior of the \u003ca href=\"http://sfopera.com/\">San Francisco Opera\u003c/a>, general director \u003ca href=\"http://sfopera.com/About/People/David-Gockley.aspx\">David Gockley\u003c/a> is stepping down at the end of this season after ten years, retiring at a spry 73. When he finally got the job \u003cspan class=\"st\">—\u003c/span> he was passed over twice before — the company was a hot mess. And then the Great Recession hit. While other major opera companies such as the New York City Opera have folded since then, Gockley’s tenure has brought with it some indisputably sublime artistic moments coupled with a strong business sense. At the same time, his attempts to please everyone have led on occasion to drab, uninspiring programming.\u003c/p>\n\u003cp>\u003cstrong>Fundraising wiz\u003c/strong>\u003c/p>\n\u003cp>The dramatic years of the dotcom bust left the company in the lurch. But Gockley, an able fundraiser with 33 years at Houston Grand Opera to his credit and a certain flirtatious way about him, has been a consistent hit with the old guard of deep-pocketed donors, moving the company’s deficit from close to $2 million during the Great Recession to just shy of $350,000 in 2014. Major wins along the way include two of the largest gifts ever made to any American opera company in the last decade: $35 million in 2006, and a cool $40 million in 2008.\u003c/p>\n\u003cfigure id=\"attachment_10915304\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10915304\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/atrium-theater-rendering-1180x885.jpg\" alt=\"Atrium Theater Rendering\" width=\"640\" height=\"480\">\u003cfigcaption class=\"wp-caption-text\">Rendering of the new Atrium Theater at the Diane B. Wilsey Center for Opera. \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another great coup for Gockley is the forthcoming launch of a new center for opera that includes a 299-seat theater and consolidates many of San Francisco Opera’s operations in the War Memorial Veterans Building. Known as the \u003ca href=\"http://sfopera.com/Support-Us/Individual-Giving/Wilsey-Center/Wilsey-Center-Detailed-Information.aspx\">Diane B. Wilsey Center for Opera\u003c/a>, after the lead sponsor of the $22 million capital campaign that made it possible, the new venue opens early next year and is designed for presenting chamber works and master classes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Populist approach\u003c/strong>\u003c/p>\n\u003cp>This business-forward attitude also comes across in Gockley’s programming, where he often plays a populist card. The director generally tries for a balanced season of classic works, mostly in Italian and preferably with big stars (such as the 2013 production of Verdi’s \u003cem>Falstaff \u003c/em>that featured acclaimed bass-baritone Bryn Terfel singing a signature role) sprinkled with a few more obscure but usually lyrical pieces, like composer Carlisle Floyd’s McCarthy era \u003cem>Susannah\u003c/em> last year.\u003c/p>\n\u003cp>But if there’s one composer that’s been a consistent hallmark of Gockley’s tenure, it’s Puccini. San Francisco audiences have sat through no less than 82 performances of the 19th century Italian composer’s warhorses like \u003cem>Madama Butterfly\u003c/em>, \u003cem>Tosca\u003c/em>, and \u003cem>La Bohème\u003c/em> alone during Gockley’s time here — which basically amounts to a whole season. It’s easy to understand why the director so often reaches for these beloved but overplayed works: they have recognizable music and plots and run under three hours — short by opera standards. Other companies keen to bring in new audiences employ a similar strategy: both the Los Angeles Opera and the Metropolitan Opera in New York are programming gobs of Puccini in 2015-16.\u003c/p>\n\u003cp>Gockley’s desire to appeal to a broad audience has followed a national trend of bringing musicals into the opera house. He began with \u003cem>Porgy and Bess\u003c/em> in 2009, followed by \u003cem>Show Boat\u003c/em> last year, and now Stephen Sondheim’s \u003cem>Sweeney Todd\u003c/em>. The hope is to bring in newcomers who might be less intimidated by the English lyrics and familiar tunes of musicals. These productions have so far been compelling to watch and many opera goers are starting to accept the works as part of the operatic canon. \u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mr. Gockley’s peculiar charm\u003c/strong>\u003c/p>\n\u003cp>\u003cspan class=\"st\">Which bring us to the peculiar charm of Mr. Gockley. Somehow he has convinced his regular audience to accept Broadway and long runs of standard fare, partly because of the high quality of the productions, and partly because the work ensures the financial viability of the company. And he doesn’t hold back from emphasizing the correlation between programming accessible works and raking in the cash at \u003ca href=\"http://sfopera.com/Support-Us/Individual-Giving/Highlights-from-the-2015-Annual-Meeting.aspx\">donor meetings\u003c/a>. \u003cem>Porgy and Bess\u003c/em> sold out every night of its run and \u003cem>Show Boat\u003c/em> led to increased ticket sales for the 2013-2014 season. Both works were vibrant and impeccably performed, and both were released on DVD.\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"st\">Some die-hard opera fanatics — we’re talking people who go to the opera up to 75 times a year and travel well beyond the Bay Area to do so — have expressed quiet displeasure at these trends. In the dozens of interviews I’ve done with audience members for this article, nearly all\u003c/span>\u003cspan class=\"st\"> temper their criticism with a dash of diplomacy.\u003cstrong> “\u003c/strong>It’s hard to fault Gockley for knowing where the money lies,” says opera devotee and art historian Letha Ch’ien. \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Risk taker\u003c/strong>\u003c/p>\n\u003cp>Yet for all his playing-it-safe ways, Gockley has demonstrated some passion for risk-taking. New opera is where the director shows his sense of daring, as persuading audiences to take a chance on contemporary works without familiar melodies by living composers is tough. Despite the hard sell, Gockley has mounted seven world premieres here in only nine years. That’s a lot. It’s taken the Met roughly 50 years to rack up the same number, and Gockley’s predecessor, Pamela Rosenberg, only staged two completely new works during her four-year tenure at San Francisco Opera’s general director.\u003c/p>\n\u003cp>However, the music that comes with many of these new offerings has more to do with the tried and tested formulas of Broadway and 19th century grand opera than anything truly bold. Last season’s \u003cem>Two Women\u003c/em> by Marco Tutino was sweepingly pretty but retrograde. The flat, paper-thin characters didn’t help matters. The piece was panned as being “drawn straight from the Puccini playbook” by the San Francisco Chronicle. Meanwhile, the Washington Post balked at the “themes that sound suspiciously like quotes from \u003cem>Tosca\u003c/em>.”\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Unsurprisingly, only one of these seven contemporary works commissioned by Gockley during his leadership at the San Francisco Opera — Philip Glass’ \u003cem>\u003ca href=\"http://www.kennedy-center.org/calendar/event/OQOSA\">Appomattox\u003c/a> —\u003c/em> has gone on to get a follow-up production. And the work has been revised with an entirely new second act for its November opening at Washington National Opera.\u003c/p>\n\u003cp>To be fair, most new operas are not successful. But they often attract media buzz and San Francisco Opera has gotten national attention for mounting unlikely operatic pieces like the adaptation of Amy Tan’s \u003cem>The Bonesetter’s Daughter\u003c/em> in 2008. Gockley also deserves credit for an acclaimed and widely performed co-production of Jake Heggie’s \u003cem>Moby-Dick\u003c/em>, seen in San Francisco in 2012 and broadcast on \u003ca href=\"http://www.pbs.org/wnet/gperf/moby-dick-from-san-francisco-opera-about-the-show/1880/\">PBS\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10915307\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10915307\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/partenope-sly-823x1180.jpg\" alt=\"Partenope\" width=\"640\" height=\"918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/partenope-sly-823x1180.jpg 823w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/partenope-sly-400x574.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/partenope-sly-418x600.jpg 418w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/partenope-sly-1920x2754.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/partenope-sly-1180x1693.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/partenope-sly-960x1377.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Philippe Sly (Ormonte) in Act III of San Francisco Opera’s Partenope. \u003ccite>(Photo: Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the director has still managed to surprise audiences on occasion with more edgy productions of classic works. Take, for example, the recent and delightfully surreal \u003cem>Partenope\u003c/em> by Handel inspired by Man Ray and 1920s Paris that had shadow puppetry, tap-dancing, and flamboyant drag. The fact is, Gockley can get away with experimental productions in a way that the previous administration under Rosenberg could not. One wonders if he has Jedi abilities or has otherwise broadened the minds of the mostly stolid San Francisco Opera audience.\u003c/p>\n\u003cp>We’ll see how the local operavores react to infamous director Calixto Bieito’s \u003cem>Carmen\u003c/em> here next summer. This production marks a U.S. debut for Bieto, known for his extreme interpretations of traditional works. His take on Mozart’s \u003cem>Abduction From the Seraglio\u003c/em> at Komische Oper in Berlin included nudity, rape, torture, and murder on stage — none of which is in Mozart’s opera. San Francisco Opera’s communications department has issued a disclaimer, warning would-be ticket buyers about the production’s “nudity and suggestive behavior.”\u003c/p>\n\u003cp>\u003cstrong>Removing barriers\u003c/strong>\u003c/p>\n\u003cp>While Gockley has worked hard to court the upper echelons of society to secure financial success for his company, he has also undeniably removed barriers to an art form that has long been perceived as elitist. San Francisco Opera is back on the radio after a 25 year absence. And, since 2007, the company has broadcast operas for free before a mass audience at AT&T Park. Many members of this audience have never experienced the art form before. More than 30,000 people attended the ninth live simulcast of \u003cem>The Marriage of Figaro\u003c/em> last July at the ballpark, and there is some evidence that the exposure of opera to new audiences is working: as of January 2015, the company has pulled in more than $2.5 million in ticket sales to some 40,000 newcomers who had never set foot in the War Memorial Opera House until they went to a free simulcast.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Many folks continue to think opera is out of reach though, not realizing that at $10, the cheapest tickets run at less than the price of a movie. The San Francisco Opera is still running at a deficit, albeit a modest one, and subscriber numbers have fallen. 53% of ticket revenue came from subscriptions last year, down from 61% in 2013, following a trend that applies to most major American performing arts institutions today. The incoming seventh general director will need to work hard to shore up the future of the art form and captivate opera fans new and old.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\n",
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"excerpt": "Populist programming, financial smarts and the occasional artistic surprise mark the tenure of San Francisco Opera's outgoing general director.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: KQED is a partner of San Francisco Opera. The orgnizations collaborate on the annual broadcast of opera productions. \u003c/em>\u003c/p>\n\u003cp>Hailed by his fans as the savior of the \u003ca href=\"http://sfopera.com/\">San Francisco Opera\u003c/a>, general director \u003ca href=\"http://sfopera.com/About/People/David-Gockley.aspx\">David Gockley\u003c/a> is stepping down at the end of this season after ten years, retiring at a spry 73. When he finally got the job \u003cspan class=\"st\">—\u003c/span> he was passed over twice before — the company was a hot mess. And then the Great Recession hit. While other major opera companies such as the New York City Opera have folded since then, Gockley’s tenure has brought with it some indisputably sublime artistic moments coupled with a strong business sense. At the same time, his attempts to please everyone have led on occasion to drab, uninspiring programming.\u003c/p>\n\u003cp>\u003cstrong>Fundraising wiz\u003c/strong>\u003c/p>\n\u003cp>The dramatic years of the dotcom bust left the company in the lurch. But Gockley, an able fundraiser with 33 years at Houston Grand Opera to his credit and a certain flirtatious way about him, has been a consistent hit with the old guard of deep-pocketed donors, moving the company’s deficit from close to $2 million during the Great Recession to just shy of $350,000 in 2014. Major wins along the way include two of the largest gifts ever made to any American opera company in the last decade: $35 million in 2006, and a cool $40 million in 2008.\u003c/p>\n\u003cfigure id=\"attachment_10915304\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10915304\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/atrium-theater-rendering-1180x885.jpg\" alt=\"Atrium Theater Rendering\" width=\"640\" height=\"480\">\u003cfigcaption class=\"wp-caption-text\">Rendering of the new Atrium Theater at the Diane B. Wilsey Center for Opera. \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another great coup for Gockley is the forthcoming launch of a new center for opera that includes a 299-seat theater and consolidates many of San Francisco Opera’s operations in the War Memorial Veterans Building. Known as the \u003ca href=\"http://sfopera.com/Support-Us/Individual-Giving/Wilsey-Center/Wilsey-Center-Detailed-Information.aspx\">Diane B. Wilsey Center for Opera\u003c/a>, after the lead sponsor of the $22 million capital campaign that made it possible, the new venue opens early next year and is designed for presenting chamber works and master classes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Populist approach\u003c/strong>\u003c/p>\n\u003cp>This business-forward attitude also comes across in Gockley’s programming, where he often plays a populist card. The director generally tries for a balanced season of classic works, mostly in Italian and preferably with big stars (such as the 2013 production of Verdi’s \u003cem>Falstaff \u003c/em>that featured acclaimed bass-baritone Bryn Terfel singing a signature role) sprinkled with a few more obscure but usually lyrical pieces, like composer Carlisle Floyd’s McCarthy era \u003cem>Susannah\u003c/em> last year.\u003c/p>\n\u003cp>But if there’s one composer that’s been a consistent hallmark of Gockley’s tenure, it’s Puccini. San Francisco audiences have sat through no less than 82 performances of the 19th century Italian composer’s warhorses like \u003cem>Madama Butterfly\u003c/em>, \u003cem>Tosca\u003c/em>, and \u003cem>La Bohème\u003c/em> alone during Gockley’s time here — which basically amounts to a whole season. It’s easy to understand why the director so often reaches for these beloved but overplayed works: they have recognizable music and plots and run under three hours — short by opera standards. Other companies keen to bring in new audiences employ a similar strategy: both the Los Angeles Opera and the Metropolitan Opera in New York are programming gobs of Puccini in 2015-16.\u003c/p>\n\u003cp>Gockley’s desire to appeal to a broad audience has followed a national trend of bringing musicals into the opera house. He began with \u003cem>Porgy and Bess\u003c/em> in 2009, followed by \u003cem>Show Boat\u003c/em> last year, and now Stephen Sondheim’s \u003cem>Sweeney Todd\u003c/em>. The hope is to bring in newcomers who might be less intimidated by the English lyrics and familiar tunes of musicals. These productions have so far been compelling to watch and many opera goers are starting to accept the works as part of the operatic canon. \u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mr. Gockley’s peculiar charm\u003c/strong>\u003c/p>\n\u003cp>\u003cspan class=\"st\">Which bring us to the peculiar charm of Mr. Gockley. Somehow he has convinced his regular audience to accept Broadway and long runs of standard fare, partly because of the high quality of the productions, and partly because the work ensures the financial viability of the company. And he doesn’t hold back from emphasizing the correlation between programming accessible works and raking in the cash at \u003ca href=\"http://sfopera.com/Support-Us/Individual-Giving/Highlights-from-the-2015-Annual-Meeting.aspx\">donor meetings\u003c/a>. \u003cem>Porgy and Bess\u003c/em> sold out every night of its run and \u003cem>Show Boat\u003c/em> led to increased ticket sales for the 2013-2014 season. Both works were vibrant and impeccably performed, and both were released on DVD.\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"st\">Some die-hard opera fanatics — we’re talking people who go to the opera up to 75 times a year and travel well beyond the Bay Area to do so — have expressed quiet displeasure at these trends. In the dozens of interviews I’ve done with audience members for this article, nearly all\u003c/span>\u003cspan class=\"st\"> temper their criticism with a dash of diplomacy.\u003cstrong> “\u003c/strong>It’s hard to fault Gockley for knowing where the money lies,” says opera devotee and art historian Letha Ch’ien. \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Risk taker\u003c/strong>\u003c/p>\n\u003cp>Yet for all his playing-it-safe ways, Gockley has demonstrated some passion for risk-taking. New opera is where the director shows his sense of daring, as persuading audiences to take a chance on contemporary works without familiar melodies by living composers is tough. Despite the hard sell, Gockley has mounted seven world premieres here in only nine years. That’s a lot. It’s taken the Met roughly 50 years to rack up the same number, and Gockley’s predecessor, Pamela Rosenberg, only staged two completely new works during her four-year tenure at San Francisco Opera’s general director.\u003c/p>\n\u003cp>However, the music that comes with many of these new offerings has more to do with the tried and tested formulas of Broadway and 19th century grand opera than anything truly bold. Last season’s \u003cem>Two Women\u003c/em> by Marco Tutino was sweepingly pretty but retrograde. The flat, paper-thin characters didn’t help matters. The piece was panned as being “drawn straight from the Puccini playbook” by the San Francisco Chronicle. Meanwhile, the Washington Post balked at the “themes that sound suspiciously like quotes from \u003cem>Tosca\u003c/em>.”\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Unsurprisingly, only one of these seven contemporary works commissioned by Gockley during his leadership at the San Francisco Opera — Philip Glass’ \u003cem>\u003ca href=\"http://www.kennedy-center.org/calendar/event/OQOSA\">Appomattox\u003c/a> —\u003c/em> has gone on to get a follow-up production. And the work has been revised with an entirely new second act for its November opening at Washington National Opera.\u003c/p>\n\u003cp>To be fair, most new operas are not successful. But they often attract media buzz and San Francisco Opera has gotten national attention for mounting unlikely operatic pieces like the adaptation of Amy Tan’s \u003cem>The Bonesetter’s Daughter\u003c/em> in 2008. Gockley also deserves credit for an acclaimed and widely performed co-production of Jake Heggie’s \u003cem>Moby-Dick\u003c/em>, seen in San Francisco in 2012 and broadcast on \u003ca href=\"http://www.pbs.org/wnet/gperf/moby-dick-from-san-francisco-opera-about-the-show/1880/\">PBS\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10915307\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10915307\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/partenope-sly-823x1180.jpg\" alt=\"Partenope\" width=\"640\" height=\"918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/partenope-sly-823x1180.jpg 823w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/partenope-sly-400x574.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/partenope-sly-418x600.jpg 418w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/partenope-sly-1920x2754.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/partenope-sly-1180x1693.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/partenope-sly-960x1377.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Philippe Sly (Ormonte) in Act III of San Francisco Opera’s Partenope. \u003ccite>(Photo: Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the director has still managed to surprise audiences on occasion with more edgy productions of classic works. Take, for example, the recent and delightfully surreal \u003cem>Partenope\u003c/em> by Handel inspired by Man Ray and 1920s Paris that had shadow puppetry, tap-dancing, and flamboyant drag. The fact is, Gockley can get away with experimental productions in a way that the previous administration under Rosenberg could not. One wonders if he has Jedi abilities or has otherwise broadened the minds of the mostly stolid San Francisco Opera audience.\u003c/p>\n\u003cp>We’ll see how the local operavores react to infamous director Calixto Bieito’s \u003cem>Carmen\u003c/em> here next summer. This production marks a U.S. debut for Bieto, known for his extreme interpretations of traditional works. His take on Mozart’s \u003cem>Abduction From the Seraglio\u003c/em> at Komische Oper in Berlin included nudity, rape, torture, and murder on stage — none of which is in Mozart’s opera. San Francisco Opera’s communications department has issued a disclaimer, warning would-be ticket buyers about the production’s “nudity and suggestive behavior.”\u003c/p>\n\u003cp>\u003cstrong>Removing barriers\u003c/strong>\u003c/p>\n\u003cp>While Gockley has worked hard to court the upper echelons of society to secure financial success for his company, he has also undeniably removed barriers to an art form that has long been perceived as elitist. San Francisco Opera is back on the radio after a 25 year absence. And, since 2007, the company has broadcast operas for free before a mass audience at AT&T Park. Many members of this audience have never experienced the art form before. More than 30,000 people attended the ninth live simulcast of \u003cem>The Marriage of Figaro\u003c/em> last July at the ballpark, and there is some evidence that the exposure of opera to new audiences is working: as of January 2015, the company has pulled in more than $2.5 million in ticket sales to some 40,000 newcomers who had never set foot in the War Memorial Opera House until they went to a free simulcast.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many folks continue to think opera is out of reach though, not realizing that at $10, the cheapest tickets run at less than the price of a movie. The San Francisco Opera is still running at a deficit, albeit a modest one, and subscriber numbers have fallen. 53% of ticket revenue came from subscriptions last year, down from 61% in 2013, following a trend that applies to most major American performing arts institutions today. The incoming seventh general director will need to work hard to shore up the future of the art form and captivate opera fans new and old.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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},
"baycurious": {
"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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},
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},
"californiareport": {
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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}
},
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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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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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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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": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"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. ",
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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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"source": "npr"
},
"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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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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/",
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