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"disqusTitle": "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>\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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"slug": "love-in-the-digital-age-donna-cindy",
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"content": "\u003cp>Few things are more painful than watching people we love harm themselves. Most parents go through some iteration of this experience when their children become teenagers, but some families suffer more than others. One mom in Berkeley, Donna, found herself caught in a high-stakes game of cat-and-mouse with her daughter, Cindy, starting in middle school. (To protect the family, we’ve changed the names.)\u003c/p>\n\u003cp>When did the trouble start? The stories differ, depending on how you define trouble.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://u.s.kqed.net/2015/09/14/LITDApodcastlogo.jpg\">\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/love-in-the-digital-age/id1037051180?mt=2\">Subscribe in iTunes\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of ‘Love in the Digital Age’\u003c/p>\n\u003c/div>\n\u003cp>Donna recalls the moment she spotted the first sext on her daughter’s phone, while driving with her two girls in the car. Cindy was 13 at the time, and her younger sister was in the back seat, so Donna didn’t say anything out loud, at first.\u003c/p>\n\u003cp>“I looked over. My daughter was in the front seat. She was holding her phone. You know, she kind of scrolled through. But well, my first thought was: Why is there a male torso on my child’s phone? And then I thought to myself: Oh gosh, it’s, you know, this is happening.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘My first thought was: Why is there a male torso on my child’s phone? And then I thought to myself: Oh gosh, it’s, you know, this is happening.’\u003c/aside>\n\u003cp>That’s just the sexting. “I would see sometimes text conversations,” Donna says, “between her and someone I didn’t know, and I assume, actually, that she didn’t know. If I could ever really see the whole gist of a conversation, I would gather that the person on the other side was a boy or man, who eventually would lead the discussion to something sexual, and then it seemed like she would kind of stop.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>What Donna Ultimately Realized Was Happening\u003c/strong>\u003c/p>\n\u003cp>“I really wanted attention,” Cindy says. At that time, she adds, “I didn’t really care how people thought of me. Like, I’m going to text this guy a million times until he stops replying, and then I’ll find the next one.”\u003c/p>\n\u003cp>Cindy was an anxious kid, and a year into middle school, she found herself socially excluded by a group she calls the Abercrombie Girls, in reference to their focus on fashion. Cindy describes it as a “Mean Girls” situation. “I was always at the edge.”\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=W8_POt2KlfQ]\u003c/p>\n\u003cp>So Cindy sought out boys, and men, consciously aware they were interested in sex, regardless of what she told her mom.\u003c/p>\n\u003cp>“It’s so easy, you know?” Cindy says. “Snap the picture and send it. It takes nothing.”\u003c/p>\n\u003cp>Cindy is hardly an anomaly. Sexting is a common practice among teenagers, and grownups everywhere are struggling to catch up. Some law enforcement agencies treat sexting an under-age girl as a criminal offense, but if the sexter is a teenage boy, that can come off as \u003ca href=\"http://www.bbc.co.uk/programmes/p031fztz\" target=\"_blank\" rel=\"noopener noreferrer\">heavy-handed\u003c/a>.\u003c/p>\n\u003cp>Donna warned her daughters about the fact that photos are forever on the Internet, but Cindy was favoring the bad information she got from girlfriends, who told her guys were unlikely to forward her photos if she had sexual photos of them: a kind of mutually assured destruction pact.\u003c/p>\n\u003cp>That turned out to be a naive assumption. But even after Cindy knew better, even after she had been publicly embarrassed, she kept sexting. Even after one of the older guys she was chatting with threatened to come find her, she kept looking for new, strange friends.\u003c/p>\n\u003cp>\u003cstrong>Parental Surveillance\u003c/strong>\u003c/p>\n\u003cp>Donna never really stalked her daughter. She openly checked Cindy’s phone once a week in middle school. But Cindy was much more careful about what she shared with her mom, regularly deleting incriminating evidence that could get her grounded or, at the very least, forced to endure a lecture.\u003c/p>\n\u003cp>Cindy wasn’t a big fan of social media, but Donna checked the feeds of her daughter’s Facebook friends nonetheless, looking for clues about her daughter’s life that Cindy wasn’t choosing to share with her. Donna also installed \u003ca href=\"http://www1.k9webprotection.com/\" target=\"_blank\" rel=\"noopener noreferrer\">K9 Web Protection\u003c/a>, filtering software that blocks sites and then emits a \u003ca href=\"https://www.youtube.com/watch?v=VyCXUuUKLxE&feature=youtu.be&t=6m23s\" target=\"_blank\" rel=\"noopener noreferrer\">loud dog bark\u003c/a>.\u003c/p>\n\u003cp>The cutting was the first clue that Cindy’s anxiety and depression were overwhelming her. Cindy fell in with a couple of girls at school who were also suffering from depression. They were also cutting themselves, and cutting themselves competitively with each other.\u003c/p>\n\u003cp>Cindy described her first scars as evidence of an encounter with a cat. That excuse worked only once, and her tolerance grew over time, so she needed to cut more often “to get the same relief.”\u003c/p>\n\u003cp>“They look like what they are: razor cuts,” says Donna. “So they’re very thin, and precise — but they can get a little deep. I know, it’s horrible.”\u003c/p>\n\u003cp>Soon after the cutting began, Donna lined up a therapist, but Cindy didn’t take to the woman. She was formal, the kind of therapist who likes to review her notes at the end of a session — with a 13-year-old.\u003c/p>\n\u003cp>“It wasn’t more damaging,” Cindy says now, “but it just wasn’t helpful — and that was a critical time.”\u003c/p>\n\u003cp>All this was before high school.\u003c/p>\n\u003cp>Listen to more of Cindy’s reflections on middle school:\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/223991953”]\u003c/p>\n\u003cp>\u003cstrong>Berkeley High School\u003c/strong>\u003c/p>\n\u003cp>“Unfortunately, high school didn’t go as well as we had hoped for her,” Donna says. “She started out strong her freshman year, but by her sophomore year, she had gotten again with a group that was kind of fringe — not exactly motivated in school, and they were smoking a lot of pot.”\u003c/p>\n\u003cp>“It’s so easy to find,” Cindy says. “Everyone had this unlimited supply. I almost always got it for free in the beginning.”\u003c/p>\n\u003cp>By sophomore year, Cindy was smoking, by her own estimate, eight or nine “blunts” a day — and then drinking on top of that. There was also a one-month flirtation with cocaine, but that wasn’t her main drug.\u003c/p>\n\u003cp>Despite all this, Cindy was still getting A’s and B’s in school. She was taking care of business. “I was the only kid who went to class of the friends that I was with, ’cause I knew that If I started getting bad grades, my parents would notice.”\u003c/p>\n\u003cp>“There are kids who are very combative with their parents,” Donna says. “They’re ‘I hate you, Mom,’ and they’re fighting. We were never like that. She would tug at my heartstrings, versus push me away. We tried to rein her in. ‘You can’t go to this party, and you can’t hang out with so-and-so.'”\u003c/p>\n\u003cp>But Donna found it hard to lay down the law for any length of time. “You become a jailer, which is not fun,” she says.\u003c/p>\n\u003cp>[contextly_sidebar id=”Kfo8j15BfaTtV778Jwzc55k9CalAykEQ”]\u003c/p>\n\u003cp>Why didn’t Donna simply take away Cindy’s phone or Internet access? Cindy answers it best. “She really thought that if she punished me, I’d hurt myself.” Also, the phone was a valuable surveillance device for Donna, a way to keep tabs — however limited — on her daughter.\u003c/p>\n\u003cp>For example, Donna recalls following Cindy via GPS down Telegraph Avenue one Halloween night after dropping her off at a party.\u003c/p>\n\u003cp>“She was probably trying to score something,” Donna recalls. “I kept texting, ‘Where are you?’ and she kept telling me, ‘Oh, at this other party,’ and I could see the little dot moving around. I said, ‘You know, I’m just coming to get you.’ ”\u003c/p>\n\u003cp>“Things started to go downhill,” Donna continues. “It just went downhill really fast. I realized, again from looking at her phone, that she was financing her pot use by selling it.”\u003c/p>\n\u003cp>At this point, Donna had tried talk therapy, anti-depressants, dialectical behavior therapy — “a common form of therapy used for kids who cut” — which involved a year of classes for Cindy and Donna in Oakland at \u003ca href=\"http://www.clearwaterclinic.com/dialectical-behavior-therapy/\" target=\"_blank\" rel=\"noopener noreferrer\">Clearwater Clinic\u003c/a>.\u003c/p>\n\u003cp>Ultimately, nothing they could do in Berkeley seemed to be working. “I feel like, at a certain point, I didn’t know who she was,” Donna says. “Someone who’s using drugs and abusing alcohol, there’s a lot they have to hide and a lot of manipulation.”\u003c/p>\n\u003cp>Cindy agreed to go to North Carolina for 2½ months to attend what’s called a wilderness therapy program. There, Cindy was separated from everything: her friends, her drugs, her makeup and, of course, her iPhone. Such a dramatic intervention doesn’t always work. Some kids are literally dragged to wilderness school, and the therapy doesn’t take. But Cindy says she loved her experience at \u003ca href=\"http://trailscarolina.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Trails \u003c/a>in North Carolina, and would even do it again.\u003c/p>\n\u003cp>\u003cstrong>Coming Clean\u003c/strong>\u003c/p>\n\u003cp>As part of her therapy, Cindy had to write letters home cataloging everything she’d done in the previous years. The letters were shocking to Donna. “I probably shouldn’t have trusted her as much as I did.”\u003c/p>\n\u003cp>Donna was genuinely surprised at the level of Cindy’s drinking, despite a couple instances in which she vomited in public, and one time when she blacked out in a public park. A friend carried her to his home and called Donna from there.\u003c/p>\n\u003cp>Cindy’s stint at Trails was followed by a therapeutic boarding school, \u003ca href=\"http://www.springridgeacademy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Spring Ridge Academy\u003c/a>, in Arizona, before she finished high school in the East Bay. She’s now a freshman at an East Coast university.\u003c/p>\n\u003cp>Mother and daughter are on good terms these days. “I will never not regret the pain that I caused my mother,” Cindy says. “I always knew that she loved me. She cared enough to repeatedly go through these things with me and not give up.”\u003c/p>\n\u003cfigure id=\"attachment_10668812\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/RS16581_chocolate.JPG-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10668812\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/RS16581_chocolate.JPG-qut.jpg\" alt=\"A chocolate cake with a chocolate ganache glaze and vanilla whipped cream center. Cindy now channels her energy into pursuits like baking that get a positive reaction from her mom and other family members.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/09/RS16581_chocolate.JPG-qut.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/09/RS16581_chocolate.JPG-qut-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A chocolate cake with a chocolate ganache glaze and vanilla whipped cream center. Cindy now channels her energy into pursuits like baking that get a positive reaction from her mom and other family members. \u003ccite>(Courtesy of Donna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This podcast features music by Yoga Meditation Music (“Healing Singing Bowl”) and Dave Porter (“The Morning After” from “Breaking Bad”).\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Few things are more painful than watching people we love harm themselves. Most parents go through some iteration of this experience when their children become teenagers, but some families suffer more than others. One mom in Berkeley, Donna, found herself caught in a high-stakes game of cat-and-mouse with her daughter, Cindy, starting in middle school. (To protect the family, we’ve changed the names.)\u003c/p>\n\u003cp>When did the trouble start? The stories differ, depending on how you define trouble.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://u.s.kqed.net/2015/09/14/LITDApodcastlogo.jpg\">\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/love-in-the-digital-age/id1037051180?mt=2\">Subscribe in iTunes\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of ‘Love in the Digital Age’\u003c/p>\n\u003c/div>\n\u003cp>Donna recalls the moment she spotted the first sext on her daughter’s phone, while driving with her two girls in the car. Cindy was 13 at the time, and her younger sister was in the back seat, so Donna didn’t say anything out loud, at first.\u003c/p>\n\u003cp>“I looked over. My daughter was in the front seat. She was holding her phone. You know, she kind of scrolled through. But well, my first thought was: Why is there a male torso on my child’s phone? And then I thought to myself: Oh gosh, it’s, you know, this is happening.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘My first thought was: Why is there a male torso on my child’s phone? And then I thought to myself: Oh gosh, it’s, you know, this is happening.’\u003c/aside>\n\u003cp>That’s just the sexting. “I would see sometimes text conversations,” Donna says, “between her and someone I didn’t know, and I assume, actually, that she didn’t know. If I could ever really see the whole gist of a conversation, I would gather that the person on the other side was a boy or man, who eventually would lead the discussion to something sexual, and then it seemed like she would kind of stop.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>What Donna Ultimately Realized Was Happening\u003c/strong>\u003c/p>\n\u003cp>“I really wanted attention,” Cindy says. At that time, she adds, “I didn’t really care how people thought of me. Like, I’m going to text this guy a million times until he stops replying, and then I’ll find the next one.”\u003c/p>\n\u003cp>Cindy was an anxious kid, and a year into middle school, she found herself socially excluded by a group she calls the Abercrombie Girls, in reference to their focus on fashion. Cindy describes it as a “Mean Girls” situation. “I was always at the edge.”\u003c/p>\n\u003cp>\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/W8_POt2KlfQ'\n title='//www.youtube.com/embed/W8_POt2KlfQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So Cindy sought out boys, and men, consciously aware they were interested in sex, regardless of what she told her mom.\u003c/p>\n\u003cp>“It’s so easy, you know?” Cindy says. “Snap the picture and send it. It takes nothing.”\u003c/p>\n\u003cp>Cindy is hardly an anomaly. Sexting is a common practice among teenagers, and grownups everywhere are struggling to catch up. Some law enforcement agencies treat sexting an under-age girl as a criminal offense, but if the sexter is a teenage boy, that can come off as \u003ca href=\"http://www.bbc.co.uk/programmes/p031fztz\" target=\"_blank\" rel=\"noopener noreferrer\">heavy-handed\u003c/a>.\u003c/p>\n\u003cp>Donna warned her daughters about the fact that photos are forever on the Internet, but Cindy was favoring the bad information she got from girlfriends, who told her guys were unlikely to forward her photos if she had sexual photos of them: a kind of mutually assured destruction pact.\u003c/p>\n\u003cp>That turned out to be a naive assumption. But even after Cindy knew better, even after she had been publicly embarrassed, she kept sexting. Even after one of the older guys she was chatting with threatened to come find her, she kept looking for new, strange friends.\u003c/p>\n\u003cp>\u003cstrong>Parental Surveillance\u003c/strong>\u003c/p>\n\u003cp>Donna never really stalked her daughter. She openly checked Cindy’s phone once a week in middle school. But Cindy was much more careful about what she shared with her mom, regularly deleting incriminating evidence that could get her grounded or, at the very least, forced to endure a lecture.\u003c/p>\n\u003cp>Cindy wasn’t a big fan of social media, but Donna checked the feeds of her daughter’s Facebook friends nonetheless, looking for clues about her daughter’s life that Cindy wasn’t choosing to share with her. Donna also installed \u003ca href=\"http://www1.k9webprotection.com/\" target=\"_blank\" rel=\"noopener noreferrer\">K9 Web Protection\u003c/a>, filtering software that blocks sites and then emits a \u003ca href=\"https://www.youtube.com/watch?v=VyCXUuUKLxE&feature=youtu.be&t=6m23s\" target=\"_blank\" rel=\"noopener noreferrer\">loud dog bark\u003c/a>.\u003c/p>\n\u003cp>The cutting was the first clue that Cindy’s anxiety and depression were overwhelming her. Cindy fell in with a couple of girls at school who were also suffering from depression. They were also cutting themselves, and cutting themselves competitively with each other.\u003c/p>\n\u003cp>Cindy described her first scars as evidence of an encounter with a cat. That excuse worked only once, and her tolerance grew over time, so she needed to cut more often “to get the same relief.”\u003c/p>\n\u003cp>“They look like what they are: razor cuts,” says Donna. “So they’re very thin, and precise — but they can get a little deep. I know, it’s horrible.”\u003c/p>\n\u003cp>Soon after the cutting began, Donna lined up a therapist, but Cindy didn’t take to the woman. She was formal, the kind of therapist who likes to review her notes at the end of a session — with a 13-year-old.\u003c/p>\n\u003cp>“It wasn’t more damaging,” Cindy says now, “but it just wasn’t helpful — and that was a critical time.”\u003c/p>\n\u003cp>All this was before high school.\u003c/p>\n\u003cp>Listen to more of Cindy’s reflections on middle school:\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='undefined' height='undefined'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/223991953”&visual=true&undefined'\n title='”https://api.soundcloud.com/tracks/223991953”'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Berkeley High School\u003c/strong>\u003c/p>\n\u003cp>“Unfortunately, high school didn’t go as well as we had hoped for her,” Donna says. “She started out strong her freshman year, but by her sophomore year, she had gotten again with a group that was kind of fringe — not exactly motivated in school, and they were smoking a lot of pot.”\u003c/p>\n\u003cp>“It’s so easy to find,” Cindy says. “Everyone had this unlimited supply. I almost always got it for free in the beginning.”\u003c/p>\n\u003cp>By sophomore year, Cindy was smoking, by her own estimate, eight or nine “blunts” a day — and then drinking on top of that. There was also a one-month flirtation with cocaine, but that wasn’t her main drug.\u003c/p>\n\u003cp>Despite all this, Cindy was still getting A’s and B’s in school. She was taking care of business. “I was the only kid who went to class of the friends that I was with, ’cause I knew that If I started getting bad grades, my parents would notice.”\u003c/p>\n\u003cp>“There are kids who are very combative with their parents,” Donna says. “They’re ‘I hate you, Mom,’ and they’re fighting. We were never like that. She would tug at my heartstrings, versus push me away. We tried to rein her in. ‘You can’t go to this party, and you can’t hang out with so-and-so.'”\u003c/p>\n\u003cp>But Donna found it hard to lay down the law for any length of time. “You become a jailer, which is not fun,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Why didn’t Donna simply take away Cindy’s phone or Internet access? Cindy answers it best. “She really thought that if she punished me, I’d hurt myself.” Also, the phone was a valuable surveillance device for Donna, a way to keep tabs — however limited — on her daughter.\u003c/p>\n\u003cp>For example, Donna recalls following Cindy via GPS down Telegraph Avenue one Halloween night after dropping her off at a party.\u003c/p>\n\u003cp>“She was probably trying to score something,” Donna recalls. “I kept texting, ‘Where are you?’ and she kept telling me, ‘Oh, at this other party,’ and I could see the little dot moving around. I said, ‘You know, I’m just coming to get you.’ ”\u003c/p>\n\u003cp>“Things started to go downhill,” Donna continues. “It just went downhill really fast. I realized, again from looking at her phone, that she was financing her pot use by selling it.”\u003c/p>\n\u003cp>At this point, Donna had tried talk therapy, anti-depressants, dialectical behavior therapy — “a common form of therapy used for kids who cut” — which involved a year of classes for Cindy and Donna in Oakland at \u003ca href=\"http://www.clearwaterclinic.com/dialectical-behavior-therapy/\" target=\"_blank\" rel=\"noopener noreferrer\">Clearwater Clinic\u003c/a>.\u003c/p>\n\u003cp>Ultimately, nothing they could do in Berkeley seemed to be working. “I feel like, at a certain point, I didn’t know who she was,” Donna says. “Someone who’s using drugs and abusing alcohol, there’s a lot they have to hide and a lot of manipulation.”\u003c/p>\n\u003cp>Cindy agreed to go to North Carolina for 2½ months to attend what’s called a wilderness therapy program. There, Cindy was separated from everything: her friends, her drugs, her makeup and, of course, her iPhone. Such a dramatic intervention doesn’t always work. Some kids are literally dragged to wilderness school, and the therapy doesn’t take. But Cindy says she loved her experience at \u003ca href=\"http://trailscarolina.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Trails \u003c/a>in North Carolina, and would even do it again.\u003c/p>\n\u003cp>\u003cstrong>Coming Clean\u003c/strong>\u003c/p>\n\u003cp>As part of her therapy, Cindy had to write letters home cataloging everything she’d done in the previous years. The letters were shocking to Donna. “I probably shouldn’t have trusted her as much as I did.”\u003c/p>\n\u003cp>Donna was genuinely surprised at the level of Cindy’s drinking, despite a couple instances in which she vomited in public, and one time when she blacked out in a public park. A friend carried her to his home and called Donna from there.\u003c/p>\n\u003cp>Cindy’s stint at Trails was followed by a therapeutic boarding school, \u003ca href=\"http://www.springridgeacademy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Spring Ridge Academy\u003c/a>, in Arizona, before she finished high school in the East Bay. She’s now a freshman at an East Coast university.\u003c/p>\n\u003cp>Mother and daughter are on good terms these days. “I will never not regret the pain that I caused my mother,” Cindy says. “I always knew that she loved me. She cared enough to repeatedly go through these things with me and not give up.”\u003c/p>\n\u003cfigure id=\"attachment_10668812\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/RS16581_chocolate.JPG-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10668812\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/RS16581_chocolate.JPG-qut.jpg\" alt=\"A chocolate cake with a chocolate ganache glaze and vanilla whipped cream center. Cindy now channels her energy into pursuits like baking that get a positive reaction from her mom and other family members.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/09/RS16581_chocolate.JPG-qut.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/09/RS16581_chocolate.JPG-qut-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A chocolate cake with a chocolate ganache glaze and vanilla whipped cream center. Cindy now channels her energy into pursuits like baking that get a positive reaction from her mom and other family members. \u003ccite>(Courtesy of Donna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>Update: Thursday, Sept. 17, 2015: \u003c/strong>Well, it’s been over a week since our original post, and still no word on whether Le Video will fade to black or be able to sell its massive collection to the mystery business it has been in negotiation with — which would keep its 90,000 titles intact and available to the San Francisco public. (See below.)\u003c/p>\n\u003cp>Owner Catherine Tchen had hoped to hear from the prospective buyer by the end of last week, but she’s still on tenterhooks, as whoever it is apparently continues to weigh the deal.\u003c/p>\n\u003cp>“I’m assuming the adage, no news is good news,” she told me today. “I’m hopeful the deal will go through because the people know we’re on a time crunch. They’re totally aware of our deadline, and the deadline is how long can we pay the bills.”\u003c/p>\n\u003cp>Tchen said she is anxious to reach a resolution one way or the other because she wants customers who have purchased prepaid packages to have enough time to use their remaining rentals; she said she won’t be able to issue refunds. The store stopped selling these at the beginning of August, Tchen said, in anticipation of having to close.\u003c/p>\n\u003cp>As to the identity of the company she’s in discussion with, all she will say is, “It’s people who are film lovers and who really sustain the arts, and it would be a great home for the collection.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Guesses, anyone?\u003c/p>\n\u003cp>\u003cstrong>Original post\u003c/strong>\u003c/p>\n\u003cp>No one really knows how many titles San Francisco’s \u003ca href=\"http://www.levideo.com/\" target=\"_blank\" rel=\"noopener\">Le Video\u003c/a> has in stock. The store thinks it’s around 90,000, but that’s an estimate. The breadth of the collection, containing many rare and out-of-print films from around the world, has long elated browsing cinephiles, though much less frequently in recent years as consumers gravitated in throngs to online services like Netflix, Amazon and iTunes.\u003c/p>\n\u003cp>Now the story of the long slow decline of Le Video, an Inner Sunset fixture for 35 years, has reached what appears to be a climax: The store is currently in discussion with a prospective buyer, owner Catherine Tchen said, and if the deal doesn’t go through, Le Video will sell off its massive collection and close down by Dec. 31.\u003c/p>\n\u003cp>Tchen hopes to know the final outcome by Friday, she said.\u003c/p>\n\u003cp>So who might buy the store? Tchen wouldn’t say, but she thought the potential new owner would be a good fit in keeping the film’s huge inventory available.\u003c/p>\n\u003cp>“If [the deal] does go through it will really be amazing, because the people I’m talking to have the perfect form and have the perfect name and probably have the perfect energy in thinking out of the box for a collection like Le Video’s,” she said.\u003c/p>\n\u003cp>Tchen said if an agreement is reached, the store would move from its present location and might take a new name. “That doesn’t matter to me,” she said. “It’s being kept in one place and open to the public is my goal. If [the collection] belongs to a university, it’s OK for me, because I’ll recover a little bit of what I have put in of my personal money … but people wouldn’t have access to it.\u003c/p>\n\u003cp>“The people I’m talking to will keep it open to the public. It will have room to grow and be much more. I assume it will be a store; it might also be cross-promoted with what they do.”\u003c/p>\n\u003cp>But if a deal can’t be reached, she said, she will sell the collection to the public, in what is bound to be a frenzy of film lovers looking for cinematic gold. “All the movies would be up for sale,” Tchen said. “Every week the price would go down.”\u003c/p>\n\u003cp>Le Video’s dwindling customer base has seen this movie before, so to speak. In March 2014, Tchen wrote on Facebook that barring a “miracle,” she would shut down at the end of April. The store had been losing money for years, and she could no longer afford to house the copious but unprofitable collection in the large ground floor of the building she owns, rather than renting the space out.\u003c/p>\n\u003cp>But the store used a successful Indiegogo campaign to finance a transition to an upstairs space one-fourth the size, renting out the bottom floor to Green Apple Books, another iconic San Francisco retailer. But John Taylor, the store’s manager and buyer, said business has dropped by about another one-third since the move.\u003c/p>\n\u003cp>“Mainly just people didn’t know we were here,” he said. “They’d walk by and see the bookstore, and no matter how many signs we have out front, no one sees them. People would say, ‘You need a sign.’ We have three signs. There’s not much more we can do in the sign department.’ People just assumed we were closed and there’s no way to really change that perception.”\u003c/p>\n\u003cp>Tchen, for her part, said the problem lies in the store’s enthusiastic but infrequent customer base. “People call and say, ‘Do you have this?’ and say, ‘Oh my God, I can’t believe you have it, you were my last resort.’ People think about us when they’ve exhausted every other resource. And of course we have what they want 99 percent of the time. The problem is we can’t keep the door open.” She said more than 3,000 new customers came in from January to May, “but most of those people came once because they just couldn’t find it anywhere else.”\u003c/p>\n\u003cp>Tchen, 61, lives in Portland and is a native of Paris. She came to San Francisco in 1976. She started Le Video as a window display in her camera store, and it eventually took over. She said the building is her only means of income, and she simply cannot afford anymore to subsidize the business, in part because she has to support her mother, who has dementia.\u003c/p>\n\u003cp>“I don’t have a penny left to put toward it,” she said. “My greatest satisfaction has always been to be able to buy everything, to hunt for movies. I can’t hunt anymore because I can’t even afford to buy what comes out in this country.”\u003c/p>\n\u003cp>If the deal that is now under consideration falls through, she would be open to another buyer if one emerged, she said. However, the sale of the collection would commence sooner rather than later.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This post was corrected to note that Le Video had 3,000 customers from January to May, not just in May. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update: Thursday, Sept. 17, 2015: \u003c/strong>Well, it’s been over a week since our original post, and still no word on whether Le Video will fade to black or be able to sell its massive collection to the mystery business it has been in negotiation with — which would keep its 90,000 titles intact and available to the San Francisco public. (See below.)\u003c/p>\n\u003cp>Owner Catherine Tchen had hoped to hear from the prospective buyer by the end of last week, but she’s still on tenterhooks, as whoever it is apparently continues to weigh the deal.\u003c/p>\n\u003cp>“I’m assuming the adage, no news is good news,” she told me today. “I’m hopeful the deal will go through because the people know we’re on a time crunch. They’re totally aware of our deadline, and the deadline is how long can we pay the bills.”\u003c/p>\n\u003cp>Tchen said she is anxious to reach a resolution one way or the other because she wants customers who have purchased prepaid packages to have enough time to use their remaining rentals; she said she won’t be able to issue refunds. The store stopped selling these at the beginning of August, Tchen said, in anticipation of having to close.\u003c/p>\n\u003cp>As to the identity of the company she’s in discussion with, all she will say is, “It’s people who are film lovers and who really sustain the arts, and it would be a great home for the collection.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Guesses, anyone?\u003c/p>\n\u003cp>\u003cstrong>Original post\u003c/strong>\u003c/p>\n\u003cp>No one really knows how many titles San Francisco’s \u003ca href=\"http://www.levideo.com/\" target=\"_blank\" rel=\"noopener\">Le Video\u003c/a> has in stock. The store thinks it’s around 90,000, but that’s an estimate. The breadth of the collection, containing many rare and out-of-print films from around the world, has long elated browsing cinephiles, though much less frequently in recent years as consumers gravitated in throngs to online services like Netflix, Amazon and iTunes.\u003c/p>\n\u003cp>Now the story of the long slow decline of Le Video, an Inner Sunset fixture for 35 years, has reached what appears to be a climax: The store is currently in discussion with a prospective buyer, owner Catherine Tchen said, and if the deal doesn’t go through, Le Video will sell off its massive collection and close down by Dec. 31.\u003c/p>\n\u003cp>Tchen hopes to know the final outcome by Friday, she said.\u003c/p>\n\u003cp>So who might buy the store? Tchen wouldn’t say, but she thought the potential new owner would be a good fit in keeping the film’s huge inventory available.\u003c/p>\n\u003cp>“If [the deal] does go through it will really be amazing, because the people I’m talking to have the perfect form and have the perfect name and probably have the perfect energy in thinking out of the box for a collection like Le Video’s,” she said.\u003c/p>\n\u003cp>Tchen said if an agreement is reached, the store would move from its present location and might take a new name. “That doesn’t matter to me,” she said. “It’s being kept in one place and open to the public is my goal. If [the collection] belongs to a university, it’s OK for me, because I’ll recover a little bit of what I have put in of my personal money … but people wouldn’t have access to it.\u003c/p>\n\u003cp>“The people I’m talking to will keep it open to the public. It will have room to grow and be much more. I assume it will be a store; it might also be cross-promoted with what they do.”\u003c/p>\n\u003cp>But if a deal can’t be reached, she said, she will sell the collection to the public, in what is bound to be a frenzy of film lovers looking for cinematic gold. “All the movies would be up for sale,” Tchen said. “Every week the price would go down.”\u003c/p>\n\u003cp>Le Video’s dwindling customer base has seen this movie before, so to speak. In March 2014, Tchen wrote on Facebook that barring a “miracle,” she would shut down at the end of April. The store had been losing money for years, and she could no longer afford to house the copious but unprofitable collection in the large ground floor of the building she owns, rather than renting the space out.\u003c/p>\n\u003cp>But the store used a successful Indiegogo campaign to finance a transition to an upstairs space one-fourth the size, renting out the bottom floor to Green Apple Books, another iconic San Francisco retailer. But John Taylor, the store’s manager and buyer, said business has dropped by about another one-third since the move.\u003c/p>\n\u003cp>“Mainly just people didn’t know we were here,” he said. “They’d walk by and see the bookstore, and no matter how many signs we have out front, no one sees them. People would say, ‘You need a sign.’ We have three signs. There’s not much more we can do in the sign department.’ People just assumed we were closed and there’s no way to really change that perception.”\u003c/p>\n\u003cp>Tchen, for her part, said the problem lies in the store’s enthusiastic but infrequent customer base. “People call and say, ‘Do you have this?’ and say, ‘Oh my God, I can’t believe you have it, you were my last resort.’ People think about us when they’ve exhausted every other resource. And of course we have what they want 99 percent of the time. The problem is we can’t keep the door open.” She said more than 3,000 new customers came in from January to May, “but most of those people came once because they just couldn’t find it anywhere else.”\u003c/p>\n\u003cp>Tchen, 61, lives in Portland and is a native of Paris. She came to San Francisco in 1976. She started Le Video as a window display in her camera store, and it eventually took over. She said the building is her only means of income, and she simply cannot afford anymore to subsidize the business, in part because she has to support her mother, who has dementia.\u003c/p>\n\u003cp>“I don’t have a penny left to put toward it,” she said. “My greatest satisfaction has always been to be able to buy everything, to hunt for movies. I can’t hunt anymore because I can’t even afford to buy what comes out in this country.”\u003c/p>\n\u003cp>If the deal that is now under consideration falls through, she would be open to another buyer if one emerged, she said. However, the sale of the collection would commence sooner rather than later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "R.E.M. to Donald Trump: 'Go F*** Yourself'",
"title": "R.E.M. to Donald Trump: 'Go F*** Yourself'",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Do politicians never learn?\u003c/p>\n\u003cp>Or, in the case of our collective crazy racist uncle Donald Trump, are they just so rich they don't give a damn?\u003c/p>\n\u003cp>In yet the latest example of a presidential candidate using a pop song during their campaign without asking the artist's permission, the walking toupée chose to use R.E.M.'s classic \"It's the End of the World\" today in a\u003ca href=\"http://www.c-span.org/video/?c4550293/donald-trump-introduced-anti-iran-deal-rally-end-world\" target=\"_blank\"> stump speech he gave at an anti-Iran deal rally in Washington, D.C. \u003c/a>This is notable, stupid and entertaining for a number of reasons, not the least of which is that Trump's advisers almost certainly sat around trying to figure out how to show that he's \u003ca href=\"https://www.youtube.com/watch?v=UeS-Xb5u4-U\" target=\"_blank\">\"with it\" and \"hip\"\u003c/a> and what they came up with was an alt-rock radio single from 1987.\u003c/p>\n\u003cp>Anyway, to precisely no one's surprise, the (disbanded) band fired back within a few hours. First they released this official statement on the \u003ca href=\"https://www.facebook.com/REMhq/posts/10153181864262984\" target=\"_blank\">R.E.M. Facebook page\u003c/a>, which asks -- well, it basically asks if we can please not be petty enough to write this blog post about it:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/rem.png\">\u003cimg class=\"wp-image-18018 aligncenter\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/rem.png\" alt=\"rem\" width=\"489\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/09/rem.png 493w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/rem-400x184.png 400w\" sizes=\"(max-width: 489px) 100vw, 489px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And we might not have written one, if they had left it at that! But then Michael Stipe -- sweet, Buddhist-leaning, vegetarian Michael Stipe -- followed up with this, via R.E.M. bassist Mike Mills' \u003ca href=\"https://twitter.com/m_millsey/\" target=\"_blank\">Twitter account: \u003c/a>\u003c/p>\n\u003cp>\"Go f*** yourselves, the lot of you--you sad, attention grabbing, power-hungry little men. Do not use our music or my voice for your moronic charade of a campaign. -- Michael Stipe\"\u003c/p>\n\u003cp>That gets you a blog post, Stipey.\u003c/p>\n\u003cp>This is \u003ca href=\"http://www.rollingstone.com/music/lists/stop-using-my-song-34-artists-who-fought-politicians-over-their-music-20150708\" target=\"_blank\">nothing new in politics\u003c/a>, of course, but this makes Trump a repeat offender within a very short, ballsy span of time. In June, after he used \"Rockin' in the Free World\" during a speech, Neil Young's camp raised objections -- because Young, who's Canadian, is a fan of Bernie Sanders. \u003ca href=\"http://www.stereogum.com/1810412/bernie-sanders-takes-over-neil-youngs-rockin-in-the-free-world/video/\" target=\"_blank\">Sanders picked it up the next week. \u003c/a>\u003c/p>\n\u003cp>Humble suggestion for The Donald: \u003ca href=\"http://ww2.kqed.org/pop/2015/08/24/wanna-vote-like-your-favorite-musicians-heres-how/\" target=\"_blank\">Maybe give Ted Nugent a call. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z0GFRcFm-aY\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do politicians never learn?\u003c/p>\n\u003cp>Or, in the case of our collective crazy racist uncle Donald Trump, are they just so rich they don't give a damn?\u003c/p>\n\u003cp>In yet the latest example of a presidential candidate using a pop song during their campaign without asking the artist's permission, the walking toupée chose to use R.E.M.'s classic \"It's the End of the World\" today in a\u003ca href=\"http://www.c-span.org/video/?c4550293/donald-trump-introduced-anti-iran-deal-rally-end-world\" target=\"_blank\"> stump speech he gave at an anti-Iran deal rally in Washington, D.C. \u003c/a>This is notable, stupid and entertaining for a number of reasons, not the least of which is that Trump's advisers almost certainly sat around trying to figure out how to show that he's \u003ca href=\"https://www.youtube.com/watch?v=UeS-Xb5u4-U\" target=\"_blank\">\"with it\" and \"hip\"\u003c/a> and what they came up with was an alt-rock radio single from 1987.\u003c/p>\n\u003cp>Anyway, to precisely no one's surprise, the (disbanded) band fired back within a few hours. First they released this official statement on the \u003ca href=\"https://www.facebook.com/REMhq/posts/10153181864262984\" target=\"_blank\">R.E.M. Facebook page\u003c/a>, which asks -- well, it basically asks if we can please not be petty enough to write this blog post about it:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/rem.png\">\u003cimg class=\"wp-image-18018 aligncenter\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/09/rem.png\" alt=\"rem\" width=\"489\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/09/rem.png 493w, https://ww2.kqed.org/app/uploads/sites/12/2015/09/rem-400x184.png 400w\" sizes=\"(max-width: 489px) 100vw, 489px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And we might not have written one, if they had left it at that! But then Michael Stipe -- sweet, Buddhist-leaning, vegetarian Michael Stipe -- followed up with this, via R.E.M. bassist Mike Mills' \u003ca href=\"https://twitter.com/m_millsey/\" target=\"_blank\">Twitter account: \u003c/a>\u003c/p>\n\u003cp>\"Go f*** yourselves, the lot of you--you sad, attention grabbing, power-hungry little men. Do not use our music or my voice for your moronic charade of a campaign. -- Michael Stipe\"\u003c/p>\n\u003cp>That gets you a blog post, Stipey.\u003c/p>\n\u003cp>This is \u003ca href=\"http://www.rollingstone.com/music/lists/stop-using-my-song-34-artists-who-fought-politicians-over-their-music-20150708\" target=\"_blank\">nothing new in politics\u003c/a>, of course, but this makes Trump a repeat offender within a very short, ballsy span of time. In June, after he used \"Rockin' in the Free World\" during a speech, Neil Young's camp raised objections -- because Young, who's Canadian, is a fan of Bernie Sanders. \u003ca href=\"http://www.stereogum.com/1810412/bernie-sanders-takes-over-neil-youngs-rockin-in-the-free-world/video/\" target=\"_blank\">Sanders picked it up the next week. \u003c/a>\u003c/p>\n\u003cp>Humble suggestion for The Donald: \u003ca href=\"http://ww2.kqed.org/pop/2015/08/24/wanna-vote-like-your-favorite-musicians-heres-how/\" target=\"_blank\">Maybe give Ted Nugent a call. \u003c/a>\u003c/p>\n\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/Z0GFRcFm-aY'\n title='//www.youtube.com/embed/Z0GFRcFm-aY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Below Market Rate Housing Gets High End Sol LeWitt Artwork",
"headTitle": "Below Market Rate Housing Gets High End Sol LeWitt Artwork | KQED",
"content": "\u003cp>While Oakland wades into a \u003ca href=\"http://ww2.kqed.org/arts/2015/07/28/artists-aghast-at-anti-public-art-lawsuit-against-oakland/\" target=\"_blank\" rel=\"noopener\">lawsuit\u003c/a> against the city’s percent for art ordinance, a new piece of public art on a private development quietly went up in San Francisco’s mid-Market neighborhood and was unveiled Tuesday.\u003c/p>\n\u003cfigure id=\"attachment_10943506\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10943506\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/1400Mission6401.jpg\" alt=\"The entrance of 1400 Mission. (Photo: Sarah Hotchkiss/KQED)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1400Mission6401.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1400Mission6401-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The entrance of 1400 Mission. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Wrapping around the north-east corner of \u003ca href=\"http://1400missionsf.com/\" target=\"_blank\" rel=\"noopener\">1400 Mission\u003c/a> at the intersection of Jessie and 10th Streets, is a newly painted Sol LeWitt acrylic piece, \u003cem>Wall Drawing #1012\u003c/em>. Installed on site by a team of seven over the course of four weeks, the five-color geometric design by the famed late conceptual artist originally graced the exterior of a Los Angeles pool house, before it was purchased by Tishman Speyer, the building’s developers.\u003c/p>\n\u003cp>Situated next door to the luxury apartment complex \u003ca href=\"http://rentnema.com/\" target=\"_blank\" rel=\"noopener\">NEMA\u003c/a> (not just a residential building but “a design-driven lifestyle pioneer,” according to its website) and across the street from Twitter HQ, 1400 Mission looks deceptively like another high-end housing development. But the nearly-finished 190-unit building is actually filled with below market rate housing. \u003c/p>\n\u003cfigure id=\"attachment_10943417\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10943417\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/1400Mission640.jpg\" alt='\"Each home comes with its own washer and dryer, kitchen appliances, ample closet space, and granite countertops.\" Digital rendering of unit inside 1400 Mission. (Photo: 1400missionsf.com)' width=\"640\" height=\"337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1400Mission640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1400Mission640-400x211.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Each home comes with its own washer and dryer, kitchen appliances, ample closet space, and granite countertops.” Digital rendering of unit inside 1400 Mission. (Photo: 1400missionsf.com)\u003c/figcaption>\u003c/figure>\n\u003cp>Local nonprofits like the Mission Economic Development Agency and the San Francisco LGBT Community Center worked to place first-time homebuyers earning 100% or less of the area median income in the units. It was built in collaboration with the Tenderloin Neighborhood Development Corporation to fulfill Tishman Speyer’s inclusionary housing requirement for \u003ca href=\"http://luminasf.com/\" target=\"_blank\" rel=\"noopener\">LUMINA\u003c/a>, the developer’s fully market-rate SOMA high rise.\u003c/p>\n\u003cp>Back on the building’s exterior, the LeWitt wall drawing is 91.5 feet long and just over 9.5 feet tall. It’s rare to see a LeWitt out of doors — let alone on view to the public — for free. But \u003cem>Wall Drawing #1012\u003c/em> will be visible day and night, thanks to a bank of LED lights installed above the work.\u003c/p>\n\u003cfigure id=\"attachment_10943507\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10943507\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Colors640.jpg\" alt=\"Each block of color got seven layers of acrylic paint. (Photo: Sarah Hotchkiss/KQED)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Colors640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Colors640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Each block of color got seven layers of acrylic paint. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Takeshi Arita, a LeWitt installer with decades of experience on all types of LeWitt wall drawings — from graphite to colored pencil the vibrant hues of \u003cem>#1012\u003c/em> — led the team in executing what is really a set of written instructions, beginning with diligently preparing the wall surface. The team scaled scaffolding and worked for an entire week behind a mesh-covered fence on what appeared to be just a white wall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For a wall drawing made with acrylic, each section of color is taped off and layered with seven coats of paint, with sanding and wiping for dust between each coat. First-time LeWitt installers are trained to create straight masking tape lines, to make varied brushstrokes with wide bristle brushes and ultimately, to add final touch ups with cotton swabs after the paper is peeled away. Installers constantly trade roles and places on the wall, to maintain what seasoned LeWitt installer Amy Rathbone, quoting the artist, describes as “a universal hand.”\u003c/p>\n\u003cfigure id=\"attachment_10943508\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10943508\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Dogs640.jpg\" alt=\"Remnants of an ongoing battle with local dog owners. (Photo: Sarah Hotchkiss/KQED)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Dogs640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Dogs640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Remnants of an ongoing battle with local dog owners. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Christine Lee, a first time LeWitt installer with no previous mural or painting experience, relishes the simple tools and meditative aspects of the job. “A lot of stuff happens when you just spend time on the same corner for 24 days,” Lee says, referring to how attuned the install crew became to the neighborhood’s cycles of foot and car traffic, their fight against dust and the changing qualities of light. The installers also engaged in a lengthy battle against the dog owners of NEMA. Hand-drawn signs posted around the install site read, “Please no dog pee here. So smelly for us,” followed by a sad face.\u003c/p>\n\u003cp>The final step before the scaffolding, fence and mesh came down was a matte layer of Sheercoat, a clear, water-based acrylic copolymer that protects against graffiti attacks, UV rays and urban pollutants. Precita Eyes uses the same product on all of their murals. Members of the install team have voiced their concerns about the vulnerability of the piece on a public street corner. But maintenance of a LeWitt wall drawing is part of every sales contract, and Tishman Speyer will shoulder that responsibility.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, the future residents of 1400 Mission and the city of San Francisco just got a new piece of public art — our very first Sol LeWitt.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While Oakland wades into a \u003ca href=\"http://ww2.kqed.org/arts/2015/07/28/artists-aghast-at-anti-public-art-lawsuit-against-oakland/\" target=\"_blank\" rel=\"noopener\">lawsuit\u003c/a> against the city’s percent for art ordinance, a new piece of public art on a private development quietly went up in San Francisco’s mid-Market neighborhood and was unveiled Tuesday.\u003c/p>\n\u003cfigure id=\"attachment_10943506\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10943506\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/1400Mission6401.jpg\" alt=\"The entrance of 1400 Mission. (Photo: Sarah Hotchkiss/KQED)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1400Mission6401.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1400Mission6401-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The entrance of 1400 Mission. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Wrapping around the north-east corner of \u003ca href=\"http://1400missionsf.com/\" target=\"_blank\" rel=\"noopener\">1400 Mission\u003c/a> at the intersection of Jessie and 10th Streets, is a newly painted Sol LeWitt acrylic piece, \u003cem>Wall Drawing #1012\u003c/em>. Installed on site by a team of seven over the course of four weeks, the five-color geometric design by the famed late conceptual artist originally graced the exterior of a Los Angeles pool house, before it was purchased by Tishman Speyer, the building’s developers.\u003c/p>\n\u003cp>Situated next door to the luxury apartment complex \u003ca href=\"http://rentnema.com/\" target=\"_blank\" rel=\"noopener\">NEMA\u003c/a> (not just a residential building but “a design-driven lifestyle pioneer,” according to its website) and across the street from Twitter HQ, 1400 Mission looks deceptively like another high-end housing development. But the nearly-finished 190-unit building is actually filled with below market rate housing. \u003c/p>\n\u003cfigure id=\"attachment_10943417\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10943417\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/1400Mission640.jpg\" alt='\"Each home comes with its own washer and dryer, kitchen appliances, ample closet space, and granite countertops.\" Digital rendering of unit inside 1400 Mission. (Photo: 1400missionsf.com)' width=\"640\" height=\"337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1400Mission640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1400Mission640-400x211.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Each home comes with its own washer and dryer, kitchen appliances, ample closet space, and granite countertops.” Digital rendering of unit inside 1400 Mission. (Photo: 1400missionsf.com)\u003c/figcaption>\u003c/figure>\n\u003cp>Local nonprofits like the Mission Economic Development Agency and the San Francisco LGBT Community Center worked to place first-time homebuyers earning 100% or less of the area median income in the units. It was built in collaboration with the Tenderloin Neighborhood Development Corporation to fulfill Tishman Speyer’s inclusionary housing requirement for \u003ca href=\"http://luminasf.com/\" target=\"_blank\" rel=\"noopener\">LUMINA\u003c/a>, the developer’s fully market-rate SOMA high rise.\u003c/p>\n\u003cp>Back on the building’s exterior, the LeWitt wall drawing is 91.5 feet long and just over 9.5 feet tall. It’s rare to see a LeWitt out of doors — let alone on view to the public — for free. But \u003cem>Wall Drawing #1012\u003c/em> will be visible day and night, thanks to a bank of LED lights installed above the work.\u003c/p>\n\u003cfigure id=\"attachment_10943507\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10943507\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Colors640.jpg\" alt=\"Each block of color got seven layers of acrylic paint. (Photo: Sarah Hotchkiss/KQED)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Colors640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Colors640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Each block of color got seven layers of acrylic paint. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Takeshi Arita, a LeWitt installer with decades of experience on all types of LeWitt wall drawings — from graphite to colored pencil the vibrant hues of \u003cem>#1012\u003c/em> — led the team in executing what is really a set of written instructions, beginning with diligently preparing the wall surface. The team scaled scaffolding and worked for an entire week behind a mesh-covered fence on what appeared to be just a white wall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For a wall drawing made with acrylic, each section of color is taped off and layered with seven coats of paint, with sanding and wiping for dust between each coat. First-time LeWitt installers are trained to create straight masking tape lines, to make varied brushstrokes with wide bristle brushes and ultimately, to add final touch ups with cotton swabs after the paper is peeled away. Installers constantly trade roles and places on the wall, to maintain what seasoned LeWitt installer Amy Rathbone, quoting the artist, describes as “a universal hand.”\u003c/p>\n\u003cfigure id=\"attachment_10943508\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10943508\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Dogs640.jpg\" alt=\"Remnants of an ongoing battle with local dog owners. (Photo: Sarah Hotchkiss/KQED)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Dogs640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Dogs640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Remnants of an ongoing battle with local dog owners. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Christine Lee, a first time LeWitt installer with no previous mural or painting experience, relishes the simple tools and meditative aspects of the job. “A lot of stuff happens when you just spend time on the same corner for 24 days,” Lee says, referring to how attuned the install crew became to the neighborhood’s cycles of foot and car traffic, their fight against dust and the changing qualities of light. The installers also engaged in a lengthy battle against the dog owners of NEMA. Hand-drawn signs posted around the install site read, “Please no dog pee here. So smelly for us,” followed by a sad face.\u003c/p>\n\u003cp>The final step before the scaffolding, fence and mesh came down was a matte layer of Sheercoat, a clear, water-based acrylic copolymer that protects against graffiti attacks, UV rays and urban pollutants. Precita Eyes uses the same product on all of their murals. Members of the install team have voiced their concerns about the vulnerability of the piece on a public street corner. But maintenance of a LeWitt wall drawing is part of every sales contract, and Tishman Speyer will shoulder that responsibility.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, the future residents of 1400 Mission and the city of San Francisco just got a new piece of public art — our very first Sol LeWitt.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>UPDATE, Oct. 11, 2015:\u003c/b> \u003cem>Steve Mackay has sadly passed away. A GoFundMe campaign to help Mackay’s family with hospital costs is still active \u003ca href=\"http://www.gofundme.com/stevemackay\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Steve Mackay, who played saxophone with the Stooges, the Violent Femmes and many other influential underground rock bands, was in critical condition in a Daly City hospital Tuesday after being checked in with a life-threatening infection.\u003c/p>\n\u003cp>Hospital officials say Mackay, 65, was taken to Seton Medical Center Monday evening to be treated for sepsis, a complication of an infection that can cause multiple organs to fail. Officials said that as of noon Tuesday, he was still in critical condition in the hospital’s ICU and surrounded by family members.\u003c/p>\n\u003cp>A Bay Area resident since 1976, Mackay first made a name for himself providing the screeching sax on \u003ci>Fun House,\u003c/i> the second album from Iggy Pop’s proto-punk band \u003ca href=\"https://en.wikipedia.org/wiki/The_Stooges\" target=\"_blank\" rel=\"noopener\">the Stooges\u003c/a>. Mackay would leave the band near the end of 1970 but would join the reformed group in 2003 and would play on albums \u003ci>The Weirdness\u003c/i> (2007) and \u003ci>Ready To Die\u003c/i> (2013). The band was inducted into the Rock and Roll Hall of Fame in 2010.\u003c/p>\n\u003cp>“I had exchanged emails with Steve earlier in the year about his health, and he had been upbeat about his prognosis and was even going out on tour to China,” Stooges guitarist James Williamson wrote in an email. “We are so very sorry about this turn for the worst… Our thoughts and prayers go out to Steve and Patti for the best possible outcome. Steve was always an important part of our band’s live sound and last year I worked with him again when he played on a couple of songs on my solo album. His expression was always unique;it was all his own.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of the five members of the Stooges that played on \u003ci>Fun House,\u003c/i> only Mackay and Pop (born James Osterberg Jr.) are still living. Stooges bassist Dave Alexander died in 1975 at the age of 27; guitarist Ron Asheton died in 2009, a year before the group was inducted into the Rock and Roll Hall of Fame; and drummer Scott Asheton died in 2014. \u003c/p>\n\u003cp>Over the decades since \u003ci>Fun House\u003c/i> was released, Mackay would go on to play with the Violent Femmes, Snakefinger, Commander Cody, and many Bay Area-based bands.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It was an honor to play with Steve,” said Grady Runyon, guitarist for Bay Area psychedelic rockers Liquorball, who Mackay played with multiple times. “He is one of the originators, in terms of bringing that approach to sax into rock ‘n’ roll. Also a very sweet guy. We’re all pulling for him!”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>UPDATE, Oct. 11, 2015:\u003c/b> \u003cem>Steve Mackay has sadly passed away. A GoFundMe campaign to help Mackay’s family with hospital costs is still active \u003ca href=\"http://www.gofundme.com/stevemackay\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Steve Mackay, who played saxophone with the Stooges, the Violent Femmes and many other influential underground rock bands, was in critical condition in a Daly City hospital Tuesday after being checked in with a life-threatening infection.\u003c/p>\n\u003cp>Hospital officials say Mackay, 65, was taken to Seton Medical Center Monday evening to be treated for sepsis, a complication of an infection that can cause multiple organs to fail. Officials said that as of noon Tuesday, he was still in critical condition in the hospital’s ICU and surrounded by family members.\u003c/p>\n\u003cp>A Bay Area resident since 1976, Mackay first made a name for himself providing the screeching sax on \u003ci>Fun House,\u003c/i> the second album from Iggy Pop’s proto-punk band \u003ca href=\"https://en.wikipedia.org/wiki/The_Stooges\" target=\"_blank\" rel=\"noopener\">the Stooges\u003c/a>. Mackay would leave the band near the end of 1970 but would join the reformed group in 2003 and would play on albums \u003ci>The Weirdness\u003c/i> (2007) and \u003ci>Ready To Die\u003c/i> (2013). The band was inducted into the Rock and Roll Hall of Fame in 2010.\u003c/p>\n\u003cp>“I had exchanged emails with Steve earlier in the year about his health, and he had been upbeat about his prognosis and was even going out on tour to China,” Stooges guitarist James Williamson wrote in an email. “We are so very sorry about this turn for the worst… Our thoughts and prayers go out to Steve and Patti for the best possible outcome. Steve was always an important part of our band’s live sound and last year I worked with him again when he played on a couple of songs on my solo album. His expression was always unique;it was all his own.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of the five members of the Stooges that played on \u003ci>Fun House,\u003c/i> only Mackay and Pop (born James Osterberg Jr.) are still living. Stooges bassist Dave Alexander died in 1975 at the age of 27; guitarist Ron Asheton died in 2009, a year before the group was inducted into the Rock and Roll Hall of Fame; and drummer Scott Asheton died in 2014. \u003c/p>\n\u003cp>Over the decades since \u003ci>Fun House\u003c/i> was released, Mackay would go on to play with the Violent Femmes, Snakefinger, Commander Cody, and many Bay Area-based bands.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It was an honor to play with Steve,” said Grady Runyon, guitarist for Bay Area psychedelic rockers Liquorball, who Mackay played with multiple times. “He is one of the originators, in terms of bringing that approach to sax into rock ‘n’ roll. Also a very sweet guy. We’re all pulling for him!”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The national hysteria over \u003ca href=\"http://www.nytimes.com/2015/09/09/us/kim-davis-same-sex-marriage.html?_r=0\" target=\"_blank\">Kim Davis\u003c/a>, the Kentucky clerk who was jailed for refusing to grant marriage licenses to same-sex couples, has been, well, a godsend to late-night comedians.\u003c/p>\n\u003cp>It has also been an opportunity for one California comedy writer, who created the Twitter account \u003ca href=\"https://twitter.com/search?q=sit%20next%20to%20kim%20davis&src=tyah\" target=\"_blank\">@sitnexttokimdavis\u003c/a>. It was inspired by the photo of a slightly stunned co-worker sitting next to Davis. And the tweets are in her voice.\u003c/p>\n\u003cp>I reached out to the writer with a Twitter message and he responded right away. Then we talked by phone. He's a comedy writer in Los Angeles who asked that we use only his first name, Dave.\u003c/p>\n\u003cp>Dave said he started the account as a joke on a friend's Facebook page. It now has more than 91,000 followers. \"Five minutes after I created it, (gay columnist) Dan Savage called it his new favorite Twitter account -- and I haven't left my computer since.\"\u003c/p>\n\u003cp>The tweets are all in the voice of Davis' co-worker, seen in a photo of the office.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"LOL MY BOSS IS IN JAIL RIGHT NOW,\" said one tweet.\u003c/p>\n\u003cp>\"We're going to hide the shredder. That will drive #KimDavis crazy when she gets here,\" said another, after Davis was released from jail Tuesday.\u003c/p>\n\u003cp>Dave said he \"absolutely\" supports gay marriage and notes that while he was growing up in Montgomery, Alabama, his grandparents were active in the civil rights movement.\u003c/p>\n\u003cp>\"They were also friends with Rosa Parks and, you know, to equate the two things (Davis refusing to give out marriage licenses to gay couples and Parks refusing to give up her seat on a bus) is shocking to me, and little offensive,\" said Dave.\u003c/p>\n\u003cp>I asked Dave what surprised him most since the account went live.\u003c/p>\n\u003cp>\"The thing that surprises me the most is how much more reaction I get when I mention a piece of office equipment,\" he said in all seriousness. \"Any tweet that refers to a Xerox machine or a chair, people really, really seem to enjoy.\"\u003c/p>\n\u003cp>In the end, Dave hopes to de-escalate the whole issue by keeping it all in perspective.\u003c/p>\n\u003cp>\"This is just one person, not a huge movement, not a huge war,\" Dave said. \"Just one person being kind of a jerk to everybody at her work.\"\u003c/p>\n\u003cp>Dave came to L.A. five years ago from Chicago, where he worked for the legendary \u003ca href=\"http://www.secondcity.com/\" target=\"_blank\">Second City\u003c/a> comedy club that launched the likes of Dan Aykroyd and Jim Belushi. Now he teaches comedy and improv classes.\u003c/p>\n\u003cp>He realizes this Twitter thing going viral could be a career opportunity for him. Still, he's waiting for advice from his agent before he reveals his full identity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I'm not sure that's a good idea,\" he said. \"I don't want to put myself out on this in a way that's not safe for me.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"LOL MY BOSS IS IN JAIL RIGHT NOW,\" said one tweet.\u003c/p>\n\u003cp>\"We're going to hide the shredder. That will drive #KimDavis crazy when she gets here,\" said another, after Davis was released from jail Tuesday.\u003c/p>\n\u003cp>Dave said he \"absolutely\" supports gay marriage and notes that while he was growing up in Montgomery, Alabama, his grandparents were active in the civil rights movement.\u003c/p>\n\u003cp>\"They were also friends with Rosa Parks and, you know, to equate the two things (Davis refusing to give out marriage licenses to gay couples and Parks refusing to give up her seat on a bus) is shocking to me, and little offensive,\" said Dave.\u003c/p>\n\u003cp>I asked Dave what surprised him most since the account went live.\u003c/p>\n\u003cp>\"The thing that surprises me the most is how much more reaction I get when I mention a piece of office equipment,\" he said in all seriousness. \"Any tweet that refers to a Xerox machine or a chair, people really, really seem to enjoy.\"\u003c/p>\n\u003cp>In the end, Dave hopes to de-escalate the whole issue by keeping it all in perspective.\u003c/p>\n\u003cp>\"This is just one person, not a huge movement, not a huge war,\" Dave said. \"Just one person being kind of a jerk to everybody at her work.\"\u003c/p>\n\u003cp>Dave came to L.A. five years ago from Chicago, where he worked for the legendary \u003ca href=\"http://www.secondcity.com/\" target=\"_blank\">Second City\u003c/a> comedy club that launched the likes of Dan Aykroyd and Jim Belushi. Now he teaches comedy and improv classes.\u003c/p>\n\u003cp>He realizes this Twitter thing going viral could be a career opportunity for him. Still, he's waiting for advice from his agent before he reveals his full identity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I'm not sure that's a good idea,\" he said. \"I don't want to put myself out on this in a way that's not safe for me.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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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",
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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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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"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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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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