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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://player.vimeo.com/video/134351601\" width=\"800\" height=\"449\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Justin Majeczky, a photographer who specializes in timelapses, was at home in the Yolo County town of Woodland on Wednesday when he saw smoke to the west. He was seeing the early stages of the Wragg Fire, which has burned nearly 7,000 acres at the southeast end of Lake Berryessa.\u003c/p>\n\u003cp>Majeczky, 27, grabbed his timelapse equipment -- two Sony cameras and a pair of tripods -- and headed across the western edge of the Sacramento Valley toward the mountains where the fire was burning. What he captured was, well, poetic. The video, above, speaks for itself.\u003c/p>\n\u003cp>The images also illustrate a less poetic reality: In its early hours especially, the fire was generating large volumes of smoke and ash that caused air-quality concerns east into Winters, Davis, Sacramento and north as far as Redding.\u003c/p>\n\u003cp>Majeczky says he began putting timelapses together when he was 16. \"I started shooting when I was 13, and then the timelapses were something fun to do,\" he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He's now in the timelapse business. His small production company, Varient3.com, took off after he posted a piece on Sacramento last year, and he's done work for commercial clients, including camera maker Canon and Home and Garden Television.\u003c/p>\n\n",
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"title": "Negativland's Don Joyce, DJ Behind KPFA's 'Over The Edge,' Has Died",
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"content": "\u003cp>Don Joyce, a longtime member of the Bay Area experimental group Negativland and the host of KPFA’s radio show \u003ci>Over The Edge\u003c/i>, died Wednesday of heart failure. He was 71. \u003c/p>\n\u003cp>[contextly_sidebar id=”ayqJ8Qh7wZdsYCaWplpQicfm3C29u0mq”]\u003c/p>\n\u003cp>In an obituary posted on the band’s \u003ca href=\"https://www.facebook.com/Negativlandland/posts/1098963353464741\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>, Joyce is credited with coining the phrase “culture jamming” to describe Negativland’s manipulation of re-appropriated media into biting social/political/religious commentary. Joyce also introduced to band members the concept of cutting up recorded material — both music and voice recordings — to create new compositions, years before sampling was common.\u003c/p>\n\u003cp>Joyce’s influence on the band was evident in its most high-profile recordings, including “\u003ca href=\"https://www.youtube.com/watch?v=Z6gPSSYxex0\" target=\"_blank\" rel=\"noopener\">I Still Haven’t Found What I’m Looking For\u003c/a>,” which mashed up samples from the hit song by U2 with kazoos, electronics, and an profane rant by Top 40 radio DJ Casey Kasem. The band was famously sued by representatives from U2’s label Island Records, and the lawsuit is often cited in present-day discussions of fair use. \u003c/p>\n\u003cp>“‘Recontextualization’ became his weapon, with the 1/4” tape machine and razor blade his ammunition, and the radio ‘cart player’ — an entirely forgotten piece of broadcast history using endless-loop tape cartridges, which he used until his death — his delivery system,” the obituary says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Described by Negativland’s Peter Conheim as being the group’s “tape-razor madman,” Joyce was first introduced to the band as guests on \u003ci>Over The Edge\u003c/i>, a radio show Joyce founded in 1981. The collaboration turned the show from a more traditional music-and-talking form into an experimental sound collage that aired on Thursday nights for 34 years. (All of Joyce’s \u003cem>Over the Edge\u003c/em> shows — over 5,000 hours worth — will stay available on the \u003ca href=\"https://archive.org/details/negativland\" target=\"_blank\" rel=\"noopener\">Internet Archive\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_10144616\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_14.jpg\" alt=\"Negativland, from 1997\" width=\"640\" height=\"355\" class=\"size-full wp-image-10144616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14-400x221.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, from 1997. \u003ccite>(Photo by Rose Whitaker and Negativland.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joyce stopped playing live with Negativland in 2010, citing health issues, but he was still actively composing for the band. A staunch atheist, his critical reviews of religion were on full display on Negativland’s most recent album, \u003ci>It’s All In Your Head\u003c/i>.\u003c/p>\n\u003cp>“I’m fascinated with human gullibility and the dangers it poses,” Joyce said in an \u003ca href=\"http://ww2.kqed.org/arts/2014/10/28/negativland-is-still-cultural-jamming-taking-on-our-masters/\" target=\"_blank\" rel=\"noopener\">interview last year\u003c/a>. “I’ve been creating religious collages of various kinds all the way back to the beginning of \u003cem>Over the Edge\u003c/em> broadcasting. Thirty years, and it still hasn’t changed much.”\u003c/p>\n\u003cp>Joyce was born in Keene, New Hampshire in 1944. He moved to Oakland in the 1960s, where he lived until his death, according to the band. No details about a funeral service have been made public at this time. \u003c/p>\n\u003cp>Joyce is the second member of Negativland to die this year; past member Ian Allen \u003ca href=\"http://www.negativland.com/news/?p=688#comments\" target=\"_blank\" rel=\"noopener\">died in January\u003c/a>. \u003c/p>\n\u003cp>\u003ci>Listen to Negativland’s “No Business,” which Conheim has noted as being Joyce’s first digitally-composed piece:\u003c/i> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9y4MHDPY2m4\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Don Joyce, a longtime member of the Bay Area experimental group Negativland and the host of KPFA’s radio show \u003ci>Over The Edge\u003c/i>, died Wednesday of heart failure. He was 71. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In an obituary posted on the band’s \u003ca href=\"https://www.facebook.com/Negativlandland/posts/1098963353464741\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>, Joyce is credited with coining the phrase “culture jamming” to describe Negativland’s manipulation of re-appropriated media into biting social/political/religious commentary. Joyce also introduced to band members the concept of cutting up recorded material — both music and voice recordings — to create new compositions, years before sampling was common.\u003c/p>\n\u003cp>Joyce’s influence on the band was evident in its most high-profile recordings, including “\u003ca href=\"https://www.youtube.com/watch?v=Z6gPSSYxex0\" target=\"_blank\" rel=\"noopener\">I Still Haven’t Found What I’m Looking For\u003c/a>,” which mashed up samples from the hit song by U2 with kazoos, electronics, and an profane rant by Top 40 radio DJ Casey Kasem. The band was famously sued by representatives from U2’s label Island Records, and the lawsuit is often cited in present-day discussions of fair use. \u003c/p>\n\u003cp>“‘Recontextualization’ became his weapon, with the 1/4” tape machine and razor blade his ammunition, and the radio ‘cart player’ — an entirely forgotten piece of broadcast history using endless-loop tape cartridges, which he used until his death — his delivery system,” the obituary says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Described by Negativland’s Peter Conheim as being the group’s “tape-razor madman,” Joyce was first introduced to the band as guests on \u003ci>Over The Edge\u003c/i>, a radio show Joyce founded in 1981. The collaboration turned the show from a more traditional music-and-talking form into an experimental sound collage that aired on Thursday nights for 34 years. (All of Joyce’s \u003cem>Over the Edge\u003c/em> shows — over 5,000 hours worth — will stay available on the \u003ca href=\"https://archive.org/details/negativland\" target=\"_blank\" rel=\"noopener\">Internet Archive\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_10144616\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_14.jpg\" alt=\"Negativland, from 1997\" width=\"640\" height=\"355\" class=\"size-full wp-image-10144616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14-400x221.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, from 1997. \u003ccite>(Photo by Rose Whitaker and Negativland.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joyce stopped playing live with Negativland in 2010, citing health issues, but he was still actively composing for the band. A staunch atheist, his critical reviews of religion were on full display on Negativland’s most recent album, \u003ci>It’s All In Your Head\u003c/i>.\u003c/p>\n\u003cp>“I’m fascinated with human gullibility and the dangers it poses,” Joyce said in an \u003ca href=\"http://ww2.kqed.org/arts/2014/10/28/negativland-is-still-cultural-jamming-taking-on-our-masters/\" target=\"_blank\" rel=\"noopener\">interview last year\u003c/a>. “I’ve been creating religious collages of various kinds all the way back to the beginning of \u003cem>Over the Edge\u003c/em> broadcasting. Thirty years, and it still hasn’t changed much.”\u003c/p>\n\u003cp>Joyce was born in Keene, New Hampshire in 1944. He moved to Oakland in the 1960s, where he lived until his death, according to the band. No details about a funeral service have been made public at this time. \u003c/p>\n\u003cp>Joyce is the second member of Negativland to die this year; past member Ian Allen \u003ca href=\"http://www.negativland.com/news/?p=688#comments\" target=\"_blank\" rel=\"noopener\">died in January\u003c/a>. \u003c/p>\n\u003cp>\u003ci>Listen to Negativland’s “No Business,” which Conheim has noted as being Joyce’s first digitally-composed piece:\u003c/i> \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/9y4MHDPY2m4'\n title='//www.youtube.com/embed/9y4MHDPY2m4'\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": "City Plans to Transform Treasure Island with $50 Million for Public Art",
"headTitle": "City Plans to Transform Treasure Island with $50 Million for Public Art | KQED",
"content": "\u003cp>In an art-themed version of the movie axiom, “if you build it, they will come,” the San Francisco Arts Commission (SFAC) hopes to draw locals and tourists alike to Treasure Island — and not just for its views.\u003c/p>\n\u003cp>Over the next 20 years, the man-made tract of land will undergo a massive transformation, on par with its historical shift from world’s fair site to Navy base in 1941. Its population will swell from about 2,000 residents to an estimated 19,000, it will gain a ferry station, up to 500 hotel rooms, and, perhaps most remarkably, $50 million in public art.\u003c/p>\n\u003cfigure id=\"attachment_10826953\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826953\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IslandCenter-e1436399349906.jpg\" alt=\"Rendering from 'Treasure Island and Yerba Buena Island Design for Development' (Photo: TIDA)\" width=\"640\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">Rendering from ‘Treasure Island and Yerba Buena Island Design for Development’ (Photo: TIDA) \u003ccite>(Photo: Courtesy of Treasure Island Development Authority)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the housing crisis continues in San Francisco and East Bay prices rise to match, the promise of 8,000 new units on Treasure Island (25 percent at below-market rates) could be incentive enough to make people pay attention to a part of the city often left off the maps. But Treasure Island’s future includes more than just housing. And the SFAC’s arts master plan, expected by March 2016, seeks to make the spot an art-world destination.\u003c/p>\n\u003cp>The cause is led by Jill Manton, director of the SFAC’s Public Art Trust and Special Initiatives, who met with the mayor’s office ten years ago to make sure public art wasn’t neglected in Treasure Island’s long-term development plans. The SFAC will manage pooled funds from the development’s one percent for art fee, the city’s mandate that a building project expend one percent of the construction cost towards public art.\u003c/p>\n\u003cp>What does this mean for a part of the city currently and conspicuously lacking any public art? Instead of a smattering of monolithic entryway sculptures, the likes of which can be seen in many of San Francisco’s towering new condominiums, Treasure Island will host a deeply considered and generously budgeted public art program, all sited on publicly accessible open space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Think island-wide treasure hunts, dance performances, light displays, wind-activated art and sculpture gardens. Increasingly for the SFAC, public art is more than just graffiti-resistant plaza sculpture. Treasure Island is an opportunity for expansive definitions of public art to be put to the test on an unprecedented scale for the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_10826955\" class=\"wp-caption alignright\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826955\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/142627758.jpg\" alt=\"View from the Bay Bridge of the 1939 Golden Gate International Exposition, 1939. (Photo: Underwood Archives/Getty Images)\" width=\"594\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/142627758.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/142627758-400x312.jpg 400w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">View from the Bay Bridge of the 1939 Golden Gate International Exposition, 1939. (Photo: Underwood Archives/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>Built for the 1939 Golden Gate International Exposition, Treasure Island soon abandoned such frivolity for a Navy station, which remained active until 1997. Today, the site is home to a small, but diverse community, including a Job Corps outpost, the Treasure Island Homeless Development Initiative (providing support and housing for people seeking to exit homelessness) and a single grocery store.\u003c/p>\n\u003cp>May 29, 2015 marked the first major transfer of 270 acres from the Navy to the city of San Francisco, beginning the long-awaited development process of the “Magic Isle” under the direction of the Treasure Island Development Authority (TIDA).\u003c/p>\n\u003cp>In addition to homes and hotels, the development plan includes basic infrastructure updates to Treasure Island’s streets, landscaping, an urban agricultural park and a new area of natural habitat called “The Wilds.” Land transfers will continue over the next seven years.\u003c/p>\n\u003cp>Becky Hogue, a member of TIDA’s Citizen Advisory Board (CAB) and a Treasure Island resident, says she currently knows more about the proposed trees and paving than the public art plan. She hopes the SFAC bucks a trend of excluding residents from the activities going on in their own backyard.\u003c/p>\n\u003cp>“There are a lot of big events on the great lawn,” Hogue says, pointing to Oracle’s annual OpenWorld “appreciation event” and the Treasure Island Music Festival. “But the residents aren’t part of them.”\u003c/p>\n\u003cfigure id=\"attachment_10826961\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826961\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/14533842461_9dbb9d456b_z.jpg\" alt=\"Benjamin Jones, 'Treehouse,' 2014 (Photo: Alex Taferner/figmentNYC)\" width=\"640\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14533842461_9dbb9d456b_z.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14533842461_9dbb9d456b_z-400x265.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Benjamin Jones, ‘Treehouse,’ 2014 (Photo: Alex Taferner/figmentNYC)\u003c/figcaption>\u003c/figure>\n\u003cp>In an effort to be more inclusive, Manton is considering ways in which to democratize the curatorial process of a designated open space, a so-called “free zone.” The idea is similar to that of \u003ca href=\"http://newyork.figmentproject.org/\" target=\"_blank\" rel=\"noopener\">FIGMENT,\u003c/a> a weekend-long participatory art event that takes place in a number of cities around the country.\u003c/p>\n\u003cp>“We are often approached by artists about displaying their work in the city and it often does not work out for various reasons and logistics — aesthetic quality being one of the primary factors,” Manton says. FIGMENT is open to submissions from “anyone who can bring their project by their own means and de-install it when the event is over.”\u003c/p>\n\u003cp>The Oakland Museum’s \u003ca href=\"http://www.museumca.org/bay-bridge-steel\" target=\"_blank\" rel=\"noopener\">Bay Bridge Steel project\u003c/a> may provide another possibility for increased public collaboration. The program intends to make salvaged parts of the old bridge available to artists as material for public art projects. Could Treasure Island be one such destination for the transformed spans? Manton says it makes perfect sense: “What could be more site specific?”\u003c/p>\n\u003cp>Kathrin Moore, a CAB member since the group’s inception in 2001, is enthusiastic about the SFAC’s involvement. Moore thinks Treasure Island’s public art program, if curated correctly, could gain international recognition, likening the large-scale use of open space to \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Documenta\" target=\"_blank\" rel=\"noopener\">documenta\u003c/a>, \u003c/em>held every five years in Kassel, Germany.\u003c/p>\n\u003cp>“It’s interesting to talk about these large ideas when the project hasn’t even started,” Moore says. “It’s a way to think about art as a form of civic dialogue ahead of just using art as a way to furnish places.”\u003c/p>\n\u003cfigure id=\"attachment_10826954\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10826954\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-1180x911.jpg\" alt=\"Overview from 'Treasure Island and Yerba Buena Island Design for Development' (Photo: TIDA)\" width=\"640\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-1180x911.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-777x600.jpg 777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-960x741.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview.jpg 1224w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Overview from ‘Treasure Island and Yerba Buena Island Design for Development’ (Photo: TIDA)\u003c/figcaption>\u003c/figure>\n\u003cp>As the SFAC develops its plans, it looks to other island-based art projects for inspiration, especially New York City’s \u003ca href=\"http://govisland.com/\" target=\"_blank\" rel=\"noopener\">Governors Island\u003c/a>. Another former military base, Governors Island transferred to the city in 2003 and now hosts a summer-long series of concerts, art events, open studios, family activity days and site-specific projects, including an iteration of FIGMENT.\u003c/p>\n\u003cp>For Tom DeCaigny, the SFAC’s director of cultural affairs, the Treasure Island development project isn’t just about “placemaking” — a buzzword in the world of urban planning — but, rather, “placekeeping.” That is, honoring Treasure Island’s past and the communities that have shaped it, while recognizing the incredible alterations it will undergo in the years ahead. “As San Francisco is changing, this is really an investment in the role of artists in San Francisco and the artists who have made this city so great,” DeCaigny says.\u003c/p>\n\u003cp>Working collaboratively with TIDA, the architects and designers behind the development, Treasure Island residents and the San Francisco art community, the SFAC’s arts master plan will pinpoint sites for activation and detail a three-year schedule to jump-start a longer-term process. “Arts plans tend to be dry and rote,” Manton says. “I want this to be a dynamic and inspiring document, full of experimentation.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>While the physical realization of this plan is still years away, the city’s decision to consider public art alongside street parking and building setbacks represents a very different understanding of what it takes to build a thriving urban community. In this context, public art is cultural cachet for residents, tourists and the city itself. And for Treasure Island, it means yet another costume change in its eight decade history — this time, from being in the wings to taking center stage.\u003c/p>\n\n",
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"excerpt": "SFAC looks ahead to enrich Treasure Island's open space with an unprecedented budget for public art.",
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"title": "City Plans to Transform Treasure Island with $50 Million for Public Art | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an art-themed version of the movie axiom, “if you build it, they will come,” the San Francisco Arts Commission (SFAC) hopes to draw locals and tourists alike to Treasure Island — and not just for its views.\u003c/p>\n\u003cp>Over the next 20 years, the man-made tract of land will undergo a massive transformation, on par with its historical shift from world’s fair site to Navy base in 1941. Its population will swell from about 2,000 residents to an estimated 19,000, it will gain a ferry station, up to 500 hotel rooms, and, perhaps most remarkably, $50 million in public art.\u003c/p>\n\u003cfigure id=\"attachment_10826953\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826953\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IslandCenter-e1436399349906.jpg\" alt=\"Rendering from 'Treasure Island and Yerba Buena Island Design for Development' (Photo: TIDA)\" width=\"640\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">Rendering from ‘Treasure Island and Yerba Buena Island Design for Development’ (Photo: TIDA) \u003ccite>(Photo: Courtesy of Treasure Island Development Authority)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the housing crisis continues in San Francisco and East Bay prices rise to match, the promise of 8,000 new units on Treasure Island (25 percent at below-market rates) could be incentive enough to make people pay attention to a part of the city often left off the maps. But Treasure Island’s future includes more than just housing. And the SFAC’s arts master plan, expected by March 2016, seeks to make the spot an art-world destination.\u003c/p>\n\u003cp>The cause is led by Jill Manton, director of the SFAC’s Public Art Trust and Special Initiatives, who met with the mayor’s office ten years ago to make sure public art wasn’t neglected in Treasure Island’s long-term development plans. The SFAC will manage pooled funds from the development’s one percent for art fee, the city’s mandate that a building project expend one percent of the construction cost towards public art.\u003c/p>\n\u003cp>What does this mean for a part of the city currently and conspicuously lacking any public art? Instead of a smattering of monolithic entryway sculptures, the likes of which can be seen in many of San Francisco’s towering new condominiums, Treasure Island will host a deeply considered and generously budgeted public art program, all sited on publicly accessible open space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Think island-wide treasure hunts, dance performances, light displays, wind-activated art and sculpture gardens. Increasingly for the SFAC, public art is more than just graffiti-resistant plaza sculpture. Treasure Island is an opportunity for expansive definitions of public art to be put to the test on an unprecedented scale for the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_10826955\" class=\"wp-caption alignright\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826955\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/142627758.jpg\" alt=\"View from the Bay Bridge of the 1939 Golden Gate International Exposition, 1939. (Photo: Underwood Archives/Getty Images)\" width=\"594\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/142627758.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/142627758-400x312.jpg 400w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">View from the Bay Bridge of the 1939 Golden Gate International Exposition, 1939. (Photo: Underwood Archives/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>Built for the 1939 Golden Gate International Exposition, Treasure Island soon abandoned such frivolity for a Navy station, which remained active until 1997. Today, the site is home to a small, but diverse community, including a Job Corps outpost, the Treasure Island Homeless Development Initiative (providing support and housing for people seeking to exit homelessness) and a single grocery store.\u003c/p>\n\u003cp>May 29, 2015 marked the first major transfer of 270 acres from the Navy to the city of San Francisco, beginning the long-awaited development process of the “Magic Isle” under the direction of the Treasure Island Development Authority (TIDA).\u003c/p>\n\u003cp>In addition to homes and hotels, the development plan includes basic infrastructure updates to Treasure Island’s streets, landscaping, an urban agricultural park and a new area of natural habitat called “The Wilds.” Land transfers will continue over the next seven years.\u003c/p>\n\u003cp>Becky Hogue, a member of TIDA’s Citizen Advisory Board (CAB) and a Treasure Island resident, says she currently knows more about the proposed trees and paving than the public art plan. She hopes the SFAC bucks a trend of excluding residents from the activities going on in their own backyard.\u003c/p>\n\u003cp>“There are a lot of big events on the great lawn,” Hogue says, pointing to Oracle’s annual OpenWorld “appreciation event” and the Treasure Island Music Festival. “But the residents aren’t part of them.”\u003c/p>\n\u003cfigure id=\"attachment_10826961\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826961\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/14533842461_9dbb9d456b_z.jpg\" alt=\"Benjamin Jones, 'Treehouse,' 2014 (Photo: Alex Taferner/figmentNYC)\" width=\"640\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14533842461_9dbb9d456b_z.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14533842461_9dbb9d456b_z-400x265.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Benjamin Jones, ‘Treehouse,’ 2014 (Photo: Alex Taferner/figmentNYC)\u003c/figcaption>\u003c/figure>\n\u003cp>In an effort to be more inclusive, Manton is considering ways in which to democratize the curatorial process of a designated open space, a so-called “free zone.” The idea is similar to that of \u003ca href=\"http://newyork.figmentproject.org/\" target=\"_blank\" rel=\"noopener\">FIGMENT,\u003c/a> a weekend-long participatory art event that takes place in a number of cities around the country.\u003c/p>\n\u003cp>“We are often approached by artists about displaying their work in the city and it often does not work out for various reasons and logistics — aesthetic quality being one of the primary factors,” Manton says. FIGMENT is open to submissions from “anyone who can bring their project by their own means and de-install it when the event is over.”\u003c/p>\n\u003cp>The Oakland Museum’s \u003ca href=\"http://www.museumca.org/bay-bridge-steel\" target=\"_blank\" rel=\"noopener\">Bay Bridge Steel project\u003c/a> may provide another possibility for increased public collaboration. The program intends to make salvaged parts of the old bridge available to artists as material for public art projects. Could Treasure Island be one such destination for the transformed spans? Manton says it makes perfect sense: “What could be more site specific?”\u003c/p>\n\u003cp>Kathrin Moore, a CAB member since the group’s inception in 2001, is enthusiastic about the SFAC’s involvement. Moore thinks Treasure Island’s public art program, if curated correctly, could gain international recognition, likening the large-scale use of open space to \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Documenta\" target=\"_blank\" rel=\"noopener\">documenta\u003c/a>, \u003c/em>held every five years in Kassel, Germany.\u003c/p>\n\u003cp>“It’s interesting to talk about these large ideas when the project hasn’t even started,” Moore says. “It’s a way to think about art as a form of civic dialogue ahead of just using art as a way to furnish places.”\u003c/p>\n\u003cfigure id=\"attachment_10826954\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10826954\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-1180x911.jpg\" alt=\"Overview from 'Treasure Island and Yerba Buena Island Design for Development' (Photo: TIDA)\" width=\"640\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-1180x911.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-777x600.jpg 777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-960x741.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview.jpg 1224w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Overview from ‘Treasure Island and Yerba Buena Island Design for Development’ (Photo: TIDA)\u003c/figcaption>\u003c/figure>\n\u003cp>As the SFAC develops its plans, it looks to other island-based art projects for inspiration, especially New York City’s \u003ca href=\"http://govisland.com/\" target=\"_blank\" rel=\"noopener\">Governors Island\u003c/a>. Another former military base, Governors Island transferred to the city in 2003 and now hosts a summer-long series of concerts, art events, open studios, family activity days and site-specific projects, including an iteration of FIGMENT.\u003c/p>\n\u003cp>For Tom DeCaigny, the SFAC’s director of cultural affairs, the Treasure Island development project isn’t just about “placemaking” — a buzzword in the world of urban planning — but, rather, “placekeeping.” That is, honoring Treasure Island’s past and the communities that have shaped it, while recognizing the incredible alterations it will undergo in the years ahead. “As San Francisco is changing, this is really an investment in the role of artists in San Francisco and the artists who have made this city so great,” DeCaigny says.\u003c/p>\n\u003cp>Working collaboratively with TIDA, the architects and designers behind the development, Treasure Island residents and the San Francisco art community, the SFAC’s arts master plan will pinpoint sites for activation and detail a three-year schedule to jump-start a longer-term process. “Arts plans tend to be dry and rote,” Manton says. “I want this to be a dynamic and inspiring document, full of experimentation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the physical realization of this plan is still years away, the city’s decision to consider public art alongside street parking and building setbacks represents a very different understanding of what it takes to build a thriving urban community. In this context, public art is cultural cachet for residents, tourists and the city itself. And for Treasure Island, it means yet another costume change in its eight decade history — this time, from being in the wings to taking center stage.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Parent's Guide to Seeing 'Matilda the Musical' with Kids",
"headTitle": "A Parent’s Guide to Seeing ‘Matilda the Musical’ with Kids | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/matilda-the-musical/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Matilda the Musical’\u003c/h2>\n\u003cdiv class=\"event-desc\">The hit Broadway show about a prodigal little girl based on the beloved story by Roald Dahl stops in San Francisco on its national tour.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 15\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Orpheum Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/matilda-the-musical/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>I still remember seeing \u003cem>Annie\u003c/em> on stage for the first time when I was a little girl. My sisters and I brought home the cast recording with its bright red and white cover and spun it endlessly on our record player. We sang “It’s A Hard Knock Life” with the conviction of Depression-era orphans.\u003c/p>\n\u003cp>With those memories of \u003cem>Annie\u003c/em> still playing in my mind, I jumped at the chance to take my seven-year-old daughter Rowan to see \u003cem>Matilda The Musical\u003c/em>, based on the book by Roald Dahl. It’s playing at the Orpheum Theatre in San Francisco through August 15th.\u003c/p>\n\u003cp>At the heart of the story is Matilda, a five-year-old prodigy whose idiotic parents can’t understand why she loves to read so much. When Matilda begins school, her sweet teacher Miss Honey recognizes her brilliance and looks out for her. But the school is ruled by an evil headmistress, Miss Trunchbull. She hates the children and punishes them by locking them in the dreaded “Chokey.”\u003c/p>\n\u003cfigure id=\"attachment_10850267\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10850267\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_6885-450x600.jpg\" alt=\"Rowan Kelly stands in front of a poster for 'Matilda the Musical' at the Orpheum Theatre in San Francisco \" width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-1400x1867.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-960x1280.jpg 960w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Rowan Kelly stands in front of a poster for ‘Matilda the Musical’ at the Orpheum Theatre in San Francisco \u003ccite>(Photo: Erika Kelly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matilda isn’t just smart. She has a fierce mischievous streak, which she uses to put bullies in their place. And that’s just what my daughter Rowan likes best about the character. “My favorite part was when Matilda played tricks on her dad,” Rowan said. “I liked when she put glue in his hat and turned his hair green.” I am now wondering if maybe I should lock up our supply of crazy glue.\u003c/p>\n\u003cp>The theater was filled with lots of little Matilda fans the Sunday matinee performance I attended, including Josie Marroquin, 7, from San Francisco. “My favorite character is Matilda because she’s brave and smart,” Josie said to me. Josie’s favorite part is when Matilda wowed Miss Honey with her mastery of her “times tables.” That thrills Josie, because she’s working on her own times tables, said her grandfather Rex Ridgeway. Personally, I think every little girl needs a heroine who is known for her superior math skills.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like a good Pixar movie, Matilda is one of those family entertainments that is actually entertaining for family members over the age of 12. I loved sweet, smart Matilda. But I enjoyed the idiots and the evildoers even more. While busy repressing young children, Miss Trunchbull manages to do some hilarious singing, dancing and acrobatics. The character is played by Danville native Bryce Ryness, who looks fierce in the headmistress’s gray bun and shoulder-padded military uniform.\u003c/p>\n\u003cfigure id=\"attachment_10850268\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10850268\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-800x520.jpg\" alt=\"Bryce Ryness (Miss Trunchbull) and Mabel Tyler (Matilda Wormwood) together with members of the 'Matilda The Musical' cast.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-1180x767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-1400x910.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-960x624.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bryce Ryness (Miss Trunchbull) and Mabel Tyler (Matilda Wormwood) together with members of the ‘Matilda The Musical’ cast. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And what of the music? This is a musical after all. The first song, “Miracle,” is kind of a slow starter. Rowan didn’t really understand who all the kids were (“Where’s Matilda?”) and this lengthy salute to badly behaved children grated on my nerves after a while. But the songs improve soon thereafter, when Matilda sings “Naughty.” I think the clever schoolgirl sees into Rowan’s soul when she sings: “We’re told we have to do what we’re told, but surely sometimes you have to be a little bit naughty.”\u003c/p>\n\u003cp>“When I Grow Up,” at the start of the second act, is sweet and melancholy, and earns joy points from Rowan because the kids play on giant swings as they sing. My favorite is “Revolting Children,” a rock anthem with a punk vibe — well, punk for a Broadway show tune anyway.\u003c/p>\n\u003cp>Like many Broadway shows, seeing \u003cem>Matilda\u003c/em> isn’t cheap. Ticket prices start at $45 and there are no discounts for children, though a limited number of limited view rush tickets are available for $40 (cash only) two hours before curtain. Lining up for these rush tickets with small children on one of the busiest and most economically challenged sections of Market Street isn’t necessarily the easiest proposition for many parents, though. Plus, a ticket buyer can only purchase two rush tickets per performance, so taking the kids to a nearby cafe while your partner stands in line isn’t likely.\u003c/p>\n\u003cp>That being said, the musical is worth the money if you can spare it. I even went as far as to drop $25 to buy the CD. We played it on the car ride home, and I can only hope it gets the same love that I gave my old vinyl copy of \u003cem>Annie\u003c/em>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>If you’re thinking of going to see the show…\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Matilda is recommended for kids ages six and up. If you do have a young child, ask an usher for a booster seat so he or she can see over the giant adult heads in the way.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The production requires some staying power: it lasts 2 hours and 34 minutes with one 15 minute intermission. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Matilda the Musical runs through Aug. 15, SHN Orpheum Theater, 1192 Market Street, San Francisco.\u003c/em>\u003c/p>\n\n",
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"excerpt": "KQED's Erika Kelly and her daughter Rowan take in a matinee performance of 'Matilda the Musical' to figure out if it's really worth plunking down the hefty ticket price to see the hit Broadway show, currently on tour in San Francisco. ",
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"description": "KQED's Erika Kelly and her daughter Rowan take in a matinee performance of 'Matilda the Musical' to figure out if it's really worth plunking down the hefty ticket price to see the hit Broadway show, currently on tour in San Francisco. ",
"title": "A Parent's Guide to Seeing 'Matilda the Musical' with Kids | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/matilda-the-musical/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Matilda the Musical’\u003c/h2>\n\u003cdiv class=\"event-desc\">The hit Broadway show about a prodigal little girl based on the beloved story by Roald Dahl stops in San Francisco on its national tour.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 15\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Orpheum Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/matilda-the-musical/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>I still remember seeing \u003cem>Annie\u003c/em> on stage for the first time when I was a little girl. My sisters and I brought home the cast recording with its bright red and white cover and spun it endlessly on our record player. We sang “It’s A Hard Knock Life” with the conviction of Depression-era orphans.\u003c/p>\n\u003cp>With those memories of \u003cem>Annie\u003c/em> still playing in my mind, I jumped at the chance to take my seven-year-old daughter Rowan to see \u003cem>Matilda The Musical\u003c/em>, based on the book by Roald Dahl. It’s playing at the Orpheum Theatre in San Francisco through August 15th.\u003c/p>\n\u003cp>At the heart of the story is Matilda, a five-year-old prodigy whose idiotic parents can’t understand why she loves to read so much. When Matilda begins school, her sweet teacher Miss Honey recognizes her brilliance and looks out for her. But the school is ruled by an evil headmistress, Miss Trunchbull. She hates the children and punishes them by locking them in the dreaded “Chokey.”\u003c/p>\n\u003cfigure id=\"attachment_10850267\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10850267\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_6885-450x600.jpg\" alt=\"Rowan Kelly stands in front of a poster for 'Matilda the Musical' at the Orpheum Theatre in San Francisco \" width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-1400x1867.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-960x1280.jpg 960w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Rowan Kelly stands in front of a poster for ‘Matilda the Musical’ at the Orpheum Theatre in San Francisco \u003ccite>(Photo: Erika Kelly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matilda isn’t just smart. She has a fierce mischievous streak, which she uses to put bullies in their place. And that’s just what my daughter Rowan likes best about the character. “My favorite part was when Matilda played tricks on her dad,” Rowan said. “I liked when she put glue in his hat and turned his hair green.” I am now wondering if maybe I should lock up our supply of crazy glue.\u003c/p>\n\u003cp>The theater was filled with lots of little Matilda fans the Sunday matinee performance I attended, including Josie Marroquin, 7, from San Francisco. “My favorite character is Matilda because she’s brave and smart,” Josie said to me. Josie’s favorite part is when Matilda wowed Miss Honey with her mastery of her “times tables.” That thrills Josie, because she’s working on her own times tables, said her grandfather Rex Ridgeway. Personally, I think every little girl needs a heroine who is known for her superior math skills.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like a good Pixar movie, Matilda is one of those family entertainments that is actually entertaining for family members over the age of 12. I loved sweet, smart Matilda. But I enjoyed the idiots and the evildoers even more. While busy repressing young children, Miss Trunchbull manages to do some hilarious singing, dancing and acrobatics. The character is played by Danville native Bryce Ryness, who looks fierce in the headmistress’s gray bun and shoulder-padded military uniform.\u003c/p>\n\u003cfigure id=\"attachment_10850268\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10850268\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-800x520.jpg\" alt=\"Bryce Ryness (Miss Trunchbull) and Mabel Tyler (Matilda Wormwood) together with members of the 'Matilda The Musical' cast.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-1180x767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-1400x910.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-960x624.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bryce Ryness (Miss Trunchbull) and Mabel Tyler (Matilda Wormwood) together with members of the ‘Matilda The Musical’ cast. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And what of the music? This is a musical after all. The first song, “Miracle,” is kind of a slow starter. Rowan didn’t really understand who all the kids were (“Where’s Matilda?”) and this lengthy salute to badly behaved children grated on my nerves after a while. But the songs improve soon thereafter, when Matilda sings “Naughty.” I think the clever schoolgirl sees into Rowan’s soul when she sings: “We’re told we have to do what we’re told, but surely sometimes you have to be a little bit naughty.”\u003c/p>\n\u003cp>“When I Grow Up,” at the start of the second act, is sweet and melancholy, and earns joy points from Rowan because the kids play on giant swings as they sing. My favorite is “Revolting Children,” a rock anthem with a punk vibe — well, punk for a Broadway show tune anyway.\u003c/p>\n\u003cp>Like many Broadway shows, seeing \u003cem>Matilda\u003c/em> isn’t cheap. Ticket prices start at $45 and there are no discounts for children, though a limited number of limited view rush tickets are available for $40 (cash only) two hours before curtain. Lining up for these rush tickets with small children on one of the busiest and most economically challenged sections of Market Street isn’t necessarily the easiest proposition for many parents, though. Plus, a ticket buyer can only purchase two rush tickets per performance, so taking the kids to a nearby cafe while your partner stands in line isn’t likely.\u003c/p>\n\u003cp>That being said, the musical is worth the money if you can spare it. I even went as far as to drop $25 to buy the CD. We played it on the car ride home, and I can only hope it gets the same love that I gave my old vinyl copy of \u003cem>Annie\u003c/em>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>If you’re thinking of going to see the show…\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Matilda is recommended for kids ages six and up. If you do have a young child, ask an usher for a booster seat so he or she can see over the giant adult heads in the way.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The production requires some staying power: it lasts 2 hours and 34 minutes with one 15 minute intermission. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Matilda the Musical runs through Aug. 15, SHN Orpheum Theater, 1192 Market Street, San Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Making Sense of Nudity at Halprin Hyde Street Pier Event",
"headTitle": "Making Sense of Nudity at Halprin Hyde Street Pier Event | KQED",
"content": "\u003cp>Golden light slants onto the San Francisco Bay, as Dana Iova-Koga steps forward on the Hyde Street Pier. This is a dance of simple gestures that begins as four people emerge on the pier, carrying a galvanized metal bucket in each hand.\u003c/p>\n\u003cp>The performers put down the buckets full of water, wet their feet, pick up the buckets and walk a few steps. Then they do it again. And again. Slowly and ceremonially, down the pier.\u003c/p>\n\u003cfigure id=\"attachment_10840198\" class=\"wp-caption alignright\" style=\"max-width: 3500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10840198\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg\" alt='\"Water Print\" dancers leaving wet footprints on the pier. Left to right: Dana Iova-Koga, Yoshi Asai, Yuko Kaseki, Sherwood Chen, Sten Rudstøm. ' width=\"3500\" height=\"2333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg 3500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-960x640.jpg 960w\" sizes=\"(max-width: 3500px) 100vw, 3500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Water Print” dancers leaving wet footprints on the pier. Left to right: Dana Iova-Koga, Yoshi Asai, Yuko Kaseki, Sherwood Chen, Sten Rudstøm. \u003ccite>(Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As they walk, the audience, distant on the deck of the ferry boat Eureka, sees the performers’ wet footprints form then evaporate in the sunlight and the wind gusting off the water.\u003c/p>\n\u003cp>It’s a moment of relative stillness in the performance of \u003cem>95 Ritual\u003c/em>s, a series developed by San Francisco-based performance art company inkBoat and collaborators to celebrate the 95th birthday of groundbreaking dancer and choreographer, Anna Halprin. And the passage, called “Water Prints,” stands directly in Halprin’s lineage of immersing movement so deeply in place that the environment becomes part of the performance.\u003c/p>\n\u003cp>“For about three minutes it was the most alive, sensual, delightful feeling, just feeling the air, feeling the unrestricted movement of the body,” says Iova-Koga, who spontaneously decided, with two other dancers, to perform this section in the nude last weekend. “I was able to really enjoy that feeing. Until I looked up.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Uh-oh.\u003cbr>\n\u003c/strong>\u003cbr>\nWhen Iova-Koga looked up, she saw two of the company’s producers. She couldn’t see their faces. But she could see their bodies, and they looked a little panicked.\u003c/p>\n\u003cfigure id=\"attachment_10840196\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10840196\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-400x600.jpg\" alt='Marking the boundary between land and sea, in \"95 Rituals.\"' width=\"373\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-960x1440.jpg 960w\" sizes=\"(max-width: 373px) 100vw, 373px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Heekyung Cho, marking the boundary between land and sea, in “95 Rituals.” \u003ccite>(Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Iova-Koga had a sudden, nauseating realization that she had broken the National Park Service (NPS) rules for the use of Hyde Street Pier: The dancers weren’t allowed to be unclothed.\u003c/p>\n\u003cp>“Dark, icky feelings came flooding in,” she says.\u003c/p>\n\u003cp>The NPS cancelled last weekend’s Saturday performance of \u003cem>95 Rituals\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>The legacy\u003c/strong>\u003c/p>\n\u003cp>Halprin has been arrested and praised for her use of nudity in dance over her long career.\u003c/p>\n\u003cp>In a 1967 New York performance, her company dressed and undressed repeatedly in a protest against corporate greed. Halprin was arrested for indecency. But when the dance premiered in Sweden, Halprin says she received a letter from a farmer.\u003c/p>\n\u003cp>“He wrote, ‘Your nude bodies were sacred, like my newborn calves,’” Halprin says of the letter. “‘Sacred and innocent.’” The difference, it seems, was cultural context.\u003c/p>\n\u003cp>\u003cstrong>The nature of transgression \u003c/strong>\u003c/p>\n\u003cp>Halprin’s legacy of transgression encompasses content — subjects like race and nudity — as well as process. The choreographer sees everyday tasks as dance and works to erase the boundary between “performer” and “audience.”\u003c/p>\n\u003cp>A transgressive act, says Shinichi Iova-Koga, inkBoat artistic director (and dancer Dana Iova-Koga’s husband) is also “an act that gives us courage to do something.” It’s like singing in public, a commonly viewed transgression that \u003cem>95 Rituals\u003c/em> invited audience members to join in with at the end of the performance.\u003c/p>\n\u003cp>“The use of nudity is an extension of nature, that’s all,” Halprin says. “It’s as simple as that.” Nudity is also powerful, the choreographer says. So it’s important to know how audience members, particularly children, might receive it.\u003c/p>\n\u003cp>It’s an inkBoat and Halprin standard that artists can “break the score.” Shinichi Iova-Koga says he supports the artistic decision while respecting the park’s position.\u003c/p>\n\u003cp>The main problem, says Lynn Cullivan, spokesman for the San Francisco Maritime National Historic Park, is that the dancers had specifically raised the question of nudity when they were preparing for the event at Hyde Street Pier. Cullivan says the dancers had agreed to abide by the park’s rule.\u003c/p>\n\u003cp>“We cancelled the event for violating the permit,” Cullivan says. “Maybe it could have worked out if we could have prepared people for that, given them a choice.”\u003c/p>\n\u003cp>\u003cstrong>Nudity and a sense of place\u003c/strong>\u003c/p>\n\u003cp>Dana Iova-Koga says she wanted to deepen the contrast between the boisterous indoor dance that came before and the slow simplicity of “Water Prints.” That’s how inkBoat sound artist Suki O’Kane saw it. O’Kane says the absence of clothing, together with the quality of the light and the air, allowed her to absorb a sense of place.\u003c/p>\n\u003cp>“I was bound up in the elegance of these small gestures,” O’Kane says. “Moments like that can awaken us to the extraordinary qualities of where we are right now.”\u003c/p>\n\u003cp>As for the NPS rule, Iova-Koga says she simply forgot about it. And she still can’t figure that one out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ve been a good girl all my life,” Iova-Koga says. “I follow the rules. I don’t break them.”\u003c/p>\n\n",
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"excerpt": "The final performance of a piece in honor of the famous choreographer's 95th birthday, '95 Rituals,' was cancelled last Saturday after a surprise moment of rule-breaking. But breaking rules is what Halprin does best. ",
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"title": "Making Sense of Nudity at Halprin Hyde Street Pier Event | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Golden light slants onto the San Francisco Bay, as Dana Iova-Koga steps forward on the Hyde Street Pier. This is a dance of simple gestures that begins as four people emerge on the pier, carrying a galvanized metal bucket in each hand.\u003c/p>\n\u003cp>The performers put down the buckets full of water, wet their feet, pick up the buckets and walk a few steps. Then they do it again. And again. Slowly and ceremonially, down the pier.\u003c/p>\n\u003cfigure id=\"attachment_10840198\" class=\"wp-caption alignright\" style=\"max-width: 3500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10840198\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg\" alt='\"Water Print\" dancers leaving wet footprints on the pier. Left to right: Dana Iova-Koga, Yoshi Asai, Yuko Kaseki, Sherwood Chen, Sten Rudstøm. ' width=\"3500\" height=\"2333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg 3500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-960x640.jpg 960w\" sizes=\"(max-width: 3500px) 100vw, 3500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Water Print” dancers leaving wet footprints on the pier. Left to right: Dana Iova-Koga, Yoshi Asai, Yuko Kaseki, Sherwood Chen, Sten Rudstøm. \u003ccite>(Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As they walk, the audience, distant on the deck of the ferry boat Eureka, sees the performers’ wet footprints form then evaporate in the sunlight and the wind gusting off the water.\u003c/p>\n\u003cp>It’s a moment of relative stillness in the performance of \u003cem>95 Ritual\u003c/em>s, a series developed by San Francisco-based performance art company inkBoat and collaborators to celebrate the 95th birthday of groundbreaking dancer and choreographer, Anna Halprin. And the passage, called “Water Prints,” stands directly in Halprin’s lineage of immersing movement so deeply in place that the environment becomes part of the performance.\u003c/p>\n\u003cp>“For about three minutes it was the most alive, sensual, delightful feeling, just feeling the air, feeling the unrestricted movement of the body,” says Iova-Koga, who spontaneously decided, with two other dancers, to perform this section in the nude last weekend. “I was able to really enjoy that feeing. Until I looked up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Uh-oh.\u003cbr>\n\u003c/strong>\u003cbr>\nWhen Iova-Koga looked up, she saw two of the company’s producers. She couldn’t see their faces. But she could see their bodies, and they looked a little panicked.\u003c/p>\n\u003cfigure id=\"attachment_10840196\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10840196\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-400x600.jpg\" alt='Marking the boundary between land and sea, in \"95 Rituals.\"' width=\"373\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-960x1440.jpg 960w\" sizes=\"(max-width: 373px) 100vw, 373px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Heekyung Cho, marking the boundary between land and sea, in “95 Rituals.” \u003ccite>(Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Iova-Koga had a sudden, nauseating realization that she had broken the National Park Service (NPS) rules for the use of Hyde Street Pier: The dancers weren’t allowed to be unclothed.\u003c/p>\n\u003cp>“Dark, icky feelings came flooding in,” she says.\u003c/p>\n\u003cp>The NPS cancelled last weekend’s Saturday performance of \u003cem>95 Rituals\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>The legacy\u003c/strong>\u003c/p>\n\u003cp>Halprin has been arrested and praised for her use of nudity in dance over her long career.\u003c/p>\n\u003cp>In a 1967 New York performance, her company dressed and undressed repeatedly in a protest against corporate greed. Halprin was arrested for indecency. But when the dance premiered in Sweden, Halprin says she received a letter from a farmer.\u003c/p>\n\u003cp>“He wrote, ‘Your nude bodies were sacred, like my newborn calves,’” Halprin says of the letter. “‘Sacred and innocent.’” The difference, it seems, was cultural context.\u003c/p>\n\u003cp>\u003cstrong>The nature of transgression \u003c/strong>\u003c/p>\n\u003cp>Halprin’s legacy of transgression encompasses content — subjects like race and nudity — as well as process. The choreographer sees everyday tasks as dance and works to erase the boundary between “performer” and “audience.”\u003c/p>\n\u003cp>A transgressive act, says Shinichi Iova-Koga, inkBoat artistic director (and dancer Dana Iova-Koga’s husband) is also “an act that gives us courage to do something.” It’s like singing in public, a commonly viewed transgression that \u003cem>95 Rituals\u003c/em> invited audience members to join in with at the end of the performance.\u003c/p>\n\u003cp>“The use of nudity is an extension of nature, that’s all,” Halprin says. “It’s as simple as that.” Nudity is also powerful, the choreographer says. So it’s important to know how audience members, particularly children, might receive it.\u003c/p>\n\u003cp>It’s an inkBoat and Halprin standard that artists can “break the score.” Shinichi Iova-Koga says he supports the artistic decision while respecting the park’s position.\u003c/p>\n\u003cp>The main problem, says Lynn Cullivan, spokesman for the San Francisco Maritime National Historic Park, is that the dancers had specifically raised the question of nudity when they were preparing for the event at Hyde Street Pier. Cullivan says the dancers had agreed to abide by the park’s rule.\u003c/p>\n\u003cp>“We cancelled the event for violating the permit,” Cullivan says. “Maybe it could have worked out if we could have prepared people for that, given them a choice.”\u003c/p>\n\u003cp>\u003cstrong>Nudity and a sense of place\u003c/strong>\u003c/p>\n\u003cp>Dana Iova-Koga says she wanted to deepen the contrast between the boisterous indoor dance that came before and the slow simplicity of “Water Prints.” That’s how inkBoat sound artist Suki O’Kane saw it. O’Kane says the absence of clothing, together with the quality of the light and the air, allowed her to absorb a sense of place.\u003c/p>\n\u003cp>“I was bound up in the elegance of these small gestures,” O’Kane says. “Moments like that can awaken us to the extraordinary qualities of where we are right now.”\u003c/p>\n\u003cp>As for the NPS rule, Iova-Koga says she simply forgot about it. And she still can’t figure that one out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ve been a good girl all my life,” Iova-Koga says. “I follow the rules. I don’t break them.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Anna Deavere Smith Fights School-to-Prison Pipeline With New Play",
"title": "Anna Deavere Smith Fights School-to-Prison Pipeline With New Play",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003ca href=\"http://annadeaveresmithprojects.net/\" target=\"_blank\">Anna Deavere Smith\u003c/a> is best known for her TV work on \u003ca href=\"http://www.sho.com/sho/nurse-jackie/home\" target=\"_blank\">\"Nurse Jackie\"\u003c/a> and \"The West Wing,\" but she’s been making documentary theater for decades, about race and class.\u003c/p>\n\u003cp>Her latest play, \u003ca href=\"http://www.berkeleyrep.org/season/1415/9293.asp\" target=\"_blank\">“Notes from the Field: Doing Time in Education, The California Chapter”\u003c/a> at Berkeley Repertory Theatre, tackles what social justice groups have dubbed the\u003ca href=\"http://www.pbs.org/wnet/tavissmiley/tsr/education-under-arrest/school-to-prison-pipeline-fact-sheet/\" target=\"_blank\"> school-to-prison pipeline\u003c/a>. That's what happens when black, brown and Native American children are suspended, expelled and even arrested way out of proportion to their numbers in the student population, putting them on a path to juvenile hall or prison.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/215213165\" 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>Smith creates her shows by interviewing people who know the issues firsthand, nearly 150 for \"Notes,\" and then embodying a dozen or more on stage, using quick changes in costume and voice.\u003c/p>\n\u003cp>For instance, \u003ca href=\"http://www.stocktongov.com/government/council/district6.html\" target=\"_blank\">Michael Tubbs\u003c/a>, an African-American city councilman from Stockton, makes an appearance near the beginning of the play.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Whenever I talk to young people in Stockton,\" says Smith as Tubbs, \"I always quote the \u003ca href=\"http://allpoetry.com/The-Rose-That-Grew-From-Concrete\" target=\"_blank\">Tupac (Shakur) poem about the rose that grew from concrete\u003c/a>, where he talks about, 'Long live the rose that grew from concrete when no one else cares.' \"\u003c/p>\n\u003cp>A note of hope, tempered by another observation from Smith in her role as Tubbs.\u003c/p>\n\u003cp>\"For a lot of men of color in Stockton, there’s almost this prevailing sense of nihilism. You have an undercaste of young people who just feel forgotten, neglected and just angry, and don’t know what to be angry at.\"\u003c/p>\n\u003cp>Among the other characters: Abby Abinanti, chief judge of the Yurok Tribal Court, and Taos Proctor, a Yurok fisherman, who Abinanti helped rescue from the school-to-prison system.\u003c/p>\n\u003cp>The monologues, so vivid in Smith's impersonations, are underscored with musical backing from bassist, bandleader and composer Marcus Shelby.\u003c/p>\n\u003cfigure id=\"attachment_10603544\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/NF6_lr.jpg\">\u003cimg class=\"wp-image-10603544 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/NF6_lr.jpg\" alt='Bassist Marcus Shelby composes music for and performs in Anna Deavere Smith’s \"Notes from the Field: Doing Time in Education, The California Chapter\"' width=\"373\" height=\"560\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bassist Marcus Shelby composes music for and performs in Anna Deavere Smith’s \"Notes from the Field: Doing Time in Education, The California Chapter\" \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one transition between scenes, Shelby improvises on \"\u003ca href=\"https://www.youtube.com/watch?v=OGd6CdtOqEE\" target=\"_blank\">Spanish Harlem,\u003c/a>\" a old song that restates the theme of the Tupac poem:\u003c/p>\n\u003cp>\"There is a rose in Spanish Harlem...\u003c/p>\n\u003cp>It's growing in the street\u003cbr>\nRight up through the concrete.\"\u003c/p>\n\u003cp>Shelby plays that song and a lot of blues throughout the play because, he says, the blues capture the pain of the human condition.\u003c/p>\n\u003cp>\"It’s the dichotomy between tragedy and triumph,\" Shelby said. \"All the ways we feel life: anger happiness, love, tension, release.\u003c/p>\n\u003cp>The play is highly personal for Smith, whose mother was a teacher at a school in a poor Baltimore neighborhood.\u003c/p>\n\u003cp>\"So in my house,\" Smith said, \"my mother would bring home these great big boys because she believed there was no such thing as a non-reader. So if someone was in her sixth-grade class, they weren’t leaving sixth grade until they learned to read.\"\u003c/p>\n\u003cp>Smith argues, during an interview in a break from rehearsal recently, and in her characters on stage, that these days teachers are taking an unfair share of the blame for funneling troubled students into the school-to-prison pipeline.\u003c/p>\n\u003cp>\"Because it is a broader problem that is linked to poverty,\" Smith said, \"and the question is how do we help people become productive citizens to their families, to their country and to their communities.\"\u003c/p>\n\u003cp>The play has a surprise built into its second act, even for audiences familiar with Smith’s discursive storytelling.\u003c/p>\n\u003cp>At intermission during a recent preview, 20 facilitators, some from the writing corps \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\">Youth Speaks\u003c/a>, broke the audience up into groups of 30 or so for a brisk whiteboard exercise.\u003c/p>\n\u003cfigure id=\"attachment_10603673\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_458627864.jpg\">\u003cimg class=\"wp-image-10603673 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_458627864-1440x1080.jpg\" alt=\"Poet Dahlak Brathwaite at the whiteboard during Anna Deveare Smith's "Notes from the Field: Doing Time in Education, The California Chapter.”\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1400x1050.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Poet Dahlak Brathwaite at the whiteboard during Anna Deveare Smith's \"Notes from the Field: Doing Time in Education, The California Chapter.” \u003ccite>(Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As audience members munched packets of cookies, the kind you might find in a schoolkid's lunchbox, poet Dahlak Brathwaite asked the audience to accept the challenge implicit in Smith's play, \"to be part of the effort to change (the school-to-prison pipeline).\"\u003c/p>\n\u003cp>In the play, Smith portrays a conversation with Sherrilyn Ifill, president of the NAACP Legal Defense and Education Fund, in which Ifill calls for the U.S. to invest in education in the same way it invested in the U.S. highway system and the suburbs.\u003c/p>\n\u003cp>But audience members in our group were less ambitious. One man said, \"To create the society I want to live in, I would be willing to pay higher taxes.\"\u003c/p>\n\u003cp>Another said, \"I will vote.\"\u003c/p>\n\u003cp>Asked what she thought of the exercise, Sybil Cobbs of Oakland, part of another group, said, \"I actually loved it. We’re changing our minds, and therefore everything will follow in terms of our actions.\"\u003c/p>\n\u003cp>But she added, \"One young man in our group said, ‘What change can we make in three years?’ And it was heart-wrenching, that our young people feel so hopeless.\"\u003c/p>\n\u003cp>The Act Two discussions raise the question of whether theater, or any art form, can change society. One scholar notes that plays agitating for change are as old the anti-war plays of Aristophanes, and as American as the Federal Theater Project of the Great Depression.\u003c/p>\n\u003cp>Smith herself bristled a bit when I asked the question.\u003c/p>\n\u003cp>\"It’s so obvious,\" she said, \"that art is a form of expression that gets beyond the official language. That complicates things. It has the opportunity to really draw more people in, and particularly in a place in their heart, where they might just make an adjustment about how they think about things.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Smith will be trying to motivate people to change the school-to-prison pipeline through Aug. 2 at Berkeley Rep. Then she and Berkeley Rep are working on plans to take the show to Yurok country in Northern California, and to three cities on the East Coast.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://annadeaveresmithprojects.net/\" target=\"_blank\">Anna Deavere Smith\u003c/a> is best known for her TV work on \u003ca href=\"http://www.sho.com/sho/nurse-jackie/home\" target=\"_blank\">\"Nurse Jackie\"\u003c/a> and \"The West Wing,\" but she’s been making documentary theater for decades, about race and class.\u003c/p>\n\u003cp>Her latest play, \u003ca href=\"http://www.berkeleyrep.org/season/1415/9293.asp\" target=\"_blank\">“Notes from the Field: Doing Time in Education, The California Chapter”\u003c/a> at Berkeley Repertory Theatre, tackles what social justice groups have dubbed the\u003ca href=\"http://www.pbs.org/wnet/tavissmiley/tsr/education-under-arrest/school-to-prison-pipeline-fact-sheet/\" target=\"_blank\"> school-to-prison pipeline\u003c/a>. That's what happens when black, brown and Native American children are suspended, expelled and even arrested way out of proportion to their numbers in the student population, putting them on a path to juvenile hall or prison.\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/215213165&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/215213165'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Smith creates her shows by interviewing people who know the issues firsthand, nearly 150 for \"Notes,\" and then embodying a dozen or more on stage, using quick changes in costume and voice.\u003c/p>\n\u003cp>For instance, \u003ca href=\"http://www.stocktongov.com/government/council/district6.html\" target=\"_blank\">Michael Tubbs\u003c/a>, an African-American city councilman from Stockton, makes an appearance near the beginning of the play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Whenever I talk to young people in Stockton,\" says Smith as Tubbs, \"I always quote the \u003ca href=\"http://allpoetry.com/The-Rose-That-Grew-From-Concrete\" target=\"_blank\">Tupac (Shakur) poem about the rose that grew from concrete\u003c/a>, where he talks about, 'Long live the rose that grew from concrete when no one else cares.' \"\u003c/p>\n\u003cp>A note of hope, tempered by another observation from Smith in her role as Tubbs.\u003c/p>\n\u003cp>\"For a lot of men of color in Stockton, there’s almost this prevailing sense of nihilism. You have an undercaste of young people who just feel forgotten, neglected and just angry, and don’t know what to be angry at.\"\u003c/p>\n\u003cp>Among the other characters: Abby Abinanti, chief judge of the Yurok Tribal Court, and Taos Proctor, a Yurok fisherman, who Abinanti helped rescue from the school-to-prison system.\u003c/p>\n\u003cp>The monologues, so vivid in Smith's impersonations, are underscored with musical backing from bassist, bandleader and composer Marcus Shelby.\u003c/p>\n\u003cfigure id=\"attachment_10603544\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/NF6_lr.jpg\">\u003cimg class=\"wp-image-10603544 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/NF6_lr.jpg\" alt='Bassist Marcus Shelby composes music for and performs in Anna Deavere Smith’s \"Notes from the Field: Doing Time in Education, The California Chapter\"' width=\"373\" height=\"560\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bassist Marcus Shelby composes music for and performs in Anna Deavere Smith’s \"Notes from the Field: Doing Time in Education, The California Chapter\" \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one transition between scenes, Shelby improvises on \"\u003ca href=\"https://www.youtube.com/watch?v=OGd6CdtOqEE\" target=\"_blank\">Spanish Harlem,\u003c/a>\" a old song that restates the theme of the Tupac poem:\u003c/p>\n\u003cp>\"There is a rose in Spanish Harlem...\u003c/p>\n\u003cp>It's growing in the street\u003cbr>\nRight up through the concrete.\"\u003c/p>\n\u003cp>Shelby plays that song and a lot of blues throughout the play because, he says, the blues capture the pain of the human condition.\u003c/p>\n\u003cp>\"It’s the dichotomy between tragedy and triumph,\" Shelby said. \"All the ways we feel life: anger happiness, love, tension, release.\u003c/p>\n\u003cp>The play is highly personal for Smith, whose mother was a teacher at a school in a poor Baltimore neighborhood.\u003c/p>\n\u003cp>\"So in my house,\" Smith said, \"my mother would bring home these great big boys because she believed there was no such thing as a non-reader. So if someone was in her sixth-grade class, they weren’t leaving sixth grade until they learned to read.\"\u003c/p>\n\u003cp>Smith argues, during an interview in a break from rehearsal recently, and in her characters on stage, that these days teachers are taking an unfair share of the blame for funneling troubled students into the school-to-prison pipeline.\u003c/p>\n\u003cp>\"Because it is a broader problem that is linked to poverty,\" Smith said, \"and the question is how do we help people become productive citizens to their families, to their country and to their communities.\"\u003c/p>\n\u003cp>The play has a surprise built into its second act, even for audiences familiar with Smith’s discursive storytelling.\u003c/p>\n\u003cp>At intermission during a recent preview, 20 facilitators, some from the writing corps \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\">Youth Speaks\u003c/a>, broke the audience up into groups of 30 or so for a brisk whiteboard exercise.\u003c/p>\n\u003cfigure id=\"attachment_10603673\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_458627864.jpg\">\u003cimg class=\"wp-image-10603673 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_458627864-1440x1080.jpg\" alt=\"Poet Dahlak Brathwaite at the whiteboard during Anna Deveare Smith's "Notes from the Field: Doing Time in Education, The California Chapter.”\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1400x1050.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Poet Dahlak Brathwaite at the whiteboard during Anna Deveare Smith's \"Notes from the Field: Doing Time in Education, The California Chapter.” \u003ccite>(Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As audience members munched packets of cookies, the kind you might find in a schoolkid's lunchbox, poet Dahlak Brathwaite asked the audience to accept the challenge implicit in Smith's play, \"to be part of the effort to change (the school-to-prison pipeline).\"\u003c/p>\n\u003cp>In the play, Smith portrays a conversation with Sherrilyn Ifill, president of the NAACP Legal Defense and Education Fund, in which Ifill calls for the U.S. to invest in education in the same way it invested in the U.S. highway system and the suburbs.\u003c/p>\n\u003cp>But audience members in our group were less ambitious. One man said, \"To create the society I want to live in, I would be willing to pay higher taxes.\"\u003c/p>\n\u003cp>Another said, \"I will vote.\"\u003c/p>\n\u003cp>Asked what she thought of the exercise, Sybil Cobbs of Oakland, part of another group, said, \"I actually loved it. We’re changing our minds, and therefore everything will follow in terms of our actions.\"\u003c/p>\n\u003cp>But she added, \"One young man in our group said, ‘What change can we make in three years?’ And it was heart-wrenching, that our young people feel so hopeless.\"\u003c/p>\n\u003cp>The Act Two discussions raise the question of whether theater, or any art form, can change society. One scholar notes that plays agitating for change are as old the anti-war plays of Aristophanes, and as American as the Federal Theater Project of the Great Depression.\u003c/p>\n\u003cp>Smith herself bristled a bit when I asked the question.\u003c/p>\n\u003cp>\"It’s so obvious,\" she said, \"that art is a form of expression that gets beyond the official language. That complicates things. It has the opportunity to really draw more people in, and particularly in a place in their heart, where they might just make an adjustment about how they think about things.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Smith will be trying to motivate people to change the school-to-prison pipeline through Aug. 2 at Berkeley Rep. Then she and Berkeley Rep are working on plans to take the show to Yurok country in Northern California, and to three cities on the East Coast.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Santa Rosa Theater Company Brings Bilingual Plays to Parks by Bike",
"headTitle": "A Santa Rosa Theater Company Brings Bilingual Plays to Parks by Bike | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-imaginists/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘The Imaginists’\u003c/h2>\n\u003cdiv class=\"event-desc\">The bilingual, bicycle-toting theater company performs a surreal yet family-friendly drama about an insect wedding — for free!\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 19 – July 25\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Locations vary\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-imaginists/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The Imaginists is an unconventional theater company. During the summer they put on free plays in public parks in and around Santa Rosa where all the props, costumes, sets and actors arrive on bikes. The company was founded in 2001, and has been riding bikes for six years. And many of its performances are bilingual, with the actors moving fluidly between English and Spanish.\u003c/p>\n\u003cp>This summer, the company is touring the region with an early play by Spanish dramatist Federico Garcia Lorca. \u003cem>The Butterfly’s Evil Spell/\u003c/em>\u003cem>El Maleficio de la Mariposa\u003c/em> is a surreal, poetic drama about an insect wedding in which all the actors play bugs. The work has no ending and Lorca himself was not happy with it\u003cb>. \u003c/b>As a result, \u003cem>The Butterfly’s Evil Spell\u003c/em> is rarely performed.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-10834889\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4277-800x533.jpg\" alt=\"IMG_4277\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Last Friday, the troupe took the play to Bayer Neighborhood Park and Gardens in Santa Rosa. The performance piggybacked on a weekly community potluck complete with hot tortillas warmed over a fire. Before the play, kids speaking Spanish and English leapt over picnic tables, jumped on top of mulch piles and biked back and forth across the parkland. Once the actors had finished unloading the bikes and setting up, they rolled stumps towards the staging area for seating. Then people settled in to watch the show.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/215209695″ 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>Amy Pinto and Brent Lindsay, cofounders of the Imaginists, wanted to bring theater to the community of Santa Rosa. Like the rest of California, a big part of that community is Hispanic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There isn’t a whole lot of art that is accessible to people in this community,” Karym Sanchez, a community organizer with the North Bay Organizing Project said. “It’s awesome that they bring the theater to the people, you know, so there’s no longer that threshold of having to pay to get in.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-10834897\" style=\"line-height: 1.5\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4313-800x533.jpg\" alt=\"IMG_4313\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>One Stage, Two Languages\u003c/strong>\u003c/p>\n\u003cp>Producing bilingual plays means that sometimes a line is spoken in English and then repeated immediately in Spanish. Other times, a Spanish phrase is followed by a clarifying sentence in English. And of course, the performers always act it out.\u003c/p>\n\u003cp>“Communication can happen in a lot of different ways rather than just language,” Pinto said.\u003c/p>\n\u003cp>Some people in the company are bilingual. But many only speak Spanish or English. Yet everyone in the cast delivers lines in both languages.\u003c/p>\n\u003cp>The Imaginists have done six bilingual plays to date including \u003cem>Extranjeros en su Propia Tierra/Strangers in Their Own Land\u003c/em> and \u003cem>REAL\u003c/em>. When new scripts are doled out for the company’s bilingual plays, actors who only speak one language learn the other from fellow cast members who are fluent in the other tongue. The actors say the process is a humbling and empowering exchange for everyone.\u003c/p>\n\u003cp>\u003cstrong>An approachable approach\u003c/strong>\u003c/p>\n\u003cp>One goal of the Imaginists is to make theater unintimidating and integrated into the community. The company does this by using untrained actors from the community, bicycles and lots of humor. In \u003cem>The Butterfly’s Evil Spell\u003c/em>, actors rap, dance and employ slapstick comedy.\u003c/p>\n\u003cp>“We aim to develop an atmosphere of trust,” Lindsay said. “The way you introduce people to that environment is of course opening up and to become vulnerable with us. Laughter is of course a perfect opportunity to open people up.”\u003c/p>\n\u003cp>The plays also incorporate audience participation. In \u003cem>The Butterfly’s Evil Spell\u003c/em>, the audience is invited to dance on stage, sing along to songs, and even dictate how Lorca’s conclusion-less play will end.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4329.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" size-medium wp-image-10834899 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4329-800x533.jpg\" alt=\"IMG_4329\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Actors ask the audience for suggestions for a suitable ending. After the crowd votes for a favorite, the cast improvises the finale. Last Friday the lovers ended up together but dead.\u003c/p>\n\u003cp>“How they got the kids involved was very creative. The people are part of the play,” said audience member Omar Gallardo. Gallardo is the outreach and diversity director of LandPaths, a stewardship organization that connects Sonoma County residents with open spaces.\u003c/p>\n\u003cp>The company draws a diverse audience, ranging from toddlers to older people. Both Latinos and non-Hispanic whites are in attendance.\u003c/p>\n\u003cp>Sitting in the audience, it’s clear that the spectators appreciate the performance. However Lindsay said Santa Rosa as a whole has not been particularly open to the Imaginists’ approach. He says it has taken a long time for the Santa Rosa establishment to come around.\u003c/p>\n\u003cp>“Especially in Santa Rosa and Sonoma, it was difficult to convince people that what you were doing was anything but amateur,” Lindsay said. “To convince people that the ideas were coming from the right place, that took at least five years.”\u003c/p>\n\u003cp>Lindsay says what really sparked local attention was recognition from outside Santa Rosa, including grants from the National Endowment for the Arts and reviews from publications in the East Bay and San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Art reflects life, life reflects art\u003c/strong>\u003c/p>\n\u003cp>The troupe not only adapts plays and poems but also produces original works for the stage. When choosing what to produce, Lindsay and Pinto try to pick subjects to which their community can relate.\u003c/p>\n\u003cp>In one of the Imaginists’ current productions, \u003cem>The Art is Medicine Show/El Show El Arte Es Medicina\u003c/em>, actress Dulce Precido recites a poem by Francisco Larcon, “First Day of School.” It’s about a newly immigrated child being handed off to a teacher whose language the child cannot understand.\u003c/p>\n\u003cp>“It’s my story,” said Precido, who left Mexico for California in 2002. “When I went to school, I didn’t speak English and couldn’t understand the teacher.”\u003c/p>\n\u003cp>One of the early bilingual plays, \u003cem>Foreigners in Their Own Land/Extranjeros en Su Propia Tierra,\u003c/em> the Imaginists tackled border crossings and deportation. An actress named Laura took the role of a woman who was going to be deported. Two years later, fiction became reality and Laura was in fact deported.\u003c/p>\n\u003cp>“Every one of the stories that are told in the play were real, but we never imagined that the story of Laura being deported was going to be real,” actor Sergio Zavala said. “It’s tough for us to come back and participate in the Imaginists after group members have been deported. So sometimes you can feel alone, but the Imaginists are loving and offer support.”\u003c/p>\n\u003cfigure id=\"attachment_10834905\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4378.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10834905 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4378-800x533.jpg\" alt=\"Actor Sergio Zavalo\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Actor Sergio Zavalo\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The Butterfly’s Evil Spell/\u003c/b>\u003cstrong>El Maleficio de la Mariposa \u003c/strong>\u003c/p>\n\u003cp>July 19 – Humboldt Park @ 4pm\u003cbr>\nJuly 24 – MLK Park @ 7 pm\u003cbr>\nJuly 25 – Finley Park @ 4pm\u003c/p>\n\u003cp>\u003cstrong>The Art is Medicine Shoe/El Show el Arte es Medicina\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>July 21 – MLK Park @ 12:30\u003c/p>\n\n",
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"excerpt": "For the past seven years, the members of The Imaginists theater company have spent their summers cycling around the region, performing experimental plays in English and Spanish before captivated audiences. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-imaginists/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘The Imaginists’\u003c/h2>\n\u003cdiv class=\"event-desc\">The bilingual, bicycle-toting theater company performs a surreal yet family-friendly drama about an insect wedding — for free!\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 19 – July 25\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Locations vary\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-imaginists/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The Imaginists is an unconventional theater company. During the summer they put on free plays in public parks in and around Santa Rosa where all the props, costumes, sets and actors arrive on bikes. The company was founded in 2001, and has been riding bikes for six years. And many of its performances are bilingual, with the actors moving fluidly between English and Spanish.\u003c/p>\n\u003cp>This summer, the company is touring the region with an early play by Spanish dramatist Federico Garcia Lorca. \u003cem>The Butterfly’s Evil Spell/\u003c/em>\u003cem>El Maleficio de la Mariposa\u003c/em> is a surreal, poetic drama about an insect wedding in which all the actors play bugs. The work has no ending and Lorca himself was not happy with it\u003cb>. \u003c/b>As a result, \u003cem>The Butterfly’s Evil Spell\u003c/em> is rarely performed.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-10834889\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4277-800x533.jpg\" alt=\"IMG_4277\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Last Friday, the troupe took the play to Bayer Neighborhood Park and Gardens in Santa Rosa. The performance piggybacked on a weekly community potluck complete with hot tortillas warmed over a fire. Before the play, kids speaking Spanish and English leapt over picnic tables, jumped on top of mulch piles and biked back and forth across the parkland. Once the actors had finished unloading the bikes and setting up, they rolled stumps towards the staging area for seating. Then people settled in to watch the show.\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/215209695″&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/215209695″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Amy Pinto and Brent Lindsay, cofounders of the Imaginists, wanted to bring theater to the community of Santa Rosa. Like the rest of California, a big part of that community is Hispanic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There isn’t a whole lot of art that is accessible to people in this community,” Karym Sanchez, a community organizer with the North Bay Organizing Project said. “It’s awesome that they bring the theater to the people, you know, so there’s no longer that threshold of having to pay to get in.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-10834897\" style=\"line-height: 1.5\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4313-800x533.jpg\" alt=\"IMG_4313\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>One Stage, Two Languages\u003c/strong>\u003c/p>\n\u003cp>Producing bilingual plays means that sometimes a line is spoken in English and then repeated immediately in Spanish. Other times, a Spanish phrase is followed by a clarifying sentence in English. And of course, the performers always act it out.\u003c/p>\n\u003cp>“Communication can happen in a lot of different ways rather than just language,” Pinto said.\u003c/p>\n\u003cp>Some people in the company are bilingual. But many only speak Spanish or English. Yet everyone in the cast delivers lines in both languages.\u003c/p>\n\u003cp>The Imaginists have done six bilingual plays to date including \u003cem>Extranjeros en su Propia Tierra/Strangers in Their Own Land\u003c/em> and \u003cem>REAL\u003c/em>. When new scripts are doled out for the company’s bilingual plays, actors who only speak one language learn the other from fellow cast members who are fluent in the other tongue. The actors say the process is a humbling and empowering exchange for everyone.\u003c/p>\n\u003cp>\u003cstrong>An approachable approach\u003c/strong>\u003c/p>\n\u003cp>One goal of the Imaginists is to make theater unintimidating and integrated into the community. The company does this by using untrained actors from the community, bicycles and lots of humor. In \u003cem>The Butterfly’s Evil Spell\u003c/em>, actors rap, dance and employ slapstick comedy.\u003c/p>\n\u003cp>“We aim to develop an atmosphere of trust,” Lindsay said. “The way you introduce people to that environment is of course opening up and to become vulnerable with us. Laughter is of course a perfect opportunity to open people up.”\u003c/p>\n\u003cp>The plays also incorporate audience participation. In \u003cem>The Butterfly’s Evil Spell\u003c/em>, the audience is invited to dance on stage, sing along to songs, and even dictate how Lorca’s conclusion-less play will end.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4329.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" size-medium wp-image-10834899 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4329-800x533.jpg\" alt=\"IMG_4329\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Actors ask the audience for suggestions for a suitable ending. After the crowd votes for a favorite, the cast improvises the finale. Last Friday the lovers ended up together but dead.\u003c/p>\n\u003cp>“How they got the kids involved was very creative. The people are part of the play,” said audience member Omar Gallardo. Gallardo is the outreach and diversity director of LandPaths, a stewardship organization that connects Sonoma County residents with open spaces.\u003c/p>\n\u003cp>The company draws a diverse audience, ranging from toddlers to older people. Both Latinos and non-Hispanic whites are in attendance.\u003c/p>\n\u003cp>Sitting in the audience, it’s clear that the spectators appreciate the performance. However Lindsay said Santa Rosa as a whole has not been particularly open to the Imaginists’ approach. He says it has taken a long time for the Santa Rosa establishment to come around.\u003c/p>\n\u003cp>“Especially in Santa Rosa and Sonoma, it was difficult to convince people that what you were doing was anything but amateur,” Lindsay said. “To convince people that the ideas were coming from the right place, that took at least five years.”\u003c/p>\n\u003cp>Lindsay says what really sparked local attention was recognition from outside Santa Rosa, including grants from the National Endowment for the Arts and reviews from publications in the East Bay and San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Art reflects life, life reflects art\u003c/strong>\u003c/p>\n\u003cp>The troupe not only adapts plays and poems but also produces original works for the stage. When choosing what to produce, Lindsay and Pinto try to pick subjects to which their community can relate.\u003c/p>\n\u003cp>In one of the Imaginists’ current productions, \u003cem>The Art is Medicine Show/El Show El Arte Es Medicina\u003c/em>, actress Dulce Precido recites a poem by Francisco Larcon, “First Day of School.” It’s about a newly immigrated child being handed off to a teacher whose language the child cannot understand.\u003c/p>\n\u003cp>“It’s my story,” said Precido, who left Mexico for California in 2002. “When I went to school, I didn’t speak English and couldn’t understand the teacher.”\u003c/p>\n\u003cp>One of the early bilingual plays, \u003cem>Foreigners in Their Own Land/Extranjeros en Su Propia Tierra,\u003c/em> the Imaginists tackled border crossings and deportation. An actress named Laura took the role of a woman who was going to be deported. Two years later, fiction became reality and Laura was in fact deported.\u003c/p>\n\u003cp>“Every one of the stories that are told in the play were real, but we never imagined that the story of Laura being deported was going to be real,” actor Sergio Zavala said. “It’s tough for us to come back and participate in the Imaginists after group members have been deported. So sometimes you can feel alone, but the Imaginists are loving and offer support.”\u003c/p>\n\u003cfigure id=\"attachment_10834905\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4378.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10834905 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4378-800x533.jpg\" alt=\"Actor Sergio Zavalo\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Actor Sergio Zavalo\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The Butterfly’s Evil Spell/\u003c/b>\u003cstrong>El Maleficio de la Mariposa \u003c/strong>\u003c/p>\n\u003cp>July 19 – Humboldt Park @ 4pm\u003cbr>\nJuly 24 – MLK Park @ 7 pm\u003cbr>\nJuly 25 – Finley Park @ 4pm\u003c/p>\n\u003cp>\u003cstrong>The Art is Medicine Shoe/El Show el Arte es Medicina\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>July 21 – MLK Park @ 12:30\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "War Memorial Veterans Building Sheds Institutional Look with Major Facelift",
"headTitle": "War Memorial Veterans Building Sheds Institutional Look with Major Facelift | KQED",
"content": "\u003cp>Over the past few years, San Francisco’s \u003ca href=\"http://www.sfwmpac.org/\" target=\"_blank\" rel=\"noopener\">War Memorial Veterans Building\u003c/a> gradually shed its institutional office look. The august old space, site of the signing of the United Nations charter in 1945 and countless performance and literary events, temporarily closed for massive renovations in 2013 and reopens at the end of September.\u003c/p>\n\u003cp>The renovations to the Veterans Building, part of the larger War Memorial and Performing Arts Center complex (which also includes the opera house and Davies Symphony Hall) cost more than $150 million in total. The city of San Francisco, as well as grant makers like the Herbst Foundation provided funding for the project.\u003c/p>\n\u003cp>The Veterans Building originally opened in 1932. It hasn’t had a major facelift since the late 1970s.\u003c/p>\n\u003cfigure id=\"attachment_10841928\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841928\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-800x600.jpg\" alt=\"Renovations underway at the Veterans Building\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Renovations underway at the Veterans Building \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the most significant upgrades to the public areas of the site are the installation of a cafe with outdoor seating (scheduled to open in January 2016), new boxes in the Herbst Theatre auditorium with improved acoustics and sight lines, better acoustics, fresh paint and stage curtains, restored chandeliers, enlarged gallery space and the addition of restrooms on every floor. (The last item is a particular coup as patrons used to have to scurry to the basement to use the facilities.)\u003c/p>\n\u003cp>Rescuing the theater’s walls from ill-advised 1970s pink and orange to the original ochre color, the new paint job also helps highlight a series of large-scale murals that adorn the sides of the auditorium. Depicting the four elements — air, earth, fire and water — the murals were originally created by artist Frank Brangwyn for the Pan Pacific International Exposition in 1915.\u003c/p>\n\u003cfigure id=\"attachment_10841931\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841931\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-800x600.jpg\" alt=\"A view from the balcony in the Herbst Theatre\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A view from the balcony in the Herbst Theatre \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to the aesthetic improvements, the building underwent significant seismic retrofitting. The concrete and steel reinforcement system is mostly embedded in the walls, hidden from view.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The changes aren’t just for audience members. Artists who perform at the Herbst Theatre, hosted by organizations like the New Century Chamber Orchestra, the Philharmonia Baroque Orchestra and San Francisco Performances, also stand to benefit greatly. Most notably, there’s the swanky new 5,000 square-foot “Backstage Suite.” It includes five airy dressing rooms, a performers’ lounge and a rehearsal room.\u003c/p>\n\u003cp>And for the first time in its history, the Herbst has easily accessible dressing rooms. In the past, the cramped artist facilities were located on mezzanine levels flanking the stage and in the basement.\u003c/p>\n\u003cp>“Before, you had to take a circular spiral staircase to get to your dressing room,” Elizabeth Murray, managing director of the San Francisco War Memorial and Performing Arts Center said.\u003c/p>\n\u003cp>The dressing rooms themselves are bigger and brighter. Many of the furnishings, such as the dressing room tables, were salvaged from the old dressing rooms — an effort to be environmentally conscious and cost-efficient.\u003c/p>\n\u003cfigure id=\"attachment_10841932\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841932\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-800x600.jpg\" alt=\"A view from the new boxes in the Herbst Theatre\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A view from the new boxes in the Herbst Theatre \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The artists used to have to warm up in the public hallways and bathrooms,” Murray said. “Now they don’t have to.”\u003c/p>\n\u003cp>Another major addition to the building is the Diane Wilsey Center for Opera on the fourth floor. The center includes a 330-seat performance space dedicated to opera. Construction on this piece of the project is expected to continue through October.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve always loved this theater,” San Francisco Performances president Ruth Felt said. “Now we’ll love it even more.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the past few years, San Francisco’s \u003ca href=\"http://www.sfwmpac.org/\" target=\"_blank\" rel=\"noopener\">War Memorial Veterans Building\u003c/a> gradually shed its institutional office look. The august old space, site of the signing of the United Nations charter in 1945 and countless performance and literary events, temporarily closed for massive renovations in 2013 and reopens at the end of September.\u003c/p>\n\u003cp>The renovations to the Veterans Building, part of the larger War Memorial and Performing Arts Center complex (which also includes the opera house and Davies Symphony Hall) cost more than $150 million in total. The city of San Francisco, as well as grant makers like the Herbst Foundation provided funding for the project.\u003c/p>\n\u003cp>The Veterans Building originally opened in 1932. It hasn’t had a major facelift since the late 1970s.\u003c/p>\n\u003cfigure id=\"attachment_10841928\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841928\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-800x600.jpg\" alt=\"Renovations underway at the Veterans Building\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Renovations underway at the Veterans Building \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the most significant upgrades to the public areas of the site are the installation of a cafe with outdoor seating (scheduled to open in January 2016), new boxes in the Herbst Theatre auditorium with improved acoustics and sight lines, better acoustics, fresh paint and stage curtains, restored chandeliers, enlarged gallery space and the addition of restrooms on every floor. (The last item is a particular coup as patrons used to have to scurry to the basement to use the facilities.)\u003c/p>\n\u003cp>Rescuing the theater’s walls from ill-advised 1970s pink and orange to the original ochre color, the new paint job also helps highlight a series of large-scale murals that adorn the sides of the auditorium. Depicting the four elements — air, earth, fire and water — the murals were originally created by artist Frank Brangwyn for the Pan Pacific International Exposition in 1915.\u003c/p>\n\u003cfigure id=\"attachment_10841931\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841931\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-800x600.jpg\" alt=\"A view from the balcony in the Herbst Theatre\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A view from the balcony in the Herbst Theatre \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to the aesthetic improvements, the building underwent significant seismic retrofitting. The concrete and steel reinforcement system is mostly embedded in the walls, hidden from view.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The changes aren’t just for audience members. Artists who perform at the Herbst Theatre, hosted by organizations like the New Century Chamber Orchestra, the Philharmonia Baroque Orchestra and San Francisco Performances, also stand to benefit greatly. Most notably, there’s the swanky new 5,000 square-foot “Backstage Suite.” It includes five airy dressing rooms, a performers’ lounge and a rehearsal room.\u003c/p>\n\u003cp>And for the first time in its history, the Herbst has easily accessible dressing rooms. In the past, the cramped artist facilities were located on mezzanine levels flanking the stage and in the basement.\u003c/p>\n\u003cp>“Before, you had to take a circular spiral staircase to get to your dressing room,” Elizabeth Murray, managing director of the San Francisco War Memorial and Performing Arts Center said.\u003c/p>\n\u003cp>The dressing rooms themselves are bigger and brighter. Many of the furnishings, such as the dressing room tables, were salvaged from the old dressing rooms — an effort to be environmentally conscious and cost-efficient.\u003c/p>\n\u003cfigure id=\"attachment_10841932\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841932\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-800x600.jpg\" alt=\"A view from the new boxes in the Herbst Theatre\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A view from the new boxes in the Herbst Theatre \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The artists used to have to warm up in the public hallways and bathrooms,” Murray said. “Now they don’t have to.”\u003c/p>\n\u003cp>Another major addition to the building is the Diane Wilsey Center for Opera on the fourth floor. The center includes a 330-seat performance space dedicated to opera. Construction on this piece of the project is expected to continue through October.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve always loved this theater,” San Francisco Performances president Ruth Felt said. “Now we’ll love it even more.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A New Museum in a Changing Tenderloin",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/215048940″ 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 new museum opened Thursday in downtown San Francisco.\u003c/p>\n\u003cp>The Tenderloin Museum sits on the corner of Eddy and Leavenworth Street in the middle of one of San Francisco’s most economically and socially challenged neighborhoods. The airy new 3,200 square foot museum cost $3.5 million to build. It stands out against the backdrop of Single Resident Occupancy (SRO) hotels and drug rehabilitation clinics.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/a/forum/R201506021000\">Randy Shaw\u003c/a>, the director of the neighborhood community development organizations Tenderloin Housing Clinic and Uptown Tenderloin, helped to spearhead the development of the new museum. Shaw hopes the institution will help change negative perceptions of the area, bring pride to residents and make the Tenderloin a more desirable neighborhood in which to live.\u003c/p>\n\u003cp>“The Tenderloin has a perception problem,” Shaw says . “We have the highest percent of children of any neighborhood in San Francisco. We have over 409 historic buildings and it’s a walkable neighborhood and a very diverse neighborhood.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The museum focuses on the Tenderloin’s influence on counterculture going all the way back to the 1906 earthquake. It has exhibits on the neighborhood’s ties to Lesbian, Gay, Transgender and Bisexual (LGBT) movements, housing activism and gambling.\u003c/p>\n\u003cp>“If you wanted to gamble, the Tenderloin was where you came,” Shaw says. “We were the gambling capital of the bay area.” He attributes the fall of the Tenderloin to gambling being outlawed. “After that, we had no economic purpose,” Shaw says.\u003c/p>\n\u003cp>The museum also offers walking tours of the Tenderloin. Along the way, guides will point out architectural gems, infamous bars and places where historic events occurred, like the location where the Grateful Dead recorded the seminal album \u003cem>American Beauty\u003c/em>.\u003c/p>\n\u003cp>As rents rise in San Francisco, those who once avoided the neighborhood are edging in. Technology companies like Twitter have been quick to snatch up properties along Market Street. Cultural institutions are also getting closer. The American Conservatory Theater launched its new performance venue, The Strand, on the fringes of the neighborhood last month. Galleries have also been popping up in the area and more are on the way.\u003c/p>\n\u003cp>Although he is attempting to make the neighborhood a desirable place to live, Shaw believes that the Tenderloin will remain a low-income neighborhood.\u003c/p>\n\u003cp>“We have so much property off the speculative market,” Shaw says. “Nearly a third is either owned by non profits or privately subsidized. We don’t have Ellis Act evictions or owner move in evictions. This community has a history of activism battling the establishment and we’ve passed so many laws to protect all of our housing.”\u003c/p>\n\u003cp>Elvin Padilla, a Tenderloin community organizer and economic development consultant, hopes the extra foot traffic will help clean up the neighborhood.\u003c/p>\n\u003cp>“The city uses the neighborhood as its containment zone,” Padilla says. “If it’s no longer a containment zone because other people are coming in to do positive things, like going to a theater show or a museum, then the city is forced to pay more attention to public safety considerations.”\u003c/p>\n\u003cp>But not everyone sees the appearance of the new museum in such a positive light.\u003c/p>\n\u003cp>“You know, me and my roommates, we joke about it, like, oh what are they going to do, have a big picture of a needle?” Tenderloin resident Chloe Brubaker says.\u003c/p>\n\u003cp>Shaw and his team are working to change such impressions.\u003c/p>\n\u003cp>The Museum will be free to Tenderloin residents once a month. It has also hired guides who live in the local SROs to lead the walking tours.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Tenderloin Museum is open to the public 10-5 Tuesday through Sunday.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/215048940″&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/215048940″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A new museum opened Thursday in downtown San Francisco.\u003c/p>\n\u003cp>The Tenderloin Museum sits on the corner of Eddy and Leavenworth Street in the middle of one of San Francisco’s most economically and socially challenged neighborhoods. The airy new 3,200 square foot museum cost $3.5 million to build. It stands out against the backdrop of Single Resident Occupancy (SRO) hotels and drug rehabilitation clinics.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/a/forum/R201506021000\">Randy Shaw\u003c/a>, the director of the neighborhood community development organizations Tenderloin Housing Clinic and Uptown Tenderloin, helped to spearhead the development of the new museum. Shaw hopes the institution will help change negative perceptions of the area, bring pride to residents and make the Tenderloin a more desirable neighborhood in which to live.\u003c/p>\n\u003cp>“The Tenderloin has a perception problem,” Shaw says . “We have the highest percent of children of any neighborhood in San Francisco. We have over 409 historic buildings and it’s a walkable neighborhood and a very diverse neighborhood.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The museum focuses on the Tenderloin’s influence on counterculture going all the way back to the 1906 earthquake. It has exhibits on the neighborhood’s ties to Lesbian, Gay, Transgender and Bisexual (LGBT) movements, housing activism and gambling.\u003c/p>\n\u003cp>“If you wanted to gamble, the Tenderloin was where you came,” Shaw says. “We were the gambling capital of the bay area.” He attributes the fall of the Tenderloin to gambling being outlawed. “After that, we had no economic purpose,” Shaw says.\u003c/p>\n\u003cp>The museum also offers walking tours of the Tenderloin. Along the way, guides will point out architectural gems, infamous bars and places where historic events occurred, like the location where the Grateful Dead recorded the seminal album \u003cem>American Beauty\u003c/em>.\u003c/p>\n\u003cp>As rents rise in San Francisco, those who once avoided the neighborhood are edging in. Technology companies like Twitter have been quick to snatch up properties along Market Street. Cultural institutions are also getting closer. The American Conservatory Theater launched its new performance venue, The Strand, on the fringes of the neighborhood last month. Galleries have also been popping up in the area and more are on the way.\u003c/p>\n\u003cp>Although he is attempting to make the neighborhood a desirable place to live, Shaw believes that the Tenderloin will remain a low-income neighborhood.\u003c/p>\n\u003cp>“We have so much property off the speculative market,” Shaw says. “Nearly a third is either owned by non profits or privately subsidized. We don’t have Ellis Act evictions or owner move in evictions. This community has a history of activism battling the establishment and we’ve passed so many laws to protect all of our housing.”\u003c/p>\n\u003cp>Elvin Padilla, a Tenderloin community organizer and economic development consultant, hopes the extra foot traffic will help clean up the neighborhood.\u003c/p>\n\u003cp>“The city uses the neighborhood as its containment zone,” Padilla says. “If it’s no longer a containment zone because other people are coming in to do positive things, like going to a theater show or a museum, then the city is forced to pay more attention to public safety considerations.”\u003c/p>\n\u003cp>But not everyone sees the appearance of the new museum in such a positive light.\u003c/p>\n\u003cp>“You know, me and my roommates, we joke about it, like, oh what are they going to do, have a big picture of a needle?” Tenderloin resident Chloe Brubaker says.\u003c/p>\n\u003cp>Shaw and his team are working to change such impressions.\u003c/p>\n\u003cp>The Museum will be free to Tenderloin residents once a month. It has also hired guides who live in the local SROs to lead the walking tours.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Tenderloin Museum is open to the public 10-5 Tuesday through Sunday.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Arts Shake Up: Longtime Executive Director Leaves Southern Exposure",
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"content": "\u003cp>The San Francisco-based visual arts organization \u003ca href=\"https://www.soex.org/index.php\" target=\"_blank\" rel=\"noopener\">Southern Exposure\u003c/a> announced on Tuesday that its Executive Director Courtney Fink will step down after 13 years.\u003c/p>\n\u003cp>Fink’s exit marks the \u003ca href=\"http://ww2.kqed.org/arts/2015/05/27/pro-arts-executive-director-steps-down-latest-in-wave-of-recent-art-world-departures/\" target=\"_blank\" rel=\"noopener\">fourth such departure\u003c/a> from a Bay Area visual arts nonprofit this year, a trend she says is merely part of a natural progression rather than an indication that local support for the arts is dwindling.\u003c/p>\n\u003cp>“Historically change does seem to happen in waves and that’s normal,” Fink says. “I think that means progress for the Bay Area. Change is what keeps things interesting and moving forward.”\u003c/p>\n\u003cp>Fink joined Southern Exposure in 2003 and has steadily built what she describes as a “very diverse base of support” for non-commercial experimental arts programming. She instituted \u003ca href=\"https://www.soex.org/alternative-exposure\" target=\"_blank\" rel=\"noopener\">Alternative Exposure\u003c/a>, a re-granting initiative with major support from the Andy Warhol Foundation for the Visual Arts, awarding nearly $500,000 to 135 independently-run spaces and projects over the past nine years.\u003c/p>\n\u003cp>“Transitions can be very challenging times for a lot of nonprofits so I always wanted Southern Exposure to be in a really strong place during the change and that time really felt like now,” Fink says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fink’s departure is something she says Southern Exposure’s staff and board have been discussing for two months. They are currently in the final stages of naming an interim executive director and will begin their search for Fink’s permanent replacement in September. She will continue in her role through August.\u003c/p>\n\u003cp>“I don’t have any plans to leave the nonprofit world,” says Fink. “I’m excited to continue my lifelong commitment to advocating for artists. I don’t know what it will look like next but I have no plans to leave the Bay Area. Who knows what will happen?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Back at Southern Exposure, programming continues full steam ahead. The ninth round of Alternative Exposure is now open to applications, the organization’s free three-week summer intensive for youth artists, \u003ca href=\"https://www.soex.org/artists-education-program/mission-voices-summer-2015\" target=\"_blank\" rel=\"noopener\">Mission Voices Summer\u003c/a>, is underway, and Los Angeles-based artist Robby Herbst hosts \u003ca href=\"https://www.soex.org/events/mapping-californian-ideology\" target=\"_blank\" rel=\"noopener\">a group discussion\u003c/a> on “California ideology” on July 18.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco-based visual arts organization \u003ca href=\"https://www.soex.org/index.php\" target=\"_blank\" rel=\"noopener\">Southern Exposure\u003c/a> announced on Tuesday that its Executive Director Courtney Fink will step down after 13 years.\u003c/p>\n\u003cp>Fink’s exit marks the \u003ca href=\"http://ww2.kqed.org/arts/2015/05/27/pro-arts-executive-director-steps-down-latest-in-wave-of-recent-art-world-departures/\" target=\"_blank\" rel=\"noopener\">fourth such departure\u003c/a> from a Bay Area visual arts nonprofit this year, a trend she says is merely part of a natural progression rather than an indication that local support for the arts is dwindling.\u003c/p>\n\u003cp>“Historically change does seem to happen in waves and that’s normal,” Fink says. “I think that means progress for the Bay Area. Change is what keeps things interesting and moving forward.”\u003c/p>\n\u003cp>Fink joined Southern Exposure in 2003 and has steadily built what she describes as a “very diverse base of support” for non-commercial experimental arts programming. She instituted \u003ca href=\"https://www.soex.org/alternative-exposure\" target=\"_blank\" rel=\"noopener\">Alternative Exposure\u003c/a>, a re-granting initiative with major support from the Andy Warhol Foundation for the Visual Arts, awarding nearly $500,000 to 135 independently-run spaces and projects over the past nine years.\u003c/p>\n\u003cp>“Transitions can be very challenging times for a lot of nonprofits so I always wanted Southern Exposure to be in a really strong place during the change and that time really felt like now,” Fink says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fink’s departure is something she says Southern Exposure’s staff and board have been discussing for two months. They are currently in the final stages of naming an interim executive director and will begin their search for Fink’s permanent replacement in September. She will continue in her role through August.\u003c/p>\n\u003cp>“I don’t have any plans to leave the nonprofit world,” says Fink. “I’m excited to continue my lifelong commitment to advocating for artists. I don’t know what it will look like next but I have no plans to leave the Bay Area. Who knows what will happen?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Back at Southern Exposure, programming continues full steam ahead. The ninth round of Alternative Exposure is now open to applications, the organization’s free three-week summer intensive for youth artists, \u003ca href=\"https://www.soex.org/artists-education-program/mission-voices-summer-2015\" target=\"_blank\" rel=\"noopener\">Mission Voices Summer\u003c/a>, is underway, and Los Angeles-based artist Robby Herbst hosts \u003ca href=\"https://www.soex.org/events/mapping-californian-ideology\" target=\"_blank\" rel=\"noopener\">a group discussion\u003c/a> on “California ideology” on July 18.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Rock Papers Scissors Collective (RPSC), a volunteer-run communal artist space in Oakland, announced this week that it is losing its lease on the Telegraph Ave. storefront it has called home for the past 11 years. The group must relocate by Aug. 31.\u003c/p>\n\u003cp>The collective, which hosts gallery shows and other events, as well as workshops and other resources for local artists of all ages, is the last remnant from the original group of founders of the\u003ca href=\"http://oaklandfirstfridays.org/ABOUT\" target=\"_blank\" rel=\"noopener\"> Oakland Art Murmur and First Friday\u003c/a> events remaining in uptown Oakland. Both the Murmur and the monthly First Fridays have been credited with revitalizing the \u003ca href=\"http://oaklandlocal.com/2014/03/oakulture-betti-ono-first-fridays-and-the-booming-state-of-oaklands-cultural-arts/\" target=\"_blank\" rel=\"noopener\">city’s cultural arts scene\u003c/a>. \u003c/p>\n\u003cp>In a \u003ca href=\"http://rpscollective.org/rps-is-moving/\" target=\"_blank\" rel=\"noopener\">statement released July 10\u003c/a> and signed by the RSPC, it’s revealed that the buildings longtime landlord wants to charge market value for the space, which the collective, a non-profit, cannot afford. \u003c/p>\n\u003cp>“Eleven years ago we could afford market value for the space, but thanks to our success in building a vibrant community in downtown, market rate is now far out of reach,” said the statement.\u003c/p>\n\u003cp>The forced relocation has been on the horizon for the RSPC since February, when it started an \u003ca href=\"https://www.indiegogo.com/projects/save-rock-paper-scissors-collective#/story\" target=\"_blank\" rel=\"noopener\">IndieGoGo campaign\u003c/a> to raise $25,000 for operating costs. Sadly, after a month, the campaign managed to raise just under $10,000.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when new details are learned.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Rock Papers Scissors Collective (RPSC), a volunteer-run communal artist space in Oakland, announced this week that it is losing its lease on the Telegraph Ave. storefront it has called home for the past 11 years. The group must relocate by Aug. 31.\u003c/p>\n\u003cp>The collective, which hosts gallery shows and other events, as well as workshops and other resources for local artists of all ages, is the last remnant from the original group of founders of the\u003ca href=\"http://oaklandfirstfridays.org/ABOUT\" target=\"_blank\" rel=\"noopener\"> Oakland Art Murmur and First Friday\u003c/a> events remaining in uptown Oakland. Both the Murmur and the monthly First Fridays have been credited with revitalizing the \u003ca href=\"http://oaklandlocal.com/2014/03/oakulture-betti-ono-first-fridays-and-the-booming-state-of-oaklands-cultural-arts/\" target=\"_blank\" rel=\"noopener\">city’s cultural arts scene\u003c/a>. \u003c/p>\n\u003cp>In a \u003ca href=\"http://rpscollective.org/rps-is-moving/\" target=\"_blank\" rel=\"noopener\">statement released July 10\u003c/a> and signed by the RSPC, it’s revealed that the buildings longtime landlord wants to charge market value for the space, which the collective, a non-profit, cannot afford. \u003c/p>\n\u003cp>“Eleven years ago we could afford market value for the space, but thanks to our success in building a vibrant community in downtown, market rate is now far out of reach,” said the statement.\u003c/p>\n\u003cp>The forced relocation has been on the horizon for the RSPC since February, when it started an \u003ca href=\"https://www.indiegogo.com/projects/save-rock-paper-scissors-collective#/story\" target=\"_blank\" rel=\"noopener\">IndieGoGo campaign\u003c/a> to raise $25,000 for operating costs. Sadly, after a month, the campaign managed to raise just under $10,000.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/273391106″ 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>The tinkling of a piano floats through the trees in the \u003ca href=\"http://www.sfbotanicalgarden.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Botanical Gardens\u003c/a> mixed with bird song and the sound of the wind.\u003c/p>\n\u003cp>The music appears courtesy of \u003ca href=\"http://www.sfbotanicalgarden.org/75/flower_piano.html\" target=\"_blank\" rel=\"noopener\">Flower Piano\u003c/a>, a project created by artists Dean Mermell and \u003ca href=\"http://sunsetpiano.com/story/\" target=\"_blank\" rel=\"noopener\">Mauro ffortissimo\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10836391\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_458073471.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10836391\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_458073471-1180x730.jpg\" alt='Mauro ffortissimo at the keyboards and Dean Mermell at \"Flower Piano\" in the San Francisco Botanical Gardens' width=\"640\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458073471-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458073471-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458073471-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458073471-960x594.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mauro ffortissimo at the keyboards and Dean Mermell at “Flower Piano” in the San Francisco Botanical Gardens \u003ccite>(Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists recently installed 12 pianos around the Botanical Gardens. There’s one nestled in a redwood grove, another one by the waterfowl garden, and a Vose and Sons grand piano on a terrace overlooking the Great Meadow.\u003c/p>\n\u003cp>“We were just talking about how great it is to look over the piano and see this great undulating landscape,” Mermell said. “It’s all manicured and beautiful, and the fog and the mist. It’s just an amazing place to play music.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pianos generally still play fine even in damp conditions.\u003c/p>\n\u003cp>“They’re not concert-level Steinways, but for being out in this beautiful setting, they’re great,” ffortisimo said. “The pianos never die with us.”\u003c/p>\n\u003cp>Sometimes the instruments do become unplayable after exposure to the outdoors. But ffortissimo and Mermell aim to make the pianos’ last days beautiful.\u003c/p>\n\u003cp>Over the past two years, the two guerilla piano installers have been conducting a performance art experiment. Under the name \u003ca href=\"http://sunsetpiano.com/story/\" target=\"_blank\" rel=\"noopener\">Sunset Piano\u003c/a>, they’ve been placing instruments on the streets of San Francisco as well as on bluffs along the San Mateo Coast. Mermell is making a \u003ca href=\"http://sunsetpiano.com/film/\" target=\"_blank\" rel=\"noopener\">documentary film \u003c/a>about the project.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=16EfwKbDQQ0\u003c/p>\n\u003cp>The two adopt pianos the way some people take in homeless pets. And in the age of streaming music and earbuds, there are plenty of people willing to part with a piano that no one in the house plays anymore.\u003c/p>\n\u003cp>ffortisimo says installing pianos in public spaces is an experiment in community building. According to the artist, different settings change the listening experience.\u003c/p>\n\u003cp>“I was playing on the San Mateo coast one day, close to the sun setting, ” ffortissimo said. “A guy goes by on a bicycle and he said, ‘who are you playing for?’ I said ‘I’m playing for whales.'”\u003c/p>\n\u003cp>Flower Piano is part of the Botanical Gardens’ 75th anniversary celebration, and there are concerts scheduled this weekend by pros like Lara Downes, Rupa and Freddi Price.\u003c/p>\n\u003cp>But the keyboards are also a magnet for passersby, like five-year-old San Franciscan Kirill Reifstock, who improvised on the theme of “Twinkle Twinkle.”\u003c/p>\n\u003cp>“It was my first time playing it,” Kirill said.\u003c/p>\n\u003cfigure id=\"attachment_10836390\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_458074257.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10836390\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_458074257-1180x730.jpg\" alt='Kirill Reifstock playing \"Twinkle Twinkle,\" at the San Francisco Botanical Gardens' width=\"640\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-960x594.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kirill Reifstock playing “Twinkle Twinkle” at the San Francisco Botanical Gardens \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Botanical Gardens visitor Marge Paradis said finding the pianos in this unlikely place was like falling down\u003cem> Alice in Wonderland\u003c/em>’s rabbit hole.\u003c/p>\n\u003cp>“It’s like wow!” Paradis said. “It’s weird and strange and wonderful.”\u003c/p>\n\u003cp>The pianos will be at the Botanical Gardens for anyone to play through July 20th.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pianos generally still play fine even in damp conditions.\u003c/p>\n\u003cp>“They’re not concert-level Steinways, but for being out in this beautiful setting, they’re great,” ffortisimo said. “The pianos never die with us.”\u003c/p>\n\u003cp>Sometimes the instruments do become unplayable after exposure to the outdoors. But ffortissimo and Mermell aim to make the pianos’ last days beautiful.\u003c/p>\n\u003cp>Over the past two years, the two guerilla piano installers have been conducting a performance art experiment. Under the name \u003ca href=\"http://sunsetpiano.com/story/\" target=\"_blank\" rel=\"noopener\">Sunset Piano\u003c/a>, they’ve been placing instruments on the streets of San Francisco as well as on bluffs along the San Mateo Coast. Mermell is making a \u003ca href=\"http://sunsetpiano.com/film/\" target=\"_blank\" rel=\"noopener\">documentary film \u003c/a>about the project.\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/16EfwKbDQQ0'\n title='//www.youtube.com/embed/16EfwKbDQQ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The two adopt pianos the way some people take in homeless pets. And in the age of streaming music and earbuds, there are plenty of people willing to part with a piano that no one in the house plays anymore.\u003c/p>\n\u003cp>ffortisimo says installing pianos in public spaces is an experiment in community building. According to the artist, different settings change the listening experience.\u003c/p>\n\u003cp>“I was playing on the San Mateo coast one day, close to the sun setting, ” ffortissimo said. “A guy goes by on a bicycle and he said, ‘who are you playing for?’ I said ‘I’m playing for whales.'”\u003c/p>\n\u003cp>Flower Piano is part of the Botanical Gardens’ 75th anniversary celebration, and there are concerts scheduled this weekend by pros like Lara Downes, Rupa and Freddi Price.\u003c/p>\n\u003cp>But the keyboards are also a magnet for passersby, like five-year-old San Franciscan Kirill Reifstock, who improvised on the theme of “Twinkle Twinkle.”\u003c/p>\n\u003cp>“It was my first time playing it,” Kirill said.\u003c/p>\n\u003cfigure id=\"attachment_10836390\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_458074257.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10836390\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_458074257-1180x730.jpg\" alt='Kirill Reifstock playing \"Twinkle Twinkle,\" at the San Francisco Botanical Gardens' width=\"640\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-960x594.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kirill Reifstock playing “Twinkle Twinkle” at the San Francisco Botanical Gardens \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Botanical Gardens visitor Marge Paradis said finding the pianos in this unlikely place was like falling down\u003cem> Alice in Wonderland\u003c/em>’s rabbit hole.\u003c/p>\n\u003cp>“It’s like wow!” Paradis said. “It’s weird and strange and wonderful.”\u003c/p>\n\u003cp>The pianos will be at the Botanical Gardens for anyone to play through July 20th.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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