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"content": "\u003cp>Hundreds of people gathered in San Francisco’s Mission District on Wednesday to rally in support of a vandalized mural that celebrates Latino LGBTQ.\u003c/p>\n\u003cp>The rally featured speakers, dancers and poets.\u003c/p>\n\u003cfigure id=\"attachment_10813803\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10813803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4184-800x533.jpg\" alt=\"The crowd at the Galeria de la Raza rally. (Photo by Jessica Placzek)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Galeria de la Raza rally. (Photo by Jessica Placzek) \u003ccite>(Photo: Jessica Placzek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Manuel Paul’s mural, “Por Vida,” has been defaced four times since it was put up for Pride month by Galería de la Raza, an art gallery located at the corner of 24th and Bryant Street.\u003c/p>\n\u003cp>The mural depicts two gay couples and a trans man.\u003c/p>\n\u003cp>San Francisco Supervisor David Campos, an openly gay Latino, helped organize the event along with Galería de la Raza.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“After such a beautiful and historic Pride weekend, it was heartbreaking to wake up to the news that a mural that celebrates Latino/Chicano LGBT culture in the Mission was destroyed yet again, this time by arson,” Campos said.\u003c/p>\n\u003cp>The mural was defaced with spray paint repeatedly during the month of June. It costs the gallery about $3000 to replace the mural. Gallery staff eventually had the mural printed on vinyl, enabling them to scrub off any spray paint.\u003c/p>\n\u003cp>But a determined arsonist or group of arsonists destroyed the mural again on Monday.\u003c/p>\n\u003cp>“They could have set fire not just to the mural, but to the building,” Campos said. “I think it’s important to call it out for what it is. It’s an act of hate.”\u003c/p>\n\u003cp>The San Francisco Police Department is investigating the case as a hate crime. Investigators are currently reviewing video footage of this and previous attacks captured by surveillance cameras.\u003c/p>\n\u003cp>Speakers at the rally emphasized nonviolence, compassion and love. “In the face of violence, the response is healing,” Estela Reyes Garcia, executive director of the Latino health services organization Instituto Familiar de la Raza, said. “We want to rise to the idea of restorative justice.”\u003c/p>\n\u003cp>Luciano Sagastume, a trans community organizer, lives three blocks from the mural. Sagastume said the mural is personally important because he hardly ever sees depictions of Latino trans men.\u003c/p>\n\u003cp>When he first saw it, he didn’t believe it.\u003c/p>\n\u003cp>“The first time I walked by, I told my friend ‘I really like how those thorns on that chest kind of look like they could be my surgery scars. That’s so cool, like, I’m kind of there,'” Sagastume said. “And my friend turned to me and she says, ‘Luciano, that is a Latino trans man up there. That is you.’”\u003c/p>\n\u003cfigure id=\"attachment_11791662\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/LGBTQ-mural-rally-1.jpg\" alt=\"Luciano Sagastume, a transgender community organizer.\" width=\"400\" height=\"600\" class=\"size-full wp-image-11791662\">\u003cfigcaption class=\"wp-caption-text\">Luciano Sagastume, a transgender community organizer. \u003ccite>(Photo: Jessica Placzek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Henry Pacheco, communications coordinator for Galería de la Raza, said the gallery and mural artist Paul have been subjected to homophobic violent threats on social media.\u003c/p>\n\u003cp>The gallery does not plan to replace the mural again. Pacheco said leaving the burnt mural standing makes a more powerful statement.\u003c/p>\n\u003cp>Pacheco said the gallery is grateful for all the support it has received from the community.\u003c/p>\n\u003cp>“Tonight we are feeling happy and exited that the community came out to support galleria and LGBTQ people,” Pacheco said. “Love is always going to conquer hate.”\u003c/p>\n\u003cp>Galería de la Raza plans to host a community forum on July 18 to further explore the issues surrounding the events of the past few weeks.\u003c/p>\n\u003cp>\u003ci>Watch this video from KQED’s Wendy Goodfriend of Luciano Sagastume speaking at the rally:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4tTCitYoi2o\u003c/p>\n\n",
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"title": "Mission Residents Unite Over Defaced LGBTQ Mural | KQED",
"description": "Manuel Paul’s mural, "Por Vida," has been defaced numerous times since it was put up for Pride month by Mission art gallery Galeria de la Raza. The San Francisco Police Department is investigating the case as a hate crime. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hundreds of people gathered in San Francisco’s Mission District on Wednesday to rally in support of a vandalized mural that celebrates Latino LGBTQ.\u003c/p>\n\u003cp>The rally featured speakers, dancers and poets.\u003c/p>\n\u003cfigure id=\"attachment_10813803\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10813803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4184-800x533.jpg\" alt=\"The crowd at the Galeria de la Raza rally. (Photo by Jessica Placzek)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Galeria de la Raza rally. (Photo by Jessica Placzek) \u003ccite>(Photo: Jessica Placzek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Manuel Paul’s mural, “Por Vida,” has been defaced four times since it was put up for Pride month by Galería de la Raza, an art gallery located at the corner of 24th and Bryant Street.\u003c/p>\n\u003cp>The mural depicts two gay couples and a trans man.\u003c/p>\n\u003cp>San Francisco Supervisor David Campos, an openly gay Latino, helped organize the event along with Galería de la Raza.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“After such a beautiful and historic Pride weekend, it was heartbreaking to wake up to the news that a mural that celebrates Latino/Chicano LGBT culture in the Mission was destroyed yet again, this time by arson,” Campos said.\u003c/p>\n\u003cp>The mural was defaced with spray paint repeatedly during the month of June. It costs the gallery about $3000 to replace the mural. Gallery staff eventually had the mural printed on vinyl, enabling them to scrub off any spray paint.\u003c/p>\n\u003cp>But a determined arsonist or group of arsonists destroyed the mural again on Monday.\u003c/p>\n\u003cp>“They could have set fire not just to the mural, but to the building,” Campos said. “I think it’s important to call it out for what it is. It’s an act of hate.”\u003c/p>\n\u003cp>The San Francisco Police Department is investigating the case as a hate crime. Investigators are currently reviewing video footage of this and previous attacks captured by surveillance cameras.\u003c/p>\n\u003cp>Speakers at the rally emphasized nonviolence, compassion and love. “In the face of violence, the response is healing,” Estela Reyes Garcia, executive director of the Latino health services organization Instituto Familiar de la Raza, said. “We want to rise to the idea of restorative justice.”\u003c/p>\n\u003cp>Luciano Sagastume, a trans community organizer, lives three blocks from the mural. Sagastume said the mural is personally important because he hardly ever sees depictions of Latino trans men.\u003c/p>\n\u003cp>When he first saw it, he didn’t believe it.\u003c/p>\n\u003cp>“The first time I walked by, I told my friend ‘I really like how those thorns on that chest kind of look like they could be my surgery scars. That’s so cool, like, I’m kind of there,'” Sagastume said. “And my friend turned to me and she says, ‘Luciano, that is a Latino trans man up there. That is you.’”\u003c/p>\n\u003cfigure id=\"attachment_11791662\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/LGBTQ-mural-rally-1.jpg\" alt=\"Luciano Sagastume, a transgender community organizer.\" width=\"400\" height=\"600\" class=\"size-full wp-image-11791662\">\u003cfigcaption class=\"wp-caption-text\">Luciano Sagastume, a transgender community organizer. \u003ccite>(Photo: Jessica Placzek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Henry Pacheco, communications coordinator for Galería de la Raza, said the gallery and mural artist Paul have been subjected to homophobic violent threats on social media.\u003c/p>\n\u003cp>The gallery does not plan to replace the mural again. Pacheco said leaving the burnt mural standing makes a more powerful statement.\u003c/p>\n\u003cp>Pacheco said the gallery is grateful for all the support it has received from the community.\u003c/p>\n\u003cp>“Tonight we are feeling happy and exited that the community came out to support galleria and LGBTQ people,” Pacheco said. “Love is always going to conquer hate.”\u003c/p>\n\u003cp>Galería de la Raza plans to host a community forum on July 18 to further explore the issues surrounding the events of the past few weeks.\u003c/p>\n\u003cp>\u003ci>Watch this video from KQED’s Wendy Goodfriend of Luciano Sagastume speaking at the rally:\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/4tTCitYoi2o'\n title='//www.youtube.com/embed/4tTCitYoi2o'\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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"content": "\u003cp>In the latest act of vandalism this month, the mural outside the Mission district’s Galería de la Raza was set on fire Monday night. The section of Manuel Paul’s mural “Por Vida” that depicts two men embracing was burned beyond recognition just after 11 pm.\u003c/p>\n\u003cp>“This is an act of terrorism in every sense of the word,” said Henry Pacheco, Galería’s communications representative. “They are terrorizing the staff of Galería, the people who live in the building, and the larger community. If it weren’t for the person who came with the fire extinguisher, the entire block could’ve been burned down.”\u003c/p>\n\u003cp>The mural, which L.A.-based artist Paul created as a celebration of lowrider culture and Chicano LGBT pride, was first erected on June 12. It has since been reinstalled twice by Galería volunteers after the piece was \u003ca href=\"http://ww2.kqed.org/arts/2015/06/22/mission-district-gallerys-queer-cholo-mural-defaced-again/\">vandalized over two consecutive weekends\u003c/a>, as previously reported by KQED Arts.\u003c/p>\n\u003cp>The most recent acts of vandalism, including Monday night’s arson attack, were captured by surveillance cameras and the footage is currently under review by the San Francisco Police Department (SFPD.)\u003c/p>\n\u003cp>“There was an accelerant that was found at the scene, as well as an incendiary device, and essentially it’s being investigated as a hate crime and an arson,” said SFPD Spokesman Albie Esparza. Esparza described the suspect as a 5’9” white or Hispanic male between the ages of 20-40 who was dressed in black and wearing white gloves. “The suspect did have his face covered in this latest video so we’re asking the public’s help if they know who this person is.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ani Rivera, Galería de la Raza’s executive director, is now working to create a space for her neighbors and community members to talk about the impact of the vandalism.\u003c/p>\n\u003cp>“We have to take this horrible situation and turn it into a healing opportunity,” Rivera said. “The issue is so much bigger than the mural itself.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tomorrow night, Galería de la Raza will \u003ca href=\"https://www.facebook.com/events/794025240710866/\" target=\"_blank\" rel=\"noopener\">host a rally\u003c/a> in front of the burned mural to elicit support and feedback from the community.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the latest act of vandalism this month, the mural outside the Mission district’s Galería de la Raza was set on fire Monday night. The section of Manuel Paul’s mural “Por Vida” that depicts two men embracing was burned beyond recognition just after 11 pm.\u003c/p>\n\u003cp>“This is an act of terrorism in every sense of the word,” said Henry Pacheco, Galería’s communications representative. “They are terrorizing the staff of Galería, the people who live in the building, and the larger community. If it weren’t for the person who came with the fire extinguisher, the entire block could’ve been burned down.”\u003c/p>\n\u003cp>The mural, which L.A.-based artist Paul created as a celebration of lowrider culture and Chicano LGBT pride, was first erected on June 12. It has since been reinstalled twice by Galería volunteers after the piece was \u003ca href=\"http://ww2.kqed.org/arts/2015/06/22/mission-district-gallerys-queer-cholo-mural-defaced-again/\">vandalized over two consecutive weekends\u003c/a>, as previously reported by KQED Arts.\u003c/p>\n\u003cp>The most recent acts of vandalism, including Monday night’s arson attack, were captured by surveillance cameras and the footage is currently under review by the San Francisco Police Department (SFPD.)\u003c/p>\n\u003cp>“There was an accelerant that was found at the scene, as well as an incendiary device, and essentially it’s being investigated as a hate crime and an arson,” said SFPD Spokesman Albie Esparza. Esparza described the suspect as a 5’9” white or Hispanic male between the ages of 20-40 who was dressed in black and wearing white gloves. “The suspect did have his face covered in this latest video so we’re asking the public’s help if they know who this person is.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ani Rivera, Galería de la Raza’s executive director, is now working to create a space for her neighbors and community members to talk about the impact of the vandalism.\u003c/p>\n\u003cp>“We have to take this horrible situation and turn it into a healing opportunity,” Rivera said. “The issue is so much bigger than the mural itself.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tomorrow night, Galería de la Raza will \u003ca href=\"https://www.facebook.com/events/794025240710866/\" target=\"_blank\" rel=\"noopener\">host a rally\u003c/a> in front of the burned mural to elicit support and feedback from the community.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>California arts groups will get a big bump in funding in the coming fiscal year — even more than previously thought.\u003c/p>\n\u003cp>The new $167.6 billion-state budget signed by Gov. Jerry Brown Wednesday provides $8.3 million for the California Arts Council, of which $7.1 million has been described as a “permanent increase.”\u003c/p>\n\u003cp>This is a significant boost to council’s funding, which has scraped by most of this past decade on about $1 million a year.\u003c/p>\n\u003cp>There were already signs of an imminent growth in state arts last month when \u003ca href=\"http://ww2.kqed.org/arts/2015/05/21/arts-funding-boosted-to-6-1m-in-governors-revised-budget/\" target=\"_blank\" rel=\"noopener\">Brown’s revised budget\u003c/a> increased the council’s proposed funding to $6.1 million and a state Senate subcommittee proposed increasing it to $10 million.\u003c/p>\n\u003cp>Donn Harris, who chairs the California Arts Council, says that some of the money will go towards beefing up pilot programs for the young, veterans, and underserved communities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We think the arts can apply to so many things that we don’t want them to be part of some elite piece off to the side,” Harris said. “We see this as part of the fabric of life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Advocates for the arts applauded the funding boost for the state, where \u003ca href=\"http://www.otis.edu/sites/default/files/2015_Otis_Report_on_the_Creative_Economy_CA.pdf\" target=\"_blank\" rel=\"noopener\">one in ten residents works in the creative economy\u003c/a>. But California would have to spend around $42 million a year to match the average per-person arts budgets of other states.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California arts groups will get a big bump in funding in the coming fiscal year — even more than previously thought.\u003c/p>\n\u003cp>The new $167.6 billion-state budget signed by Gov. Jerry Brown Wednesday provides $8.3 million for the California Arts Council, of which $7.1 million has been described as a “permanent increase.”\u003c/p>\n\u003cp>This is a significant boost to council’s funding, which has scraped by most of this past decade on about $1 million a year.\u003c/p>\n\u003cp>There were already signs of an imminent growth in state arts last month when \u003ca href=\"http://ww2.kqed.org/arts/2015/05/21/arts-funding-boosted-to-6-1m-in-governors-revised-budget/\" target=\"_blank\" rel=\"noopener\">Brown’s revised budget\u003c/a> increased the council’s proposed funding to $6.1 million and a state Senate subcommittee proposed increasing it to $10 million.\u003c/p>\n\u003cp>Donn Harris, who chairs the California Arts Council, says that some of the money will go towards beefing up pilot programs for the young, veterans, and underserved communities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Mission District Gallery's Queer Cholo Mural Defaced Again",
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"content": "\u003cp> \u003c/p>\n\u003cp>For the third time in less than a week, a San Francisco art gallery’s mural that mixes Lowrider or “cholo” culture with LGBTQ themes has been vandalized.\u003c/p>\n\u003cp>The Mission District’s \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener\">Galeria de la Raza\u003c/a> announced on its \u003ca href=\"https://www.facebook.com/galeriadelaraza\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> Sunday that Manuel Paul’s giant digital mural \u003cem>Por Vida\u003c/em> had been defaced with black spray paint some time overnight. The mural, which is printed on heavy paper, had been replaced on Thursday after it was vandalized in a similar fashion, on two separate occasions, just a few days before.\u003c/p>\n\u003cfigure id=\"attachment_10789995\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10789995\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_456688963-1180x885.jpg\" alt=\"The Manuel Paul mural at Galeria de La Raza honoring LGBTQ's place in Chicano culture was defaced again (Photo by Cy Musiker)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Manuel Paul mural at Galeria de La Raza honoring LGBTQ’s place in Chicano culture was defaced again (Photo by Cy Musiker) \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Por Vida\u003c/em> shows a gay couple, a lesbian couple and a transsexual man, all dressed like cholos, with the two couples embracing. The piece was a part of the gallery’s new exhibit \u003ci>The Q-Sides,\u003c/i> which is described on \u003ca href=\"http://www.galeriadelaraza.org/eng/events/index.php?op=view&id=5687\" target=\"_blank\" rel=\"noopener\">its website\u003c/a> as challenging “long-held assumptions regarding the traditional exclusivity of heterosexuality in lowrider culture.”\u003c/p>\n\u003cp>“The defacement and re-defacement of the current digital mural by Manuel Paul of Maricón Collective has only proven the credibility of its purpose,” a statement on Galeria de la Raza’s Facebook page said. “Galeria de la Raza believes in the importance of continued dialogue about LGBTQ visibility, awareness, and acceptance in the Mission District and within the greater Latino communities.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Around the first time the mural was vandalized, Paul and other \u003cem>Q-Sides\u003c/em> artists had reportedly received homophobic comments and even threats of bodily harm through social media.\u003c/p>\n\u003cp>The gallery also set up surveillance cameras after the first defacement and they have video of the second act of vandalism, which is being turned over to the police, according to \u003ca href=\"http://missionlocal.org/2015/06/mural-honoring-gay-love-vandalized-again/\" target=\"_blank\" rel=\"noopener\">Mission Local\u003c/a>.\u003c/p>\n\u003cp>Funds to repair the damaged mural are being raised with the help of \u003ca href=\"https://donatenow.networkforgood.org/1392515\" target=\"_blank\" rel=\"noopener\">Network For Good\u003c/a>. As of Sunday evening, it was unclear whether or not the mural would have to be replaced again.\u003c/p>\n\u003cp>The gallery, established in 1970, has had murals defaced before these incidents. A 2012 digital mural by artist Spencer Keeton Cunningham was vandalized and had to be \u003ca href=\"http://missionlocal.org/2012/05/galeria-de-la-raza-mural-defaced/\" target=\"_blank\" rel=\"noopener\">restored by the artist\u003c/a>. Back in 2000, \u003ca href=\"http://www.galeriadelaraza.org/eng/exhibits2/archive/artists.php?op=view&id=114&name=l&media=photo&mediaid=347\" target=\"_blank\" rel=\"noopener\">Alma Lopez’s “Heaven,”\u003c/a> which shows two women embracing, was also vandalized.\u003c/p>\n\u003cp>\u003cb>Update, 1 pm:\u003c/b>\u003c/p>\n\u003cp>Ani Rivera, Galeria de la Raza’s owner, emailed KQED Monday to confirm that there is video of two vandals defacing the mural around midnight on Sunday. The video will not be released to the media as it will first need to be reviewed by the San Francisco Police Department for their investigation.\u003c/p>\n\u003cp>Details on when the mural’s replacement will be released by the end of Monday, according to Rivera, though she is concerned that it will be vandalized again. The mural is scheduled to stay up until July 31 and Rivera is organizing a group to watch over it until it comes down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Galeria de la Raza was asking for financial support Sunday after its mural \"Por Vida\" was defaced over the weekend, just a few days after it was replaced.",
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"title": "Mission District Gallery's Queer Cholo Mural Defaced Again | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003c/p>\n\u003cp>For the third time in less than a week, a San Francisco art gallery’s mural that mixes Lowrider or “cholo” culture with LGBTQ themes has been vandalized.\u003c/p>\n\u003cp>The Mission District’s \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener\">Galeria de la Raza\u003c/a> announced on its \u003ca href=\"https://www.facebook.com/galeriadelaraza\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> Sunday that Manuel Paul’s giant digital mural \u003cem>Por Vida\u003c/em> had been defaced with black spray paint some time overnight. The mural, which is printed on heavy paper, had been replaced on Thursday after it was vandalized in a similar fashion, on two separate occasions, just a few days before.\u003c/p>\n\u003cfigure id=\"attachment_10789995\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10789995\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_456688963-1180x885.jpg\" alt=\"The Manuel Paul mural at Galeria de La Raza honoring LGBTQ's place in Chicano culture was defaced again (Photo by Cy Musiker)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Manuel Paul mural at Galeria de La Raza honoring LGBTQ’s place in Chicano culture was defaced again (Photo by Cy Musiker) \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Por Vida\u003c/em> shows a gay couple, a lesbian couple and a transsexual man, all dressed like cholos, with the two couples embracing. The piece was a part of the gallery’s new exhibit \u003ci>The Q-Sides,\u003c/i> which is described on \u003ca href=\"http://www.galeriadelaraza.org/eng/events/index.php?op=view&id=5687\" target=\"_blank\" rel=\"noopener\">its website\u003c/a> as challenging “long-held assumptions regarding the traditional exclusivity of heterosexuality in lowrider culture.”\u003c/p>\n\u003cp>“The defacement and re-defacement of the current digital mural by Manuel Paul of Maricón Collective has only proven the credibility of its purpose,” a statement on Galeria de la Raza’s Facebook page said. “Galeria de la Raza believes in the importance of continued dialogue about LGBTQ visibility, awareness, and acceptance in the Mission District and within the greater Latino communities.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Around the first time the mural was vandalized, Paul and other \u003cem>Q-Sides\u003c/em> artists had reportedly received homophobic comments and even threats of bodily harm through social media.\u003c/p>\n\u003cp>The gallery also set up surveillance cameras after the first defacement and they have video of the second act of vandalism, which is being turned over to the police, according to \u003ca href=\"http://missionlocal.org/2015/06/mural-honoring-gay-love-vandalized-again/\" target=\"_blank\" rel=\"noopener\">Mission Local\u003c/a>.\u003c/p>\n\u003cp>Funds to repair the damaged mural are being raised with the help of \u003ca href=\"https://donatenow.networkforgood.org/1392515\" target=\"_blank\" rel=\"noopener\">Network For Good\u003c/a>. As of Sunday evening, it was unclear whether or not the mural would have to be replaced again.\u003c/p>\n\u003cp>The gallery, established in 1970, has had murals defaced before these incidents. A 2012 digital mural by artist Spencer Keeton Cunningham was vandalized and had to be \u003ca href=\"http://missionlocal.org/2012/05/galeria-de-la-raza-mural-defaced/\" target=\"_blank\" rel=\"noopener\">restored by the artist\u003c/a>. Back in 2000, \u003ca href=\"http://www.galeriadelaraza.org/eng/exhibits2/archive/artists.php?op=view&id=114&name=l&media=photo&mediaid=347\" target=\"_blank\" rel=\"noopener\">Alma Lopez’s “Heaven,”\u003c/a> which shows two women embracing, was also vandalized.\u003c/p>\n\u003cp>\u003cb>Update, 1 pm:\u003c/b>\u003c/p>\n\u003cp>Ani Rivera, Galeria de la Raza’s owner, emailed KQED Monday to confirm that there is video of two vandals defacing the mural around midnight on Sunday. The video will not be released to the media as it will first need to be reviewed by the San Francisco Police Department for their investigation.\u003c/p>\n\u003cp>Details on when the mural’s replacement will be released by the end of Monday, according to Rivera, though she is concerned that it will be vandalized again. The mural is scheduled to stay up until July 31 and Rivera is organizing a group to watch over it until it comes down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Mission Tenants Win Chance to Stay in 'Pigeon Palace'",
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"content": "\u003cp>Residents of the so-called Pigeon Palace, who have been resisting its sale for fear of a massive rent increase or eviction and out of respect for what they say are the wishes of its owner, scored a huge victory today when the Community Land Trust won the $3.28 million auction for the property in probate court.\u003c/p>\n\u003cp>Judge Peter Busch, presiding over the proceeding on the multiunit, three-story building at 2840-2848 Folsom St. earlier this week, called the case “probably the most spirited I have seen.”\u003c/p>\n\u003cp>That’s because tenants and neighbors have been objecting to the sale of the property for more than a month. They say its owner, Frances Carati, never wanted the building to be sold and planned for it to go to her tenants. When approached by the tenants, Carati even signed an Intent to Sell form.\u003c/p>\n\u003cp>Unfortunately for the tenants, she did so within 30 days of failing a mental aptitude test, making the document legally worthless because she has been deemed incapable of understanding her legal and financial situation.\u003c/p>\n\u003cp>Busch dismissed all objections against the sale, saying the tenant and neighbor objecting had no standing in the case and that a 2006 care directive indicating her unwillingness to sell the building had already been superseded.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read full story at \u003ca href=\"http://missionlocal.org/2015/06/victory-for-pigeon-palace-tenants-in-court-auction/\" target=\"_blank\">Mission Local\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Residents of the so-called Pigeon Palace, who have been resisting its sale for fear of a massive rent increase or eviction and out of respect for what they say are the wishes of its owner, scored a huge victory today when the Community Land Trust won the $3.28 million auction for the property in probate court.\u003c/p>\n\u003cp>Judge Peter Busch, presiding over the proceeding on the multiunit, three-story building at 2840-2848 Folsom St. earlier this week, called the case “probably the most spirited I have seen.”\u003c/p>\n\u003cp>That’s because tenants and neighbors have been objecting to the sale of the property for more than a month. They say its owner, Frances Carati, never wanted the building to be sold and planned for it to go to her tenants. When approached by the tenants, Carati even signed an Intent to Sell form.\u003c/p>\n\u003cp>Unfortunately for the tenants, she did so within 30 days of failing a mental aptitude test, making the document legally worthless because she has been deemed incapable of understanding her legal and financial situation.\u003c/p>\n\u003cp>Busch dismissed all objections against the sale, saying the tenant and neighbor objecting had no standing in the case and that a 2006 care directive indicating her unwillingness to sell the building had already been superseded.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read full story at \u003ca href=\"http://missionlocal.org/2015/06/victory-for-pigeon-palace-tenants-in-court-auction/\" target=\"_blank\">Mission Local\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How to Overcome Stage Fright: Psychotherapy, Pills and Practice",
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"content": "\u003cp>In the past, if Sara Solovitch tripped up while playing the piano, she would get flustered and stop. Especially in front of an audience.\u003c/p>\n\u003cp>“I felt like I had to correct everything and each note had to be perfect,” the Santa Cruz-based author and pianist recently said after playing the French composer Claude Debussy’s lyrical piano piece \u003cem>Reflections on the Water\u003c/em>. She’d breezed through a few bum notes as if no one were listening. “One of the things I’ve really worked on has been continuing to play.”\u003c/p>\n\u003cp>\u003cb>\u003c/b>For the past three years, Solovitch has been coming regularly to San Jose International airport to play the beat-up Hamilton baby grand located in the Terminal B baggage claim area.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/211133564″ 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>\u003cb>“\u003c/b>Here, I’m not worried about people’s judgment and evaluation,” Solovitch said. “People aren’t listening and that’s kind of a godsend to me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>\u003c/i>Alongside doing yoga and taking anti-anxiety meds, Solovitch’s impromptu airport recitals are part of her push to overcome stage fright — a phobia that has plagued the musician since she was a little girl.\u003c/p>\n\u003cp>And now she’s written a book on the subject — \u003cem>\u003ca href=\"http://www.bloomsbury.com/us/playing-scared-9781620400913/\" target=\"_blank\" rel=\"noopener\">Playing Scared: A History and Memoir of Stage Fright\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Solovitch loves the piano. But she’s so scared of playing the instrument in public that even practicing at home when her family is around regularly unsettles her.\u003c/p>\n\u003cp>“My hands turn wet with sweat and they’ll slip and slide,” Solovitch said. “My feet tremble so that I have a hard time controlling the pedal. I feel my heart beating really uncontrollably. And then there’s just this kind of like pounding in my head.”\u003c/p>\n\u003cp>Solovitch is an amateur musician. But even the most seasoned performers struggle with stage fright.\u003c/p>\n\u003cfigure id=\"attachment_10766552\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_2733.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10766552\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_2733-800x600.jpg\" alt=\"Comedian W Kamau Bell at home in Berkeley. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2733-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2733-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2733-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2733-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Comedian W Kamau Bell at home in Berkeley. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley standup comedian W Kamau Bell has hosted his own cable TV series and has appeared on popular podcasts like \u003cem>WTF with Marc Maron\u003c/em>.\u003c/p>\n\u003cp>Yet despite Bell’s impressive chops and widespread renown, the comic still suffers from performance anxiety on a regular basis. And it makes no difference if he’s in front of a national television audience or a small crowd at a bar; he says his mind scrambles and his mouth goes dry.\u003c/p>\n\u003cp>“I’ve often said that if there’s a way to email the crowd the jokes and still get the same feeling from performing live I would just as soon do that,” Bell said.\u003c/p>\n\u003cp>It’s not just performers who deal with this issue. San Francisco Jungian psychiatrist John Beebe, who has dealt with performance anxiety in his own career and treats people who suffer from it, thinks stage fright is universal.\u003c/p>\n\u003cp>“When we can’t live up to the image we’d like to project we just feel within ourselves that we fail terribly,” Beebe said.\u003c/p>\n\u003cp>But Beebe believes people can overcome stage fright if they face it head on. Repetition is key.\u003c/p>\n\u003cp>“I think some of us have learned that the only way to master anything is to practice and do it,” Beebe said.\u003c/p>\n\u003cp>A steady diet of playing to passersby at San Jose Airport has helped Sara Solovitch vanquish her stage fright.\u003c/p>\n\u003cp>“You have to practice performing as much as you practice practise,” Solovitch said.\u003c/p>\n\u003cp>Her practice seems to have paid off: Solovitch is actually looking forward to her next gig. She’ll be performing at the public library in Santa Cruz in August.\u003c/p>\n\u003cp>“I used to talk to myself the way one doesn’t talk to their dog: You know, ‘you’re stupid, you’re an idiot, how could you make that mistake?’” Solovitch said. “And now as I approach a performance, instead of saying ‘I’m nervous,’ I say to myself ‘I’m excited.’”\u003c/p>\n\u003cp>\u003cem>Sara Solovitch’s new book, \u003ca href=\"http://www.bloomsbury.com/us/playing-scared-9781620400913/\" target=\"_blank\" rel=\"noopener\">Playing Scared: A History and Memoir of Stage Fright\u003c/a> comes out this week from Bloomsbury Publishing.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to an audio version of this story on The California Report, Friday June 19. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the past, if Sara Solovitch tripped up while playing the piano, she would get flustered and stop. Especially in front of an audience.\u003c/p>\n\u003cp>“I felt like I had to correct everything and each note had to be perfect,” the Santa Cruz-based author and pianist recently said after playing the French composer Claude Debussy’s lyrical piano piece \u003cem>Reflections on the Water\u003c/em>. She’d breezed through a few bum notes as if no one were listening. “One of the things I’ve really worked on has been continuing to play.”\u003c/p>\n\u003cp>\u003cb>\u003c/b>For the past three years, Solovitch has been coming regularly to San Jose International airport to play the beat-up Hamilton baby grand located in the Terminal B baggage claim area.\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/211133564″&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/211133564″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>“\u003c/b>Here, I’m not worried about people’s judgment and evaluation,” Solovitch said. “People aren’t listening and that’s kind of a godsend to me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003c/i>Alongside doing yoga and taking anti-anxiety meds, Solovitch’s impromptu airport recitals are part of her push to overcome stage fright — a phobia that has plagued the musician since she was a little girl.\u003c/p>\n\u003cp>And now she’s written a book on the subject — \u003cem>\u003ca href=\"http://www.bloomsbury.com/us/playing-scared-9781620400913/\" target=\"_blank\" rel=\"noopener\">Playing Scared: A History and Memoir of Stage Fright\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Solovitch loves the piano. But she’s so scared of playing the instrument in public that even practicing at home when her family is around regularly unsettles her.\u003c/p>\n\u003cp>“My hands turn wet with sweat and they’ll slip and slide,” Solovitch said. “My feet tremble so that I have a hard time controlling the pedal. I feel my heart beating really uncontrollably. And then there’s just this kind of like pounding in my head.”\u003c/p>\n\u003cp>Solovitch is an amateur musician. But even the most seasoned performers struggle with stage fright.\u003c/p>\n\u003cfigure id=\"attachment_10766552\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_2733.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10766552\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_2733-800x600.jpg\" alt=\"Comedian W Kamau Bell at home in Berkeley. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2733-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2733-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2733-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2733-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Comedian W Kamau Bell at home in Berkeley. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley standup comedian W Kamau Bell has hosted his own cable TV series and has appeared on popular podcasts like \u003cem>WTF with Marc Maron\u003c/em>.\u003c/p>\n\u003cp>Yet despite Bell’s impressive chops and widespread renown, the comic still suffers from performance anxiety on a regular basis. And it makes no difference if he’s in front of a national television audience or a small crowd at a bar; he says his mind scrambles and his mouth goes dry.\u003c/p>\n\u003cp>“I’ve often said that if there’s a way to email the crowd the jokes and still get the same feeling from performing live I would just as soon do that,” Bell said.\u003c/p>\n\u003cp>It’s not just performers who deal with this issue. San Francisco Jungian psychiatrist John Beebe, who has dealt with performance anxiety in his own career and treats people who suffer from it, thinks stage fright is universal.\u003c/p>\n\u003cp>“When we can’t live up to the image we’d like to project we just feel within ourselves that we fail terribly,” Beebe said.\u003c/p>\n\u003cp>But Beebe believes people can overcome stage fright if they face it head on. Repetition is key.\u003c/p>\n\u003cp>“I think some of us have learned that the only way to master anything is to practice and do it,” Beebe said.\u003c/p>\n\u003cp>A steady diet of playing to passersby at San Jose Airport has helped Sara Solovitch vanquish her stage fright.\u003c/p>\n\u003cp>“You have to practice performing as much as you practice practise,” Solovitch said.\u003c/p>\n\u003cp>Her practice seems to have paid off: Solovitch is actually looking forward to her next gig. She’ll be performing at the public library in Santa Cruz in August.\u003c/p>\n\u003cp>“I used to talk to myself the way one doesn’t talk to their dog: You know, ‘you’re stupid, you’re an idiot, how could you make that mistake?’” Solovitch said. “And now as I approach a performance, instead of saying ‘I’m nervous,’ I say to myself ‘I’m excited.’”\u003c/p>\n\u003cp>\u003cem>Sara Solovitch’s new book, \u003ca href=\"http://www.bloomsbury.com/us/playing-scared-9781620400913/\" target=\"_blank\" rel=\"noopener\">Playing Scared: A History and Memoir of Stage Fright\u003c/a> comes out this week from Bloomsbury Publishing.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to an audio version of this story on The California Report, Friday June 19. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In Ma Li’s hands, clear plastic bottles transform into suspended fields of jellyfish-like sculptures, and colored foam and clothes hangers resemble migrating flocks of birds.\u003c/p>\n\u003cp>With references to Chinese history, ecological concerns, ritual and fantasy, the Bay Area-based visual and performance artist weaves unlikely materials into large-scale immersive environments, and brings them to life with choreographed movements.\u003c/p>\n\u003cp>A recent artist residency at Recology, San Francisco’s municipal waste company, provided powerful fodder for Ma’s natural inclination to accumulate materials from unlikely sources. “The giant pile of trash is to me a treasure mountain,” she explains.\u003c/p>\n\u003cp>Growing up in China in the 1980s, when poverty was widespread, primed the artist for scavenging. “Watching people repurpose old objects and materials was really inspiring, and in my blood,” Ma says.\u003c/p>\n\u003cp>Ma’s colorful, suspended sculptures are full of whimsy. \u003cem>Meet You at the Bird Bridge in the Milky Way\u003c/em>, an installation marking the end of her time at Recology, was inspired by a Chinese folktale of the Cow Herder and the Weaver Maid. Separated by a galaxy of stars, the two lovers in the legend are reunited by sympathetic birds who form a bridge across the expanse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the use of uniform, prefabricated elements, Ma’s work looks handmade. “In China we were expected to be exactly the same, just like machine-made plastic bottles,” she recalls. “Through my work, I like to transform the bottles into individuals with different personalities.”\u003c/p>\n\u003cp>Trained as a choreographer, Ma’s sculptures also double as props in her ritual-like group performances. “In China, the government uses military training and giant group routines to generate a non-individualist community spirit,” she says.\u003c/p>\n\u003cp>Repurposing these strict routines into playful performances complete with fake flower headdresses and futuristic LED accents, she blends kitschy materials and purposeful movements into a visual language that’s all her own.\u003c/p>\n\u003cp>“I’m always trying to provide a dream-like experience to the audience to remind them of their childhood, and how they can still be free to play, to dream,” Ma says.\u003c/p>\n\u003cp>At \u003cem>Gathering Among Stars\u003c/em>, a one-night performance event at San Francisco’s Asian Art Museum, Ma played the role of the ringleader, whistle at the ready to direct her performers in a slow-moving procession up the Asian’s main staircase. The performance culminates in a celebration of what Ma calls as “imagination, playfulness and freedom.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>– Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Ma Li’s hands, clear plastic bottles transform into suspended fields of jellyfish-like sculptures, and colored foam and clothes hangers resemble migrating flocks of birds.\u003c/p>\n\u003cp>With references to Chinese history, ecological concerns, ritual and fantasy, the Bay Area-based visual and performance artist weaves unlikely materials into large-scale immersive environments, and brings them to life with choreographed movements.\u003c/p>\n\u003cp>A recent artist residency at Recology, San Francisco’s municipal waste company, provided powerful fodder for Ma’s natural inclination to accumulate materials from unlikely sources. “The giant pile of trash is to me a treasure mountain,” she explains.\u003c/p>\n\u003cp>Growing up in China in the 1980s, when poverty was widespread, primed the artist for scavenging. “Watching people repurpose old objects and materials was really inspiring, and in my blood,” Ma says.\u003c/p>\n\u003cp>Ma’s colorful, suspended sculptures are full of whimsy. \u003cem>Meet You at the Bird Bridge in the Milky Way\u003c/em>, an installation marking the end of her time at Recology, was inspired by a Chinese folktale of the Cow Herder and the Weaver Maid. Separated by a galaxy of stars, the two lovers in the legend are reunited by sympathetic birds who form a bridge across the expanse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the use of uniform, prefabricated elements, Ma’s work looks handmade. “In China we were expected to be exactly the same, just like machine-made plastic bottles,” she recalls. “Through my work, I like to transform the bottles into individuals with different personalities.”\u003c/p>\n\u003cp>Trained as a choreographer, Ma’s sculptures also double as props in her ritual-like group performances. “In China, the government uses military training and giant group routines to generate a non-individualist community spirit,” she says.\u003c/p>\n\u003cp>Repurposing these strict routines into playful performances complete with fake flower headdresses and futuristic LED accents, she blends kitschy materials and purposeful movements into a visual language that’s all her own.\u003c/p>\n\u003cp>“I’m always trying to provide a dream-like experience to the audience to remind them of their childhood, and how they can still be free to play, to dream,” Ma says.\u003c/p>\n\u003cp>At \u003cem>Gathering Among Stars\u003c/em>, a one-night performance event at San Francisco’s Asian Art Museum, Ma played the role of the ringleader, whistle at the ready to direct her performers in a slow-moving procession up the Asian’s main staircase. The performance culminates in a celebration of what Ma calls as “imagination, playfulness and freedom.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>– Sarah Hotchkiss\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sutro Tower: The Origins of an 'Eyesore'",
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"content": "\u003cp>\u003cem>When Sutro Tower was first proposed in San Francisco, nearly everybody hated it. How did it get built? \u003ca href=\"https://ww2.kqed.org/news/series/baycurious/\">Bay Curious\u003c/a> is a new podcast from KQED that answers your questions about the Bay Area.\u003c/em> This question comes from Craig Rubens, who wanted to know:\u003c/p>\n\u003cp>\u003cstrong>What is the story behind the construction and approval of Sutro Tower?\u003c/strong>\u003c/p>\n\u003cp>Back in the 1960s, San Francisco had \u003cem>really \u003c/em>bad television reception. By many accounts, it was the worst of any city in America.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>Good reception required a clear line of sight from the broadcast tower to your TV antenna, and in hilly San Francisco this was a challenge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Broadcasters began the hunt for a location to build a very tall tower that could send a clear TV signal far and wide.\u003c/p>\n\u003cp>ABC already had a 588-foot tower on top of Mount Sutro, and it started lobbying for the new tower to be built there.\u003c/p>\n\u003cfigure id=\"attachment_10566922\" class=\"wp-caption alignright\" style=\"max-width: 481px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro1.png\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-10566922\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro1.png\" alt=\"Early design renderings of Sutro Tower included a restaurant at the top.\" width=\"481\" height=\"641\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro1.png 481w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro1-400x533.png 400w\" sizes=\"(max-width: 481px) 100vw, 481px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early design renderings of Sutro Tower included a restaurant at the top. \u003ccite>(Courtesy of Christine Linnenbach.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Designs were drawn up, and ABC started showing off a tower that looked like a sleek golden Seattle Space Needle. It even included a restaurant at the top.\u003c/p>\n\u003ch3>Scared Into Silence\u003c/h3>\n\u003cp>ABC invited residents around Mount Sutro to discuss the plans during two meetings. Initially, neighbors had concerns over safety, property values and the city skyline.\u003c/p>\n\u003cp>“What the people were told was very simply this: Either you go away and you let us build our tower, or we will make sure the open space around Mount Sutro is torn down and all of the green belt is removed,” says Christine Linnenbach, a lawyer who has fought Sutro Tower Inc. in court and whose childhood home is a few blocks from the tower.\u003c/p>\n\u003cp>Linnenbach says ABC delivered an ultimatum: a tower and a park or no tower and no park.\u003c/p>\n\u003cp>The neighbors didn’t know that this was an empty threat. The park was already included in the city’s plan for a green belt. But their fear of losing the park caused residents to keep quiet, and ABC used the “lack of neighborhood opposition” to help push the Mount Sutro site through.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/131040168?title=0&byline=0\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch3>Getting Government Approval\u003c/h3>\n\u003cp>Among the loudest opponents of Sutro Tower was the San Francisco Chronicle. Lawyers representing the paper fought the tower at hearings in front of the San Francisco Planning Commission and the San Francisco Board of Supervisors.\u003c/p>\n\u003cp>The paper argued Sutro Tower would ruin the skyline, and it questioned the logic of placing a tower within striking distance of an elementary school, reservoirs and hundreds of homes.\u003c/p>\n\u003cp>But the Chronicle wasn’t an impartial observer. The paper had its own television station and wanted to see the tower built on San Bruno Mountain.\u003c/p>\n\u003cp>Ultimately, the Federal Aviation Authority rejected the proposal because it was too close to the airport.\u003c/p>\n\u003cp>In 1966, the San Francisco Planning Commission approved the site at Mount Sutro, passing the decision on to the San Francisco Board of Supervisors.\u003c/p>\n\u003cp>The supervisors voted 6-to-4 against building the tower, but two more votes were needed to overturn the Planning Commission’s approval.\u003c/p>\n\u003cp>The decision was final; a tower would be built on Mount Sutro.\u003c/p>\n\u003ch3>Designing the Tower\u003c/h3>\n\u003cp>Leading up to construction, the tower’s design underwent huge changes by Los Angeles architecture firm \u003ca href=\"http://www.acmartin.com/\" target=\"_blank\" rel=\"noopener\">AC Martin and Associates\u003c/a>. It became more skeletal-looking with a broader top and waist.\u003c/p>\n\u003cfigure id=\"attachment_10567235\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/image002.png\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10567235 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/image002-400x510.png\" alt=\"Later architectural drawings of the tower show the red and white stripes we've come to know today. \" width=\"400\" height=\"510\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/image002-400x510.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/image002.png 481w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Later architectural drawings of the tower show the red-and-white stripes we’ve come to know today. \u003ccite>(Courtesy of Christine Linnenbach)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eric Dausman, general manager of Sutro Tower, says the architect’s decision to taper the center was entirely aesthetic.\u003c/p>\n\u003cp>“All the engineers since then want to shoot him. It made it a more difficult structure to maintain, and it is a more difficult structure to keep perfectly upright and in a great condition,” says Dausman.\u003c/p>\n\u003cp>The other major change was the color. Original plans showed a tower with a golden hue, but aviation regulations required the tower be painted alternating stripes of red and white to ward off possible plane collisions.\u003c/p>\n\u003ch3>Construction\u003c/h3>\n\u003cp>By the 1970s, public interest in Sutro Tower had ebbed and few news outlets were reporting on it. The tower’s fiercest opponent, the Chronicle, had warmed to the tower after its television station became a partner in building it.\u003c/p>\n\u003cfigure id=\"attachment_10567312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5882.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-10567312\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5882-800x533.jpg\" alt=\"By the time the public was largely aware the tower was being built, it was too late to stop construction.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">By the time the public was largely aware the tower was being built, it was too late to stop construction. \u003ccite>(Adam Grossberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When construction finally began in 1971, the local media were silent. Television stations involved had made a gentleman’s agreement not to report on the tower. Some called it a media blackout.\u003c/p>\n\u003cp>In their defense, the four stations, KTVU, KPIX, KGO and KRON, claimed it was so that nobody would have the jump on advertising the new tower.\u003c/p>\n\u003cp>But an editorial that ran in the San Rafael Daily Independent Journal suggested the group was silent because they knew the tower would be unpopular.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>Fun Facts about Sutro Tower\u003c/h2>\n\u003cul>\n\u003cli>The legs are anchored in 15 million pounds of cement.\u003c/li>\n\u003cli>The tower is composed of 3.5 million pounds of steel.\u003c/li>\n\u003cli>It is 977 feet tall. The highest point is 1811 feet above sea level.\u003c/li>\n\u003cli>Construction cost $4 million in 1971.\u003c/li>\n\u003cli>The tower hasn’t been painted in over 20 years. “The biggest problem with painting is that we also painted a lot of the neighbors’ houses and cars. … The crew is as careful as they can be, but they’re 700, 800, 900 feet in the air, and a drip goes a long way,” says Dausman.\u003cstrong> \u003c/strong>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>When bulldozers began taking out trees on top of Mount Sutro, KQED Newsroom reporter Tom De Vries and cameraman Charles Rudnick hiked up to the construction site.\u003c/p>\n\u003cp>“We started taking pictures and a man came running out of the work office, running towards us saying, ‘You can’t film here! There’s an agreement!’ … Well, the story just got way better,” says De Vries.\u003c/p>\n\u003cp>KQED-TV ran the story, sparking new efforts to stop the tower by University of San Francisco law students and two San Francisco Supervisors.\u003c/p>\n\u003cp>None were successful.\u003c/p>\n\u003ch3>Final Touches\u003c/h3>\n\u003cp>Sutro Tower beamed out its first transmission on July 4, 1973.\u003c/p>\n\u003cp>In designing the tower, engineers realized that the antennas would sway in strong winds, so they added girders and a network of cables to keep it in place.\u003c/p>\n\u003cp>“Unfortunately, one of the byproducts was that wind would rush through these newly created guide wires, and the whole tower would sound like a moaning harp,” says Linnenbach.\u003c/p>\n\u003cp>The cables have since been redesigned and are not as loud.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10567311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5854.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10567311 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5854-800x533.jpg\" alt=\"Reporter Jessica Placzek and Sutro Tower Spokesman Dave Hyams near the top of the tower.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Reporter Jessica Placzek and Sutro Tower spokesman Dave Hyams near the top of the tower. \u003ccite>(Adam Grossberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Sutro Tower Today\u003c/h3>\n\u003cp>Dausman says he understands people who consider the tower an eyesore. If it were up to him, the tower wouldn’t even be here.\u003c/p>\n\u003cp>“This is the wrong place for a broadcast tower to serve all of the Bay Area as it has emerged in the last 40 years,” Dausman says. “It’s not really in the center.”\u003c/p>\n\u003cp>He thinks the ideal spot would be somewhere in Hayward. But at this point, the tower is isn’t going anywhere.\u003c/p>\n\u003cp>These days Sutro Tower is used for more than just television. Emergency responders, traffic control, taxi dispatchers, law enforcement and radio all use the structure.\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>And many residents have come to love Sutro Tower.\u003c/p>\n\u003cp>You can find the icon in boutiques and even tattooed onto people’s bodies. Newcomers use the tower’s prominence to navigate the city, while other San Franciscans profess to love the structure that many tourists find ugly and strange.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>When fog swirls in around the foot of the tower, people describe it as a ship sailing atop the clouds, a ladder to the blue skies always just out of reach in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_10568088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro-in-the-clouds.jpeg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10568088 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro-in-the-clouds-800x450.jpeg\" alt=\"sutro in the clouds\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-800x450.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-400x225.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-1440x810.jpeg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-1180x664.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-960x540.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sutro Tower in the fog. \u003ccite>(Olivia Allen-Price/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>When Sutro Tower was first proposed in San Francisco, nearly everybody hated it. How did it get built? \u003ca href=\"https://ww2.kqed.org/news/series/baycurious/\">Bay Curious\u003c/a> is a new podcast from KQED that answers your questions about the Bay Area.\u003c/em> This question comes from Craig Rubens, who wanted to know:\u003c/p>\n\u003cp>\u003cstrong>What is the story behind the construction and approval of Sutro Tower?\u003c/strong>\u003c/p>\n\u003cp>Back in the 1960s, San Francisco had \u003cem>really \u003c/em>bad television reception. By many accounts, it was the worst of any city in America.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Good reception required a clear line of sight from the broadcast tower to your TV antenna, and in hilly San Francisco this was a challenge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Broadcasters began the hunt for a location to build a very tall tower that could send a clear TV signal far and wide.\u003c/p>\n\u003cp>ABC already had a 588-foot tower on top of Mount Sutro, and it started lobbying for the new tower to be built there.\u003c/p>\n\u003cfigure id=\"attachment_10566922\" class=\"wp-caption alignright\" style=\"max-width: 481px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro1.png\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-10566922\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro1.png\" alt=\"Early design renderings of Sutro Tower included a restaurant at the top.\" width=\"481\" height=\"641\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro1.png 481w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro1-400x533.png 400w\" sizes=\"(max-width: 481px) 100vw, 481px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early design renderings of Sutro Tower included a restaurant at the top. \u003ccite>(Courtesy of Christine Linnenbach.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Designs were drawn up, and ABC started showing off a tower that looked like a sleek golden Seattle Space Needle. It even included a restaurant at the top.\u003c/p>\n\u003ch3>Scared Into Silence\u003c/h3>\n\u003cp>ABC invited residents around Mount Sutro to discuss the plans during two meetings. Initially, neighbors had concerns over safety, property values and the city skyline.\u003c/p>\n\u003cp>“What the people were told was very simply this: Either you go away and you let us build our tower, or we will make sure the open space around Mount Sutro is torn down and all of the green belt is removed,” says Christine Linnenbach, a lawyer who has fought Sutro Tower Inc. in court and whose childhood home is a few blocks from the tower.\u003c/p>\n\u003cp>Linnenbach says ABC delivered an ultimatum: a tower and a park or no tower and no park.\u003c/p>\n\u003cp>The neighbors didn’t know that this was an empty threat. The park was already included in the city’s plan for a green belt. But their fear of losing the park caused residents to keep quiet, and ABC used the “lack of neighborhood opposition” to help push the Mount Sutro site through.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/131040168?title=0&byline=0\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch3>Getting Government Approval\u003c/h3>\n\u003cp>Among the loudest opponents of Sutro Tower was the San Francisco Chronicle. Lawyers representing the paper fought the tower at hearings in front of the San Francisco Planning Commission and the San Francisco Board of Supervisors.\u003c/p>\n\u003cp>The paper argued Sutro Tower would ruin the skyline, and it questioned the logic of placing a tower within striking distance of an elementary school, reservoirs and hundreds of homes.\u003c/p>\n\u003cp>But the Chronicle wasn’t an impartial observer. The paper had its own television station and wanted to see the tower built on San Bruno Mountain.\u003c/p>\n\u003cp>Ultimately, the Federal Aviation Authority rejected the proposal because it was too close to the airport.\u003c/p>\n\u003cp>In 1966, the San Francisco Planning Commission approved the site at Mount Sutro, passing the decision on to the San Francisco Board of Supervisors.\u003c/p>\n\u003cp>The supervisors voted 6-to-4 against building the tower, but two more votes were needed to overturn the Planning Commission’s approval.\u003c/p>\n\u003cp>The decision was final; a tower would be built on Mount Sutro.\u003c/p>\n\u003ch3>Designing the Tower\u003c/h3>\n\u003cp>Leading up to construction, the tower’s design underwent huge changes by Los Angeles architecture firm \u003ca href=\"http://www.acmartin.com/\" target=\"_blank\" rel=\"noopener\">AC Martin and Associates\u003c/a>. It became more skeletal-looking with a broader top and waist.\u003c/p>\n\u003cfigure id=\"attachment_10567235\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/image002.png\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10567235 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/image002-400x510.png\" alt=\"Later architectural drawings of the tower show the red and white stripes we've come to know today. \" width=\"400\" height=\"510\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/image002-400x510.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/image002.png 481w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Later architectural drawings of the tower show the red-and-white stripes we’ve come to know today. \u003ccite>(Courtesy of Christine Linnenbach)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eric Dausman, general manager of Sutro Tower, says the architect’s decision to taper the center was entirely aesthetic.\u003c/p>\n\u003cp>“All the engineers since then want to shoot him. It made it a more difficult structure to maintain, and it is a more difficult structure to keep perfectly upright and in a great condition,” says Dausman.\u003c/p>\n\u003cp>The other major change was the color. Original plans showed a tower with a golden hue, but aviation regulations required the tower be painted alternating stripes of red and white to ward off possible plane collisions.\u003c/p>\n\u003ch3>Construction\u003c/h3>\n\u003cp>By the 1970s, public interest in Sutro Tower had ebbed and few news outlets were reporting on it. The tower’s fiercest opponent, the Chronicle, had warmed to the tower after its television station became a partner in building it.\u003c/p>\n\u003cfigure id=\"attachment_10567312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5882.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-10567312\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5882-800x533.jpg\" alt=\"By the time the public was largely aware the tower was being built, it was too late to stop construction.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">By the time the public was largely aware the tower was being built, it was too late to stop construction. \u003ccite>(Adam Grossberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When construction finally began in 1971, the local media were silent. Television stations involved had made a gentleman’s agreement not to report on the tower. Some called it a media blackout.\u003c/p>\n\u003cp>In their defense, the four stations, KTVU, KPIX, KGO and KRON, claimed it was so that nobody would have the jump on advertising the new tower.\u003c/p>\n\u003cp>But an editorial that ran in the San Rafael Daily Independent Journal suggested the group was silent because they knew the tower would be unpopular.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>Fun Facts about Sutro Tower\u003c/h2>\n\u003cul>\n\u003cli>The legs are anchored in 15 million pounds of cement.\u003c/li>\n\u003cli>The tower is composed of 3.5 million pounds of steel.\u003c/li>\n\u003cli>It is 977 feet tall. The highest point is 1811 feet above sea level.\u003c/li>\n\u003cli>Construction cost $4 million in 1971.\u003c/li>\n\u003cli>The tower hasn’t been painted in over 20 years. “The biggest problem with painting is that we also painted a lot of the neighbors’ houses and cars. … The crew is as careful as they can be, but they’re 700, 800, 900 feet in the air, and a drip goes a long way,” says Dausman.\u003cstrong> \u003c/strong>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>When bulldozers began taking out trees on top of Mount Sutro, KQED Newsroom reporter Tom De Vries and cameraman Charles Rudnick hiked up to the construction site.\u003c/p>\n\u003cp>“We started taking pictures and a man came running out of the work office, running towards us saying, ‘You can’t film here! There’s an agreement!’ … Well, the story just got way better,” says De Vries.\u003c/p>\n\u003cp>KQED-TV ran the story, sparking new efforts to stop the tower by University of San Francisco law students and two San Francisco Supervisors.\u003c/p>\n\u003cp>None were successful.\u003c/p>\n\u003ch3>Final Touches\u003c/h3>\n\u003cp>Sutro Tower beamed out its first transmission on July 4, 1973.\u003c/p>\n\u003cp>In designing the tower, engineers realized that the antennas would sway in strong winds, so they added girders and a network of cables to keep it in place.\u003c/p>\n\u003cp>“Unfortunately, one of the byproducts was that wind would rush through these newly created guide wires, and the whole tower would sound like a moaning harp,” says Linnenbach.\u003c/p>\n\u003cp>The cables have since been redesigned and are not as loud.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10567311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5854.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10567311 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5854-800x533.jpg\" alt=\"Reporter Jessica Placzek and Sutro Tower Spokesman Dave Hyams near the top of the tower.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Reporter Jessica Placzek and Sutro Tower spokesman Dave Hyams near the top of the tower. \u003ccite>(Adam Grossberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Sutro Tower Today\u003c/h3>\n\u003cp>Dausman says he understands people who consider the tower an eyesore. If it were up to him, the tower wouldn’t even be here.\u003c/p>\n\u003cp>“This is the wrong place for a broadcast tower to serve all of the Bay Area as it has emerged in the last 40 years,” Dausman says. “It’s not really in the center.”\u003c/p>\n\u003cp>He thinks the ideal spot would be somewhere in Hayward. But at this point, the tower is isn’t going anywhere.\u003c/p>\n\u003cp>These days Sutro Tower is used for more than just television. Emergency responders, traffic control, taxi dispatchers, law enforcement and radio all use the structure.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And many residents have come to love Sutro Tower.\u003c/p>\n\u003cp>You can find the icon in boutiques and even tattooed onto people’s bodies. Newcomers use the tower’s prominence to navigate the city, while other San Franciscans profess to love the structure that many tourists find ugly and strange.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When fog swirls in around the foot of the tower, people describe it as a ship sailing atop the clouds, a ladder to the blue skies always just out of reach in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_10568088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro-in-the-clouds.jpeg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10568088 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro-in-the-clouds-800x450.jpeg\" alt=\"sutro in the clouds\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-800x450.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-400x225.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-1440x810.jpeg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-1180x664.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-960x540.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sutro Tower in the fog. \u003ccite>(Olivia Allen-Price/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Calling All Choir sang sweetly recently for a small crowd in The \u003ca href=\"http://www.luggagestoregallery.org/tnf/\" target=\"_blank\" rel=\"noopener\">Tenderloin National Forest\u003c/a>, a tiny jewel of a park in the heart of San Francisco’s \u003ca href=\"http://en.wikipedia.org/wiki/Tenderloin,_San_Francisco\" target=\"_blank\" rel=\"noopener\">Tenderloin\u003c/a> — a neighborhood better known for single room occupancy hotels and drug deals than for choral splendor.\u003c/p>\n\u003cfigure id=\"attachment_10753149\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_2460.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10753149\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_2460-1180x885.jpg\" alt='The Calling All Choir performing at a \"Friend-Raiser\" for Counterpulse' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2460-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2460-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2460-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2460-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Calling All Choir performing at a “Friend-Raiser” for Counterpulse \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This was a fundraiser for San Francisco dance presenter \u003ca href=\"http://counterpulse.org/\" target=\"_blank\" rel=\"noopener\">Counterpulse\u003c/a>. But Executive Director Tomas Riley said it was also something more.\u003c/p>\n\u003cp>“It’s a fundraiser yes,” Riley said. “It’s also a friendraiser.”\u003c/p>\n\u003cp>A friendraiser, because Counterpulse is moving into a new home just around the corner on Turk Street.\u003c/p>\n\u003cp>“This event is free and open to the public,” Riley said. “We invited all our potential collaborators from the community serving organizations in the neighborhood just to introduce ourselves and let them know we’ll be here in the fall.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Counterpulse’s new home is a former porn movie theater, The Dollhouse. The dance company will eventually own the building.\u003c/p>\n\u003cp>So how did this little arts organization end up finding the right space at an affordable price in boom town San Francisco?\u003c/p>\n\u003cp>It got a loan from a team led by \u003ca href=\"http://krfoundation.org/arts/cast/\" target=\"_blank\" rel=\"noopener\">CAST- the Community Arts Stabilization Trust\u003c/a>. The organization purchases and leases space for the exclusive use of nonprofit arts groups.\u003c/p>\n\u003cp>Counterpulse’s move to The Tenderloin is the unexpected culmination of a two-year process that makes the group’s artistic director Julie Phelps feel like one of the luckiest arts presenters in the city.\u003c/p>\n\u003cfigure id=\"attachment_10753146\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_452127336.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10753146\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_452127336-1180x885.jpg\" alt=\"Counterpulse's current home on Mission Street \" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_452127336-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_452127336-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_452127336-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_452127336-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Counterpulse’s current home on Mission Street \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When we began to consider what our next move was going to be, it was beyond our wildest dreams that we would purchase a building, do a $3 million renovation on it, and have our dream home at the end,” Phelps said recently while sitting in Counterpulse’s current performance space located on a dingy block of Market Street.\u003c/p>\n\u003cp>Two years ago, Counterpulse faced a problem common in a \u003ca href=\"http://ww2.kqed.org/news/series/boomtown/page/2\" target=\"_blank\" rel=\"noopener\">fast-rising real estate market\u003c/a> like San Francisco’s. The company couldn’t get its landlord to negotiate a lease extension, because, Phelps thinks, he had other plans for the property, located just a block away from the social media company Twitter’s headquarters on Market Street.\u003c/p>\n\u003cp>“You can look around at the number of cranes in this neighborhood and take a pretty good guess that their property will probably be developed to the height limit and be condos,” Phelps said.\u003c/p>\n\u003cfigure id=\"attachment_10753285\" class=\"wp-caption alignright\" style=\"max-width: 289px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Shelley-Trott-Director-Arts-Strategy-and-Ventures-Kenneth-Rainin-Foundation.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10753285\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Shelley-Trott-Director-Arts-Strategy-and-Ventures-Kenneth-Rainin-Foundation.jpg\" alt=\"Shelley Trott, Director Arts Strategy and Ventures Kenneth Rainin Foundation\" width=\"289\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Shelley-Trott-Director-Arts-Strategy-and-Ventures-Kenneth-Rainin-Foundation.jpg 289w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Shelley-Trott-Director-Arts-Strategy-and-Ventures-Kenneth-Rainin-Foundation-32x32.jpg 32w\" sizes=\"(max-width: 289px) 100vw, 289px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shelley Trott, Director Arts Strategy and Ventures Kenneth Rainin FoundationTrott said what she learned is that you can’t stabilize an arts organization with just rent subsidies, you have to give them control over their space. \u003ccite>(Courtesy Kenneth Rainin Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So that’s CAST’s Formula: Match a well-run arts group in danger of losing its lease with a landlord willing to sell. Buy the property. Then have the arts group rent to own for seven to 10 years, while it raises the money needed to pay off the CAST loan…with no interest.\u003c/p>\n\u003cp>“When they purchase the building from us they’re purchasing it at the price that we originally purchased it,” said Shelley Trott, director of arts strategy and ventures at San Francisco’s \u003ca href=\"http://krfoundation.org/\" target=\"_blank\" rel=\"noopener\">Kenneth Rainin Foundation\u003c/a>. CAST is a project of the Foundation, which is backing the program with $5 million. The trust has also tapped the expertise of the \u003ca href=\"http://www.ncclf.org/\" target=\"_blank\" rel=\"noopener\">Northern California Community Loan Fund (NCCLF)\u003c/a>, which has been consulting for Counterpulse and other arts groups for years.\u003c/p>\n\u003cp>“They’re really good at looking at a distressed piece of real estate and seeing it’s potential,” said NCCLF’s Senior Real Estate Consultant Liesa Beckham of the majority of cultural organizations. But they’re not good, Beckham said, at figuring out how to finance their dreams.“We always say, ‘our clients are really good at what they do and real estate is not what they do.’ That’s where we come in.”\u003c/p>\n\u003cp>NCCLF played matchmaker, hooking Counterpulse up with CAST. CAST is also working with the \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s Arts Commission\u003c/a> and the mayor’s office to develop this subsidized ownership model for arts groups.\u003c/p>\n\u003cp>The city is providing tens of thousands of dollars more in the form of lease subsidies and relocation help for Counterpulse and another of NCCLF and CAST’s very willing guinea pigs: \u003ca href=\"http://www.luggagestoregallery.org/\" target=\"_blank\" rel=\"noopener\">The Luggage Store Gallery\u003c/a> (which developed The Tenderloin National Forest).\u003c/p>\n\u003cp>The gallery is currently undergoing a major renovation.\u003c/p>\n\u003cp>CAST provided $1 million to Luggage Store Gallery co-owners Laurie Lazer and Darryl Smith to purchase and upgrade The Luggage Store’s building in the Mid-Market neighborhood, now a booming tech corridor, even as the property doubled in value.\u003c/p>\n\u003cp>“We’re not paying any more monthly than we did before the deal,” Smith said.\u003c/p>\n\u003cp>Another reason Smith and Lazer like the CAST model is that in years to come, the building’s future will be secure, even if the two quit the arts scene.\u003c/p>\n\u003cp>“There’s a deed restriction on the property,” Lazer said. “So this building can only be used for non-profit arts and nothing else.”\u003c/p>\n\u003cp>In fact, Smith and Lazer will rent the first floor of their building to \u003ca href=\"http://hospitalityhouse.org/\" target=\"_blank\" rel=\"noopener\">Hospitality House\u003c/a>, which provides arts programs to people with low incomes and the homeless.\u003c/p>\n\u003cp>A property trust for non-profit arts is so compelling an idea that Clay Lord, Vice President of Local Arts Adancement with the group \u003ca href=\"http://www.americansforthearts.org/\" target=\"_blank\" rel=\"noopener\">Americans for the Arts\u003c/a>, invited some of the CAST principals to a national conference in Chicago last week.\u003c/p>\n\u003cp>“We get a lot of questions about how to help artists and arts organizations to maintain their place in communities that are fast gentrifying,” Lord said in a phone interview, adding Lord said that San Francisco is facing a bigger crisis than most cities.\u003c/p>\n\u003cp>One bonus for these projects is that they bring the arts to under served communities.\u003c/p>\n\u003cp>Remember that Counterpulse friend-raiser? The friends now include the families and single room occupancy residents of the Tenderloin. The community is represented by Pratibha Tekkey of \u003ca href=\"https://www.facebook.com/CentralCitySROCollaborative?fref=nf\" target=\"_blank\" rel=\"noopener\">Central City SRO\u003c/a>, a non-profit organization that represents Single Resident Occupancy housing in the Tenderloin area. “They find it very hard to get out of their house in the night to walk around and explore this neighborhood,” Tekkey said.\u003c/p>\n\u003cp>Tekkey said that Tenderloin residents are scared of the rough crowd of panhandlers and drug dealers, and that art galleries and dance presenters are not a sign of gentrification, but rather of a healthy community.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It might be a place where it’s a real inner city,” Tekkey said. “Where there’s a mixture of lower and middle class folks living together.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Calling All Choir sang sweetly recently for a small crowd in The \u003ca href=\"http://www.luggagestoregallery.org/tnf/\" target=\"_blank\" rel=\"noopener\">Tenderloin National Forest\u003c/a>, a tiny jewel of a park in the heart of San Francisco’s \u003ca href=\"http://en.wikipedia.org/wiki/Tenderloin,_San_Francisco\" target=\"_blank\" rel=\"noopener\">Tenderloin\u003c/a> — a neighborhood better known for single room occupancy hotels and drug deals than for choral splendor.\u003c/p>\n\u003cfigure id=\"attachment_10753149\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_2460.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10753149\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_2460-1180x885.jpg\" alt='The Calling All Choir performing at a \"Friend-Raiser\" for Counterpulse' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2460-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2460-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2460-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2460-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Calling All Choir performing at a “Friend-Raiser” for Counterpulse \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This was a fundraiser for San Francisco dance presenter \u003ca href=\"http://counterpulse.org/\" target=\"_blank\" rel=\"noopener\">Counterpulse\u003c/a>. But Executive Director Tomas Riley said it was also something more.\u003c/p>\n\u003cp>“It’s a fundraiser yes,” Riley said. “It’s also a friendraiser.”\u003c/p>\n\u003cp>A friendraiser, because Counterpulse is moving into a new home just around the corner on Turk Street.\u003c/p>\n\u003cp>“This event is free and open to the public,” Riley said. “We invited all our potential collaborators from the community serving organizations in the neighborhood just to introduce ourselves and let them know we’ll be here in the fall.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Counterpulse’s new home is a former porn movie theater, The Dollhouse. The dance company will eventually own the building.\u003c/p>\n\u003cp>So how did this little arts organization end up finding the right space at an affordable price in boom town San Francisco?\u003c/p>\n\u003cp>It got a loan from a team led by \u003ca href=\"http://krfoundation.org/arts/cast/\" target=\"_blank\" rel=\"noopener\">CAST- the Community Arts Stabilization Trust\u003c/a>. The organization purchases and leases space for the exclusive use of nonprofit arts groups.\u003c/p>\n\u003cp>Counterpulse’s move to The Tenderloin is the unexpected culmination of a two-year process that makes the group’s artistic director Julie Phelps feel like one of the luckiest arts presenters in the city.\u003c/p>\n\u003cfigure id=\"attachment_10753146\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_452127336.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10753146\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_452127336-1180x885.jpg\" alt=\"Counterpulse's current home on Mission Street \" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_452127336-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_452127336-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_452127336-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_452127336-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Counterpulse’s current home on Mission Street \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When we began to consider what our next move was going to be, it was beyond our wildest dreams that we would purchase a building, do a $3 million renovation on it, and have our dream home at the end,” Phelps said recently while sitting in Counterpulse’s current performance space located on a dingy block of Market Street.\u003c/p>\n\u003cp>Two years ago, Counterpulse faced a problem common in a \u003ca href=\"http://ww2.kqed.org/news/series/boomtown/page/2\" target=\"_blank\" rel=\"noopener\">fast-rising real estate market\u003c/a> like San Francisco’s. The company couldn’t get its landlord to negotiate a lease extension, because, Phelps thinks, he had other plans for the property, located just a block away from the social media company Twitter’s headquarters on Market Street.\u003c/p>\n\u003cp>“You can look around at the number of cranes in this neighborhood and take a pretty good guess that their property will probably be developed to the height limit and be condos,” Phelps said.\u003c/p>\n\u003cfigure id=\"attachment_10753285\" class=\"wp-caption alignright\" style=\"max-width: 289px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Shelley-Trott-Director-Arts-Strategy-and-Ventures-Kenneth-Rainin-Foundation.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10753285\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Shelley-Trott-Director-Arts-Strategy-and-Ventures-Kenneth-Rainin-Foundation.jpg\" alt=\"Shelley Trott, Director Arts Strategy and Ventures Kenneth Rainin Foundation\" width=\"289\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Shelley-Trott-Director-Arts-Strategy-and-Ventures-Kenneth-Rainin-Foundation.jpg 289w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Shelley-Trott-Director-Arts-Strategy-and-Ventures-Kenneth-Rainin-Foundation-32x32.jpg 32w\" sizes=\"(max-width: 289px) 100vw, 289px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shelley Trott, Director Arts Strategy and Ventures Kenneth Rainin FoundationTrott said what she learned is that you can’t stabilize an arts organization with just rent subsidies, you have to give them control over their space. \u003ccite>(Courtesy Kenneth Rainin Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So that’s CAST’s Formula: Match a well-run arts group in danger of losing its lease with a landlord willing to sell. Buy the property. Then have the arts group rent to own for seven to 10 years, while it raises the money needed to pay off the CAST loan…with no interest.\u003c/p>\n\u003cp>“When they purchase the building from us they’re purchasing it at the price that we originally purchased it,” said Shelley Trott, director of arts strategy and ventures at San Francisco’s \u003ca href=\"http://krfoundation.org/\" target=\"_blank\" rel=\"noopener\">Kenneth Rainin Foundation\u003c/a>. CAST is a project of the Foundation, which is backing the program with $5 million. The trust has also tapped the expertise of the \u003ca href=\"http://www.ncclf.org/\" target=\"_blank\" rel=\"noopener\">Northern California Community Loan Fund (NCCLF)\u003c/a>, which has been consulting for Counterpulse and other arts groups for years.\u003c/p>\n\u003cp>“They’re really good at looking at a distressed piece of real estate and seeing it’s potential,” said NCCLF’s Senior Real Estate Consultant Liesa Beckham of the majority of cultural organizations. But they’re not good, Beckham said, at figuring out how to finance their dreams.“We always say, ‘our clients are really good at what they do and real estate is not what they do.’ That’s where we come in.”\u003c/p>\n\u003cp>NCCLF played matchmaker, hooking Counterpulse up with CAST. CAST is also working with the \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s Arts Commission\u003c/a> and the mayor’s office to develop this subsidized ownership model for arts groups.\u003c/p>\n\u003cp>The city is providing tens of thousands of dollars more in the form of lease subsidies and relocation help for Counterpulse and another of NCCLF and CAST’s very willing guinea pigs: \u003ca href=\"http://www.luggagestoregallery.org/\" target=\"_blank\" rel=\"noopener\">The Luggage Store Gallery\u003c/a> (which developed The Tenderloin National Forest).\u003c/p>\n\u003cp>The gallery is currently undergoing a major renovation.\u003c/p>\n\u003cp>CAST provided $1 million to Luggage Store Gallery co-owners Laurie Lazer and Darryl Smith to purchase and upgrade The Luggage Store’s building in the Mid-Market neighborhood, now a booming tech corridor, even as the property doubled in value.\u003c/p>\n\u003cp>“We’re not paying any more monthly than we did before the deal,” Smith said.\u003c/p>\n\u003cp>Another reason Smith and Lazer like the CAST model is that in years to come, the building’s future will be secure, even if the two quit the arts scene.\u003c/p>\n\u003cp>“There’s a deed restriction on the property,” Lazer said. “So this building can only be used for non-profit arts and nothing else.”\u003c/p>\n\u003cp>In fact, Smith and Lazer will rent the first floor of their building to \u003ca href=\"http://hospitalityhouse.org/\" target=\"_blank\" rel=\"noopener\">Hospitality House\u003c/a>, which provides arts programs to people with low incomes and the homeless.\u003c/p>\n\u003cp>A property trust for non-profit arts is so compelling an idea that Clay Lord, Vice President of Local Arts Adancement with the group \u003ca href=\"http://www.americansforthearts.org/\" target=\"_blank\" rel=\"noopener\">Americans for the Arts\u003c/a>, invited some of the CAST principals to a national conference in Chicago last week.\u003c/p>\n\u003cp>“We get a lot of questions about how to help artists and arts organizations to maintain their place in communities that are fast gentrifying,” Lord said in a phone interview, adding Lord said that San Francisco is facing a bigger crisis than most cities.\u003c/p>\n\u003cp>One bonus for these projects is that they bring the arts to under served communities.\u003c/p>\n\u003cp>Remember that Counterpulse friend-raiser? The friends now include the families and single room occupancy residents of the Tenderloin. The community is represented by Pratibha Tekkey of \u003ca href=\"https://www.facebook.com/CentralCitySROCollaborative?fref=nf\" target=\"_blank\" rel=\"noopener\">Central City SRO\u003c/a>, a non-profit organization that represents Single Resident Occupancy housing in the Tenderloin area. “They find it very hard to get out of their house in the night to walk around and explore this neighborhood,” Tekkey said.\u003c/p>\n\u003cp>Tekkey said that Tenderloin residents are scared of the rough crowd of panhandlers and drug dealers, and that art galleries and dance presenters are not a sign of gentrification, but rather of a healthy community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The new owners of \u003ca href=\"http://www.cafedunord.com/\" target=\"_blank\" rel=\"noopener\">Café du Nord\u003c/a> announced Monday that the popular Upper Market concert venue, which closed in January 2014, will reopen on June 17 as a cocktail bar, restaurant and, yes, a place to hear music.\u003c/p>\n\u003cp>But the former underground rock club (literally underground — you walk down several steps to enter it) where locals could catch groups like Thee Oh Sees, Sic Alps and Frightwig before it shuttered, won’t be hosting loud punk bands.\u003c/p>\n\u003cp>According to a press release published Monday, the kind of groups that patrons might catch in the cafe’s 30-table, newly-christened “Viking Room” will be local artists that are a “complement to guests’ drinking and dining experiences.” In other words, the repertoire will focus on jazz, blues and cocktail piano.\u003c/p>\n\u003cp>For those following the sale and redevelopment of the cafe, this is not news.\u003c/p>\n\u003cp>The new owners, restaurateurs the Bon Vivants and Ne Timeas Restaurant Group, have been clear about their intentions to make Café du Nord more about the food since \u003ca href=\"http://sf.eater.com/2014/9/12/6156971/more-details-on-cafe-du-nords-revival-arriving-late-fall\" target=\"_blank\" rel=\"noopener\">September of last year\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The reopening and re-branding of Café du Nord comes at a time when other loud rock venues such as the \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">Elbo Room have announced that they are closing up shop\u003c/a>. Meanwhile, the Swedish American Hall, which sits above the cafe, only offers \u003ca href=\"http://ww2.kqed.org/arts/2015/02/15/ghosts-royals-and-singing-swedes-108-years-of-the-swedish-american-hall/\" target=\"_blank\" rel=\"noopener\">acoustic shows\u003c/a>.\u003c/p>\n\u003cp>The local music community has expressed mixed feelings about the new du Nord on social media. Some, such as Ryan Coseboom of Bay Area electronic groups Halou and Stripmall Architecture, are excited to see a new cocktail bar by the restauranteurs behind Flour + Water.\u003c/p>\n\u003cp>“I played there probably ten times. Great venue and great people worked there, ” said Coseboom. “However, things change and I certainly never presumed to have any sort of say in what they chose to do with the property or what kind of business they should do.”\u003c/p>\n\u003cp>Others, such as East Bay Express’ music editor Sam Lefebvre (who has also played drums for local bands Cold Beat and Warm Soda), had a decidedly more critical take.\u003c/p>\n\u003cp>“File under: More reasons not to believe restauranteurs who buy historic venues and say things like, ‘My ultimate goal would be to have a better live music experience than exists now,'” said Lefebvre, referring to a quote from du Nord owner Dylan MacNiven in a Dec. 2013 article in the \u003ca href=\"http://www.sfweekly.com/shookdown/2013/12/04/new-ownership-renovations-coming-to-cafe-du-nord-future-of-live-music-unclear-updated\" target=\"_blank\" rel=\"noopener\">SF Weekly’s music blog All Shook Down\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cafe will be a boon for those looking to catch a late night bite as the \u003ca href=\"http://sfist.com/2015/06/15/cafe_du_nord_reopens_wednesday_with.php\" target=\"_blank\" rel=\"noopener\">kitchen will be open nightly\u003c/a> until 1:30am, with drinks being served until 2am.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new owners of \u003ca href=\"http://www.cafedunord.com/\" target=\"_blank\" rel=\"noopener\">Café du Nord\u003c/a> announced Monday that the popular Upper Market concert venue, which closed in January 2014, will reopen on June 17 as a cocktail bar, restaurant and, yes, a place to hear music.\u003c/p>\n\u003cp>But the former underground rock club (literally underground — you walk down several steps to enter it) where locals could catch groups like Thee Oh Sees, Sic Alps and Frightwig before it shuttered, won’t be hosting loud punk bands.\u003c/p>\n\u003cp>According to a press release published Monday, the kind of groups that patrons might catch in the cafe’s 30-table, newly-christened “Viking Room” will be local artists that are a “complement to guests’ drinking and dining experiences.” In other words, the repertoire will focus on jazz, blues and cocktail piano.\u003c/p>\n\u003cp>For those following the sale and redevelopment of the cafe, this is not news.\u003c/p>\n\u003cp>The new owners, restaurateurs the Bon Vivants and Ne Timeas Restaurant Group, have been clear about their intentions to make Café du Nord more about the food since \u003ca href=\"http://sf.eater.com/2014/9/12/6156971/more-details-on-cafe-du-nords-revival-arriving-late-fall\" target=\"_blank\" rel=\"noopener\">September of last year\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The reopening and re-branding of Café du Nord comes at a time when other loud rock venues such as the \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">Elbo Room have announced that they are closing up shop\u003c/a>. Meanwhile, the Swedish American Hall, which sits above the cafe, only offers \u003ca href=\"http://ww2.kqed.org/arts/2015/02/15/ghosts-royals-and-singing-swedes-108-years-of-the-swedish-american-hall/\" target=\"_blank\" rel=\"noopener\">acoustic shows\u003c/a>.\u003c/p>\n\u003cp>The local music community has expressed mixed feelings about the new du Nord on social media. Some, such as Ryan Coseboom of Bay Area electronic groups Halou and Stripmall Architecture, are excited to see a new cocktail bar by the restauranteurs behind Flour + Water.\u003c/p>\n\u003cp>“I played there probably ten times. Great venue and great people worked there, ” said Coseboom. “However, things change and I certainly never presumed to have any sort of say in what they chose to do with the property or what kind of business they should do.”\u003c/p>\n\u003cp>Others, such as East Bay Express’ music editor Sam Lefebvre (who has also played drums for local bands Cold Beat and Warm Soda), had a decidedly more critical take.\u003c/p>\n\u003cp>“File under: More reasons not to believe restauranteurs who buy historic venues and say things like, ‘My ultimate goal would be to have a better live music experience than exists now,'” said Lefebvre, referring to a quote from du Nord owner Dylan MacNiven in a Dec. 2013 article in the \u003ca href=\"http://www.sfweekly.com/shookdown/2013/12/04/new-ownership-renovations-coming-to-cafe-du-nord-future-of-live-music-unclear-updated\" target=\"_blank\" rel=\"noopener\">SF Weekly’s music blog All Shook Down\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cafe will be a boon for those looking to catch a late night bite as the \u003ca href=\"http://sfist.com/2015/06/15/cafe_du_nord_reopens_wednesday_with.php\" target=\"_blank\" rel=\"noopener\">kitchen will be open nightly\u003c/a> until 1:30am, with drinks being served until 2am.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.oakarts.org\" target=\"_blank\" rel=\"noopener\">Oakland School for the Arts’\u003c/a> singing group Vocal Rush has been a powerhouse on the national \u003cem>a cappella\u003c/em> circuit since its founding four years ago. The high school ensemble, which started out as an after-school club, quickly grew into a serious ensemble, winning three International Championships of High School A Cappella (ICHSA), including the title this spring.\u003c/p>\n\u003cp>Vocal Rush has a decidedly Oakland sound and style, incorporating beat-boxing, vocal percussion, stepping, and other dance routines into their energetic repertoire of pop and jazz songs. But the 11 high school students of the 2014-2015 group wanted to make a special point in this year’s ICHSA competition in New York. So they dedicated their effort to \u003ca href=\"http://blacklivesmatter.com\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a>, a national movement founded in 2013 to challenge police killings and other disparities African Americans face.\u003c/p>\n\u003cp>“Being an African American girl and living in Oakland, California, I have to be very aware of who I am and cautious of who I am,” said Barbara DeVeaux-Griffith, Vocal Rush member. “Black Lives Matter really brings that back into focus.”\u003c/p>\n\u003cp>In the video above, we see powerful performances by Vocal Rush from “Lost in the World” by Kanye West to Mumford and Sons’ “Awake My Soul” captured at one of the group’s last concerts of 2015 at Sweet’s Ballroom in Oakland back in May.\u003c/p>\n\u003cp>As Vocal Rush began crafting its competition last fall, the ensemble’s attention was also keenly focused on the world outside the classrooms of their campus — Oakland’s Fox Theater. The fatal police shooting of Michael Brown in Ferguson, MO and the death of Eric Garner last year in New York had ignited street protests throughout the Bay Area. The group also responded to Oakland’s own painful history of police shootings of African Americans, including the fatal shooting of Oscar Grant in 2009 by a BART officer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The students said we need to talk about this,” said Lisa Forkish, founder and director of Vocal Rush and Oakland School for the Arts vocal music teacher. “We’ve had conversations about identity, being a young person, and what is our role in the world at large and especially as an artist.”\u003c/p>\n\u003cp>Vocal Rush’s rise in the \u003cem>a cappella\u003c/em> world has been steered by Forkish, who previously worked as the music director for the University of Oregon’s award-winning \u003cem>a cappella\u003c/em> group Divisi. That group inspired journalist Mickey Rapkin’s best-selling book, \u003ci>Pitch Perfect\u003c/i>, made into a movie in 2012 with the same title, and the sequel released this spring.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Never underestimate a group of teenagers,” said Forkish. “Some of these kids have a lot more courage than a lot of adults I know.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.oakarts.org\" target=\"_blank\" rel=\"noopener\">Oakland School for the Arts’\u003c/a> singing group Vocal Rush has been a powerhouse on the national \u003cem>a cappella\u003c/em> circuit since its founding four years ago. The high school ensemble, which started out as an after-school club, quickly grew into a serious ensemble, winning three International Championships of High School A Cappella (ICHSA), including the title this spring.\u003c/p>\n\u003cp>Vocal Rush has a decidedly Oakland sound and style, incorporating beat-boxing, vocal percussion, stepping, and other dance routines into their energetic repertoire of pop and jazz songs. But the 11 high school students of the 2014-2015 group wanted to make a special point in this year’s ICHSA competition in New York. So they dedicated their effort to \u003ca href=\"http://blacklivesmatter.com\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a>, a national movement founded in 2013 to challenge police killings and other disparities African Americans face.\u003c/p>\n\u003cp>“Being an African American girl and living in Oakland, California, I have to be very aware of who I am and cautious of who I am,” said Barbara DeVeaux-Griffith, Vocal Rush member. “Black Lives Matter really brings that back into focus.”\u003c/p>\n\u003cp>In the video above, we see powerful performances by Vocal Rush from “Lost in the World” by Kanye West to Mumford and Sons’ “Awake My Soul” captured at one of the group’s last concerts of 2015 at Sweet’s Ballroom in Oakland back in May.\u003c/p>\n\u003cp>As Vocal Rush began crafting its competition last fall, the ensemble’s attention was also keenly focused on the world outside the classrooms of their campus — Oakland’s Fox Theater. The fatal police shooting of Michael Brown in Ferguson, MO and the death of Eric Garner last year in New York had ignited street protests throughout the Bay Area. The group also responded to Oakland’s own painful history of police shootings of African Americans, including the fatal shooting of Oscar Grant in 2009 by a BART officer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The students said we need to talk about this,” said Lisa Forkish, founder and director of Vocal Rush and Oakland School for the Arts vocal music teacher. “We’ve had conversations about identity, being a young person, and what is our role in the world at large and especially as an artist.”\u003c/p>\n\u003cp>Vocal Rush’s rise in the \u003cem>a cappella\u003c/em> world has been steered by Forkish, who previously worked as the music director for the University of Oregon’s award-winning \u003cem>a cappella\u003c/em> group Divisi. That group inspired journalist Mickey Rapkin’s best-selling book, \u003ci>Pitch Perfect\u003c/i>, made into a movie in 2012 with the same title, and the sequel released this spring.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Never underestimate a group of teenagers,” said Forkish. “Some of these kids have a lot more courage than a lot of adults I know.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "New Albums from the Golden State: Dawes, Los Tres Amigos-Snuviko and Part Time",
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"content": "\u003cp>There’s fascinating music to be found in unexpected, unexplored places. A Mixtec trio rooted in a Oaxacan village and a lo-fi savant fit that bill, while an LA band is poised for a big breakout. These three make for a rich array of new California music offerings this month.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Los Tres Amigos-Snuviko, \u003cem>The Three Friends from Where the Clouds Descend (Little Village Foundation)\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/lvf-amigos-outside.jpg\">\u003cimg class=\"alignleft size-full wp-image-10560889\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/lvf-amigos-outside.jpg\" alt=\"Los Tres Amigos-Snuviko\" width=\"357\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside.jpg 357w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside-75x75.jpg 75w\" sizes=\"(max-width: 357px) 100vw, 357px\">\u003c/a>\u003c/strong>With us all having recording studios in our pockets and everything we capture put on YouTube within minutes, the notion of an \u003ca href=\"http://www.culturalequity.org/alanlomax/ce_alanlomax_index.php\" target=\"_blank\">Alan Lomax \u003c/a>or \u003ca href=\"http://www.npr.org/2013/03/16/174452880/arhoolie-records-50-years-of-digging-for-down-home-music\" target=\"_blank\">Arhoolie Records’ Chris Strachwitz\u003c/a> intrepidly making field recordings to preserve cultural music expressions, seems anachronistic if not obsolete. \"The Three Friends from Where the Clouds Descend\" by the trio \u003ca href=\"http://littlevillagefoundation.com/blog/los-tres-amigos-snuviko-from-where-the-clouds-descend/\" target=\"_blank\">Los Tres Amigos - Snuviko\u003c/a> puts the lie to that.\u003c/p>\n\u003cp>One of four inaugural releases from the \u003ca href=\"http://littlevillagefoundation.com/\" target=\"_blank\">Little Village Foundation\u003c/a>, the venture of musician and insatiable seeker Jim Pugh, the album captures lively instrumental music originating in the Oaxacan mountain village of Snuviko, which in the local Mixtec language means “where the clouds descend.” Pugh found this music, though, in a vibrant Mixtec community that has come together among the farmworkers around \u003ca href=\"http://www.cityofsantamaria.org/\" target=\"_blank\">Santa Maria\u003c/a> in Central California. Pugh, a Chicago native now living in the Santa Ynez Valley, was tipped off to these guys by members of a Norteño band he met in Lompoc, who alerted him that they spoke neither English nor Spanish. But with a Mixtec translator, he found them — guitarist Juan Hernandez, violinist Alberto López and bassist Jacobo Martinez — and recorded them in a Buellton studio.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/210100977\" 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 music is raw, expressive, evocative of both life in Mexico and Central California. It’s a valuable document, sure. But more important, it’s a great listen — just like the best Lomax and Strachwitz recordings. The Little Village slogan is “Pebbles on the Beach, Sounds from the Margins.” The other initial releases are from cowboy balladeer Dave Ellis, soul man Wee Willie Walker and boogie blues guitarist Ron Thompson, just the first round of Pugh’s marginal beachcombing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe src=\"https://player.vimeo.com/video/108716929\" width=\"640\" height=\"360\" frameborder=\"0\" title=\"Los Tres Amigos- Snuviko 10.2014\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Part Time, \u003cem>Virgo\u003c/em>\u003c/strong>\u003cstrong>\u003cem>’\u003c/em>\u003c/strong>\u003cstrong>\u003cem>s Maze (Burger Records)\u003cbr>\n\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut.jpg\">\u003cimg class=\"alignleft wp-image-10560750\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-400x410.jpg\" alt=\"Part Time- Virgo's Maze\" width=\"354\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-400x410.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-800x819.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-1440x1475.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-1180x1208.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-960x983.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut.jpg 1920w\" sizes=\"(max-width: 354px) 100vw, 354px\">\u003c/a>Lo-fi, these days, is an aesthetic choice, not an economic necessity. It’s been a good choice for David Loca, recording as Part Time. The muddy, made-in-the-bedroom patina is an integral part of his sound, every bit as much as the tinniness on old blues records. Clean it up too much and it’s not the same, or as appealing. With the new \u003ca href=\"https://www.facebook.com/pages/PART-TIME/105366072835033\" target=\"_blank\">Part Time\u003c/a> album, \u003cem>Virgo\u003c/em>\u003cem>’\u003c/em>\u003cem>s Maze\u003c/em>, that style doesn’t mask the wide reach and wide-eyed spirit of this artist. It’s probably a necessity as he flits from ‘80s electro-pop to vintage, sax-accented ‘50s rock ’n’ roll to ‘60s garage rock to quasi-soul balladry to quasi-punk-pop to a little Frank Zappa-esque weirdness, moving around in time as much as in style, as if he just can’t pick a place to land.\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/burgerrecords/sets/part-time-virgos-maze\">https://soundcloud.com/burgerrecords/sets/part-time-virgos-maze\u003c/a>\u003c/p>\n\u003cp>Even a loony version of the Beatles’ “I Saw Her Standing There” feels like just a restless stop along the way. It’s not lack of commitment — rather over-commitment, if anything. This guy loves music, loves all kinds of music and just wants to make as much music as he can. In some ways it calls to mind \u003ca href=\"http://www.allmusic.com/artist/todd-rundgren-mn0000936425/biography\" target=\"_blank\">Todd Rundgren\u003c/a>’s early-‘70s feeling-his-oats creative scattershot approach on \"Something/Anything.\" That both albums are three-fourths one-man-band efforts is a nice coincidence. (And here and there, such as on “It’s Elizabeth,” “Strangest Eyes” and the title song, the album explicitly recalls Rundgren’s pop delights.)\u003c/p>\n\u003cp>Few artists could, let alone would, go right from sounding like early \u003ca href=\"https://youtu.be/fVkN0VhOuZ0\" target=\"_blank\">Pet Shop Boys\u003c/a> on “My Jamey” to, on the next song, the chirpy “Honey Lips,” getting even more cornball old-time romantic than Paul McCartney on “Honey Pie.” But the keep-you-guessing quality is matched with a keep-you-entertained appeal, along with a handful of winking in-jokes. “Touch Me Responsibly”? Restrained/repressed lust has rarely been so tuneful. And in a time when nothing in pop culture is restrained, ever, in any way, it’s refreshing. As is the lo-fi pop throughout.\u003c/p>\n\u003cp>\u003cstrong>Dawes, \u003cem>All Your Favorite Bands (HUB)\u003cbr>\n\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut.jpg\">\u003cimg class=\"alignleft wp-image-10560751\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-400x400.jpg\" alt=\" Dawes-All Your Favorite Bands\" width=\"357\" height=\"357\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut.jpg 1920w\" sizes=\"(max-width: 357px) 100vw, 357px\">\u003c/a>Earnestly sweet sentiments have abounded in music for, well, since there’s been music. But Los Angeles’ \u003ca href=\"http://dawestheband.com/\" target=\"_blank\">Dawes\u003c/a> has come up with a new one, and it’s as earnestly sweet as it gets. “May all your favorite bands stay together,” sings Taylor Goldsmith on the title song. It’s a beautiful song full of such nice wishes for, presumably, a fondly remembered ex, and as such sidles up nicely alongside, oh, Neil Young’s “Long May You Run” and John Martyn’s (via Eric Clapton) “May You Never.”\u003c/p>\n\u003cp>More than that, it anchors an album that sees Dawes justifying early praise that saw it poised to take over the mantle of classic California rock, with such fans/mentors as Jackson Browne prominent among supporters and reference points. (He’s taken them on the road as his backing band.) But this album also sees Dawes \u003cem>separating\u003c/em> itself from the reference points — not entirely, as there’s still a lot of Browne’s tone present, as well as \u003ca href=\"http://www.crosbystillsnash.com/\" target=\"_blank\">Crosby, Stills, Nash \u003c/a>and/or Young and, to some lesser extent, the Eagles. Perhaps Goldsmith’s stint alongside Elvis Costello, Marcus Mumford, My Morning Jacket’s Jim James and Rhiannon Giddens in the T-Bone Burnett-squired \u003ca href=\"http://www.thenewbasementtapes.com/\" target=\"_blank\">New Basement Tapes\u003c/a> (crafting new music for old unused Bob Dylan lyrics) broadened his writing palette.\u003c/p>\n\u003cp>Whatever the case, he and his bandmates have matured nicely. This is on display throughout the album — the hurting opener “Things Happen,” the layered, somber “I Can’t Think About It Now” and the Grateful Dead-like extended meditation “Now That It’s Too Late, Maria” — but nowhere stronger than on “Right On Time,” a crisp tour-de-force, entwining complex emotions and involving music. In its course it renders influence and antecedents moot, Dawes making a statement all its own. Here’s to Dawes becoming one of our favorite bands. And staying together.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/_Vz2qlIdnO0?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s fascinating music to be found in unexpected, unexplored places. A Mixtec trio rooted in a Oaxacan village and a lo-fi savant fit that bill, while an LA band is poised for a big breakout. These three make for a rich array of new California music offerings this month.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Los Tres Amigos-Snuviko, \u003cem>The Three Friends from Where the Clouds Descend (Little Village Foundation)\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/lvf-amigos-outside.jpg\">\u003cimg class=\"alignleft size-full wp-image-10560889\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/lvf-amigos-outside.jpg\" alt=\"Los Tres Amigos-Snuviko\" width=\"357\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside.jpg 357w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside-75x75.jpg 75w\" sizes=\"(max-width: 357px) 100vw, 357px\">\u003c/a>\u003c/strong>With us all having recording studios in our pockets and everything we capture put on YouTube within minutes, the notion of an \u003ca href=\"http://www.culturalequity.org/alanlomax/ce_alanlomax_index.php\" target=\"_blank\">Alan Lomax \u003c/a>or \u003ca href=\"http://www.npr.org/2013/03/16/174452880/arhoolie-records-50-years-of-digging-for-down-home-music\" target=\"_blank\">Arhoolie Records’ Chris Strachwitz\u003c/a> intrepidly making field recordings to preserve cultural music expressions, seems anachronistic if not obsolete. \"The Three Friends from Where the Clouds Descend\" by the trio \u003ca href=\"http://littlevillagefoundation.com/blog/los-tres-amigos-snuviko-from-where-the-clouds-descend/\" target=\"_blank\">Los Tres Amigos - Snuviko\u003c/a> puts the lie to that.\u003c/p>\n\u003cp>One of four inaugural releases from the \u003ca href=\"http://littlevillagefoundation.com/\" target=\"_blank\">Little Village Foundation\u003c/a>, the venture of musician and insatiable seeker Jim Pugh, the album captures lively instrumental music originating in the Oaxacan mountain village of Snuviko, which in the local Mixtec language means “where the clouds descend.” Pugh found this music, though, in a vibrant Mixtec community that has come together among the farmworkers around \u003ca href=\"http://www.cityofsantamaria.org/\" target=\"_blank\">Santa Maria\u003c/a> in Central California. Pugh, a Chicago native now living in the Santa Ynez Valley, was tipped off to these guys by members of a Norteño band he met in Lompoc, who alerted him that they spoke neither English nor Spanish. But with a Mixtec translator, he found them — guitarist Juan Hernandez, violinist Alberto López and bassist Jacobo Martinez — and recorded them in a Buellton studio.\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/210100977&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/210100977'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The music is raw, expressive, evocative of both life in Mexico and Central California. It’s a valuable document, sure. But more important, it’s a great listen — just like the best Lomax and Strachwitz recordings. The Little Village slogan is “Pebbles on the Beach, Sounds from the Margins.” The other initial releases are from cowboy balladeer Dave Ellis, soul man Wee Willie Walker and boogie blues guitarist Ron Thompson, just the first round of Pugh’s marginal beachcombing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe src=\"https://player.vimeo.com/video/108716929\" width=\"640\" height=\"360\" frameborder=\"0\" title=\"Los Tres Amigos- Snuviko 10.2014\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Part Time, \u003cem>Virgo\u003c/em>\u003c/strong>\u003cstrong>\u003cem>’\u003c/em>\u003c/strong>\u003cstrong>\u003cem>s Maze (Burger Records)\u003cbr>\n\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut.jpg\">\u003cimg class=\"alignleft wp-image-10560750\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-400x410.jpg\" alt=\"Part Time- Virgo's Maze\" width=\"354\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-400x410.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-800x819.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-1440x1475.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-1180x1208.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-960x983.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut.jpg 1920w\" sizes=\"(max-width: 354px) 100vw, 354px\">\u003c/a>Lo-fi, these days, is an aesthetic choice, not an economic necessity. It’s been a good choice for David Loca, recording as Part Time. The muddy, made-in-the-bedroom patina is an integral part of his sound, every bit as much as the tinniness on old blues records. Clean it up too much and it’s not the same, or as appealing. With the new \u003ca href=\"https://www.facebook.com/pages/PART-TIME/105366072835033\" target=\"_blank\">Part Time\u003c/a> album, \u003cem>Virgo\u003c/em>\u003cem>’\u003c/em>\u003cem>s Maze\u003c/em>, that style doesn’t mask the wide reach and wide-eyed spirit of this artist. It’s probably a necessity as he flits from ‘80s electro-pop to vintage, sax-accented ‘50s rock ’n’ roll to ‘60s garage rock to quasi-soul balladry to quasi-punk-pop to a little Frank Zappa-esque weirdness, moving around in time as much as in style, as if he just can’t pick a place to land.\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/burgerrecords/sets/part-time-virgos-maze\">https://soundcloud.com/burgerrecords/sets/part-time-virgos-maze\u003c/a>\u003c/p>\n\u003cp>Even a loony version of the Beatles’ “I Saw Her Standing There” feels like just a restless stop along the way. It’s not lack of commitment — rather over-commitment, if anything. This guy loves music, loves all kinds of music and just wants to make as much music as he can. In some ways it calls to mind \u003ca href=\"http://www.allmusic.com/artist/todd-rundgren-mn0000936425/biography\" target=\"_blank\">Todd Rundgren\u003c/a>’s early-‘70s feeling-his-oats creative scattershot approach on \"Something/Anything.\" That both albums are three-fourths one-man-band efforts is a nice coincidence. (And here and there, such as on “It’s Elizabeth,” “Strangest Eyes” and the title song, the album explicitly recalls Rundgren’s pop delights.)\u003c/p>\n\u003cp>Few artists could, let alone would, go right from sounding like early \u003ca href=\"https://youtu.be/fVkN0VhOuZ0\" target=\"_blank\">Pet Shop Boys\u003c/a> on “My Jamey” to, on the next song, the chirpy “Honey Lips,” getting even more cornball old-time romantic than Paul McCartney on “Honey Pie.” But the keep-you-guessing quality is matched with a keep-you-entertained appeal, along with a handful of winking in-jokes. “Touch Me Responsibly”? Restrained/repressed lust has rarely been so tuneful. And in a time when nothing in pop culture is restrained, ever, in any way, it’s refreshing. As is the lo-fi pop throughout.\u003c/p>\n\u003cp>\u003cstrong>Dawes, \u003cem>All Your Favorite Bands (HUB)\u003cbr>\n\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut.jpg\">\u003cimg class=\"alignleft wp-image-10560751\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-400x400.jpg\" alt=\" Dawes-All Your Favorite Bands\" width=\"357\" height=\"357\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut.jpg 1920w\" sizes=\"(max-width: 357px) 100vw, 357px\">\u003c/a>Earnestly sweet sentiments have abounded in music for, well, since there’s been music. But Los Angeles’ \u003ca href=\"http://dawestheband.com/\" target=\"_blank\">Dawes\u003c/a> has come up with a new one, and it’s as earnestly sweet as it gets. “May all your favorite bands stay together,” sings Taylor Goldsmith on the title song. It’s a beautiful song full of such nice wishes for, presumably, a fondly remembered ex, and as such sidles up nicely alongside, oh, Neil Young’s “Long May You Run” and John Martyn’s (via Eric Clapton) “May You Never.”\u003c/p>\n\u003cp>More than that, it anchors an album that sees Dawes justifying early praise that saw it poised to take over the mantle of classic California rock, with such fans/mentors as Jackson Browne prominent among supporters and reference points. (He’s taken them on the road as his backing band.) But this album also sees Dawes \u003cem>separating\u003c/em> itself from the reference points — not entirely, as there’s still a lot of Browne’s tone present, as well as \u003ca href=\"http://www.crosbystillsnash.com/\" target=\"_blank\">Crosby, Stills, Nash \u003c/a>and/or Young and, to some lesser extent, the Eagles. Perhaps Goldsmith’s stint alongside Elvis Costello, Marcus Mumford, My Morning Jacket’s Jim James and Rhiannon Giddens in the T-Bone Burnett-squired \u003ca href=\"http://www.thenewbasementtapes.com/\" target=\"_blank\">New Basement Tapes\u003c/a> (crafting new music for old unused Bob Dylan lyrics) broadened his writing palette.\u003c/p>\n\u003cp>Whatever the case, he and his bandmates have matured nicely. This is on display throughout the album — the hurting opener “Things Happen,” the layered, somber “I Can’t Think About It Now” and the Grateful Dead-like extended meditation “Now That It’s Too Late, Maria” — but nowhere stronger than on “Right On Time,” a crisp tour-de-force, entwining complex emotions and involving music. In its course it renders influence and antecedents moot, Dawes making a statement all its own. Here’s to Dawes becoming one of our favorite bands. And staying together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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