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"title": "A Santa Rosa Theater Company Brings Bilingual Plays to Parks by Bike",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-imaginists/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘The Imaginists’\u003c/h2>\n\u003cdiv class=\"event-desc\">The bilingual, bicycle-toting theater company performs a surreal yet family-friendly drama about an insect wedding — for free!\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 19 – July 25\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Locations vary\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-imaginists/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The Imaginists is an unconventional theater company. During the summer they put on free plays in public parks in and around Santa Rosa where all the props, costumes, sets and actors arrive on bikes. The company was founded in 2001, and has been riding bikes for six years. And many of its performances are bilingual, with the actors moving fluidly between English and Spanish.\u003c/p>\n\u003cp>This summer, the company is touring the region with an early play by Spanish dramatist Federico Garcia Lorca. \u003cem>The Butterfly’s Evil Spell/\u003c/em>\u003cem>El Maleficio de la Mariposa\u003c/em> is a surreal, poetic drama about an insect wedding in which all the actors play bugs. The work has no ending and Lorca himself was not happy with it\u003cb>. \u003c/b>As a result, \u003cem>The Butterfly’s Evil Spell\u003c/em> is rarely performed.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-10834889\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4277-800x533.jpg\" alt=\"IMG_4277\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Last Friday, the troupe took the play to Bayer Neighborhood Park and Gardens in Santa Rosa. The performance piggybacked on a weekly community potluck complete with hot tortillas warmed over a fire. Before the play, kids speaking Spanish and English leapt over picnic tables, jumped on top of mulch piles and biked back and forth across the parkland. Once the actors had finished unloading the bikes and setting up, they rolled stumps towards the staging area for seating. Then people settled in to watch the show.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/215209695″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Amy Pinto and Brent Lindsay, cofounders of the Imaginists, wanted to bring theater to the community of Santa Rosa. Like the rest of California, a big part of that community is Hispanic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There isn’t a whole lot of art that is accessible to people in this community,” Karym Sanchez, a community organizer with the North Bay Organizing Project said. “It’s awesome that they bring the theater to the people, you know, so there’s no longer that threshold of having to pay to get in.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-10834897\" style=\"line-height: 1.5\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4313-800x533.jpg\" alt=\"IMG_4313\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>One Stage, Two Languages\u003c/strong>\u003c/p>\n\u003cp>Producing bilingual plays means that sometimes a line is spoken in English and then repeated immediately in Spanish. Other times, a Spanish phrase is followed by a clarifying sentence in English. And of course, the performers always act it out.\u003c/p>\n\u003cp>“Communication can happen in a lot of different ways rather than just language,” Pinto said.\u003c/p>\n\u003cp>Some people in the company are bilingual. But many only speak Spanish or English. Yet everyone in the cast delivers lines in both languages.\u003c/p>\n\u003cp>The Imaginists have done six bilingual plays to date including \u003cem>Extranjeros en su Propia Tierra/Strangers in Their Own Land\u003c/em> and \u003cem>REAL\u003c/em>. When new scripts are doled out for the company’s bilingual plays, actors who only speak one language learn the other from fellow cast members who are fluent in the other tongue. The actors say the process is a humbling and empowering exchange for everyone.\u003c/p>\n\u003cp>\u003cstrong>An approachable approach\u003c/strong>\u003c/p>\n\u003cp>One goal of the Imaginists is to make theater unintimidating and integrated into the community. The company does this by using untrained actors from the community, bicycles and lots of humor. In \u003cem>The Butterfly’s Evil Spell\u003c/em>, actors rap, dance and employ slapstick comedy.\u003c/p>\n\u003cp>“We aim to develop an atmosphere of trust,” Lindsay said. “The way you introduce people to that environment is of course opening up and to become vulnerable with us. Laughter is of course a perfect opportunity to open people up.”\u003c/p>\n\u003cp>The plays also incorporate audience participation. In \u003cem>The Butterfly’s Evil Spell\u003c/em>, the audience is invited to dance on stage, sing along to songs, and even dictate how Lorca’s conclusion-less play will end.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4329.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" size-medium wp-image-10834899 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4329-800x533.jpg\" alt=\"IMG_4329\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Actors ask the audience for suggestions for a suitable ending. After the crowd votes for a favorite, the cast improvises the finale. Last Friday the lovers ended up together but dead.\u003c/p>\n\u003cp>“How they got the kids involved was very creative. The people are part of the play,” said audience member Omar Gallardo. Gallardo is the outreach and diversity director of LandPaths, a stewardship organization that connects Sonoma County residents with open spaces.\u003c/p>\n\u003cp>The company draws a diverse audience, ranging from toddlers to older people. Both Latinos and non-Hispanic whites are in attendance.\u003c/p>\n\u003cp>Sitting in the audience, it’s clear that the spectators appreciate the performance. However Lindsay said Santa Rosa as a whole has not been particularly open to the Imaginists’ approach. He says it has taken a long time for the Santa Rosa establishment to come around.\u003c/p>\n\u003cp>“Especially in Santa Rosa and Sonoma, it was difficult to convince people that what you were doing was anything but amateur,” Lindsay said. “To convince people that the ideas were coming from the right place, that took at least five years.”\u003c/p>\n\u003cp>Lindsay says what really sparked local attention was recognition from outside Santa Rosa, including grants from the National Endowment for the Arts and reviews from publications in the East Bay and San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Art reflects life, life reflects art\u003c/strong>\u003c/p>\n\u003cp>The troupe not only adapts plays and poems but also produces original works for the stage. When choosing what to produce, Lindsay and Pinto try to pick subjects to which their community can relate.\u003c/p>\n\u003cp>In one of the Imaginists’ current productions, \u003cem>The Art is Medicine Show/El Show El Arte Es Medicina\u003c/em>, actress Dulce Precido recites a poem by Francisco Larcon, “First Day of School.” It’s about a newly immigrated child being handed off to a teacher whose language the child cannot understand.\u003c/p>\n\u003cp>“It’s my story,” said Precido, who left Mexico for California in 2002. “When I went to school, I didn’t speak English and couldn’t understand the teacher.”\u003c/p>\n\u003cp>One of the early bilingual plays, \u003cem>Foreigners in Their Own Land/Extranjeros en Su Propia Tierra,\u003c/em> the Imaginists tackled border crossings and deportation. An actress named Laura took the role of a woman who was going to be deported. Two years later, fiction became reality and Laura was in fact deported.\u003c/p>\n\u003cp>“Every one of the stories that are told in the play were real, but we never imagined that the story of Laura being deported was going to be real,” actor Sergio Zavala said. “It’s tough for us to come back and participate in the Imaginists after group members have been deported. So sometimes you can feel alone, but the Imaginists are loving and offer support.”\u003c/p>\n\u003cfigure id=\"attachment_10834905\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4378.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10834905 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4378-800x533.jpg\" alt=\"Actor Sergio Zavalo\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Actor Sergio Zavalo\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The Butterfly’s Evil Spell/\u003c/b>\u003cstrong>El Maleficio de la Mariposa \u003c/strong>\u003c/p>\n\u003cp>July 19 – Humboldt Park @ 4pm\u003cbr>\nJuly 24 – MLK Park @ 7 pm\u003cbr>\nJuly 25 – Finley Park @ 4pm\u003c/p>\n\u003cp>\u003cstrong>The Art is Medicine Shoe/El Show el Arte es Medicina\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>July 21 – MLK Park @ 12:30\u003c/p>\n\n",
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"excerpt": "For the past seven years, the members of The Imaginists theater company have spent their summers cycling around the region, performing experimental plays in English and Spanish before captivated audiences. ",
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"description": "For the past seven years, the members of The Imaginists theater company have spent their summers cycling around the region, performing experimental plays in English and Spanish before captivated audiences. ",
"title": "A Santa Rosa Theater Company Brings Bilingual Plays to Parks by Bike | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-imaginists/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘The Imaginists’\u003c/h2>\n\u003cdiv class=\"event-desc\">The bilingual, bicycle-toting theater company performs a surreal yet family-friendly drama about an insect wedding — for free!\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 19 – July 25\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Locations vary\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-imaginists/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The Imaginists is an unconventional theater company. During the summer they put on free plays in public parks in and around Santa Rosa where all the props, costumes, sets and actors arrive on bikes. The company was founded in 2001, and has been riding bikes for six years. And many of its performances are bilingual, with the actors moving fluidly between English and Spanish.\u003c/p>\n\u003cp>This summer, the company is touring the region with an early play by Spanish dramatist Federico Garcia Lorca. \u003cem>The Butterfly’s Evil Spell/\u003c/em>\u003cem>El Maleficio de la Mariposa\u003c/em> is a surreal, poetic drama about an insect wedding in which all the actors play bugs. The work has no ending and Lorca himself was not happy with it\u003cb>. \u003c/b>As a result, \u003cem>The Butterfly’s Evil Spell\u003c/em> is rarely performed.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-10834889\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4277-800x533.jpg\" alt=\"IMG_4277\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Last Friday, the troupe took the play to Bayer Neighborhood Park and Gardens in Santa Rosa. The performance piggybacked on a weekly community potluck complete with hot tortillas warmed over a fire. Before the play, kids speaking Spanish and English leapt over picnic tables, jumped on top of mulch piles and biked back and forth across the parkland. Once the actors had finished unloading the bikes and setting up, they rolled stumps towards the staging area for seating. Then people settled in to watch the show.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/215209695″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/215209695″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Amy Pinto and Brent Lindsay, cofounders of the Imaginists, wanted to bring theater to the community of Santa Rosa. Like the rest of California, a big part of that community is Hispanic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There isn’t a whole lot of art that is accessible to people in this community,” Karym Sanchez, a community organizer with the North Bay Organizing Project said. “It’s awesome that they bring the theater to the people, you know, so there’s no longer that threshold of having to pay to get in.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-10834897\" style=\"line-height: 1.5\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4313-800x533.jpg\" alt=\"IMG_4313\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>One Stage, Two Languages\u003c/strong>\u003c/p>\n\u003cp>Producing bilingual plays means that sometimes a line is spoken in English and then repeated immediately in Spanish. Other times, a Spanish phrase is followed by a clarifying sentence in English. And of course, the performers always act it out.\u003c/p>\n\u003cp>“Communication can happen in a lot of different ways rather than just language,” Pinto said.\u003c/p>\n\u003cp>Some people in the company are bilingual. But many only speak Spanish or English. Yet everyone in the cast delivers lines in both languages.\u003c/p>\n\u003cp>The Imaginists have done six bilingual plays to date including \u003cem>Extranjeros en su Propia Tierra/Strangers in Their Own Land\u003c/em> and \u003cem>REAL\u003c/em>. When new scripts are doled out for the company’s bilingual plays, actors who only speak one language learn the other from fellow cast members who are fluent in the other tongue. The actors say the process is a humbling and empowering exchange for everyone.\u003c/p>\n\u003cp>\u003cstrong>An approachable approach\u003c/strong>\u003c/p>\n\u003cp>One goal of the Imaginists is to make theater unintimidating and integrated into the community. The company does this by using untrained actors from the community, bicycles and lots of humor. In \u003cem>The Butterfly’s Evil Spell\u003c/em>, actors rap, dance and employ slapstick comedy.\u003c/p>\n\u003cp>“We aim to develop an atmosphere of trust,” Lindsay said. “The way you introduce people to that environment is of course opening up and to become vulnerable with us. Laughter is of course a perfect opportunity to open people up.”\u003c/p>\n\u003cp>The plays also incorporate audience participation. In \u003cem>The Butterfly’s Evil Spell\u003c/em>, the audience is invited to dance on stage, sing along to songs, and even dictate how Lorca’s conclusion-less play will end.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4329.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" size-medium wp-image-10834899 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4329-800x533.jpg\" alt=\"IMG_4329\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Actors ask the audience for suggestions for a suitable ending. After the crowd votes for a favorite, the cast improvises the finale. Last Friday the lovers ended up together but dead.\u003c/p>\n\u003cp>“How they got the kids involved was very creative. The people are part of the play,” said audience member Omar Gallardo. Gallardo is the outreach and diversity director of LandPaths, a stewardship organization that connects Sonoma County residents with open spaces.\u003c/p>\n\u003cp>The company draws a diverse audience, ranging from toddlers to older people. Both Latinos and non-Hispanic whites are in attendance.\u003c/p>\n\u003cp>Sitting in the audience, it’s clear that the spectators appreciate the performance. However Lindsay said Santa Rosa as a whole has not been particularly open to the Imaginists’ approach. He says it has taken a long time for the Santa Rosa establishment to come around.\u003c/p>\n\u003cp>“Especially in Santa Rosa and Sonoma, it was difficult to convince people that what you were doing was anything but amateur,” Lindsay said. “To convince people that the ideas were coming from the right place, that took at least five years.”\u003c/p>\n\u003cp>Lindsay says what really sparked local attention was recognition from outside Santa Rosa, including grants from the National Endowment for the Arts and reviews from publications in the East Bay and San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Art reflects life, life reflects art\u003c/strong>\u003c/p>\n\u003cp>The troupe not only adapts plays and poems but also produces original works for the stage. When choosing what to produce, Lindsay and Pinto try to pick subjects to which their community can relate.\u003c/p>\n\u003cp>In one of the Imaginists’ current productions, \u003cem>The Art is Medicine Show/El Show El Arte Es Medicina\u003c/em>, actress Dulce Precido recites a poem by Francisco Larcon, “First Day of School.” It’s about a newly immigrated child being handed off to a teacher whose language the child cannot understand.\u003c/p>\n\u003cp>“It’s my story,” said Precido, who left Mexico for California in 2002. “When I went to school, I didn’t speak English and couldn’t understand the teacher.”\u003c/p>\n\u003cp>One of the early bilingual plays, \u003cem>Foreigners in Their Own Land/Extranjeros en Su Propia Tierra,\u003c/em> the Imaginists tackled border crossings and deportation. An actress named Laura took the role of a woman who was going to be deported. Two years later, fiction became reality and Laura was in fact deported.\u003c/p>\n\u003cp>“Every one of the stories that are told in the play were real, but we never imagined that the story of Laura being deported was going to be real,” actor Sergio Zavala said. “It’s tough for us to come back and participate in the Imaginists after group members have been deported. So sometimes you can feel alone, but the Imaginists are loving and offer support.”\u003c/p>\n\u003cfigure id=\"attachment_10834905\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4378.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10834905 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4378-800x533.jpg\" alt=\"Actor Sergio Zavalo\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Actor Sergio Zavalo\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The Butterfly’s Evil Spell/\u003c/b>\u003cstrong>El Maleficio de la Mariposa \u003c/strong>\u003c/p>\n\u003cp>July 19 – Humboldt Park @ 4pm\u003cbr>\nJuly 24 – MLK Park @ 7 pm\u003cbr>\nJuly 25 – Finley Park @ 4pm\u003c/p>\n\u003cp>\u003cstrong>The Art is Medicine Shoe/El Show el Arte es Medicina\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>July 21 – MLK Park @ 12:30\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "War Memorial Veterans Building Sheds Institutional Look with Major Facelift",
"headTitle": "War Memorial Veterans Building Sheds Institutional Look with Major Facelift | KQED",
"content": "\u003cp>Over the past few years, San Francisco’s \u003ca href=\"http://www.sfwmpac.org/\" target=\"_blank\" rel=\"noopener\">War Memorial Veterans Building\u003c/a> gradually shed its institutional office look. The august old space, site of the signing of the United Nations charter in 1945 and countless performance and literary events, temporarily closed for massive renovations in 2013 and reopens at the end of September.\u003c/p>\n\u003cp>The renovations to the Veterans Building, part of the larger War Memorial and Performing Arts Center complex (which also includes the opera house and Davies Symphony Hall) cost more than $150 million in total. The city of San Francisco, as well as grant makers like the Herbst Foundation provided funding for the project.\u003c/p>\n\u003cp>The Veterans Building originally opened in 1932. It hasn’t had a major facelift since the late 1970s.\u003c/p>\n\u003cfigure id=\"attachment_10841928\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841928\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-800x600.jpg\" alt=\"Renovations underway at the Veterans Building\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Renovations underway at the Veterans Building \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the most significant upgrades to the public areas of the site are the installation of a cafe with outdoor seating (scheduled to open in January 2016), new boxes in the Herbst Theatre auditorium with improved acoustics and sight lines, better acoustics, fresh paint and stage curtains, restored chandeliers, enlarged gallery space and the addition of restrooms on every floor. (The last item is a particular coup as patrons used to have to scurry to the basement to use the facilities.)\u003c/p>\n\u003cp>Rescuing the theater’s walls from ill-advised 1970s pink and orange to the original ochre color, the new paint job also helps highlight a series of large-scale murals that adorn the sides of the auditorium. Depicting the four elements — air, earth, fire and water — the murals were originally created by artist Frank Brangwyn for the Pan Pacific International Exposition in 1915.\u003c/p>\n\u003cfigure id=\"attachment_10841931\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841931\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-800x600.jpg\" alt=\"A view from the balcony in the Herbst Theatre\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A view from the balcony in the Herbst Theatre \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to the aesthetic improvements, the building underwent significant seismic retrofitting. The concrete and steel reinforcement system is mostly embedded in the walls, hidden from view.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The changes aren’t just for audience members. Artists who perform at the Herbst Theatre, hosted by organizations like the New Century Chamber Orchestra, the Philharmonia Baroque Orchestra and San Francisco Performances, also stand to benefit greatly. Most notably, there’s the swanky new 5,000 square-foot “Backstage Suite.” It includes five airy dressing rooms, a performers’ lounge and a rehearsal room.\u003c/p>\n\u003cp>And for the first time in its history, the Herbst has easily accessible dressing rooms. In the past, the cramped artist facilities were located on mezzanine levels flanking the stage and in the basement.\u003c/p>\n\u003cp>“Before, you had to take a circular spiral staircase to get to your dressing room,” Elizabeth Murray, managing director of the San Francisco War Memorial and Performing Arts Center said.\u003c/p>\n\u003cp>The dressing rooms themselves are bigger and brighter. Many of the furnishings, such as the dressing room tables, were salvaged from the old dressing rooms — an effort to be environmentally conscious and cost-efficient.\u003c/p>\n\u003cfigure id=\"attachment_10841932\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841932\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-800x600.jpg\" alt=\"A view from the new boxes in the Herbst Theatre\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A view from the new boxes in the Herbst Theatre \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The artists used to have to warm up in the public hallways and bathrooms,” Murray said. “Now they don’t have to.”\u003c/p>\n\u003cp>Another major addition to the building is the Diane Wilsey Center for Opera on the fourth floor. The center includes a 330-seat performance space dedicated to opera. Construction on this piece of the project is expected to continue through October.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve always loved this theater,” San Francisco Performances president Ruth Felt said. “Now we’ll love it even more.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the past few years, San Francisco’s \u003ca href=\"http://www.sfwmpac.org/\" target=\"_blank\" rel=\"noopener\">War Memorial Veterans Building\u003c/a> gradually shed its institutional office look. The august old space, site of the signing of the United Nations charter in 1945 and countless performance and literary events, temporarily closed for massive renovations in 2013 and reopens at the end of September.\u003c/p>\n\u003cp>The renovations to the Veterans Building, part of the larger War Memorial and Performing Arts Center complex (which also includes the opera house and Davies Symphony Hall) cost more than $150 million in total. The city of San Francisco, as well as grant makers like the Herbst Foundation provided funding for the project.\u003c/p>\n\u003cp>The Veterans Building originally opened in 1932. It hasn’t had a major facelift since the late 1970s.\u003c/p>\n\u003cfigure id=\"attachment_10841928\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841928\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-800x600.jpg\" alt=\"Renovations underway at the Veterans Building\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Renovations underway at the Veterans Building \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the most significant upgrades to the public areas of the site are the installation of a cafe with outdoor seating (scheduled to open in January 2016), new boxes in the Herbst Theatre auditorium with improved acoustics and sight lines, better acoustics, fresh paint and stage curtains, restored chandeliers, enlarged gallery space and the addition of restrooms on every floor. (The last item is a particular coup as patrons used to have to scurry to the basement to use the facilities.)\u003c/p>\n\u003cp>Rescuing the theater’s walls from ill-advised 1970s pink and orange to the original ochre color, the new paint job also helps highlight a series of large-scale murals that adorn the sides of the auditorium. Depicting the four elements — air, earth, fire and water — the murals were originally created by artist Frank Brangwyn for the Pan Pacific International Exposition in 1915.\u003c/p>\n\u003cfigure id=\"attachment_10841931\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841931\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-800x600.jpg\" alt=\"A view from the balcony in the Herbst Theatre\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A view from the balcony in the Herbst Theatre \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to the aesthetic improvements, the building underwent significant seismic retrofitting. The concrete and steel reinforcement system is mostly embedded in the walls, hidden from view.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The changes aren’t just for audience members. Artists who perform at the Herbst Theatre, hosted by organizations like the New Century Chamber Orchestra, the Philharmonia Baroque Orchestra and San Francisco Performances, also stand to benefit greatly. Most notably, there’s the swanky new 5,000 square-foot “Backstage Suite.” It includes five airy dressing rooms, a performers’ lounge and a rehearsal room.\u003c/p>\n\u003cp>And for the first time in its history, the Herbst has easily accessible dressing rooms. In the past, the cramped artist facilities were located on mezzanine levels flanking the stage and in the basement.\u003c/p>\n\u003cp>“Before, you had to take a circular spiral staircase to get to your dressing room,” Elizabeth Murray, managing director of the San Francisco War Memorial and Performing Arts Center said.\u003c/p>\n\u003cp>The dressing rooms themselves are bigger and brighter. Many of the furnishings, such as the dressing room tables, were salvaged from the old dressing rooms — an effort to be environmentally conscious and cost-efficient.\u003c/p>\n\u003cfigure id=\"attachment_10841932\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841932\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-800x600.jpg\" alt=\"A view from the new boxes in the Herbst Theatre\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A view from the new boxes in the Herbst Theatre \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The artists used to have to warm up in the public hallways and bathrooms,” Murray said. “Now they don’t have to.”\u003c/p>\n\u003cp>Another major addition to the building is the Diane Wilsey Center for Opera on the fourth floor. The center includes a 330-seat performance space dedicated to opera. Construction on this piece of the project is expected to continue through October.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve always loved this theater,” San Francisco Performances president Ruth Felt said. “Now we’ll love it even more.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A New Museum in a Changing Tenderloin",
"headTitle": "A New Museum in a Changing Tenderloin | KQED",
"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/215048940″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>A new museum opened Thursday in downtown San Francisco.\u003c/p>\n\u003cp>The Tenderloin Museum sits on the corner of Eddy and Leavenworth Street in the middle of one of San Francisco’s most economically and socially challenged neighborhoods. The airy new 3,200 square foot museum cost $3.5 million to build. It stands out against the backdrop of Single Resident Occupancy (SRO) hotels and drug rehabilitation clinics.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/a/forum/R201506021000\">Randy Shaw\u003c/a>, the director of the neighborhood community development organizations Tenderloin Housing Clinic and Uptown Tenderloin, helped to spearhead the development of the new museum. Shaw hopes the institution will help change negative perceptions of the area, bring pride to residents and make the Tenderloin a more desirable neighborhood in which to live.\u003c/p>\n\u003cp>“The Tenderloin has a perception problem,” Shaw says . “We have the highest percent of children of any neighborhood in San Francisco. We have over 409 historic buildings and it’s a walkable neighborhood and a very diverse neighborhood.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The museum focuses on the Tenderloin’s influence on counterculture going all the way back to the 1906 earthquake. It has exhibits on the neighborhood’s ties to Lesbian, Gay, Transgender and Bisexual (LGBT) movements, housing activism and gambling.\u003c/p>\n\u003cp>“If you wanted to gamble, the Tenderloin was where you came,” Shaw says. “We were the gambling capital of the bay area.” He attributes the fall of the Tenderloin to gambling being outlawed. “After that, we had no economic purpose,” Shaw says.\u003c/p>\n\u003cp>The museum also offers walking tours of the Tenderloin. Along the way, guides will point out architectural gems, infamous bars and places where historic events occurred, like the location where the Grateful Dead recorded the seminal album \u003cem>American Beauty\u003c/em>.\u003c/p>\n\u003cp>As rents rise in San Francisco, those who once avoided the neighborhood are edging in. Technology companies like Twitter have been quick to snatch up properties along Market Street. Cultural institutions are also getting closer. The American Conservatory Theater launched its new performance venue, The Strand, on the fringes of the neighborhood last month. Galleries have also been popping up in the area and more are on the way.\u003c/p>\n\u003cp>Although he is attempting to make the neighborhood a desirable place to live, Shaw believes that the Tenderloin will remain a low-income neighborhood.\u003c/p>\n\u003cp>“We have so much property off the speculative market,” Shaw says. “Nearly a third is either owned by non profits or privately subsidized. We don’t have Ellis Act evictions or owner move in evictions. This community has a history of activism battling the establishment and we’ve passed so many laws to protect all of our housing.”\u003c/p>\n\u003cp>Elvin Padilla, a Tenderloin community organizer and economic development consultant, hopes the extra foot traffic will help clean up the neighborhood.\u003c/p>\n\u003cp>“The city uses the neighborhood as its containment zone,” Padilla says. “If it’s no longer a containment zone because other people are coming in to do positive things, like going to a theater show or a museum, then the city is forced to pay more attention to public safety considerations.”\u003c/p>\n\u003cp>But not everyone sees the appearance of the new museum in such a positive light.\u003c/p>\n\u003cp>“You know, me and my roommates, we joke about it, like, oh what are they going to do, have a big picture of a needle?” Tenderloin resident Chloe Brubaker says.\u003c/p>\n\u003cp>Shaw and his team are working to change such impressions.\u003c/p>\n\u003cp>The Museum will be free to Tenderloin residents once a month. It has also hired guides who live in the local SROs to lead the walking tours.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Tenderloin Museum is open to the public 10-5 Tuesday through Sunday.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/215048940″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/215048940″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A new museum opened Thursday in downtown San Francisco.\u003c/p>\n\u003cp>The Tenderloin Museum sits on the corner of Eddy and Leavenworth Street in the middle of one of San Francisco’s most economically and socially challenged neighborhoods. The airy new 3,200 square foot museum cost $3.5 million to build. It stands out against the backdrop of Single Resident Occupancy (SRO) hotels and drug rehabilitation clinics.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/a/forum/R201506021000\">Randy Shaw\u003c/a>, the director of the neighborhood community development organizations Tenderloin Housing Clinic and Uptown Tenderloin, helped to spearhead the development of the new museum. Shaw hopes the institution will help change negative perceptions of the area, bring pride to residents and make the Tenderloin a more desirable neighborhood in which to live.\u003c/p>\n\u003cp>“The Tenderloin has a perception problem,” Shaw says . “We have the highest percent of children of any neighborhood in San Francisco. We have over 409 historic buildings and it’s a walkable neighborhood and a very diverse neighborhood.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The museum focuses on the Tenderloin’s influence on counterculture going all the way back to the 1906 earthquake. It has exhibits on the neighborhood’s ties to Lesbian, Gay, Transgender and Bisexual (LGBT) movements, housing activism and gambling.\u003c/p>\n\u003cp>“If you wanted to gamble, the Tenderloin was where you came,” Shaw says. “We were the gambling capital of the bay area.” He attributes the fall of the Tenderloin to gambling being outlawed. “After that, we had no economic purpose,” Shaw says.\u003c/p>\n\u003cp>The museum also offers walking tours of the Tenderloin. Along the way, guides will point out architectural gems, infamous bars and places where historic events occurred, like the location where the Grateful Dead recorded the seminal album \u003cem>American Beauty\u003c/em>.\u003c/p>\n\u003cp>As rents rise in San Francisco, those who once avoided the neighborhood are edging in. Technology companies like Twitter have been quick to snatch up properties along Market Street. Cultural institutions are also getting closer. The American Conservatory Theater launched its new performance venue, The Strand, on the fringes of the neighborhood last month. Galleries have also been popping up in the area and more are on the way.\u003c/p>\n\u003cp>Although he is attempting to make the neighborhood a desirable place to live, Shaw believes that the Tenderloin will remain a low-income neighborhood.\u003c/p>\n\u003cp>“We have so much property off the speculative market,” Shaw says. “Nearly a third is either owned by non profits or privately subsidized. We don’t have Ellis Act evictions or owner move in evictions. This community has a history of activism battling the establishment and we’ve passed so many laws to protect all of our housing.”\u003c/p>\n\u003cp>Elvin Padilla, a Tenderloin community organizer and economic development consultant, hopes the extra foot traffic will help clean up the neighborhood.\u003c/p>\n\u003cp>“The city uses the neighborhood as its containment zone,” Padilla says. “If it’s no longer a containment zone because other people are coming in to do positive things, like going to a theater show or a museum, then the city is forced to pay more attention to public safety considerations.”\u003c/p>\n\u003cp>But not everyone sees the appearance of the new museum in such a positive light.\u003c/p>\n\u003cp>“You know, me and my roommates, we joke about it, like, oh what are they going to do, have a big picture of a needle?” Tenderloin resident Chloe Brubaker says.\u003c/p>\n\u003cp>Shaw and his team are working to change such impressions.\u003c/p>\n\u003cp>The Museum will be free to Tenderloin residents once a month. It has also hired guides who live in the local SROs to lead the walking tours.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Tenderloin Museum is open to the public 10-5 Tuesday through Sunday.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco-based visual arts organization \u003ca href=\"https://www.soex.org/index.php\" target=\"_blank\" rel=\"noopener\">Southern Exposure\u003c/a> announced on Tuesday that its Executive Director Courtney Fink will step down after 13 years.\u003c/p>\n\u003cp>Fink’s exit marks the \u003ca href=\"http://ww2.kqed.org/arts/2015/05/27/pro-arts-executive-director-steps-down-latest-in-wave-of-recent-art-world-departures/\" target=\"_blank\" rel=\"noopener\">fourth such departure\u003c/a> from a Bay Area visual arts nonprofit this year, a trend she says is merely part of a natural progression rather than an indication that local support for the arts is dwindling.\u003c/p>\n\u003cp>“Historically change does seem to happen in waves and that’s normal,” Fink says. “I think that means progress for the Bay Area. Change is what keeps things interesting and moving forward.”\u003c/p>\n\u003cp>Fink joined Southern Exposure in 2003 and has steadily built what she describes as a “very diverse base of support” for non-commercial experimental arts programming. She instituted \u003ca href=\"https://www.soex.org/alternative-exposure\" target=\"_blank\" rel=\"noopener\">Alternative Exposure\u003c/a>, a re-granting initiative with major support from the Andy Warhol Foundation for the Visual Arts, awarding nearly $500,000 to 135 independently-run spaces and projects over the past nine years.\u003c/p>\n\u003cp>“Transitions can be very challenging times for a lot of nonprofits so I always wanted Southern Exposure to be in a really strong place during the change and that time really felt like now,” Fink says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fink’s departure is something she says Southern Exposure’s staff and board have been discussing for two months. They are currently in the final stages of naming an interim executive director and will begin their search for Fink’s permanent replacement in September. She will continue in her role through August.\u003c/p>\n\u003cp>“I don’t have any plans to leave the nonprofit world,” says Fink. “I’m excited to continue my lifelong commitment to advocating for artists. I don’t know what it will look like next but I have no plans to leave the Bay Area. Who knows what will happen?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Back at Southern Exposure, programming continues full steam ahead. The ninth round of Alternative Exposure is now open to applications, the organization’s free three-week summer intensive for youth artists, \u003ca href=\"https://www.soex.org/artists-education-program/mission-voices-summer-2015\" target=\"_blank\" rel=\"noopener\">Mission Voices Summer\u003c/a>, is underway, and Los Angeles-based artist Robby Herbst hosts \u003ca href=\"https://www.soex.org/events/mapping-californian-ideology\" target=\"_blank\" rel=\"noopener\">a group discussion\u003c/a> on “California ideology” on July 18.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco-based visual arts organization \u003ca href=\"https://www.soex.org/index.php\" target=\"_blank\" rel=\"noopener\">Southern Exposure\u003c/a> announced on Tuesday that its Executive Director Courtney Fink will step down after 13 years.\u003c/p>\n\u003cp>Fink’s exit marks the \u003ca href=\"http://ww2.kqed.org/arts/2015/05/27/pro-arts-executive-director-steps-down-latest-in-wave-of-recent-art-world-departures/\" target=\"_blank\" rel=\"noopener\">fourth such departure\u003c/a> from a Bay Area visual arts nonprofit this year, a trend she says is merely part of a natural progression rather than an indication that local support for the arts is dwindling.\u003c/p>\n\u003cp>“Historically change does seem to happen in waves and that’s normal,” Fink says. “I think that means progress for the Bay Area. Change is what keeps things interesting and moving forward.”\u003c/p>\n\u003cp>Fink joined Southern Exposure in 2003 and has steadily built what she describes as a “very diverse base of support” for non-commercial experimental arts programming. She instituted \u003ca href=\"https://www.soex.org/alternative-exposure\" target=\"_blank\" rel=\"noopener\">Alternative Exposure\u003c/a>, a re-granting initiative with major support from the Andy Warhol Foundation for the Visual Arts, awarding nearly $500,000 to 135 independently-run spaces and projects over the past nine years.\u003c/p>\n\u003cp>“Transitions can be very challenging times for a lot of nonprofits so I always wanted Southern Exposure to be in a really strong place during the change and that time really felt like now,” Fink says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fink’s departure is something she says Southern Exposure’s staff and board have been discussing for two months. They are currently in the final stages of naming an interim executive director and will begin their search for Fink’s permanent replacement in September. She will continue in her role through August.\u003c/p>\n\u003cp>“I don’t have any plans to leave the nonprofit world,” says Fink. “I’m excited to continue my lifelong commitment to advocating for artists. I don’t know what it will look like next but I have no plans to leave the Bay Area. Who knows what will happen?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Back at Southern Exposure, programming continues full steam ahead. The ninth round of Alternative Exposure is now open to applications, the organization’s free three-week summer intensive for youth artists, \u003ca href=\"https://www.soex.org/artists-education-program/mission-voices-summer-2015\" target=\"_blank\" rel=\"noopener\">Mission Voices Summer\u003c/a>, is underway, and Los Angeles-based artist Robby Herbst hosts \u003ca href=\"https://www.soex.org/events/mapping-californian-ideology\" target=\"_blank\" rel=\"noopener\">a group discussion\u003c/a> on “California ideology” on July 18.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Rock Papers Scissors Collective (RPSC), a volunteer-run communal artist space in Oakland, announced this week that it is losing its lease on the Telegraph Ave. storefront it has called home for the past 11 years. The group must relocate by Aug. 31.\u003c/p>\n\u003cp>The collective, which hosts gallery shows and other events, as well as workshops and other resources for local artists of all ages, is the last remnant from the original group of founders of the\u003ca href=\"http://oaklandfirstfridays.org/ABOUT\" target=\"_blank\" rel=\"noopener\"> Oakland Art Murmur and First Friday\u003c/a> events remaining in uptown Oakland. Both the Murmur and the monthly First Fridays have been credited with revitalizing the \u003ca href=\"http://oaklandlocal.com/2014/03/oakulture-betti-ono-first-fridays-and-the-booming-state-of-oaklands-cultural-arts/\" target=\"_blank\" rel=\"noopener\">city’s cultural arts scene\u003c/a>. \u003c/p>\n\u003cp>In a \u003ca href=\"http://rpscollective.org/rps-is-moving/\" target=\"_blank\" rel=\"noopener\">statement released July 10\u003c/a> and signed by the RSPC, it’s revealed that the buildings longtime landlord wants to charge market value for the space, which the collective, a non-profit, cannot afford. \u003c/p>\n\u003cp>“Eleven years ago we could afford market value for the space, but thanks to our success in building a vibrant community in downtown, market rate is now far out of reach,” said the statement.\u003c/p>\n\u003cp>The forced relocation has been on the horizon for the RSPC since February, when it started an \u003ca href=\"https://www.indiegogo.com/projects/save-rock-paper-scissors-collective#/story\" target=\"_blank\" rel=\"noopener\">IndieGoGo campaign\u003c/a> to raise $25,000 for operating costs. Sadly, after a month, the campaign managed to raise just under $10,000.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when new details are learned.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Rock Papers Scissors Collective (RPSC), a volunteer-run communal artist space in Oakland, announced this week that it is losing its lease on the Telegraph Ave. storefront it has called home for the past 11 years. The group must relocate by Aug. 31.\u003c/p>\n\u003cp>The collective, which hosts gallery shows and other events, as well as workshops and other resources for local artists of all ages, is the last remnant from the original group of founders of the\u003ca href=\"http://oaklandfirstfridays.org/ABOUT\" target=\"_blank\" rel=\"noopener\"> Oakland Art Murmur and First Friday\u003c/a> events remaining in uptown Oakland. Both the Murmur and the monthly First Fridays have been credited with revitalizing the \u003ca href=\"http://oaklandlocal.com/2014/03/oakulture-betti-ono-first-fridays-and-the-booming-state-of-oaklands-cultural-arts/\" target=\"_blank\" rel=\"noopener\">city’s cultural arts scene\u003c/a>. \u003c/p>\n\u003cp>In a \u003ca href=\"http://rpscollective.org/rps-is-moving/\" target=\"_blank\" rel=\"noopener\">statement released July 10\u003c/a> and signed by the RSPC, it’s revealed that the buildings longtime landlord wants to charge market value for the space, which the collective, a non-profit, cannot afford. \u003c/p>\n\u003cp>“Eleven years ago we could afford market value for the space, but thanks to our success in building a vibrant community in downtown, market rate is now far out of reach,” said the statement.\u003c/p>\n\u003cp>The forced relocation has been on the horizon for the RSPC since February, when it started an \u003ca href=\"https://www.indiegogo.com/projects/save-rock-paper-scissors-collective#/story\" target=\"_blank\" rel=\"noopener\">IndieGoGo campaign\u003c/a> to raise $25,000 for operating costs. Sadly, after a month, the campaign managed to raise just under $10,000.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Come Play a Piano in the San Francisco Botanical Gardens",
"headTitle": "Come Play a Piano in the San Francisco Botanical Gardens | KQED",
"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/273391106″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>The tinkling of a piano floats through the trees in the \u003ca href=\"http://www.sfbotanicalgarden.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Botanical Gardens\u003c/a> mixed with bird song and the sound of the wind.\u003c/p>\n\u003cp>The music appears courtesy of \u003ca href=\"http://www.sfbotanicalgarden.org/75/flower_piano.html\" target=\"_blank\" rel=\"noopener\">Flower Piano\u003c/a>, a project created by artists Dean Mermell and \u003ca href=\"http://sunsetpiano.com/story/\" target=\"_blank\" rel=\"noopener\">Mauro ffortissimo\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10836391\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_458073471.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10836391\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_458073471-1180x730.jpg\" alt='Mauro ffortissimo at the keyboards and Dean Mermell at \"Flower Piano\" in the San Francisco Botanical Gardens' width=\"640\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458073471-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458073471-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458073471-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458073471-960x594.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mauro ffortissimo at the keyboards and Dean Mermell at “Flower Piano” in the San Francisco Botanical Gardens \u003ccite>(Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists recently installed 12 pianos around the Botanical Gardens. There’s one nestled in a redwood grove, another one by the waterfowl garden, and a Vose and Sons grand piano on a terrace overlooking the Great Meadow.\u003c/p>\n\u003cp>“We were just talking about how great it is to look over the piano and see this great undulating landscape,” Mermell said. “It’s all manicured and beautiful, and the fog and the mist. It’s just an amazing place to play music.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pianos generally still play fine even in damp conditions.\u003c/p>\n\u003cp>“They’re not concert-level Steinways, but for being out in this beautiful setting, they’re great,” ffortisimo said. “The pianos never die with us.”\u003c/p>\n\u003cp>Sometimes the instruments do become unplayable after exposure to the outdoors. But ffortissimo and Mermell aim to make the pianos’ last days beautiful.\u003c/p>\n\u003cp>Over the past two years, the two guerilla piano installers have been conducting a performance art experiment. Under the name \u003ca href=\"http://sunsetpiano.com/story/\" target=\"_blank\" rel=\"noopener\">Sunset Piano\u003c/a>, they’ve been placing instruments on the streets of San Francisco as well as on bluffs along the San Mateo Coast. Mermell is making a \u003ca href=\"http://sunsetpiano.com/film/\" target=\"_blank\" rel=\"noopener\">documentary film \u003c/a>about the project.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=16EfwKbDQQ0\u003c/p>\n\u003cp>The two adopt pianos the way some people take in homeless pets. And in the age of streaming music and earbuds, there are plenty of people willing to part with a piano that no one in the house plays anymore.\u003c/p>\n\u003cp>ffortisimo says installing pianos in public spaces is an experiment in community building. According to the artist, different settings change the listening experience.\u003c/p>\n\u003cp>“I was playing on the San Mateo coast one day, close to the sun setting, ” ffortissimo said. “A guy goes by on a bicycle and he said, ‘who are you playing for?’ I said ‘I’m playing for whales.'”\u003c/p>\n\u003cp>Flower Piano is part of the Botanical Gardens’ 75th anniversary celebration, and there are concerts scheduled this weekend by pros like Lara Downes, Rupa and Freddi Price.\u003c/p>\n\u003cp>But the keyboards are also a magnet for passersby, like five-year-old San Franciscan Kirill Reifstock, who improvised on the theme of “Twinkle Twinkle.”\u003c/p>\n\u003cp>“It was my first time playing it,” Kirill said.\u003c/p>\n\u003cfigure id=\"attachment_10836390\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_458074257.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10836390\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_458074257-1180x730.jpg\" alt='Kirill Reifstock playing \"Twinkle Twinkle,\" at the San Francisco Botanical Gardens' width=\"640\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-960x594.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kirill Reifstock playing “Twinkle Twinkle” at the San Francisco Botanical Gardens \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Botanical Gardens visitor Marge Paradis said finding the pianos in this unlikely place was like falling down\u003cem> Alice in Wonderland\u003c/em>’s rabbit hole.\u003c/p>\n\u003cp>“It’s like wow!” Paradis said. “It’s weird and strange and wonderful.”\u003c/p>\n\u003cp>The pianos will be at the Botanical Gardens for anyone to play through July 20th.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "The new 'Flower Piano' installation features 12 keyboards scattered among the foliage for anyone to make music on.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/273391106″&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/273391106″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The tinkling of a piano floats through the trees in the \u003ca href=\"http://www.sfbotanicalgarden.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Botanical Gardens\u003c/a> mixed with bird song and the sound of the wind.\u003c/p>\n\u003cp>The music appears courtesy of \u003ca href=\"http://www.sfbotanicalgarden.org/75/flower_piano.html\" target=\"_blank\" rel=\"noopener\">Flower Piano\u003c/a>, a project created by artists Dean Mermell and \u003ca href=\"http://sunsetpiano.com/story/\" target=\"_blank\" rel=\"noopener\">Mauro ffortissimo\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10836391\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_458073471.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10836391\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_458073471-1180x730.jpg\" alt='Mauro ffortissimo at the keyboards and Dean Mermell at \"Flower Piano\" in the San Francisco Botanical Gardens' width=\"640\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458073471-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458073471-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458073471-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458073471-960x594.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mauro ffortissimo at the keyboards and Dean Mermell at “Flower Piano” in the San Francisco Botanical Gardens \u003ccite>(Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists recently installed 12 pianos around the Botanical Gardens. There’s one nestled in a redwood grove, another one by the waterfowl garden, and a Vose and Sons grand piano on a terrace overlooking the Great Meadow.\u003c/p>\n\u003cp>“We were just talking about how great it is to look over the piano and see this great undulating landscape,” Mermell said. “It’s all manicured and beautiful, and the fog and the mist. It’s just an amazing place to play music.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pianos generally still play fine even in damp conditions.\u003c/p>\n\u003cp>“They’re not concert-level Steinways, but for being out in this beautiful setting, they’re great,” ffortisimo said. “The pianos never die with us.”\u003c/p>\n\u003cp>Sometimes the instruments do become unplayable after exposure to the outdoors. But ffortissimo and Mermell aim to make the pianos’ last days beautiful.\u003c/p>\n\u003cp>Over the past two years, the two guerilla piano installers have been conducting a performance art experiment. Under the name \u003ca href=\"http://sunsetpiano.com/story/\" target=\"_blank\" rel=\"noopener\">Sunset Piano\u003c/a>, they’ve been placing instruments on the streets of San Francisco as well as on bluffs along the San Mateo Coast. Mermell is making a \u003ca href=\"http://sunsetpiano.com/film/\" target=\"_blank\" rel=\"noopener\">documentary film \u003c/a>about the project.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/16EfwKbDQQ0'\n title='//www.youtube.com/embed/16EfwKbDQQ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The two adopt pianos the way some people take in homeless pets. And in the age of streaming music and earbuds, there are plenty of people willing to part with a piano that no one in the house plays anymore.\u003c/p>\n\u003cp>ffortisimo says installing pianos in public spaces is an experiment in community building. According to the artist, different settings change the listening experience.\u003c/p>\n\u003cp>“I was playing on the San Mateo coast one day, close to the sun setting, ” ffortissimo said. “A guy goes by on a bicycle and he said, ‘who are you playing for?’ I said ‘I’m playing for whales.'”\u003c/p>\n\u003cp>Flower Piano is part of the Botanical Gardens’ 75th anniversary celebration, and there are concerts scheduled this weekend by pros like Lara Downes, Rupa and Freddi Price.\u003c/p>\n\u003cp>But the keyboards are also a magnet for passersby, like five-year-old San Franciscan Kirill Reifstock, who improvised on the theme of “Twinkle Twinkle.”\u003c/p>\n\u003cp>“It was my first time playing it,” Kirill said.\u003c/p>\n\u003cfigure id=\"attachment_10836390\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_458074257.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10836390\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_458074257-1180x730.jpg\" alt='Kirill Reifstock playing \"Twinkle Twinkle,\" at the San Francisco Botanical Gardens' width=\"640\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_458074257-960x594.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kirill Reifstock playing “Twinkle Twinkle” at the San Francisco Botanical Gardens \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Botanical Gardens visitor Marge Paradis said finding the pianos in this unlikely place was like falling down\u003cem> Alice in Wonderland\u003c/em>’s rabbit hole.\u003c/p>\n\u003cp>“It’s like wow!” Paradis said. “It’s weird and strange and wonderful.”\u003c/p>\n\u003cp>The pianos will be at the Botanical Gardens for anyone to play through July 20th.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Meet Oakland's New Youth Poet Laureate",
"headTitle": "Meet Oakland’s New Youth Poet Laureate | KQED",
"content": "\u003cp>Oakland has a new \u003ca href=\"http://www.oaklandlibrary.org/teens/events-programs/youth-poet-laureate-program\" target=\"_blank\" rel=\"noopener\">Youth Poet Laureate.\u003c/a>\u003c/p>\n\u003cp>She is Tova Ricardo, a 16 year old junior at the\u003ca href=\"http://www.bentleyschool.net/page\" target=\"_blank\" rel=\"noopener\"> Bentley School\u003c/a> in Lafayette. Ricardo was selected Saturday evening after a reading at\u003ca href=\"http://www.proartsgallery.org/\" target=\"_blank\" rel=\"noopener\"> Pro-Arts Gallery\u003c/a> in Oakland across from Oakland City Hall.\u003c/p>\n\u003cp>Ricardo was one of seven semi-finalists at the reading, one of the opening events for \u003ca href=\"http://beastcrawl.weebly.com/\" target=\"_blank\" rel=\"noopener\">Oakland’s Beast Literary Crawl\u003c/a>. The room was packed with more than a hundred family members and poetry lovers as Ricardo and fellow Oakland teens read and chanted angry and jubilant poems about such themes as family, immigration, and how black lives matter.\u003c/p>\n\u003cfigure id=\"attachment_10835871\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2502.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10835871\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2502-1180x885.jpg\" alt=\"16 year old Litzy Castillo, a student at MetWest High School, thrills the crowd with her poem\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">16 year old Litzy Castillo, a student at MetWest High School, thrills the crowd with her poem \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The youth poet laureate program, begun in 2012, is sponsored by the writing training organization \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a> and the Oakland Public Library.\u003c/p>\n\u003cp>Ricardo read a poem that was a tribute to her grandfather, a Korean war veteran, and his tiger tattoo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I thought of the tiger tattoo that flaunted its paws across the forearms of bronze steel muscles that replicated scribbly lines to the six year old instead of contorted rivers,” Ricardo read. “The tiger tattoo who belonged to the southern rugged fields of southern rugged men that roared as a distraction at the family dining table as the seven year old spilled the rice and beans in the midst of admiring the ancient artwork.”\u003c/p>\n\u003cp>Oakland Mayor Libby Schaaf presented Ricardo with a scholarship check for $5,000.\u003c/p>\n\u003cfigure id=\"attachment_10835873\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2499.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10835873\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2499-1180x885.jpg\" alt='Ericson Amaya reading his poem about immigration, \"Harriet Tubman was our first coyote.\"' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ericson Amaya reading his poem about immigration, “Harriet Tubman was our first coyote.” \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>“Poetry has been the one thing that has kept me sane on this crazy crazy planet,” Ricardo, the winning poet, said in a brief acceptance speech. “And I just want us, the youth, to just change this world, to go out there and fight this crazy, crazy system that’s trying to knock all of us down and just speak our truth, because that’s the only thing that’s going to save us. We’re going to save us.”\u003c/p>\n\u003cp>Ricardo’s writing teacher, Peter Hagen, was at the ceremony. Hagen said Ricardo had only taken his class once before becoming earning the title. “She just ripped the doors off,” Hagen said.\u003c/p>\n\u003cp>Other youth poets performed their works alongside Ricardo. 18 year old Emerson Amaya, a student at Coliseum College Prep Academy, read a poem that he described as being about “the black brown unity that Oakland really needs.”\u003c/p>\n\u003cp>“The most powerful thing is when we have young folks together sharing space and telling stories,” Youth Speaks Teaching Artist Gabriel Cortez said. Cortez who emceed the reading.\u003c/p>\n\u003cp>Ricardo takes over youth poet laureate duties from the 2014 laureate Sophie Elkin, a student at Oakland School for the Arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Oakland Public Library and Youth Speaks will schedule more readings for Ricardo this coming year at schools and senior centers.\u003c/p>\n\n",
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"excerpt": "Tova Ricardo, a 16 year old junior at the Bentley School in Lafayette, performed her winning poem at an event in downtown Oakland Saturday night.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland has a new \u003ca href=\"http://www.oaklandlibrary.org/teens/events-programs/youth-poet-laureate-program\" target=\"_blank\" rel=\"noopener\">Youth Poet Laureate.\u003c/a>\u003c/p>\n\u003cp>She is Tova Ricardo, a 16 year old junior at the\u003ca href=\"http://www.bentleyschool.net/page\" target=\"_blank\" rel=\"noopener\"> Bentley School\u003c/a> in Lafayette. Ricardo was selected Saturday evening after a reading at\u003ca href=\"http://www.proartsgallery.org/\" target=\"_blank\" rel=\"noopener\"> Pro-Arts Gallery\u003c/a> in Oakland across from Oakland City Hall.\u003c/p>\n\u003cp>Ricardo was one of seven semi-finalists at the reading, one of the opening events for \u003ca href=\"http://beastcrawl.weebly.com/\" target=\"_blank\" rel=\"noopener\">Oakland’s Beast Literary Crawl\u003c/a>. The room was packed with more than a hundred family members and poetry lovers as Ricardo and fellow Oakland teens read and chanted angry and jubilant poems about such themes as family, immigration, and how black lives matter.\u003c/p>\n\u003cfigure id=\"attachment_10835871\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2502.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10835871\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2502-1180x885.jpg\" alt=\"16 year old Litzy Castillo, a student at MetWest High School, thrills the crowd with her poem\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">16 year old Litzy Castillo, a student at MetWest High School, thrills the crowd with her poem \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The youth poet laureate program, begun in 2012, is sponsored by the writing training organization \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a> and the Oakland Public Library.\u003c/p>\n\u003cp>Ricardo read a poem that was a tribute to her grandfather, a Korean war veteran, and his tiger tattoo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I thought of the tiger tattoo that flaunted its paws across the forearms of bronze steel muscles that replicated scribbly lines to the six year old instead of contorted rivers,” Ricardo read. “The tiger tattoo who belonged to the southern rugged fields of southern rugged men that roared as a distraction at the family dining table as the seven year old spilled the rice and beans in the midst of admiring the ancient artwork.”\u003c/p>\n\u003cp>Oakland Mayor Libby Schaaf presented Ricardo with a scholarship check for $5,000.\u003c/p>\n\u003cfigure id=\"attachment_10835873\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2499.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10835873\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2499-1180x885.jpg\" alt='Ericson Amaya reading his poem about immigration, \"Harriet Tubman was our first coyote.\"' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ericson Amaya reading his poem about immigration, “Harriet Tubman was our first coyote.” \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>“Poetry has been the one thing that has kept me sane on this crazy crazy planet,” Ricardo, the winning poet, said in a brief acceptance speech. “And I just want us, the youth, to just change this world, to go out there and fight this crazy, crazy system that’s trying to knock all of us down and just speak our truth, because that’s the only thing that’s going to save us. We’re going to save us.”\u003c/p>\n\u003cp>Ricardo’s writing teacher, Peter Hagen, was at the ceremony. Hagen said Ricardo had only taken his class once before becoming earning the title. “She just ripped the doors off,” Hagen said.\u003c/p>\n\u003cp>Other youth poets performed their works alongside Ricardo. 18 year old Emerson Amaya, a student at Coliseum College Prep Academy, read a poem that he described as being about “the black brown unity that Oakland really needs.”\u003c/p>\n\u003cp>“The most powerful thing is when we have young folks together sharing space and telling stories,” Youth Speaks Teaching Artist Gabriel Cortez said. Cortez who emceed the reading.\u003c/p>\n\u003cp>Ricardo takes over youth poet laureate duties from the 2014 laureate Sophie Elkin, a student at Oakland School for the Arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Oakland Public Library and Youth Speaks will schedule more readings for Ricardo this coming year at schools and senior centers.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Portland Record Label Offers Women a Pay-Gap Discount",
"headTitle": "Portland Record Label Offers Women a Pay-Gap Discount | KQED",
"content": "\u003cp>Earlier this week, Portland, Ore. record company M’lady’s Records announced a new policy. Starting today, women will pay 77 percent of list price for all of their mail orders.\u003c/p>\n\u003cp>That number might sound familiar: The U.S. Bureau of Labor Statistics \u003ca href=\"http://www.bls.gov/opub/reports/cps/highlights-of-womens-earnings-in-2013.pdf\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that among full-time employees, women still make less than men. The oft quoted ratio is $0.77 for ever ydollar made by a man. (Though there are \u003ca href=\"http://www.slate.com/articles/double_x/doublex/2013/08/gender_pay_gap_the_familiar_line_that_women_make_77_cents_to_every_man_s.html\" target=\"_blank\" rel=\"noopener\">different ways to interpret\u003c/a> the precise disparity.)\u003c/p>\n\u003cp>M’lady’s is not the first company to instate such a policy: A Brooklyn bar and a \u003ca href=\"http://lessthan100.org/\" target=\"_blank\" rel=\"noopener\">Pittsburgh pop-up boutique\u003c/a> have both recently drawn attention for charging based on the same price structure. “This number gets hotly debated all the time,” says M’lady’s Records’ Brett Lyman. “But it’s a good place to start, I reckon.”\u003c/p>\n\u003cp>But M’lady’s did not make the change for a day, as the bar did, and is not a traveling project aimed at education, as the boutiqu’se is. It’s a small record company, self-described as “radical[ly] feminist and willfully obstinate,” and is reliant on sales to survive. M’lady’s Records says it will keep the change in place “until that number gets tuned up and/or we go down in flames.”\u003c/p>\n\u003cp>After the announcement of the new policy, we sent a few questions to Lyman. His answers were prompt, passionate and colorful.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Had this plan been cooking for a while, or was it a sudden decision?\u003c/strong>\u003c/p>\n\u003cp>A bit of both; we’re just tired of record labels being these petit bourgeois institutions that don’t really have much impact on their communities. Most just seem inert to me; vague curatorial exercises largely rooted in making money or pacifying some parochial sub-culture (the latter is particularly popular here in the Pacific Northwest). One could (almost) be forgiven for buying into all that Silicon Valley garbage that we don’t need curators or organizers anymore … which is complete silliness, and really more of a reflection of the Randian solipsism that has infected most of so-called underground culture. Record labels have historically been hugely influential in creating context, the most neglected of artistic values currently … as the great British stand-up Stewart Lee is fond of saying, “context is not a myth” … It’s rare enough these days to see labels operate with an ethos, and rarer still to see that ethos extended to how they conduct their non-creative affairs. So … time to start lobbing some (admittedly tiny) grenades into the lobby. Hopefully it’ll ruin someone’s brunch plans.\u003c/p>\n\u003cp>\u003cstrong>How much will this discount affect M’LR’s bottom line?\u003c/strong>\u003c/p>\n\u003cp>At the risk of sounding flippant … don’t care much. The bottom line for this label is about engaging with this amorphous and elusive community some people call “the underground.” That bottom line has kept us going through the growing pains of trying to manage a self-financed DIY record outfit. If we were in this to stay fiscally sound, it would have been abandoned before it even started. We’d just go make espresso in a food truck … and grow a beard.\u003c/p>\n\u003cp>\u003cstrong>Were you inspired by other shops or companies? \u003c/strong>\u003c/p>\n\u003cp>Sort of, but only in opposition. The cost and valuation of music has been under siege for almost 20 years now, and I think it’s led to a very safe counterculture, wherein people are less likely to be insane or unpopular, lest the show offers/sync licenses dry up. Can’t get 20 seconds of your song into a Cheetos ad unless you play the game, rigged as it is. All of this ties into a larger concern of ours to do with the ancillary music professions (publicists, licensing departments) really becoming the new curators. Unlike labels, these companies are really just “cool” proxies/conduits for advertising. And f*** advertising, especially in its current state.\u003c/p>\n\u003cp>\u003cstrong>How’s the announcement gone over with your audience? \u003c/strong>\u003c/p>\n\u003cp>Very well received, no complaints, though this may have something to do with announcing that any fellas that did grouse would have to pay double. Since we don’t advertise in any real way or hire publicists to spiel for us, we’ve been afforded the greatest luxury of choosing who we wanna communicate with, and slowly refining that audience over the past few years. Thusly … not a lot of antagonists in the mix, at least not via the communication channels we employ (mailing list, “social” media, etc).\u003c/p>\n\u003cp>\u003cstrong>How do you verify who’s placing these mail orders?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Well, most of our orders are paid for via online payment services where one would need an account and verify their identity that way … if anyone’s gonna go to the trouble of conjuring a fake identity and getting fake credit cards in their name just so they can order some punk records from li’l old us, fair play — that 23 percent has been EARNED. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Portland+Record+Label+Offers+Women+A+Pay-Gap+Discount&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "M'lady's Records will charge women 77 percent of the list price for every purchase made from its website, \"to reflect the current gap in wage equality.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this week, Portland, Ore. record company M’lady’s Records announced a new policy. Starting today, women will pay 77 percent of list price for all of their mail orders.\u003c/p>\n\u003cp>That number might sound familiar: The U.S. Bureau of Labor Statistics \u003ca href=\"http://www.bls.gov/opub/reports/cps/highlights-of-womens-earnings-in-2013.pdf\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that among full-time employees, women still make less than men. The oft quoted ratio is $0.77 for ever ydollar made by a man. (Though there are \u003ca href=\"http://www.slate.com/articles/double_x/doublex/2013/08/gender_pay_gap_the_familiar_line_that_women_make_77_cents_to_every_man_s.html\" target=\"_blank\" rel=\"noopener\">different ways to interpret\u003c/a> the precise disparity.)\u003c/p>\n\u003cp>M’lady’s is not the first company to instate such a policy: A Brooklyn bar and a \u003ca href=\"http://lessthan100.org/\" target=\"_blank\" rel=\"noopener\">Pittsburgh pop-up boutique\u003c/a> have both recently drawn attention for charging based on the same price structure. “This number gets hotly debated all the time,” says M’lady’s Records’ Brett Lyman. “But it’s a good place to start, I reckon.”\u003c/p>\n\u003cp>But M’lady’s did not make the change for a day, as the bar did, and is not a traveling project aimed at education, as the boutiqu’se is. It’s a small record company, self-described as “radical[ly] feminist and willfully obstinate,” and is reliant on sales to survive. M’lady’s Records says it will keep the change in place “until that number gets tuned up and/or we go down in flames.”\u003c/p>\n\u003cp>After the announcement of the new policy, we sent a few questions to Lyman. His answers were prompt, passionate and colorful.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Had this plan been cooking for a while, or was it a sudden decision?\u003c/strong>\u003c/p>\n\u003cp>A bit of both; we’re just tired of record labels being these petit bourgeois institutions that don’t really have much impact on their communities. Most just seem inert to me; vague curatorial exercises largely rooted in making money or pacifying some parochial sub-culture (the latter is particularly popular here in the Pacific Northwest). One could (almost) be forgiven for buying into all that Silicon Valley garbage that we don’t need curators or organizers anymore … which is complete silliness, and really more of a reflection of the Randian solipsism that has infected most of so-called underground culture. Record labels have historically been hugely influential in creating context, the most neglected of artistic values currently … as the great British stand-up Stewart Lee is fond of saying, “context is not a myth” … It’s rare enough these days to see labels operate with an ethos, and rarer still to see that ethos extended to how they conduct their non-creative affairs. So … time to start lobbing some (admittedly tiny) grenades into the lobby. Hopefully it’ll ruin someone’s brunch plans.\u003c/p>\n\u003cp>\u003cstrong>How much will this discount affect M’LR’s bottom line?\u003c/strong>\u003c/p>\n\u003cp>At the risk of sounding flippant … don’t care much. The bottom line for this label is about engaging with this amorphous and elusive community some people call “the underground.” That bottom line has kept us going through the growing pains of trying to manage a self-financed DIY record outfit. If we were in this to stay fiscally sound, it would have been abandoned before it even started. We’d just go make espresso in a food truck … and grow a beard.\u003c/p>\n\u003cp>\u003cstrong>Were you inspired by other shops or companies? \u003c/strong>\u003c/p>\n\u003cp>Sort of, but only in opposition. The cost and valuation of music has been under siege for almost 20 years now, and I think it’s led to a very safe counterculture, wherein people are less likely to be insane or unpopular, lest the show offers/sync licenses dry up. Can’t get 20 seconds of your song into a Cheetos ad unless you play the game, rigged as it is. All of this ties into a larger concern of ours to do with the ancillary music professions (publicists, licensing departments) really becoming the new curators. Unlike labels, these companies are really just “cool” proxies/conduits for advertising. And f*** advertising, especially in its current state.\u003c/p>\n\u003cp>\u003cstrong>How’s the announcement gone over with your audience? \u003c/strong>\u003c/p>\n\u003cp>Very well received, no complaints, though this may have something to do with announcing that any fellas that did grouse would have to pay double. Since we don’t advertise in any real way or hire publicists to spiel for us, we’ve been afforded the greatest luxury of choosing who we wanna communicate with, and slowly refining that audience over the past few years. Thusly … not a lot of antagonists in the mix, at least not via the communication channels we employ (mailing list, “social” media, etc).\u003c/p>\n\u003cp>\u003cstrong>How do you verify who’s placing these mail orders?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Well, most of our orders are paid for via online payment services where one would need an account and verify their identity that way … if anyone’s gonna go to the trouble of conjuring a fake identity and getting fake credit cards in their name just so they can order some punk records from li’l old us, fair play — that 23 percent has been EARNED. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Portland+Record+Label+Offers+Women+A+Pay-Gap+Discount&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "In San Pedro, a Battle Over the 'Sunken City'",
"title": "In San Pedro, a Battle Over the 'Sunken City'",
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"content": "\u003cp>It might look like a post-apocalyptic wasteland, but it’s in the city of Los Angeles. The ruins of Sunken City are part of the community of San Pedro, at LA’s southernmost tip.\u003c/p>\n\u003cp>Even though it’s closed to the public, Sunken City is a haven for graffiti artists and young people looking to party. Some residents want to open the area to the public during daylight hours, but others worry it’ll just lead to more noise, trash and rowdy behavior.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/214192043\" 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>Sunken City is a sprawl of broken pieces of sidewalk and foundations of houses covered in thick, colorful splashes of graffiti. Pipes and railroad lines jut out at odd angles. The dirt trails are littered with broken glass and trash. But it’s oddly serene. Palm trees sway in the light breeze coming off the ocean, and seagulls fly overhead.\u003c/p>\n\u003cp>“I come out here because I get away from the city. It’s not as busy,” said Anthony Bora, who came to scope out the area on a recent Saturday afternoon with his girlfriend. \"This is one of the most beautiful views that I’ve seen in Southern California.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A 1929 landslide caused the ground to shift slowly, about 11 inches a day. It was slow enough to allow most of the homes to be moved safely, although two actually did fall into the ocean. Geologists say the ground continues to erode because of bentonite clay in the soil, which combined with water makes the land unstable.\u003c/p>\n\u003cfigure id=\"attachment_10594468\" class=\"wp-caption alignright\" style=\"max-width: 1902px\">\u003cimg class=\"size-full wp-image-10594468\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_5498.jpg\" alt=\"Anthony Bora likes to explore Sunken City’s winding trails and graffiti, and admire the view. “This is one of the most beautiful views that I’ve seen in Southern California,” he said.\" width=\"1902\" height=\"1427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498.jpg 1902w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-960x720.jpg 960w\" sizes=\"(max-width: 1902px) 100vw, 1902px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Bora likes to explore Sunken City’s winding trails and graffiti and admire the view. “This is one of the most beautiful views that I’ve seen in Southern California,” he said. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunken City has been a forbidden playground for decades. Accidental falls and suicides also happen frequently. The city installed a fence in 1987 to keep out partiers, but that hasn’t done much to stem the tide. There are “no trespassing” signs all over. To get in, you have to either climb under or around an 8-foot-tall wrought iron fence, or find a break in it.\u003c/p>\n\u003cp>“Sometimes you see dolphins and whales out here, you know, for free. And people come here sometimes, young kids, they drink and, you know, do bonfires,” said Mohammed Sharif Jali, who lives down the street and comes to Sunken City to practice guitar and relax.\u003c/p>\n\u003cp>Not all of Sunken City’s visitors are so easygoing. Neighbors say visitors get loud and obnoxious at night. Yvonne Borgo has had enough.\u003c/p>\n\u003cfigure id=\"attachment_10594469\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10594469\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_5524.jpg\" alt=\"Mohammed Sharif Jali lives down the street from Sunken City. “Sometimes you see dolphins and whales out here,” he said.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mohammed Sharif Jali lives down the street from Sunken City. “Sometimes you see dolphins and whales out here,” he said. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We live about three doors from Sunken City,” Borgo said. “There’s kids here all times of day and night, dropping trash, partying, coming up at four in the morning from being down on the cliffs. It’s really tough.”\u003c/p>\n\u003cp>Some other neighbors, George Armstrong and William Gameroz, grew up in San Pedro in the 1950s and ‘60s, when it was a quiet town. Now they say it’s become a lawless area where police don’t go.\u003c/p>\n\u003cp>“I don’t understand it. I’ve called the police several times, you know, about the people I hear doing drugs,” Gameroz said.\u003c/p>\n\u003cp>“Yeah, it’s almost a joke, asking for law enforcement to patrol the area,\" said Armstrong. \"They don’t come down here unless there’s an absolute reason, like somebody got shot the other day or someone fell over the cliff, or they’re chasing somebody.”\u003c/p>\n\u003cp>The local neighborhood council and residents’ association have asked LA's Department of Recreation and Parks, which oversees the area, to consider opening it up to the public during the day, so people don’t have to break the law to go there. The proposal includes an automated gate that locks at sunset.\u003c/p>\n\u003cfigure id=\"attachment_10594471\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10594471\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_5496.jpg\" alt=\"Yvonne and Al Borgo live down the street from Sunken City, and are fed up with late-night revelers making noise and leaving trash and graffiti behind.\" width=\"1920\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-960x1280.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yvonne and Al Borgo live down the street from Sunken City and are fed up with late-night revelers making noise and leaving trash and graffiti behind. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parks department won’t comment until a feasibility study is finished. Supporters of the idea say coastal access is a right for everyone, and the city faces a low risk of liability.\u003c/p>\n\u003cp>Walker’s Cafe is just a stone’s throw from the fence separating Sunken City from the rest of San Pedro. There’s a line of Harleys parked out front. At the counter, Samira Silva is finishing her burger and fries. She’s from Brazil and lives in Fresno. She read about Sunken City on a website of exotic sites in LA and wishes it were open to the public.\u003c/p>\n\u003cp>“I think it’s a good idea, because I don’t like having to jump fences to get in there, and on the website it said that it was open for everybody,” she said.\u003c/p>\n\u003cp>But Anthony Bora said he hopes it stays off the beaten path, because that’s how he likes it.\u003c/p>\n\u003cp>“I think it’s the whole idea of I can go around the fence and get out here, that makes it kind of cool. It is a really quiet place, you can come relax and enjoy your day off, whereas if it’s open to the public, you’re gonna have a friggin’ dog park out here, you’re gonna have concerts, and a bunch of random stuff that people come here to get away from.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whether Sunken City remains officially off limits or not, curious visitors will no doubt continue to find a way in.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It might look like a post-apocalyptic wasteland, but it’s in the city of Los Angeles. The ruins of Sunken City are part of the community of San Pedro, at LA’s southernmost tip.\u003c/p>\n\u003cp>Even though it’s closed to the public, Sunken City is a haven for graffiti artists and young people looking to party. Some residents want to open the area to the public during daylight hours, but others worry it’ll just lead to more noise, trash and rowdy behavior.\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/214192043&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/214192043'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Sunken City is a sprawl of broken pieces of sidewalk and foundations of houses covered in thick, colorful splashes of graffiti. Pipes and railroad lines jut out at odd angles. The dirt trails are littered with broken glass and trash. But it’s oddly serene. Palm trees sway in the light breeze coming off the ocean, and seagulls fly overhead.\u003c/p>\n\u003cp>“I come out here because I get away from the city. It’s not as busy,” said Anthony Bora, who came to scope out the area on a recent Saturday afternoon with his girlfriend. \"This is one of the most beautiful views that I’ve seen in Southern California.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A 1929 landslide caused the ground to shift slowly, about 11 inches a day. It was slow enough to allow most of the homes to be moved safely, although two actually did fall into the ocean. Geologists say the ground continues to erode because of bentonite clay in the soil, which combined with water makes the land unstable.\u003c/p>\n\u003cfigure id=\"attachment_10594468\" class=\"wp-caption alignright\" style=\"max-width: 1902px\">\u003cimg class=\"size-full wp-image-10594468\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_5498.jpg\" alt=\"Anthony Bora likes to explore Sunken City’s winding trails and graffiti, and admire the view. “This is one of the most beautiful views that I’ve seen in Southern California,” he said.\" width=\"1902\" height=\"1427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498.jpg 1902w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-960x720.jpg 960w\" sizes=\"(max-width: 1902px) 100vw, 1902px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Bora likes to explore Sunken City’s winding trails and graffiti and admire the view. “This is one of the most beautiful views that I’ve seen in Southern California,” he said. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunken City has been a forbidden playground for decades. Accidental falls and suicides also happen frequently. The city installed a fence in 1987 to keep out partiers, but that hasn’t done much to stem the tide. There are “no trespassing” signs all over. To get in, you have to either climb under or around an 8-foot-tall wrought iron fence, or find a break in it.\u003c/p>\n\u003cp>“Sometimes you see dolphins and whales out here, you know, for free. And people come here sometimes, young kids, they drink and, you know, do bonfires,” said Mohammed Sharif Jali, who lives down the street and comes to Sunken City to practice guitar and relax.\u003c/p>\n\u003cp>Not all of Sunken City’s visitors are so easygoing. Neighbors say visitors get loud and obnoxious at night. Yvonne Borgo has had enough.\u003c/p>\n\u003cfigure id=\"attachment_10594469\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10594469\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_5524.jpg\" alt=\"Mohammed Sharif Jali lives down the street from Sunken City. “Sometimes you see dolphins and whales out here,” he said.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mohammed Sharif Jali lives down the street from Sunken City. “Sometimes you see dolphins and whales out here,” he said. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We live about three doors from Sunken City,” Borgo said. “There’s kids here all times of day and night, dropping trash, partying, coming up at four in the morning from being down on the cliffs. It’s really tough.”\u003c/p>\n\u003cp>Some other neighbors, George Armstrong and William Gameroz, grew up in San Pedro in the 1950s and ‘60s, when it was a quiet town. Now they say it’s become a lawless area where police don’t go.\u003c/p>\n\u003cp>“I don’t understand it. I’ve called the police several times, you know, about the people I hear doing drugs,” Gameroz said.\u003c/p>\n\u003cp>“Yeah, it’s almost a joke, asking for law enforcement to patrol the area,\" said Armstrong. \"They don’t come down here unless there’s an absolute reason, like somebody got shot the other day or someone fell over the cliff, or they’re chasing somebody.”\u003c/p>\n\u003cp>The local neighborhood council and residents’ association have asked LA's Department of Recreation and Parks, which oversees the area, to consider opening it up to the public during the day, so people don’t have to break the law to go there. The proposal includes an automated gate that locks at sunset.\u003c/p>\n\u003cfigure id=\"attachment_10594471\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10594471\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_5496.jpg\" alt=\"Yvonne and Al Borgo live down the street from Sunken City, and are fed up with late-night revelers making noise and leaving trash and graffiti behind.\" width=\"1920\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-960x1280.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yvonne and Al Borgo live down the street from Sunken City and are fed up with late-night revelers making noise and leaving trash and graffiti behind. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parks department won’t comment until a feasibility study is finished. Supporters of the idea say coastal access is a right for everyone, and the city faces a low risk of liability.\u003c/p>\n\u003cp>Walker’s Cafe is just a stone’s throw from the fence separating Sunken City from the rest of San Pedro. There’s a line of Harleys parked out front. At the counter, Samira Silva is finishing her burger and fries. She’s from Brazil and lives in Fresno. She read about Sunken City on a website of exotic sites in LA and wishes it were open to the public.\u003c/p>\n\u003cp>“I think it’s a good idea, because I don’t like having to jump fences to get in there, and on the website it said that it was open for everybody,” she said.\u003c/p>\n\u003cp>But Anthony Bora said he hopes it stays off the beaten path, because that’s how he likes it.\u003c/p>\n\u003cp>“I think it’s the whole idea of I can go around the fence and get out here, that makes it kind of cool. It is a really quiet place, you can come relax and enjoy your day off, whereas if it’s open to the public, you’re gonna have a friggin’ dog park out here, you’re gonna have concerts, and a bunch of random stuff that people come here to get away from.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whether Sunken City remains officially off limits or not, curious visitors will no doubt continue to find a way in.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.imdb.com/name/nm0715953/\" target=\"_blank\" rel=\"noopener\">Roger Rees\u003c/a>, the Tony Award-winning Welsh-born actor and director who got his start on the stage but also appeared in film and television shows such as \u003cem>Cheers\u003c/em> and \u003cem>The West Wing\u003c/em>, died Friday night in New York at age 71 after what his spokesman described as a “brief illness.”\u003c/p>\n\u003cp>The Associated Press says Rees “had abruptly left \u003cem>The Visit\u003c/em> on Broadway in late May to undergo a medical procedure.”\u003c/p>\n\u003cp>Rees played the Sheriff of Rottingham in Mel Brooks’ \u003cem>Robin Hood: Men in Tights\u003c/em> (1993) and had roles in \u003cem>The Scorpion King\u003c/em> (2002) and \u003cem>The Pink Panther\u003c/em> (2006).\u003c/p>\n\u003cp>The AP writes:\u003c/p>\n\u003cblockquote>\n\u003cp>“Rees played the snobbish Robin Colcord on TV’s \u003cem>Cheers\u003c/em> — he was known for his condescending remarks and rivalry with Sam Malone and for dating Rebecca Howe — and the British ambassador, Lord John Marbury, in \u003cem>The West Wing\u003c/em>. Other recent TV credits include \u003cem>Elementary\u003c/em> and \u003cem>The Good Wife.\u003c/em>\u003c/p>\n\u003cp>“But he was probably best known onstage for playing the title character in the Royal Shakespeare Company’s original production of Charles Dickens’ \u003cem>The Life and Adventures of Nicholas Nickleby\u003c/em> in England and on Broadway. He won an Olivier Award and then a Tony. When it was adapted to TV, he earned an Emmy Award nomination.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://www.playbill.com/news/article/roger-rees-stage-actor-made-famous-by-nicholas-nickleby-dies-at-71-351533\" target=\"_blank\" rel=\"noopener\">Playbill.com\u003c/a> says:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>Nicholas Nickleby\u003c/em> was unlike anything else ever seen on the London or New York stages when it arrived in the early 1980s. David Edgar adapted Dickens’ 1839 tale of the fortune-tossed, but loyal and good-hearted Nicholas who, after losing his father, must struggle to support his mother and sister, all without the help of his uncle Ralph, a heartless businessman.\u003c/p>\n\u003cp>“John Caird and Trevor Nunn co-directed the piece, which was performed in two parts, each four hours in length, for which audiences had to buy two separate tickets. An unlikely prospect to become a hot ticket, the show became a critical and popular sensation after it opened at the Aldrich Theatre in 1980. It arguably inaugurated an era of marathon theatre spectacles which continues to this day.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Rees is survived by his husband, author Rick Elice. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Roger+Rees%2C+Welsh-Born+Stage%2C+Screen+And+TV+Actor%2C+Dies+At+71&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.imdb.com/name/nm0715953/\" target=\"_blank\" rel=\"noopener\">Roger Rees\u003c/a>, the Tony Award-winning Welsh-born actor and director who got his start on the stage but also appeared in film and television shows such as \u003cem>Cheers\u003c/em> and \u003cem>The West Wing\u003c/em>, died Friday night in New York at age 71 after what his spokesman described as a “brief illness.”\u003c/p>\n\u003cp>The Associated Press says Rees “had abruptly left \u003cem>The Visit\u003c/em> on Broadway in late May to undergo a medical procedure.”\u003c/p>\n\u003cp>Rees played the Sheriff of Rottingham in Mel Brooks’ \u003cem>Robin Hood: Men in Tights\u003c/em> (1993) and had roles in \u003cem>The Scorpion King\u003c/em> (2002) and \u003cem>The Pink Panther\u003c/em> (2006).\u003c/p>\n\u003cp>The AP writes:\u003c/p>\n\u003cblockquote>\n\u003cp>“Rees played the snobbish Robin Colcord on TV’s \u003cem>Cheers\u003c/em> — he was known for his condescending remarks and rivalry with Sam Malone and for dating Rebecca Howe — and the British ambassador, Lord John Marbury, in \u003cem>The West Wing\u003c/em>. Other recent TV credits include \u003cem>Elementary\u003c/em> and \u003cem>The Good Wife.\u003c/em>\u003c/p>\n\u003cp>“But he was probably best known onstage for playing the title character in the Royal Shakespeare Company’s original production of Charles Dickens’ \u003cem>The Life and Adventures of Nicholas Nickleby\u003c/em> in England and on Broadway. He won an Olivier Award and then a Tony. When it was adapted to TV, he earned an Emmy Award nomination.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://www.playbill.com/news/article/roger-rees-stage-actor-made-famous-by-nicholas-nickleby-dies-at-71-351533\" target=\"_blank\" rel=\"noopener\">Playbill.com\u003c/a> says:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>Nicholas Nickleby\u003c/em> was unlike anything else ever seen on the London or New York stages when it arrived in the early 1980s. David Edgar adapted Dickens’ 1839 tale of the fortune-tossed, but loyal and good-hearted Nicholas who, after losing his father, must struggle to support his mother and sister, all without the help of his uncle Ralph, a heartless businessman.\u003c/p>\n\u003cp>“John Caird and Trevor Nunn co-directed the piece, which was performed in two parts, each four hours in length, for which audiences had to buy two separate tickets. An unlikely prospect to become a hot ticket, the show became a critical and popular sensation after it opened at the Aldrich Theatre in 1980. It arguably inaugurated an era of marathon theatre spectacles which continues to this day.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Rees is survived by his husband, author Rick Elice. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Roger+Rees%2C+Welsh-Born+Stage%2C+Screen+And+TV+Actor%2C+Dies+At+71&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Supreme Court Justice Tells All in Thurgood Marshall Solo Show",
"headTitle": "Supreme Court Justice Tells All in Thurgood Marshall Solo Show | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/thurgood/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Thurgood’\u003c/h2>\n\u003cdiv class=\"event-desc\">Lorraine Hansberry Theatre presents a solo show about Thurgood Marshall.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through July 25\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Lorraine Hansberry Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/thurgood/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Everybody’s been talking about the Supreme Court in the last couple of weeks as the nation responds to the historic June 26 \u003ca href=\"http://www.kqed.org/a/forum/R201506260900\">marriage equality ruling\u003c/a> confirming same-sex couples’ right to tie the knot.\u003c/p>\n\u003cp>As such, the timing couldn’t be more prescient for the Lorraine Hansberry Theatre’s production of \u003cem>Thurgood — \u003c/em>a solo show about Thurgood Marshall, the first African-American justice of the Supreme Court. Before that, Marshall was a great civil rights lawyer who represented the the National Association for the Advancement of Colored People (NAACP) in \u003cem>Brown vs. Board of Education\u003c/em>, the landmark 1954 Supreme Court case that unanimously declared racially segregated public schools unconstitutional.\u003c/p>\n\u003cp>Long San Francisco’s most prominent African-American theater company, the Lorraine Hansberry has kept a relatively low profile since it vacated its last home at the Post Street Theatre three years ago. The currently-nomadic organization is offering its subscribers “passport seasons” of plays produced by other theaters, such as Marin Theatre Company and American Conservatory Theater (ACT). It also produces occasional homegrown fare including staged readings, holiday shows or one-off events.\u003c/p>\n\u003cp>Now, the company returns with a full three-week run of \u003cem>Thurgood\u003c/em> starring its artistic director, veteran ACT actor Steven Anthony Jones.\u003c/p>\n\u003cp>In this biographical monologue by George Stevens Jr., Marshall visits his alma mater, Howard University, for a lecture in which he reviews his life and career from the streets of Baltimore to the highest court in the land.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jones took some time out from rehearsals to talk about the show.\u003c/p>\n\u003cfigure id=\"attachment_10826454\" class=\"wp-caption alignright\" style=\"max-width: 542px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ThurgoodB.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826454\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ThurgoodB.jpg\" alt=\"Steven Anthony Jones as Supreme Court Justice Thurgood Marshall in George Stevens Jr.'s biographical monologue Thurgood. (Photo: Gina Snow)\" width=\"542\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThurgoodB.jpg 542w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThurgoodB-400x590.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThurgoodB-407x600.jpg 407w\" sizes=\"(max-width: 542px) 100vw, 542px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Steven Anthony Jones as Supreme Court Justice Thurgood Marshall in George Stevens Jr.’s biographical monologue \u003ci>Thurgood\u003c/i>. (Photo: Gina Snow/Lorraine Hansberry Theatre)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How would you describe \u003cem>Thurgood\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>If we’re going to talk in general terms, it is another of those one-man shows in which historical characters talk about their lives. The only reason that’s interesting is because that historical character was so important. I think we have forgotten what a major figure Thurgood Marshall was in the 20th century, in the civil rights movement particularly. The playwright couldn’t have known the storm of events—the emergence of “Black Lives Matter,” the examination of how the police conduct themselves, the fact that we have a black president, the controversy over the death penalty, the taking down of the Confederate flag. All of these things have come together in the news and in American society. And this play, in Thurgood Marshall’s voice, speaks out about all of that stuff. I mean, it’s as though the play were written six months ago.\u003c/p>\n\u003cp>\u003cstrong>This production turned out to be pretty timely, with so much excitement around the Supreme Court right now. \u003c/strong>\u003c/p>\n\u003cp>I can’t give myself credit for that. I would be lying if I said that I’d anticipated any of it. My initial thought was that this is a really important person historically and it harkens back to his being a leader in the civil rights movement. Race is always a topic. But Marshall and the people who worked with him risked their lives. Some people \u003cem>lost\u003c/em> their lives so that we today could live the way that we live. The Supreme Court, \u003cem>Brown v. Board of Education\u003c/em>, the \u003ca href=\"https://en.wikipedia.org/wiki/Loving_v._Virginia\" target=\"_blank\" rel=\"noopener\">\u003cem>Loving\u003c/em> case\u003c/a> and the marriage equality movement are all game changers. The basis of Marshall’s strategy was the 14th Amendment. The judgment that the Supreme Court handed down on marriage equality was based on the 14th Amendment. I absolutely could never have foreseen that. I didn’t think I’d live to see a black president. For a lot of reasons, I feel like this is an amazing time.\u003c/p>\n\u003cp>\u003cstrong>What does this play have to say to the present moment? What could we stand to learn from Marshall’s story?\u003c/strong>\u003c/p>\n\u003cp>Marshall went to school with Langston Hughes and he credits Hughes with getting him to give up the party life when they were in college. So he finishes the play with a quote from a \u003ca href=\"http://www.poets.org/poetsorg/poem/let-america-be-america-again\" target=\"_blank\" rel=\"noopener\">Hughes poem\u003c/a>: “America never was America to me, and yet I swear this oath–America will be!” I really think that sums it up. Many people will freely admit, in terms of race, income equality and other issues that are important and that are recognized by a broad spectrum of people, there’s a whole lot left to do. For a lot of people, including LGBT and the poor, “America never was America, but America \u003cem>will be,”\u003c/em> because there are good people with their shoulders to the wheel that are continuing the work that Thurgood Marshall began.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Thurgood\u003c/em> runs through July 25, 2015 at the Creativity Theater in San Francisco. For \u003ca href=\"http://LHTSF.org\">tickets and information\u003c/a> visit LHTSF.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/thurgood/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Thurgood’\u003c/h2>\n\u003cdiv class=\"event-desc\">Lorraine Hansberry Theatre presents a solo show about Thurgood Marshall.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through July 25\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Lorraine Hansberry Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/thurgood/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Everybody’s been talking about the Supreme Court in the last couple of weeks as the nation responds to the historic June 26 \u003ca href=\"http://www.kqed.org/a/forum/R201506260900\">marriage equality ruling\u003c/a> confirming same-sex couples’ right to tie the knot.\u003c/p>\n\u003cp>As such, the timing couldn’t be more prescient for the Lorraine Hansberry Theatre’s production of \u003cem>Thurgood — \u003c/em>a solo show about Thurgood Marshall, the first African-American justice of the Supreme Court. Before that, Marshall was a great civil rights lawyer who represented the the National Association for the Advancement of Colored People (NAACP) in \u003cem>Brown vs. Board of Education\u003c/em>, the landmark 1954 Supreme Court case that unanimously declared racially segregated public schools unconstitutional.\u003c/p>\n\u003cp>Long San Francisco’s most prominent African-American theater company, the Lorraine Hansberry has kept a relatively low profile since it vacated its last home at the Post Street Theatre three years ago. The currently-nomadic organization is offering its subscribers “passport seasons” of plays produced by other theaters, such as Marin Theatre Company and American Conservatory Theater (ACT). It also produces occasional homegrown fare including staged readings, holiday shows or one-off events.\u003c/p>\n\u003cp>Now, the company returns with a full three-week run of \u003cem>Thurgood\u003c/em> starring its artistic director, veteran ACT actor Steven Anthony Jones.\u003c/p>\n\u003cp>In this biographical monologue by George Stevens Jr., Marshall visits his alma mater, Howard University, for a lecture in which he reviews his life and career from the streets of Baltimore to the highest court in the land.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jones took some time out from rehearsals to talk about the show.\u003c/p>\n\u003cfigure id=\"attachment_10826454\" class=\"wp-caption alignright\" style=\"max-width: 542px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ThurgoodB.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826454\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ThurgoodB.jpg\" alt=\"Steven Anthony Jones as Supreme Court Justice Thurgood Marshall in George Stevens Jr.'s biographical monologue Thurgood. (Photo: Gina Snow)\" width=\"542\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThurgoodB.jpg 542w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThurgoodB-400x590.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThurgoodB-407x600.jpg 407w\" sizes=\"(max-width: 542px) 100vw, 542px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Steven Anthony Jones as Supreme Court Justice Thurgood Marshall in George Stevens Jr.’s biographical monologue \u003ci>Thurgood\u003c/i>. (Photo: Gina Snow/Lorraine Hansberry Theatre)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How would you describe \u003cem>Thurgood\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>If we’re going to talk in general terms, it is another of those one-man shows in which historical characters talk about their lives. The only reason that’s interesting is because that historical character was so important. I think we have forgotten what a major figure Thurgood Marshall was in the 20th century, in the civil rights movement particularly. The playwright couldn’t have known the storm of events—the emergence of “Black Lives Matter,” the examination of how the police conduct themselves, the fact that we have a black president, the controversy over the death penalty, the taking down of the Confederate flag. All of these things have come together in the news and in American society. And this play, in Thurgood Marshall’s voice, speaks out about all of that stuff. I mean, it’s as though the play were written six months ago.\u003c/p>\n\u003cp>\u003cstrong>This production turned out to be pretty timely, with so much excitement around the Supreme Court right now. \u003c/strong>\u003c/p>\n\u003cp>I can’t give myself credit for that. I would be lying if I said that I’d anticipated any of it. My initial thought was that this is a really important person historically and it harkens back to his being a leader in the civil rights movement. Race is always a topic. But Marshall and the people who worked with him risked their lives. Some people \u003cem>lost\u003c/em> their lives so that we today could live the way that we live. The Supreme Court, \u003cem>Brown v. Board of Education\u003c/em>, the \u003ca href=\"https://en.wikipedia.org/wiki/Loving_v._Virginia\" target=\"_blank\" rel=\"noopener\">\u003cem>Loving\u003c/em> case\u003c/a> and the marriage equality movement are all game changers. The basis of Marshall’s strategy was the 14th Amendment. The judgment that the Supreme Court handed down on marriage equality was based on the 14th Amendment. I absolutely could never have foreseen that. I didn’t think I’d live to see a black president. For a lot of reasons, I feel like this is an amazing time.\u003c/p>\n\u003cp>\u003cstrong>What does this play have to say to the present moment? What could we stand to learn from Marshall’s story?\u003c/strong>\u003c/p>\n\u003cp>Marshall went to school with Langston Hughes and he credits Hughes with getting him to give up the party life when they were in college. So he finishes the play with a quote from a \u003ca href=\"http://www.poets.org/poetsorg/poem/let-america-be-america-again\" target=\"_blank\" rel=\"noopener\">Hughes poem\u003c/a>: “America never was America to me, and yet I swear this oath–America will be!” I really think that sums it up. Many people will freely admit, in terms of race, income equality and other issues that are important and that are recognized by a broad spectrum of people, there’s a whole lot left to do. For a lot of people, including LGBT and the poor, “America never was America, but America \u003cem>will be,”\u003c/em> because there are good people with their shoulders to the wheel that are continuing the work that Thurgood Marshall began.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Thurgood\u003c/em> runs through July 25, 2015 at the Creativity Theater in San Francisco. For \u003ca href=\"http://LHTSF.org\">tickets and information\u003c/a> visit LHTSF.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "An Afternoon at Pettingell Book Bindery in Berkeley",
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"content": "\u003cp>\u003cem>In the first of a three-part series on expert craftspeople in Berkeley, Melati Citrawireja, a summer 2015 photo intern for Berkeleyside, visits a Berkeley bookbindery run for the past 21 years by Klaus-Ullrich Rötzscher.\u003c/em>\u003c/p>\n\u003cp>As I push open the glass door to \u003ca href=\"http://pettingellbookbindery.com/\">Pettingell Book Bindery\u003c/a> on Bancroft Avenue, I am greeted with a pleasant quietness, a rare occurrence in the busy hub of downtown Berkeley. The owner and master bookbinder, Klaus-Ullrich Rötzscher, greets me warmly and invites me into his workspace.\u003c/p>\n\u003cp>Rötzscher is a middle-aged tall and slender fellow, wearing a glue-coated apron and wire-rimmed spectacles. The long, narrow room is dimly lit, with quirky artwork and tchotchkes lining the walls. Ribbons, rolls of colorful paper and old tools fill every nook.\u003c/p>\n\u003cp>“I designed this place myself, and I am skinny,’ he jokes in his thick German accent as we squeeze through the walkway. “Actually, the bindery was set up this way when I bought it and I just filled it with more crap.” A Javanese wooden puppet dangling from a shelf seems to wink as I pass.\u003c/p>\n\u003cp>Rötzscher quickly tunes his Pandora to a French jazz station and gets to work pulling out a stack of greatly worn books and a few tools. Today’s job entails stripping off the tired spines of a first edition “Winnie the Pooh” book and a Wizard of Oz series from the 1940s, bringing them back to life with new foundations, polyvinyl acetate glue and patient care.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This practice is actually very stressful and physical,” Rötzscher admits. “People don’t realize it, but books are heavy. When you work with them for this long, you really feel it. I am tired in the evenings … It’s easier if you really love it. I’m lucky to be in a position where I like what I do.”\u003c/p>\n\u003cp>Shreds of yellowed paper fall to the floor as Rötzscher works. He stops briefly every few minutes to scoop the confetti into a trash bin or to gather a thought as he recounts his career as a bookbinder, a time that has defined over 40 years of his life.\u003c/p>\n\u003cp>Rötzscher began bookbinding in Leipzig, Germany, with an apprenticeship at Schürer Bookbindery in 1972. Asked what spurred him to pursue the vocation, he says simply, “I always liked books, and I always liked working with my hands.” After this two-year training, he followed a trail of opportunities, moving first to Frankfurt and then to Munich, Bavaria. After eight years of work and study, he graduated in 1980 with two master's degrees. Later that year he moved to San Francisco, eventually opening his own bindery in 1987.\u003c/p>\n\u003cp>“San Francisco was good business, but stressful. The type of work was very precise and high-end. I thought, I can’t do this anymore.”\u003c/p>\n\u003cp>After almost a decade, he decided to escape the bustle of the city and move with his wife at the time and their two kids across the bay, buying Pettingell in Berkeley in 1994. “Now it’s meditative and quiet, and I can be as stressed as I want.”\u003c/p>\n\u003cp>When asked what he might have become if he hadn’t pursued the craft of bookbinding, he ponders for a long moment. “I don’t know. I can’t imagine. Maybe a detective. Maybe it’s a romantic notion because I like mystery novels.” After another beat, he continues, “I think it’s good if you don’t know what you would have done. I have no regrets. It’s been a good life.”\u003c/p>\n\u003cp>The phone rings and he lets the machine take it. “My proudest moment is that I could send my kids through college without going into debt. It was not easy, but I made it.”\u003c/p>\n\u003cp>During my two-hour visit to the book bindery, one customer swings by with a stack of prayer books that need rebinding.\u003c/p>\n\u003cp>“Business is harder these days,” admits Rötzscher. “For example, years ago, around graduation time, I was busy with dissertation theses. These days that is gone. But other things opened up, like self-publishing and memoirs. You know, it’s just changing. We have to adapt.”\u003c/p>\n\u003cp>Rötzscher currently spends his days working on these self-published books, along with family heirlooms, dictionaries, novels and manuscripts.\u003c/p>\n\u003cp>Additionally, as a way to fill in spare hours and to nurture his creativity, Rötzscher has recently released a line of hand-made journals, called \u003ca href=\"http://italianstationeryblog.com/pettingell-bookbindery-florentine-collections/#more-2044\">the Florentine Collection\u003c/a> (inspired by his love for the ancient Italian city). Bound in different covers, including sheepskin, suede and patterned paper, and stamped with various golden emblems, they reflect his simple yet elegant aesthetic.\u003c/p>\n\u003cp>“These days we are so disengaged. When you buy something, you don’t know who made it. You know it’s made in China or Germany, but the human connection is gone. When you look at something like this” — Rötzscher gestures to a stack of freshly-glued Florentine books patiently serving their time in the book press — “you can say it’s made by a craftsman. You can really say it’s handmade.”\u003c/p>\n\u003cp>And Rötzscher believes there is life yet in the bookbinding craft.\u003c/p>\n\u003cp>“I definitely think there’s a future in bookbinding. I wouldn’t say it’s a lost art, it just depends on what you want to do,” says Rötzscher.\u003c/p>\n\u003cp>He goes on to explain how the Bay Area has actually seen an increase in bookbinding in recent years, a change from the two or three that existed when he first came to America. To his knowledge, there are now six commercial bookbinderies, and many more independent binders who operate under the radar from their homes as a part-time job or a hobby. This produces some competition for him but, because most bookbinders specialize in a particular aspect of the craft, he doesn’t mind.\u003c/p>\n\u003cp>“I specialize in old books,” he says, “because no one wants to do it. It’s not sexy, and there’s no money in it.” He pulls out a large family Bible that he has recently fixed, gently unwrapping it from a cocoon of gauze. The cover is made of textured maroon leather, and it’s obvious that it carries extensive history. He points out places where the leather had worn away so much that he’d had to replace it, recreating the signature patterns and creases.\u003c/p>\n\u003cp>Toward the end of my afternoon at Pettingell, Rötzscher turns to me and imparts a piece of wisdom: “When you start something you have no idea where you’ll end up. That’s the beauty of life.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://pettingellbookbindery.com/\">Pettingell Book Bindery\u003c/a> is at 2181 Bancroft Way, Berkeley, 94704. Tel: 510-845-3653. Connect with the business on\u003ca href=\"https://www.facebook.com/Number1Bindery\"> Facebook\u003c/a> and on \u003ca href=\"https://www.pinterest.com/Pettingellbook/pins/\">Pinterest\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Melati Citrawireja, a development studies undergraduate at UC Berkeley, is currently pursuing a career in visual journalism. She was a summer 2015 photo intern at Berkeleyside. More of her work can be found online at \u003ca href=\"http://www.melatiphotography.com/\">Melati Photography\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Do you rely on Berkeleyside for your local news? You can support independent local journalism by\u003ca href=\"http://www.berkeleyside.com/support-berkeleyside/\">becoming a Berkeleyside Member\u003c/a>. \u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>In the first of a three-part series on expert craftspeople in Berkeley, Melati Citrawireja, a summer 2015 photo intern for Berkeleyside, visits a Berkeley bookbindery run for the past 21 years by Klaus-Ullrich Rötzscher.\u003c/em>\u003c/p>\n\u003cp>As I push open the glass door to \u003ca href=\"http://pettingellbookbindery.com/\">Pettingell Book Bindery\u003c/a> on Bancroft Avenue, I am greeted with a pleasant quietness, a rare occurrence in the busy hub of downtown Berkeley. The owner and master bookbinder, Klaus-Ullrich Rötzscher, greets me warmly and invites me into his workspace.\u003c/p>\n\u003cp>Rötzscher is a middle-aged tall and slender fellow, wearing a glue-coated apron and wire-rimmed spectacles. The long, narrow room is dimly lit, with quirky artwork and tchotchkes lining the walls. Ribbons, rolls of colorful paper and old tools fill every nook.\u003c/p>\n\u003cp>“I designed this place myself, and I am skinny,’ he jokes in his thick German accent as we squeeze through the walkway. “Actually, the bindery was set up this way when I bought it and I just filled it with more crap.” A Javanese wooden puppet dangling from a shelf seems to wink as I pass.\u003c/p>\n\u003cp>Rötzscher quickly tunes his Pandora to a French jazz station and gets to work pulling out a stack of greatly worn books and a few tools. Today’s job entails stripping off the tired spines of a first edition “Winnie the Pooh” book and a Wizard of Oz series from the 1940s, bringing them back to life with new foundations, polyvinyl acetate glue and patient care.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This practice is actually very stressful and physical,” Rötzscher admits. “People don’t realize it, but books are heavy. When you work with them for this long, you really feel it. I am tired in the evenings … It’s easier if you really love it. I’m lucky to be in a position where I like what I do.”\u003c/p>\n\u003cp>Shreds of yellowed paper fall to the floor as Rötzscher works. He stops briefly every few minutes to scoop the confetti into a trash bin or to gather a thought as he recounts his career as a bookbinder, a time that has defined over 40 years of his life.\u003c/p>\n\u003cp>Rötzscher began bookbinding in Leipzig, Germany, with an apprenticeship at Schürer Bookbindery in 1972. Asked what spurred him to pursue the vocation, he says simply, “I always liked books, and I always liked working with my hands.” After this two-year training, he followed a trail of opportunities, moving first to Frankfurt and then to Munich, Bavaria. After eight years of work and study, he graduated in 1980 with two master's degrees. Later that year he moved to San Francisco, eventually opening his own bindery in 1987.\u003c/p>\n\u003cp>“San Francisco was good business, but stressful. The type of work was very precise and high-end. I thought, I can’t do this anymore.”\u003c/p>\n\u003cp>After almost a decade, he decided to escape the bustle of the city and move with his wife at the time and their two kids across the bay, buying Pettingell in Berkeley in 1994. “Now it’s meditative and quiet, and I can be as stressed as I want.”\u003c/p>\n\u003cp>When asked what he might have become if he hadn’t pursued the craft of bookbinding, he ponders for a long moment. “I don’t know. I can’t imagine. Maybe a detective. Maybe it’s a romantic notion because I like mystery novels.” After another beat, he continues, “I think it’s good if you don’t know what you would have done. I have no regrets. It’s been a good life.”\u003c/p>\n\u003cp>The phone rings and he lets the machine take it. “My proudest moment is that I could send my kids through college without going into debt. It was not easy, but I made it.”\u003c/p>\n\u003cp>During my two-hour visit to the book bindery, one customer swings by with a stack of prayer books that need rebinding.\u003c/p>\n\u003cp>“Business is harder these days,” admits Rötzscher. “For example, years ago, around graduation time, I was busy with dissertation theses. These days that is gone. But other things opened up, like self-publishing and memoirs. You know, it’s just changing. We have to adapt.”\u003c/p>\n\u003cp>Rötzscher currently spends his days working on these self-published books, along with family heirlooms, dictionaries, novels and manuscripts.\u003c/p>\n\u003cp>Additionally, as a way to fill in spare hours and to nurture his creativity, Rötzscher has recently released a line of hand-made journals, called \u003ca href=\"http://italianstationeryblog.com/pettingell-bookbindery-florentine-collections/#more-2044\">the Florentine Collection\u003c/a> (inspired by his love for the ancient Italian city). Bound in different covers, including sheepskin, suede and patterned paper, and stamped with various golden emblems, they reflect his simple yet elegant aesthetic.\u003c/p>\n\u003cp>“These days we are so disengaged. When you buy something, you don’t know who made it. You know it’s made in China or Germany, but the human connection is gone. When you look at something like this” — Rötzscher gestures to a stack of freshly-glued Florentine books patiently serving their time in the book press — “you can say it’s made by a craftsman. You can really say it’s handmade.”\u003c/p>\n\u003cp>And Rötzscher believes there is life yet in the bookbinding craft.\u003c/p>\n\u003cp>“I definitely think there’s a future in bookbinding. I wouldn’t say it’s a lost art, it just depends on what you want to do,” says Rötzscher.\u003c/p>\n\u003cp>He goes on to explain how the Bay Area has actually seen an increase in bookbinding in recent years, a change from the two or three that existed when he first came to America. To his knowledge, there are now six commercial bookbinderies, and many more independent binders who operate under the radar from their homes as a part-time job or a hobby. This produces some competition for him but, because most bookbinders specialize in a particular aspect of the craft, he doesn’t mind.\u003c/p>\n\u003cp>“I specialize in old books,” he says, “because no one wants to do it. It’s not sexy, and there’s no money in it.” He pulls out a large family Bible that he has recently fixed, gently unwrapping it from a cocoon of gauze. The cover is made of textured maroon leather, and it’s obvious that it carries extensive history. He points out places where the leather had worn away so much that he’d had to replace it, recreating the signature patterns and creases.\u003c/p>\n\u003cp>Toward the end of my afternoon at Pettingell, Rötzscher turns to me and imparts a piece of wisdom: “When you start something you have no idea where you’ll end up. That’s the beauty of life.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://pettingellbookbindery.com/\">Pettingell Book Bindery\u003c/a> is at 2181 Bancroft Way, Berkeley, 94704. Tel: 510-845-3653. Connect with the business on\u003ca href=\"https://www.facebook.com/Number1Bindery\"> Facebook\u003c/a> and on \u003ca href=\"https://www.pinterest.com/Pettingellbook/pins/\">Pinterest\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Melati Citrawireja, a development studies undergraduate at UC Berkeley, is currently pursuing a career in visual journalism. She was a summer 2015 photo intern at Berkeleyside. More of her work can be found online at \u003ca href=\"http://www.melatiphotography.com/\">Melati Photography\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Do you rely on Berkeleyside for your local news? You can support independent local journalism by\u003ca href=\"http://www.berkeleyside.com/support-berkeleyside/\">becoming a Berkeleyside Member\u003c/a>. \u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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 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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"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": "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.",
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"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.",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"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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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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