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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to those who knew him, Garcia’s high spirits were contagious. Artist Ryan de la Hoz, who worked at Project One, where Garcia showed on multiple occasions, says, “The joy felt by all on opening nights was palpable. His work exuded an energy that is increasingly rare in today’s creative sphere. You didn’t just glance at his work, you were captivated by it.”\u003c/p>\n\u003cfigure id=\"attachment_10657252\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10657252\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/dragster-e1431640374764.jpg\" alt=\"René Garcia Jr. Dragster, 2012. (Courtesy of the artist's website)\" width=\"640\" height=\"319\">\u003cfigcaption class=\"wp-caption-text\">René Garcia Jr. \u003ci>Dragster\u003c/i>, 2012. (Courtesy of the artist’s website)\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to his studio practice, Garcia volunteered at the San Francisco Friends School and Pacific Primary and as an art teacher at San Quentin State Prison as part of the \u003ca href=\"http://williamjamesassociation.org/prison_arts/\" target=\"_blank\" rel=\"noopener\">Prison Arts Project\u003c/a>. He grew up outside of Riverside, Calif., where he practiced his drawing skills on his bedroom walls and began a lifelong infatuation with the pop culture that would fill his artwork: Star Wars, science fiction, pop music, Amazonian ladies, demolition derbies and racing of all kinds. He studied film and literature at the University of California, Santa Cruz before moving to San Francisco in the mid-1990s, where his art career began in animation at the children’s video company Wild Brain.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Garcia is survived by his wife, Holly Rhodes, his children, Renecito and Della, his mother, Julie Garcia, and his sisters, Kristina Draper and Catalina Patton. The family is accepting donations the René Garcia Jr. Memorial Fund at \u003ca href=\"http://www.youcaring.com/memorial-fundraiser/ren-garcia-jr-memorial-fund-for-holly-renecito-della/352359\" target=\"_blank\" rel=\"noopener\">youcaring.com\u003c/a>. A retrospective exhibition of his works is planned for late summer in San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Hammer Theatre Center in San Jose has been empty since last June, when its previous tenant, the San Jose Repertory Theatre, went \u003ca href=\"http://ww2.kqed.org/arts/2014/06/11/san-jose-rep-announces-closure/\" target=\"_blank\" rel=\"noopener\">bankrupt\u003c/a>. The best use the city has found since then for the $27 million complex has been pop-up retail.\u003c/p>\n\u003cp>But the curtain may rise again this fall if the city approves \u003ca href=\"http://www.sjsu.edu/\" target=\"_blank\" rel=\"noopener\">San Jose State University\u003c/a>’s request for a 3-year lease on the complex.\u003c/p>\n\u003cp>The university wants to use the facility — which is a few blocks from its campus — as a stage for its drama and dance departments, as well as special instructional events, co-productions with other theater companies and to rent to community groups.\u003c/p>\n\u003cp>“The position we’ve taken is that the university has as much of an interest in the economic and cultural health of downtown as the city does,” \u003ca href=\"http://www.sjsu.edu/humanitiesandarts/About_the_college/dean_lisa_vollendorf/\" target=\"_blank\" rel=\"noopener\">San Jose State Dean Lisa Vollendorf\u003c/a> says.\u003c/p>\n\u003cp>That’s a welcome argument for city officials.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The real loss when a facility like that is dark,” \u003ca href=\"http://www.sanjoseculture.org/index.aspx?NID=933\" target=\"_blank\" rel=\"noopener\">San Jose Cultural Affairs Director Kerry Adams Hapner\u003c/a> says. “We have a deficit in the economic impact that all those theater attendees provide to the surrounding area. They’re parking their car, visiting our restaurants, paying for babysitting services.”\u003c/p>\n\u003cp>But Hapner says the city would still have to provide a $285,000 subsidy to offset the $850,000 to $1 million annual cost of running the theater center.\u003c/p>\n\u003cp>San Jose State has had just one rival: an ad hoc committee headed by the theater’s namesakes, former Mayor Susan Hammer and her husband Phil, as well as \u003ca href=\"https://www.symphonysiliconvalley.org/index.php\" target=\"_blank\" rel=\"noopener\">Andrew Bales, President of Symphony Silicon Valley.\u003c/a>\u003c/p>\n\u003cp>The city, Bales says, is conceding a lot to reactivate the theater.\u003c/p>\n\u003cp>“That is the anxiety we all have about this proposal,” Bales says. “The problem is there isn’t somebody else making a proposal concrete enough for the city to act on.”\u003c/p>\n\u003cp>Bales says he and the Hammers can live with San Jose leasing the theater to San Jose State, as long as the city and the university work to bring professional theater back to what’s known as “The Blue Box.”\u003c/p>\n\u003cp>Cultural Affairs Director Hapner says that is the city’s intention.\u003c/p>\n\u003cp>Dean Vollendorf is more cautious, saying she supports professional theater at the Hammer, but wonders if any single resident company would want to take over the center as a permanent home, after the bankruptcy of San Jose Rep last year.\u003c/p>\n\u003cp>Hapner will be seeking authority to negotiate the terms of the lease with San Jose State in a series of public meetings, starting this Tuesday evening with the \u003ca href=\"http://www.sanjoseca.gov/index.aspx?NID=4498\" target=\"_blank\" rel=\"noopener\">Hammer Theatre Advisory Committee.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Wednesday, she’ll go before the \u003ca href=\"http://www.sanjoseculture.org/index.aspx?NID=933\" target=\"_blank\" rel=\"noopener\">San Jose Arts Commission\u003c/a>, and then the city council’s \u003ca href=\"http://www.sanjoseca.gov/index.aspx?nid=3631\" target=\"_blank\" rel=\"noopener\">Community and Economic Development Committee \u003c/a>on Monday.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Hammer Theatre Center in San Jose has been empty since last June, when its previous tenant, the San Jose Repertory Theatre, went \u003ca href=\"http://ww2.kqed.org/arts/2014/06/11/san-jose-rep-announces-closure/\" target=\"_blank\" rel=\"noopener\">bankrupt\u003c/a>. The best use the city has found since then for the $27 million complex has been pop-up retail.\u003c/p>\n\u003cp>But the curtain may rise again this fall if the city approves \u003ca href=\"http://www.sjsu.edu/\" target=\"_blank\" rel=\"noopener\">San Jose State University\u003c/a>’s request for a 3-year lease on the complex.\u003c/p>\n\u003cp>The university wants to use the facility — which is a few blocks from its campus — as a stage for its drama and dance departments, as well as special instructional events, co-productions with other theater companies and to rent to community groups.\u003c/p>\n\u003cp>“The position we’ve taken is that the university has as much of an interest in the economic and cultural health of downtown as the city does,” \u003ca href=\"http://www.sjsu.edu/humanitiesandarts/About_the_college/dean_lisa_vollendorf/\" target=\"_blank\" rel=\"noopener\">San Jose State Dean Lisa Vollendorf\u003c/a> says.\u003c/p>\n\u003cp>That’s a welcome argument for city officials.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The real loss when a facility like that is dark,” \u003ca href=\"http://www.sanjoseculture.org/index.aspx?NID=933\" target=\"_blank\" rel=\"noopener\">San Jose Cultural Affairs Director Kerry Adams Hapner\u003c/a> says. “We have a deficit in the economic impact that all those theater attendees provide to the surrounding area. They’re parking their car, visiting our restaurants, paying for babysitting services.”\u003c/p>\n\u003cp>But Hapner says the city would still have to provide a $285,000 subsidy to offset the $850,000 to $1 million annual cost of running the theater center.\u003c/p>\n\u003cp>San Jose State has had just one rival: an ad hoc committee headed by the theater’s namesakes, former Mayor Susan Hammer and her husband Phil, as well as \u003ca href=\"https://www.symphonysiliconvalley.org/index.php\" target=\"_blank\" rel=\"noopener\">Andrew Bales, President of Symphony Silicon Valley.\u003c/a>\u003c/p>\n\u003cp>The city, Bales says, is conceding a lot to reactivate the theater.\u003c/p>\n\u003cp>“That is the anxiety we all have about this proposal,” Bales says. “The problem is there isn’t somebody else making a proposal concrete enough for the city to act on.”\u003c/p>\n\u003cp>Bales says he and the Hammers can live with San Jose leasing the theater to San Jose State, as long as the city and the university work to bring professional theater back to what’s known as “The Blue Box.”\u003c/p>\n\u003cp>Cultural Affairs Director Hapner says that is the city’s intention.\u003c/p>\n\u003cp>Dean Vollendorf is more cautious, saying she supports professional theater at the Hammer, but wonders if any single resident company would want to take over the center as a permanent home, after the bankruptcy of San Jose Rep last year.\u003c/p>\n\u003cp>Hapner will be seeking authority to negotiate the terms of the lease with San Jose State in a series of public meetings, starting this Tuesday evening with the \u003ca href=\"http://www.sanjoseca.gov/index.aspx?NID=4498\" target=\"_blank\" rel=\"noopener\">Hammer Theatre Advisory Committee.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Wednesday, she’ll go before the \u003ca href=\"http://www.sanjoseculture.org/index.aspx?NID=933\" target=\"_blank\" rel=\"noopener\">San Jose Arts Commission\u003c/a>, and then the city council’s \u003ca href=\"http://www.sanjoseca.gov/index.aspx?nid=3631\" target=\"_blank\" rel=\"noopener\">Community and Economic Development Committee \u003c/a>on Monday.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Putting on a major fashion week under most circumstances is a demanding enterprise. You need beautiful clothes, talented designers and breathtaking models — not to mention sponsors.\u003c/p>\n\u003cp>To create a fashion week for Silicon Valley, Chris Lindland, the CEO of \u003ca href=\"https://www.betabrand.com/\" target=\"_blank\" rel=\"noopener\">Betabrand\u003c/a>, faced a different set of demands, like figuring out how to fit drones and robots into clothes and convincing software engineers to strut their stuff on the runway.\u003c/p>\n\u003cp>But it’s the unique challenge of combining drones, engineers and Burning Man aesthetics with fashion that inspired Lindland to launch \u003ca href=\"http://www.sv-fashionweek.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Silicon Valley Fashion Week?\u003c/strong>\u003c/a> in the first place (and yes, that question mark is intentional).\u003c/p>\n\u003cp>“It’s coming up with a big idea that’s like, ‘oh god, that would be either brilliant or a gigantic failure,’ and then going for it,” Leland says.\u003c/p>\n\u003cp>The fashion week, which takes place May 12-14 at the Chapel in San Francisco, features three nights of tech-centric style. The first night, sponsored by \u003ca href=\"http://www.genze.com/\" target=\"_blank\" rel=\"noopener\">GenZe\u003c/a>, focuses on “Electric Motion,” showcasing electric scooters, electric skateboards and other commuting-themed products. The second night is dedicated to “Tech Wearables,” and is sponsored by \u003ca href=\"http://www.pchintl.com/\" target=\"_blank\" rel=\"noopener\">PHC\u003c/a>. And the third night, “Funded Fashion,” supported by Betabrand, celebrates with a parade of outfits created through crowdfunding.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The title of the event is deliberately posed as a question: should Silicon Valley have a fashion week? While Lindland wants the question to spark conversation, he himself is convinced that the fashion snobs in New York have grossly underestimated the Valley’s influence on style.\u003c/p>\n\u003cp>“Internet fashion is no joke — it’s becoming a huge industry,” Lindland states.\u003c/p>\n\u003cp>Buying a ticket might be tricky — according to Lindland, the 1,000 tickets for the fashion week sold out in just three days. In fact, enthusiasm for the event is so great that Lindland is considering adding a fourth day, and he’s looking even further ahead than that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I hope we keep extending it as long as \u003cem>Beach Blanket Babylon\u003c/em> has been running in San Francisco.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Putting on a major fashion week under most circumstances is a demanding enterprise. You need beautiful clothes, talented designers and breathtaking models — not to mention sponsors.\u003c/p>\n\u003cp>To create a fashion week for Silicon Valley, Chris Lindland, the CEO of \u003ca href=\"https://www.betabrand.com/\" target=\"_blank\" rel=\"noopener\">Betabrand\u003c/a>, faced a different set of demands, like figuring out how to fit drones and robots into clothes and convincing software engineers to strut their stuff on the runway.\u003c/p>\n\u003cp>But it’s the unique challenge of combining drones, engineers and Burning Man aesthetics with fashion that inspired Lindland to launch \u003ca href=\"http://www.sv-fashionweek.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Silicon Valley Fashion Week?\u003c/strong>\u003c/a> in the first place (and yes, that question mark is intentional).\u003c/p>\n\u003cp>“It’s coming up with a big idea that’s like, ‘oh god, that would be either brilliant or a gigantic failure,’ and then going for it,” Leland says.\u003c/p>\n\u003cp>The fashion week, which takes place May 12-14 at the Chapel in San Francisco, features three nights of tech-centric style. The first night, sponsored by \u003ca href=\"http://www.genze.com/\" target=\"_blank\" rel=\"noopener\">GenZe\u003c/a>, focuses on “Electric Motion,” showcasing electric scooters, electric skateboards and other commuting-themed products. The second night is dedicated to “Tech Wearables,” and is sponsored by \u003ca href=\"http://www.pchintl.com/\" target=\"_blank\" rel=\"noopener\">PHC\u003c/a>. And the third night, “Funded Fashion,” supported by Betabrand, celebrates with a parade of outfits created through crowdfunding.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>826 Valencia is expanding.\u003c/p>\n\u003cp>The Mission district-based literacy nonprofit, which has promoted creative writing in students ages 6 to 18 for the past 13 years, secured a 15-year lease in the Tenderloin, the organization announced on Friday.\u003c/p>\n\u003cp>The Tenderloin is San Francisco’s most densely populated neighborhood. It has a median household income of $23,804 and no social service programs that focus on writing.\u003c/p>\n\u003cp>Rent for this new space is reported to be 25% below market, according to the\u003ca href=\"http://www.sfchronicle.com/bayarea/article/Author-Dave-Eggers-nonprofit-heading-to-6250170.php\"> \u003cem>San Francisco Chronicle\u003c/em>\u003c/a>. 826 Valencia will get the first year in the new location rent free.\u003c/p>\n\u003cp>The organization hopes to open the Tenderloin branch in January 2016.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Any support to our community and our schools is very welcome,” Kevin Etter, behavior support coach at Tenderloin Elementary School, says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to its educational programs, which have expanded to cities across the country and abroad, 826 Valencia is known for its whimsical approach to retail. Visitors in San Francisco can currently head to 826’s famed Pirate storefront in the Mission to stock up on pirate supplies like messages in bottles, false whale teeth and mermaid bait. Proceeds from all sales go towards helping support 826’s free storytelling, book-making and after-school programs.\u003c/p>\n\n",
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"content": "\u003cp>In a victory for San Francisco’s music community, a measure to protect nightclubs from \u003ca href=\"http://ww2.kqed.org/arts/2014/12/30/local-scenesters-take-to-forum-to-say-club-scene-not-endangered/\" target=\"_blank\" rel=\"noopener\">“complainy-pants” neighbors\u003c/a> was approved by the city’s Board of Supervisors on Tuesday.\u003c/p>\n\u003cp>The measure, advanced by Board President London Breed, prohibits those living next to nightclubs from filing a complaint about noise or other nuisances if the club is operating in adherence to its entertainment permit. It also requires developers of new residences — condos, in most cases — to disclose to potential residents the existence of and activity at nearby nightclubs.\u003c/p>\n\u003cp>Though the Red Devil Lounge has already closed and the Elbo Room \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">will shut down later this year\u003c/a>, other clubs around the city have faced uncertain futures due to looming development. Breed crafted the legislation after the Independent, on Divisadero Street, became aware of two mixed-use residential plans adjacent to the club. Recently, a \u003ca href=\"http://www.socketsite.com/archives/2015/04/plans-for-housing-to-rise-behind-bottom-of-the-hill.html\" target=\"_blank\" rel=\"noopener\">nine-unit condo project directly behind the Bottom of the Hill\u003c/a>, on 17th Street, passed its environmental review stage.\u003c/p>\n\u003cp>Even more stories came to light at a Planning Commission meeting back in March, \u003ca href=\"http://sfist.com/2015/03/20/nightclub_owners_make_noise_at_city.php\" target=\"_blank\" rel=\"noopener\">according to SFist\u003c/a>: a DJ at the Make-Out Room, Parker Gibbs, reported that the club had received complaints from neighbors at a new condo development that, ironically, touted the club as a nearby amenity in its marketing materials. As far back as 2011, the \u003ca href=\"http://www.sfweekly.com/shookdown/2011/03/21/slims-liquor-license-temporarily-suspended-due-to-neighbors-complaints\" target=\"_blank\" rel=\"noopener\">\u003cem>SF Weekly\u003c/em> reports\u003c/a>, Slim’s faced a 10-day liquor license suspension due to neighbors’ routine daily calls to police. And last year, \u003ca href=\"http://www.sfgate.com/bayarea/article/Residential-development-threatens-S-F-s-music-5680418.php\" target=\"_blank\" rel=\"noopener\">the \u003cem>San Francisco Chronicle\u003c/em> related the story\u003c/a> of a resident who bought a $1 million condo on 19th Street and swiftly began complaining about the Chapel, the Mission-District club just around the corner.\u003c/p>\n\u003cp>Breed’s legislation is hailed as a victory for nightclubs, music fans, and — let’s face it — common sense, even \u003ca href=\"http://www.billboard.com/biz/articles/6554080/effort-to-protect-san-francisco-clubs-from-noisy-lawsuits-passed-by-city\" target=\"_blank\" rel=\"noopener\">drawing coverage by music-industry journal \u003cem>Billboard\u003c/em>\u003c/a>. And though the measure doesn’t stop rising rents or amend the permitting process to make it any easier to open a new nightclub, it clearly provides a much-needed layer of protection for nightlife owners and their patrons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a victory for San Francisco’s music community, a measure to protect nightclubs from \u003ca href=\"http://ww2.kqed.org/arts/2014/12/30/local-scenesters-take-to-forum-to-say-club-scene-not-endangered/\" target=\"_blank\" rel=\"noopener\">“complainy-pants” neighbors\u003c/a> was approved by the city’s Board of Supervisors on Tuesday.\u003c/p>\n\u003cp>The measure, advanced by Board President London Breed, prohibits those living next to nightclubs from filing a complaint about noise or other nuisances if the club is operating in adherence to its entertainment permit. It also requires developers of new residences — condos, in most cases — to disclose to potential residents the existence of and activity at nearby nightclubs.\u003c/p>\n\u003cp>Though the Red Devil Lounge has already closed and the Elbo Room \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">will shut down later this year\u003c/a>, other clubs around the city have faced uncertain futures due to looming development. Breed crafted the legislation after the Independent, on Divisadero Street, became aware of two mixed-use residential plans adjacent to the club. Recently, a \u003ca href=\"http://www.socketsite.com/archives/2015/04/plans-for-housing-to-rise-behind-bottom-of-the-hill.html\" target=\"_blank\" rel=\"noopener\">nine-unit condo project directly behind the Bottom of the Hill\u003c/a>, on 17th Street, passed its environmental review stage.\u003c/p>\n\u003cp>Even more stories came to light at a Planning Commission meeting back in March, \u003ca href=\"http://sfist.com/2015/03/20/nightclub_owners_make_noise_at_city.php\" target=\"_blank\" rel=\"noopener\">according to SFist\u003c/a>: a DJ at the Make-Out Room, Parker Gibbs, reported that the club had received complaints from neighbors at a new condo development that, ironically, touted the club as a nearby amenity in its marketing materials. As far back as 2011, the \u003ca href=\"http://www.sfweekly.com/shookdown/2011/03/21/slims-liquor-license-temporarily-suspended-due-to-neighbors-complaints\" target=\"_blank\" rel=\"noopener\">\u003cem>SF Weekly\u003c/em> reports\u003c/a>, Slim’s faced a 10-day liquor license suspension due to neighbors’ routine daily calls to police. And last year, \u003ca href=\"http://www.sfgate.com/bayarea/article/Residential-development-threatens-S-F-s-music-5680418.php\" target=\"_blank\" rel=\"noopener\">the \u003cem>San Francisco Chronicle\u003c/em> related the story\u003c/a> of a resident who bought a $1 million condo on 19th Street and swiftly began complaining about the Chapel, the Mission-District club just around the corner.\u003c/p>\n\u003cp>Breed’s legislation is hailed as a victory for nightclubs, music fans, and — let’s face it — common sense, even \u003ca href=\"http://www.billboard.com/biz/articles/6554080/effort-to-protect-san-francisco-clubs-from-noisy-lawsuits-passed-by-city\" target=\"_blank\" rel=\"noopener\">drawing coverage by music-industry journal \u003cem>Billboard\u003c/em>\u003c/a>. And though the measure doesn’t stop rising rents or amend the permitting process to make it any easier to open a new nightclub, it clearly provides a much-needed layer of protection for nightlife owners and their patrons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The large yellow Edwardian on Folsom Street, between 24th and 25th, affectionately dubbed the Pigeon Palace, is the kind of building that is becoming increasingly rare in the Mission District: It is home to long-term tenants whose primary occupations are to advance arts and letters.\u003c/p>\n\u003cp>On the third floor, prolific public historian and founder of \u003ca href=\"http://www.shapingsf.org/\" target=\"_blank\">Shaping SF\u003c/a> Chris Carlsson lives with his partner, author Adriana Camarena, a leading organizer against police violence in the neighborhood.\u003c/p>\n\u003cp>Across the hall is Keith Hennessy, a pioneering choreographer in San Francisco’s queer performance scene. Artist and AIDS activist Kirk Read and his partner, Ed Wolf, an activist chronicled in the award-winning documentary \"We Were Here,\" live below. Cook and author Carin McKay resides on the first floor.\u003c/p>\n\u003cp>But all of their lives are about to change -- their home is up for sale and bids will be taken on Wednesday. Given the impending sale, all six of the Pigeon Palace’s tenants face the question of how much longer they’ll be able to remain in a building where most of them have lived for more than a decade.\u003c/p>\n\u003cp>While the group of tenants has banded together to form a nonprofit in hopes of buying the building from their elderly landlord, who they say always intended to keep them there, a contentious legal process is making that outcome increasingly unlikely. ...\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://missionlocal.org/2015/05/a-building-of-mission-luminaries-face-displacement/\" target=\"_blank\">Read full story at Mission Local.\u003c/a>\u003c/p>\n\n",
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"title": "Watching Films to Support Nepal's Quake Victims",
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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/himalayan-film-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Himalayan Film Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">Five films over two days.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 1–2, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Ninth Street Independent Film Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/himalayan-film-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>“My cousin is still waiting for a medical rescue,” said Bay Area resident and film festival organizer Nisha Thapa. Thapa’s cousin is stranded with a broken arm in a village three hours from Nepal’s capital city of Kathmandu, after the Apr. 25 earthquake that has killed over 5,000. Thapa says the last thing she heard was that other family members were going to use a motorbike to bring her cousin to a hospital in the city.\u003c/p>\n\u003cp>This year’s third annual \u003ca href=\"http://himalayanfilmfest.com/sf2015/\" target=\"_blank\" rel=\"noopener\">Himalayan Film Festival\u003c/a> on May 1 and 2 has a somber undertone, with the families of many Nepali diaspora significantly impacted by Nepal’s recent earthquake.\u003c/p>\n\u003cp>The goal of the festival is to screen films highlighting social injustices within the Himalayan region and mobilize communities, as Thapa says, to “translate compassion into action.” With five films over two days, the festival events will take place at \u003ca href=\"http://www.ninthstreet.org/\" target=\"_blank\" rel=\"noopener\">9th Street Independent Film Center\u003c/a> in San Francisco.\u003c/p>\n\u003cp>The series opens with \u003ca href=\"http://himalayanfilmfest.com/sf2015/films/64/\" target=\"_blank\" rel=\"noopener\">\u003cem>Sunakali\u003c/em>,\u003c/a> based in Nepal, which details the story of a women’s football team and society’s changing perception toward women through the sport. Saturday’s program will feature four films: \u003cem>\u003ca href=\"http://himalayanfilmfest.com/sf2015/films/refugees-of-shangri-la/\" target=\"_blank\" rel=\"noopener\">The Refugees of Shangri-La\u003c/a>\u003c/em> on forgotten exiles in Bhutan, another story based in Nepal looking at a wind turbine called \u003cem>\u003ca href=\"http://himalayanfilmfest.com/sf2015/films/tashis-turbine/\" target=\"_blank\" rel=\"noopener\">Tashi’s Turbine\u003c/a>\u003c/em>, a film about altruism by the name of \u003cem>\u003ca href=\"http://himalayanfilmfest.com/sf2015/films/way-of-life/\" target=\"_blank\" rel=\"noopener\">Way of Life\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"http://himalayanfilmfest.com/sf2015/films/when-hari-got-married/\" target=\"_blank\" rel=\"noopener\">When Hari Got Married\u003c/a>\u003c/em>, the story of a taxi driver’s arranged marriage in northern India.\u003c/p>\n\u003cp>For Thapa, films have played an important role in her life. Two months after watching director David Driver’s \u003cem>Way of Life\u003c/em>, she ended up in a village working with those from the lowest socioeconomic status. “Films motivate and inspire us all,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bringing together diaspora organizations in the U.S., organizers Amisha Hada and Thapa hope each community can adopt a school, or hospital, “We hope that Nepal doesn’t turn into another Haiti,” Hada said.\u003c/p>\n\u003cfigure id=\"attachment_10606898\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10606898 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jessica-Lea-DFID1-e1430382242115.jpg\" alt=\"The UK's International Search and Rescue team in Chautara, Sindhupalchok District – north east of Kathmandu, Nepal.\" width=\"640\" height=\"427\">\u003cfigcaption class=\"wp-caption-text\">Chautara, Sindhupalchok District – north east of Kathmandu just days after the magnitude 7.8 earthquake struck the country, killing more than 5000 people, and injuring thousands more. \u003ccite>(Jessica Lea/DFID)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thapa plans to travel to Nepal with a team of three or four others to help prevent infectious diseases from spreading as well as working on reconstruction. The team is using the film festival as a platform to bring people who are working on relief efforts together to share information.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thus far they have received overwhelming support from the Bay Area. “Folks are asking how they can contribute and people are taking time off, and working all night to help,” Thapa said. With an aim to provide sustained support the festival proceeds will go towards reconstruction efforts aiding local organizations through the Bay Area non-profit \u003ca title=\"Sahayeta\" href=\"http://www.sahayeta.org\" target=\"_blank\" rel=\"noopener\">Sahayeta\u003c/a>.\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/himalayan-film-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Himalayan Film Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">Five films over two days.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 1–2, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Ninth Street Independent Film Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/himalayan-film-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>“My cousin is still waiting for a medical rescue,” said Bay Area resident and film festival organizer Nisha Thapa. Thapa’s cousin is stranded with a broken arm in a village three hours from Nepal’s capital city of Kathmandu, after the Apr. 25 earthquake that has killed over 5,000. Thapa says the last thing she heard was that other family members were going to use a motorbike to bring her cousin to a hospital in the city.\u003c/p>\n\u003cp>This year’s third annual \u003ca href=\"http://himalayanfilmfest.com/sf2015/\" target=\"_blank\" rel=\"noopener\">Himalayan Film Festival\u003c/a> on May 1 and 2 has a somber undertone, with the families of many Nepali diaspora significantly impacted by Nepal’s recent earthquake.\u003c/p>\n\u003cp>The goal of the festival is to screen films highlighting social injustices within the Himalayan region and mobilize communities, as Thapa says, to “translate compassion into action.” With five films over two days, the festival events will take place at \u003ca href=\"http://www.ninthstreet.org/\" target=\"_blank\" rel=\"noopener\">9th Street Independent Film Center\u003c/a> in San Francisco.\u003c/p>\n\u003cp>The series opens with \u003ca href=\"http://himalayanfilmfest.com/sf2015/films/64/\" target=\"_blank\" rel=\"noopener\">\u003cem>Sunakali\u003c/em>,\u003c/a> based in Nepal, which details the story of a women’s football team and society’s changing perception toward women through the sport. Saturday’s program will feature four films: \u003cem>\u003ca href=\"http://himalayanfilmfest.com/sf2015/films/refugees-of-shangri-la/\" target=\"_blank\" rel=\"noopener\">The Refugees of Shangri-La\u003c/a>\u003c/em> on forgotten exiles in Bhutan, another story based in Nepal looking at a wind turbine called \u003cem>\u003ca href=\"http://himalayanfilmfest.com/sf2015/films/tashis-turbine/\" target=\"_blank\" rel=\"noopener\">Tashi’s Turbine\u003c/a>\u003c/em>, a film about altruism by the name of \u003cem>\u003ca href=\"http://himalayanfilmfest.com/sf2015/films/way-of-life/\" target=\"_blank\" rel=\"noopener\">Way of Life\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"http://himalayanfilmfest.com/sf2015/films/when-hari-got-married/\" target=\"_blank\" rel=\"noopener\">When Hari Got Married\u003c/a>\u003c/em>, the story of a taxi driver’s arranged marriage in northern India.\u003c/p>\n\u003cp>For Thapa, films have played an important role in her life. Two months after watching director David Driver’s \u003cem>Way of Life\u003c/em>, she ended up in a village working with those from the lowest socioeconomic status. “Films motivate and inspire us all,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bringing together diaspora organizations in the U.S., organizers Amisha Hada and Thapa hope each community can adopt a school, or hospital, “We hope that Nepal doesn’t turn into another Haiti,” Hada said.\u003c/p>\n\u003cfigure id=\"attachment_10606898\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10606898 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jessica-Lea-DFID1-e1430382242115.jpg\" alt=\"The UK's International Search and Rescue team in Chautara, Sindhupalchok District – north east of Kathmandu, Nepal.\" width=\"640\" height=\"427\">\u003cfigcaption class=\"wp-caption-text\">Chautara, Sindhupalchok District – north east of Kathmandu just days after the magnitude 7.8 earthquake struck the country, killing more than 5000 people, and injuring thousands more. \u003ccite>(Jessica Lea/DFID)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thapa plans to travel to Nepal with a team of three or four others to help prevent infectious diseases from spreading as well as working on reconstruction. The team is using the film festival as a platform to bring people who are working on relief efforts together to share information.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thus far they have received overwhelming support from the Bay Area. “Folks are asking how they can contribute and people are taking time off, and working all night to help,” Thapa said. With an aim to provide sustained support the festival proceeds will go towards reconstruction efforts aiding local organizations through the Bay Area non-profit \u003ca title=\"Sahayeta\" href=\"http://www.sahayeta.org\" target=\"_blank\" rel=\"noopener\">Sahayeta\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland artist \u003ca href=\"http://packardjennings.com/\" target=\"_blank\" rel=\"noopener\">Packard Jennings\u003c/a> is no stranger to the press. His politically-conscious artwork has been covered by the \u003cem>New York Times\u003c/em>, the \u003cem>Washington Post\u003c/em>, A\u003cem>rtforum\u003c/em>, and many other publications. But he’s currently receiving media attention for a Craigslist post he had nothing to do with — \u003ca href=\"http://ww2.kqed.org/arts/2015/04/27/oakland-artist-smacks-down-tech-exec-for-using-image-in-viral-job-ad/\" target=\"_blank\" rel=\"noopener\">a San Diego tech executive used an image of Jennings’ without permission\u003c/a> for a “developers wanted” ad, which went viral. Now, instead of concentrating solely on his next work, Jennings is having to get “medieval” on Chatmeter CTO Paul Koch for the exec’s copyright infringement.\u003c/p>\n\u003cp>Jennings took a few minutes to answer some questions from KQED Arts about the situation and what he plans to do next. \u003c/p>\n\u003cp>\u003cstrong>How did you learn about your pic being used in the ad?\u003c/strong>\u003cbr>\nThis Craigslist post went viral. Beyond the attention on news sites, it blew up on social media. Several people recognized my work when it was posted on both Facebook and on the \u003cem>San Francisco Chronicle\u003c/em>’s site. I was contacted about it by three separate people.\u003c/p>\n\u003cfigure id=\"attachment_10602567\" class=\"wp-caption alignright\" style=\"max-width: 604px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland.jpg\" alt=\"Jennings in Switzerland back in 2006. (Courtesy of Jennings)\" width=\"604\" height=\"453\" class=\"size-full wp-image-10602567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland-400x300.jpg 400w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennings in Switzerland back in 2006. (Courtesy of Jennings)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How far are you willing to take this?\u003c/strong>\u003cbr>\nI’m willing take this as far as it needs to go. I’d rather it didn’t get to the point of needing to go to court, but I have been consulting several copyright lawyers and the California Lawyers for the Arts, in case it goes there. If it goes to court, it goes to court. It is a pretty cut-and-dry case of copyright infringement. They don’t have a leg to stand on, really.\u003c/p>\n\u003cp>\u003cstrong>What would be proper compensation?\u003c/strong>\u003cbr>\nIf he comes to me with a sincere offer that seems adequate I will consider it, but that could be a question for lawyers. The standard ranges of fines for copyright infringement are laid out in my first letter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Has this happened to you before?\u003c/strong>\u003cbr>\nI had someone selling a copy of my Bible Sticker, which I give away for free. It is based on stickers in Georgia biology school textbooks in 2005, which warned: “Evolution is a theory, not a fact, regarding the origin of living things. It should be read with an open mind and critically considered.” The Bible Sticker is given away for free with the instructions: “Keep this sticker in your wallet. When you stay in a motel, adhere your sticker to the inside jacket of the Bible.” Someone directed me to a person selling it on some site that custom prints T-shirts and stickers to order for vendors who have “stores” on the site. I contacted them and they took it down. It was made to be given away, not sold.\u003c/p>\n\u003cfigure id=\"attachment_10602568\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-912x1180.jpg\" alt=\"Jennings' second letter to Paul Koch\" width=\"640\" height=\"828\" class=\"size-large wp-image-10602568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-912x1180.jpg 912w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-463x600.jpg 463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-1180x1528.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-960x1243.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2.jpg 1582w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennings’ second letter to Paul Koch\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Does it matter if what he did was just a mistake?\u003c/strong>\u003cbr>\nI understand that people slip up and show a lapse in judgement. If he were just some guy trying to sell a bike, I wouldn’t sweat it. Everyone knows when they are using copyrighted artwork. In this case, he used it for an advertisement to gain publicity and recruit employees. In his own words (see the \u003ca href=\"http://nextshark.com/paul-koch-craigslist-job-ad-great-developers-startup/\" target=\"_blank\" rel=\"noopener\">Netshark interview\u003c/a>) he set out to create a viral campaign. He very purposely constructed the ad to cause a stir. He chose to ignore copyright because my image somehow resonated with him for this; I suppose the idea is that his tech company is somehow a radical place to work. In this, he was very purposefully using my image to help brand his company. Top this off with his casual dismissal of my grievance and you may see why this is not a simple mistake. \u003c/p>\n\u003cp>\u003cstrong>Do you think his apology was genuine?\u003c/strong>\u003cbr>\nI really can’t say. I didn’t speak to him in person and tone is impossible in text form.\u003c/p>\n\u003cp>\u003cstrong>Do you think if he knew what the picture was from or anything about you, that he would still use it?\u003c/strong>\u003cbr>\nI’m obviously speculating, but he still seems cavalier about his breach of copyright law. He offered $500, not for past usage or restitution, but to be able to use it legally for the ad going forward. After I told him why that was not OK (see my 2nd letter), he sent a response: \u003c/p>\n\u003cp>“Thank you for taking the time to give me your full perspective on the situation. In case you missed my earlier communications I would like to make sure you’re aware that I’ve already removed the image from the ad. Again I apologize for the oversight, as you can see I responded immediately to your request and did my best to rectify the situation.”\u003c/p>\n\u003cp>So offering to pay for it going forward is his “best” at rectifying the situation. This casual disregard of artist’s rights is not uncommon. I imagine if I was Lars from Metallica he would be a bit more responsive. With the current steamrolling of the Bay Area’s cultural heritage, I caught myself wondering if this is just an attitude that is endemic within tech culture, then realized that it is simply corporate culture. Tech companies have done a pretty good job selling us on the idea that they are different from regular corporate culture. Maybe they even believe it themselves.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Is this kind of image appropriation a growing problem? Do you know of other artists that have had similar struggles?\u003c/strong>\u003cbr>\nI’m not sure about current appropriation cases. A copyright lawyer or California Lawyers for the Arts would be able to tell you about current cases. I can tell you that artists being taken advantage of is continuing problem. Whether it is low paying commercial work where you are “lucky to have a job in your chosen field,” or art organizations that offer shows that don’t pay for shipping or provide a stipend for a “great opportunity,” or the troubles surrounding wages and retention for adjunct art teachers, or the rising cost of tuition for an arts education. Students are coming out of schools today with an undergrad degree in painting and $80,000 of debt. Sometimes you want to take that opportunity or you can afford to pay that tuition, but at times you feel like you just have to do it. There is tremendous competition in the arts. I don’t know about students today, but I didn’t have any idea how hard it is to pay back even $10,000 as an artist. A lot of American society thinks being an artist is a way to be a slacker, it’s the opposite. Being an artist is a tough road filled with low wages and a lot of struggle. We could use a break once in a while.\u003c/p>\n\n",
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"excerpt": "Packard Jennings is really angry at a San Diego tech executive for using an image of his without permission. After sending two expletive-filled letters to the tech exec admonishing him for his actions, Jennings explains why he's so ticked off. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland artist \u003ca href=\"http://packardjennings.com/\" target=\"_blank\" rel=\"noopener\">Packard Jennings\u003c/a> is no stranger to the press. His politically-conscious artwork has been covered by the \u003cem>New York Times\u003c/em>, the \u003cem>Washington Post\u003c/em>, A\u003cem>rtforum\u003c/em>, and many other publications. But he’s currently receiving media attention for a Craigslist post he had nothing to do with — \u003ca href=\"http://ww2.kqed.org/arts/2015/04/27/oakland-artist-smacks-down-tech-exec-for-using-image-in-viral-job-ad/\" target=\"_blank\" rel=\"noopener\">a San Diego tech executive used an image of Jennings’ without permission\u003c/a> for a “developers wanted” ad, which went viral. Now, instead of concentrating solely on his next work, Jennings is having to get “medieval” on Chatmeter CTO Paul Koch for the exec’s copyright infringement.\u003c/p>\n\u003cp>Jennings took a few minutes to answer some questions from KQED Arts about the situation and what he plans to do next. \u003c/p>\n\u003cp>\u003cstrong>How did you learn about your pic being used in the ad?\u003c/strong>\u003cbr>\nThis Craigslist post went viral. Beyond the attention on news sites, it blew up on social media. Several people recognized my work when it was posted on both Facebook and on the \u003cem>San Francisco Chronicle\u003c/em>’s site. I was contacted about it by three separate people.\u003c/p>\n\u003cfigure id=\"attachment_10602567\" class=\"wp-caption alignright\" style=\"max-width: 604px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland.jpg\" alt=\"Jennings in Switzerland back in 2006. (Courtesy of Jennings)\" width=\"604\" height=\"453\" class=\"size-full wp-image-10602567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland-400x300.jpg 400w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennings in Switzerland back in 2006. (Courtesy of Jennings)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How far are you willing to take this?\u003c/strong>\u003cbr>\nI’m willing take this as far as it needs to go. I’d rather it didn’t get to the point of needing to go to court, but I have been consulting several copyright lawyers and the California Lawyers for the Arts, in case it goes there. If it goes to court, it goes to court. It is a pretty cut-and-dry case of copyright infringement. They don’t have a leg to stand on, really.\u003c/p>\n\u003cp>\u003cstrong>What would be proper compensation?\u003c/strong>\u003cbr>\nIf he comes to me with a sincere offer that seems adequate I will consider it, but that could be a question for lawyers. The standard ranges of fines for copyright infringement are laid out in my first letter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Has this happened to you before?\u003c/strong>\u003cbr>\nI had someone selling a copy of my Bible Sticker, which I give away for free. It is based on stickers in Georgia biology school textbooks in 2005, which warned: “Evolution is a theory, not a fact, regarding the origin of living things. It should be read with an open mind and critically considered.” The Bible Sticker is given away for free with the instructions: “Keep this sticker in your wallet. When you stay in a motel, adhere your sticker to the inside jacket of the Bible.” Someone directed me to a person selling it on some site that custom prints T-shirts and stickers to order for vendors who have “stores” on the site. I contacted them and they took it down. It was made to be given away, not sold.\u003c/p>\n\u003cfigure id=\"attachment_10602568\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-912x1180.jpg\" alt=\"Jennings' second letter to Paul Koch\" width=\"640\" height=\"828\" class=\"size-large wp-image-10602568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-912x1180.jpg 912w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-463x600.jpg 463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-1180x1528.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-960x1243.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2.jpg 1582w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennings’ second letter to Paul Koch\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Does it matter if what he did was just a mistake?\u003c/strong>\u003cbr>\nI understand that people slip up and show a lapse in judgement. If he were just some guy trying to sell a bike, I wouldn’t sweat it. Everyone knows when they are using copyrighted artwork. In this case, he used it for an advertisement to gain publicity and recruit employees. In his own words (see the \u003ca href=\"http://nextshark.com/paul-koch-craigslist-job-ad-great-developers-startup/\" target=\"_blank\" rel=\"noopener\">Netshark interview\u003c/a>) he set out to create a viral campaign. He very purposely constructed the ad to cause a stir. He chose to ignore copyright because my image somehow resonated with him for this; I suppose the idea is that his tech company is somehow a radical place to work. In this, he was very purposefully using my image to help brand his company. Top this off with his casual dismissal of my grievance and you may see why this is not a simple mistake. \u003c/p>\n\u003cp>\u003cstrong>Do you think his apology was genuine?\u003c/strong>\u003cbr>\nI really can’t say. I didn’t speak to him in person and tone is impossible in text form.\u003c/p>\n\u003cp>\u003cstrong>Do you think if he knew what the picture was from or anything about you, that he would still use it?\u003c/strong>\u003cbr>\nI’m obviously speculating, but he still seems cavalier about his breach of copyright law. He offered $500, not for past usage or restitution, but to be able to use it legally for the ad going forward. After I told him why that was not OK (see my 2nd letter), he sent a response: \u003c/p>\n\u003cp>“Thank you for taking the time to give me your full perspective on the situation. In case you missed my earlier communications I would like to make sure you’re aware that I’ve already removed the image from the ad. Again I apologize for the oversight, as you can see I responded immediately to your request and did my best to rectify the situation.”\u003c/p>\n\u003cp>So offering to pay for it going forward is his “best” at rectifying the situation. This casual disregard of artist’s rights is not uncommon. I imagine if I was Lars from Metallica he would be a bit more responsive. With the current steamrolling of the Bay Area’s cultural heritage, I caught myself wondering if this is just an attitude that is endemic within tech culture, then realized that it is simply corporate culture. Tech companies have done a pretty good job selling us on the idea that they are different from regular corporate culture. Maybe they even believe it themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Is this kind of image appropriation a growing problem? Do you know of other artists that have had similar struggles?\u003c/strong>\u003cbr>\nI’m not sure about current appropriation cases. A copyright lawyer or California Lawyers for the Arts would be able to tell you about current cases. I can tell you that artists being taken advantage of is continuing problem. Whether it is low paying commercial work where you are “lucky to have a job in your chosen field,” or art organizations that offer shows that don’t pay for shipping or provide a stipend for a “great opportunity,” or the troubles surrounding wages and retention for adjunct art teachers, or the rising cost of tuition for an arts education. Students are coming out of schools today with an undergrad degree in painting and $80,000 of debt. Sometimes you want to take that opportunity or you can afford to pay that tuition, but at times you feel like you just have to do it. There is tremendous competition in the arts. I don’t know about students today, but I didn’t have any idea how hard it is to pay back even $10,000 as an artist. A lot of American society thinks being an artist is a way to be a slacker, it’s the opposite. Being an artist is a tough road filled with low wages and a lot of struggle. We could use a break once in a while.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>An Oakland artist smacked down an executive at a San Diego tech company in a “Cease and F**king Desist” letter after the exec used one of the artist’s images without providing payment or even asking if it was okay to use in a Craigslist ad.\u003c/p>\n\u003cp>Paul Koch, CTO of Chatmeter, received major kudos last week for his job ad titled “\u003ca href=\"http://sfbay.craigslist.org/sfc/sof/4982493312.html\" target=\"_blank\" rel=\"noopener\">Searching for 2 F**king Great Developers,\u003c/a>” which included expletives and a funny picture of a man pushing over his desk. News outlets such as \u003cem>\u003ca href=\"http://nextshark.com/paul-koch-craigslist-job-ad-great-developers-startup/\" target=\"_blank\" rel=\"noopener\">Nextshark\u003c/a>\u003c/em> and \u003ca href=\"http://www.10news.com/news/local-startups-use-of-f-word-in-job-ad-goes-viral-turns-into-recruiting-gold\" target=\"_blank\" rel=\"noopener\">ABC 10 in San Diego\u003c/a> published articles on the ad, praising it for its unique take on a job listing.\u003c/p>\n\u003cfigure id=\"attachment_10599680\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-ad.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-ad.jpg\" alt=\"Snippet of Paul Koch's Craigslist ad (Courtesy of Packard Jennings)\" width=\"640\" height=\"360\" class=\"size-full wp-image-10599680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-ad.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-ad-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Snippet of Paul Koch’s Craigslist ad (Courtesy of Packard Jennings)\u003c/figcaption>\u003c/figure>\n\u003cp>But Oakland artist Packard Jennings did not find Koch’s ad funny at all. The picture Koch used was from Jennings’ “Business Reply,” a 16-page pamphlet containing a series of images portraying an office during worker upheaval. Koch not only didn’t pay Jennings for use of the image, which the artist claims is his most recognizable work; he didn’t even ask permission to post it.\u003c/p>\n\u003cp>As a matter of fact, if Koch knew the purpose of the work beforehand, he might not have used it. Jennings described the pamphlet \u003ca href=\"http://packardjennings.com/?page_id=2\" target=\"_blank\" rel=\"noopener\">on his website\u003c/a> as being for putting “inside the postage-paid, business-reply envelopes that come with junk mail offers and mailed back to the company of origin.”\u003c/p>\n\u003cp>Jennings’ most notable works are political by nature, including his “Anarchist Action Figure,” which he placed \u003ca href=\"http://www.nytimes.com/2007/12/24/us/24shopdrop.html\" target=\"_blank\" rel=\"noopener\">inside box stores in 2007 \u003c/a>and then filmed customers as they tried to purchase the toy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Late Sunday night, Jennings fired off a cease and desist letter to Koch, stating that if the exec did not remove the picture from the ad within 10 days, it would be taken as “willful infringement,” which could lead up to $150,000 in fines if Koch was found guilty in court.\u003c/p>\n\u003cfigure id=\"attachment_10599815\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-1.jpg\" alt=\"Packard Jennings' Cease and Desist letter (Courtesy of Jennings)\" width=\"640\" height=\"829\" class=\"size-full wp-image-10599815\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-1-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-1-463x600.jpg 463w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Packard Jennings’ Cease and Desist letter (Courtesy of Jennings)\u003c/figcaption>\u003c/figure>\n\u003cp>“As a f**king tech company, I would think that you could stop playing Mortal Kombat for one f**king minute to do an on-line search and discover the artwork,” wrote Jennings in his letter. “Your bulls**t corporate image is now associated with my artwork, which is in essence anti-corporate. Can you see how we have a f**king problem here?”\u003c/p>\n\u003cp>According to Jennings, Koch responded to the cease and desist letter with an email Monday morning. In it, Koch apologized to the artist for not reaching out, stating that he didn’t think anyone would want to have their names associated with such a profane ad. He also promised to pull the image from the ad and offered Jennings a one-time use fee of $500 for his troubles.\u003c/p>\n\u003cp>The image was removed from the ad before noon Monday.\u003c/p>\n\u003cp>Despite Koch’s offer, Jennings isn’t done going after the tech exec. In his response to Koch’s apology, Jennings made it clear that he never wants Koch to use his work again and that $500 is not enough to “rectify the situation.” \u003c/p>\n\u003cp>“If you look at my artwork, much of its content has an anti-corporate sentiment. I would never license my artwork for commercial purposes,” wrote Jennings in his response. “When you used my artwork in affiliation with your business, you altered the narrative about that work.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>We will continue to follow this story and update it when we learn new details.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An Oakland artist smacked down an executive at a San Diego tech company in a “Cease and F**king Desist” letter after the exec used one of the artist’s images without providing payment or even asking if it was okay to use in a Craigslist ad.\u003c/p>\n\u003cp>Paul Koch, CTO of Chatmeter, received major kudos last week for his job ad titled “\u003ca href=\"http://sfbay.craigslist.org/sfc/sof/4982493312.html\" target=\"_blank\" rel=\"noopener\">Searching for 2 F**king Great Developers,\u003c/a>” which included expletives and a funny picture of a man pushing over his desk. News outlets such as \u003cem>\u003ca href=\"http://nextshark.com/paul-koch-craigslist-job-ad-great-developers-startup/\" target=\"_blank\" rel=\"noopener\">Nextshark\u003c/a>\u003c/em> and \u003ca href=\"http://www.10news.com/news/local-startups-use-of-f-word-in-job-ad-goes-viral-turns-into-recruiting-gold\" target=\"_blank\" rel=\"noopener\">ABC 10 in San Diego\u003c/a> published articles on the ad, praising it for its unique take on a job listing.\u003c/p>\n\u003cfigure id=\"attachment_10599680\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-ad.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-ad.jpg\" alt=\"Snippet of Paul Koch's Craigslist ad (Courtesy of Packard Jennings)\" width=\"640\" height=\"360\" class=\"size-full wp-image-10599680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-ad.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-ad-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Snippet of Paul Koch’s Craigslist ad (Courtesy of Packard Jennings)\u003c/figcaption>\u003c/figure>\n\u003cp>But Oakland artist Packard Jennings did not find Koch’s ad funny at all. The picture Koch used was from Jennings’ “Business Reply,” a 16-page pamphlet containing a series of images portraying an office during worker upheaval. Koch not only didn’t pay Jennings for use of the image, which the artist claims is his most recognizable work; he didn’t even ask permission to post it.\u003c/p>\n\u003cp>As a matter of fact, if Koch knew the purpose of the work beforehand, he might not have used it. Jennings described the pamphlet \u003ca href=\"http://packardjennings.com/?page_id=2\" target=\"_blank\" rel=\"noopener\">on his website\u003c/a> as being for putting “inside the postage-paid, business-reply envelopes that come with junk mail offers and mailed back to the company of origin.”\u003c/p>\n\u003cp>Jennings’ most notable works are political by nature, including his “Anarchist Action Figure,” which he placed \u003ca href=\"http://www.nytimes.com/2007/12/24/us/24shopdrop.html\" target=\"_blank\" rel=\"noopener\">inside box stores in 2007 \u003c/a>and then filmed customers as they tried to purchase the toy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Late Sunday night, Jennings fired off a cease and desist letter to Koch, stating that if the exec did not remove the picture from the ad within 10 days, it would be taken as “willful infringement,” which could lead up to $150,000 in fines if Koch was found guilty in court.\u003c/p>\n\u003cfigure id=\"attachment_10599815\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-1.jpg\" alt=\"Packard Jennings' Cease and Desist letter (Courtesy of Jennings)\" width=\"640\" height=\"829\" class=\"size-full wp-image-10599815\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-1-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-1-463x600.jpg 463w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Packard Jennings’ Cease and Desist letter (Courtesy of Jennings)\u003c/figcaption>\u003c/figure>\n\u003cp>“As a f**king tech company, I would think that you could stop playing Mortal Kombat for one f**king minute to do an on-line search and discover the artwork,” wrote Jennings in his letter. “Your bulls**t corporate image is now associated with my artwork, which is in essence anti-corporate. Can you see how we have a f**king problem here?”\u003c/p>\n\u003cp>According to Jennings, Koch responded to the cease and desist letter with an email Monday morning. In it, Koch apologized to the artist for not reaching out, stating that he didn’t think anyone would want to have their names associated with such a profane ad. He also promised to pull the image from the ad and offered Jennings a one-time use fee of $500 for his troubles.\u003c/p>\n\u003cp>The image was removed from the ad before noon Monday.\u003c/p>\n\u003cp>Despite Koch’s offer, Jennings isn’t done going after the tech exec. In his response to Koch’s apology, Jennings made it clear that he never wants Koch to use his work again and that $500 is not enough to “rectify the situation.” \u003c/p>\n\u003cp>“If you look at my artwork, much of its content has an anti-corporate sentiment. I would never license my artwork for commercial purposes,” wrote Jennings in his response. “When you used my artwork in affiliation with your business, you altered the narrative about that work.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>We will continue to follow this story and update it when we learn new details.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Six Novelists Withdraw from Event Honoring 'Charlie Hebdo'",
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"content": "\u003cp>Six writers have withdrawn from the PEN American Center’s annual gala on May 5 in protest against the free-speech organization’s \u003ca href=\"http://www.pen.org/2015-pen-goodale-freedom-expression-courage-award\" target=\"_blank\" rel=\"noopener\">decision\u003c/a> to give the French satirical magazine \u003cem>Charlie Hebdo\u003c/em> its annual Freedom of Expression Courage Award.\u003c/p>\n\u003cp>The writers who have withdrawn from the event are Peter Carey, Michael Ondaatje, Francine Prose, Teju Cole, Rachel Kushner and Taiye Selasi, \u003cem>The New York Times\u003c/em> \u003ca href=\"http://www.nytimes.com/2015/04/27/nyregion/six-pen-members-decline-gala-after-award-for-charlie-hebdo.html?_r=0\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>.\u003c/p>\n\u003cp>In its decision to honor \u003cem>Charlie Hebdo\u003c/em>, PEN America cited the satirical publication’s “dauntlessness in the face of one of the most noxious assaults on expression in recent memory.” An attack on Jan. 7 by Islamist militants on the magazine and its staff killed 12 people, including some of its top cartoonists and editors. In a statement, PEN added:\u003c/p>\n\u003cblockquote>\n\u003cp>“The day after the attack, the surviving staff of \u003cem>Charlie Hebdo\u003c/em> magazine vowed to continue publication, releasing their next edition on time with a print run expanded from 40,000 to over eight million under the mantra ‘All is Forgiven,’ donating all proceeds to the families of the victims. The \u003cem>Charlie Hebdo\u003c/em> attacks dealt a blow to the bedrock principle that no act of expression, no matter how provocative or offensive, can justify violence.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cem>Charlie Hebdo\u003c/em> had long pilloried political and religious figures, but it was the publication’s depiction of Islam’s Prophet Muhammad that had drawn intense scrutiny — as well as death threats from militant groups. Many Muslims consider any depiction of their prophet — even positive ones — to be offensive. Critics of the magazine say \u003cem>Charlie Hebdo\u003c/em> was being deliberately provocative.\u003c/p>\n\u003cp>Kushner, in an email to the \u003cem>Times\u003c/em>, said she was withdrawing from the May 5 PEN gala because she was uncomfortable with \u003cem>Charlie Hebdo\u003c/em>‘s “cultural intolerance” and promotion of “a kind of forced secular view.” Those views, the \u003cem>Times\u003c/em> added, were echoed by the other writers who pulled out of the event.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carey told the \u003cem>Times\u003c/em> that PEN, in its decision, was going beyond its role of protecting freedom of expression.\u003c/p>\n\u003cp>“A hideous crime was committed, but was it a freedom-of-speech issue for PEN America to be self-righteous about?” he said in an email to the newspaper.\u003c/p>\n\u003cp>Novelist Salman Rushdie, a past president of PEN who spent years in hiding because of a fatwa over his novel \u003cem>The Satanic Verses\u003c/em>, criticized the writers for pulling out, saying while Carey and Ondaatje were old friends of his, they are “horribly wrong.”\u003c/p>\n\u003cp>In a statement Sunday, PEN said: “We do not believe that any of us must endorse the content of Charlie Hebdo’s cartoons in order to affirm the importance of the medium of satire, or to applaud the staff’s bravery in holding fast to those values in the face of life and death threats.”\u003c/p>\n\u003cp>It added:\u003c/p>\n\u003cblockquote>\n\u003cp>“We recognize that these issues are complex, and that there are good faith differences of opinion within our community. At PEN, we never shy away from controversy nor demand uniformity of opinion across our ranks. We will be sorry not to see those who have opted out of the gala, but we respect them for their convictions.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The award for \u003cem>Charlie Hebdo\u003c/em> will be accepted by the publication’s film critic and essayist Jean-Baptiste Thoret, who had arrived to work late on the day of the attack. \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=6+Novelists+Withdraw+From+Event+Honoring+%27Charlie+Hebdo%27+For+Free+Speech&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Six writers have withdrawn from the PEN American Center’s annual gala on May 5 in protest against the free-speech organization’s \u003ca href=\"http://www.pen.org/2015-pen-goodale-freedom-expression-courage-award\" target=\"_blank\" rel=\"noopener\">decision\u003c/a> to give the French satirical magazine \u003cem>Charlie Hebdo\u003c/em> its annual Freedom of Expression Courage Award.\u003c/p>\n\u003cp>The writers who have withdrawn from the event are Peter Carey, Michael Ondaatje, Francine Prose, Teju Cole, Rachel Kushner and Taiye Selasi, \u003cem>The New York Times\u003c/em> \u003ca href=\"http://www.nytimes.com/2015/04/27/nyregion/six-pen-members-decline-gala-after-award-for-charlie-hebdo.html?_r=0\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>.\u003c/p>\n\u003cp>In its decision to honor \u003cem>Charlie Hebdo\u003c/em>, PEN America cited the satirical publication’s “dauntlessness in the face of one of the most noxious assaults on expression in recent memory.” An attack on Jan. 7 by Islamist militants on the magazine and its staff killed 12 people, including some of its top cartoonists and editors. In a statement, PEN added:\u003c/p>\n\u003cblockquote>\n\u003cp>“The day after the attack, the surviving staff of \u003cem>Charlie Hebdo\u003c/em> magazine vowed to continue publication, releasing their next edition on time with a print run expanded from 40,000 to over eight million under the mantra ‘All is Forgiven,’ donating all proceeds to the families of the victims. The \u003cem>Charlie Hebdo\u003c/em> attacks dealt a blow to the bedrock principle that no act of expression, no matter how provocative or offensive, can justify violence.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cem>Charlie Hebdo\u003c/em> had long pilloried political and religious figures, but it was the publication’s depiction of Islam’s Prophet Muhammad that had drawn intense scrutiny — as well as death threats from militant groups. Many Muslims consider any depiction of their prophet — even positive ones — to be offensive. Critics of the magazine say \u003cem>Charlie Hebdo\u003c/em> was being deliberately provocative.\u003c/p>\n\u003cp>Kushner, in an email to the \u003cem>Times\u003c/em>, said she was withdrawing from the May 5 PEN gala because she was uncomfortable with \u003cem>Charlie Hebdo\u003c/em>‘s “cultural intolerance” and promotion of “a kind of forced secular view.” Those views, the \u003cem>Times\u003c/em> added, were echoed by the other writers who pulled out of the event.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carey told the \u003cem>Times\u003c/em> that PEN, in its decision, was going beyond its role of protecting freedom of expression.\u003c/p>\n\u003cp>“A hideous crime was committed, but was it a freedom-of-speech issue for PEN America to be self-righteous about?” he said in an email to the newspaper.\u003c/p>\n\u003cp>Novelist Salman Rushdie, a past president of PEN who spent years in hiding because of a fatwa over his novel \u003cem>The Satanic Verses\u003c/em>, criticized the writers for pulling out, saying while Carey and Ondaatje were old friends of his, they are “horribly wrong.”\u003c/p>\n\u003cp>In a statement Sunday, PEN said: “We do not believe that any of us must endorse the content of Charlie Hebdo’s cartoons in order to affirm the importance of the medium of satire, or to applaud the staff’s bravery in holding fast to those values in the face of life and death threats.”\u003c/p>\n\u003cp>It added:\u003c/p>\n\u003cblockquote>\n\u003cp>“We recognize that these issues are complex, and that there are good faith differences of opinion within our community. At PEN, we never shy away from controversy nor demand uniformity of opinion across our ranks. We will be sorry not to see those who have opted out of the gala, but we respect them for their convictions.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The award for \u003cem>Charlie Hebdo\u003c/em> will be accepted by the publication’s film critic and essayist Jean-Baptiste Thoret, who had arrived to work late on the day of the attack. \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=6+Novelists+Withdraw+From+Event+Honoring+%27Charlie+Hebdo%27+For+Free+Speech&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Karina Deniké's Long Road to 'Under Glass'",
"title": "Karina Deniké's Long Road to 'Under Glass'",
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"content": "\u003cfigure id=\"attachment_10501310\" class=\"wp-caption alignleft\" style=\"max-width: 745px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14921_karina-staranova-du-nord.jpg-alt_254.jpg\">\u003cimg class=\"size-full wp-image-10501310\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14921_karina-staranova-du-nord.jpg-alt_254.jpg\" alt=\"Karina Deniké \" width=\"745\" height=\"577\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/RS14921_karina-staranova-du-nord.jpg-alt_254.jpg 745w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RS14921_karina-staranova-du-nord.jpg-alt_254-400x310.jpg 400w\" sizes=\"(max-width: 745px) 100vw, 745px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Karina Deniké\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.karinadenike.com/\" target=\"_blank\">Karina Deniké\u003c/a> spent her formative years on the move, so perhaps it’s not surprising that her songs are filled with travelers and seekers, restless wanderers and mordant observers.\u003c/p>\n\u003cp>Born in the United Kingdom to Czech artists in exile after the Soviet Union crushed the Prague Spring in 1968, she spent her childhood performing street theater across Europe, North Africa and India.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/202438953\" 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>As a teen she settled with her family in Berkeley, falling in with jazz musicians and the punk scene around 924 Gilman. Over the past two decades she’s been an essential part of the Bay Area arts community, from providing powerhouse vocals in the ska-punk band Dance Hall Crashers in the 1990s to collaborating with Fat Mike and Jeff Marx on their recent rock musical \"Home Street Home.\"\u003c/p>\n\u003cp>But her new album, \"\u003ca href=\"https://karinadenike.bandcamp.com/album/under-glass\" target=\"_blank\">Under Glass\u003c/a>,\" is Deniké’s first project fully devoted to her own music and, not surprisingly, it’s impossible to pigeonhole.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Karina-collage_web.jpg\">\u003cimg class=\"alignleft wp-image-10501308\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Karina-collage_web-400x400.jpg\" alt=\"Karina+collage_web\" width=\"285\" height=\"285\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web.jpg 500w\" sizes=\"(max-width: 285px) 100vw, 285px\">\u003c/a>\u003c/p>\n\u003cp>While Deniké references at least half a dozen styles on the album’s 12 tracks, she uses a core group of players to provide a consistent play of textures, whether she’s delivering soaring girl-group harmonies with singer/songwriter Lily Taylor on \"Havin’ a Go,\" or taking a funhouse ride on the midway on \"Musée Mécanique.\"\u003c/p>\n\u003cp>There’s a dizzying quality to Deniké’s music, an uncanny, time-shifting feel where songs seem familiar until she adds an unexpected texture or an arresting original image. She’s joined on several tracks by horn players known for working with Tom Waits, an obvious influence. But where he makes do with his Louis Armstrong rasp, Deniké possesses a voice so rich and luxuriant she sounds like she was born to sing any song that comes her way.\u003c/p>\n\u003cp>One of the album’s consistent pleasures is that Deniké knows just how to frame her voice. She accompanies herself on various organs and keyboards and often uses Aaron Novik’s dry woody bass clarinet as a snaky counterpoint, like on the woozy ballad “Stop the Horses.\" It’s a mark of her tonal dexterity that she can assume so many different guises while being backed by the same excellent band. The shifts from track to track can be jarring, but each song creates its own little world.\u003c/p>\n\u003cp>Deniké can sound like a dangerous vixen from a film-noir nightclub (\"Golden Kimonos\"), a brassy show-tune belter (\"Boxing Glove\") or the leader of a Motownesque girl group (“Park It”).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Deniké closes the album with \"Až Budeš Vélky\" a tender Czech lullaby that her mother used to sing. Is she taking us back home, and was it all just a dream? The title \"Under Glass\" suggests something fixed in place, but Karina Deniké’s musical world never seems to stop changing, and her tales of travel and exotic locales sound better with each spin.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10501310\" class=\"wp-caption alignleft\" style=\"max-width: 745px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14921_karina-staranova-du-nord.jpg-alt_254.jpg\">\u003cimg class=\"size-full wp-image-10501310\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14921_karina-staranova-du-nord.jpg-alt_254.jpg\" alt=\"Karina Deniké \" width=\"745\" height=\"577\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/RS14921_karina-staranova-du-nord.jpg-alt_254.jpg 745w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RS14921_karina-staranova-du-nord.jpg-alt_254-400x310.jpg 400w\" sizes=\"(max-width: 745px) 100vw, 745px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Karina Deniké\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.karinadenike.com/\" target=\"_blank\">Karina Deniké\u003c/a> spent her formative years on the move, so perhaps it’s not surprising that her songs are filled with travelers and seekers, restless wanderers and mordant observers.\u003c/p>\n\u003cp>Born in the United Kingdom to Czech artists in exile after the Soviet Union crushed the Prague Spring in 1968, she spent her childhood performing street theater across Europe, North Africa and India.\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/202438953&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/202438953'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As a teen she settled with her family in Berkeley, falling in with jazz musicians and the punk scene around 924 Gilman. Over the past two decades she’s been an essential part of the Bay Area arts community, from providing powerhouse vocals in the ska-punk band Dance Hall Crashers in the 1990s to collaborating with Fat Mike and Jeff Marx on their recent rock musical \"Home Street Home.\"\u003c/p>\n\u003cp>But her new album, \"\u003ca href=\"https://karinadenike.bandcamp.com/album/under-glass\" target=\"_blank\">Under Glass\u003c/a>,\" is Deniké’s first project fully devoted to her own music and, not surprisingly, it’s impossible to pigeonhole.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Karina-collage_web.jpg\">\u003cimg class=\"alignleft wp-image-10501308\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Karina-collage_web-400x400.jpg\" alt=\"Karina+collage_web\" width=\"285\" height=\"285\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web.jpg 500w\" sizes=\"(max-width: 285px) 100vw, 285px\">\u003c/a>\u003c/p>\n\u003cp>While Deniké references at least half a dozen styles on the album’s 12 tracks, she uses a core group of players to provide a consistent play of textures, whether she’s delivering soaring girl-group harmonies with singer/songwriter Lily Taylor on \"Havin’ a Go,\" or taking a funhouse ride on the midway on \"Musée Mécanique.\"\u003c/p>\n\u003cp>There’s a dizzying quality to Deniké’s music, an uncanny, time-shifting feel where songs seem familiar until she adds an unexpected texture or an arresting original image. She’s joined on several tracks by horn players known for working with Tom Waits, an obvious influence. But where he makes do with his Louis Armstrong rasp, Deniké possesses a voice so rich and luxuriant she sounds like she was born to sing any song that comes her way.\u003c/p>\n\u003cp>One of the album’s consistent pleasures is that Deniké knows just how to frame her voice. She accompanies herself on various organs and keyboards and often uses Aaron Novik’s dry woody bass clarinet as a snaky counterpoint, like on the woozy ballad “Stop the Horses.\" It’s a mark of her tonal dexterity that she can assume so many different guises while being backed by the same excellent band. The shifts from track to track can be jarring, but each song creates its own little world.\u003c/p>\n\u003cp>Deniké can sound like a dangerous vixen from a film-noir nightclub (\"Golden Kimonos\"), a brassy show-tune belter (\"Boxing Glove\") or the leader of a Motownesque girl group (“Park It”).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Deniké closes the album with \"Až Budeš Vélky\" a tender Czech lullaby that her mother used to sing. Is she taking us back home, and was it all just a dream? The title \"Under Glass\" suggests something fixed in place, but Karina Deniké’s musical world never seems to stop changing, and her tales of travel and exotic locales sound better with each spin.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Behind the Scenes at the Stanford Laptop Orchestra",
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"content": "\u003cp>Madeline Huberth could play Beethoven with the best of them. She studied cello in college and planned on going professional.\u003c/p>\n\u003cp>But then she started to get shooting pains in her left hand when she practiced. Her fingers were tingling. And surgery did nothing to help.\u003c/p>\n\u003cp>“I started losing muscle mass in my hand,” Huberth says.\u003c/p>\n\u003cp>By graduation, she couldn’t lift her pinky anymore or stretch her index finger back to play B flat.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/202439110\" 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>“It became very apparent at the end of college that I couldn’t pursue performance anymore,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Huberth threw herself into studying the science of music. She’s now a Ph.D. student at Stanford University’s \u003ca href=\"https://ccrma.stanford.edu/\" target=\"_blank\">Center for Computer Research in Music and Acoustics\u003c/a>, where she’s become adept at a new musical instrument: her laptop.\u003c/p>\n\u003cp>“Using a laptop, you can do anything that isn’t even physically possible,” she explains. “You can have an incredibly wide vibrato. Or you could simulate the sound of a string that’s the length of the building,” to produce an incredibly low pitch.\u003c/p>\n\u003cp>Today, Huberth is the teaching assistant for the \u003ca href=\"http://slork.stanford.edu/\" target=\"_blank\">Stanford Laptop Orchestra\u003c/a>. This is a class that meets Wednesday nights during the spring semester. Students write code to create their own instrument on the computer, which they will score into a full orchestral work by the end of the semester.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=c1f1DATjZUg\u003c/p>\n\u003cp>Several students in the class have a musical background, like Huberth, while several others come from computer science or engineering.\u003c/p>\n\u003cp>“I studied physics and I have kind of a tech background,” graduate student Tim O’Brien says. “But I loved music all my life, so it kind of combines everything.”\u003c/p>\n\u003cp>At a recent class meeting, he and 13 other students sat on rows of meditation pillows, fixing code on their laptops and fiddling with speakers made out of IKEA salad bowls.\u003c/p>\n\u003cp>They rehearsed ensemble pieces that they will perform at an \u003ca href=\"http://slork.stanford.edu/events/2015/slorktastic/\">upcoming chamber concert\u003c/a>, and demonstrated their individual solo instruments.\u003c/p>\n\u003cp>O’Brien began his demo by taking a big breath and blowing softly into his laptop. Then he jingled his car keys over the keyboard and tapped his water bottle. He programmed his computer’s microphone to translate these human actions into a morphed, electronic sound. The class loved it. And so did the orchestra director.\u003c/p>\n\u003cfigure id=\"attachment_10500180\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/photo4.jpg\">\u003cimg class=\"wp-image-10500180\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/photo4.jpg\" alt=\"Ge Wang, assistant professor of music at Stanford's Center for Computer Research in Music and Acoustics, teaches a music coding lesson to students participating in the Stanford Laptop Orchestra.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4.jpg 3264w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ge Wang, assistant professor of music at Stanford's Center for Computer Research in Music and Acoustics, teaches a music coding lesson to students participating in the Stanford Laptop Orchestra. \u003ccite>(April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That was nothing short of magical,” says Ge Wang, assistant professor of music at Stanford. “Tim was able to really find this mix where human meets machine. And in that way, it was like this dialogue. But what came out of the computer was a sound that would not come anywhere except through a computer.”\u003c/p>\n\u003cp>Wang and Huberth also like when students get physical with the medium. For example, one student is programming an armband to produce sounds when he stretches or clenches his hand. Other students use Gametraks, little black boxes originally used as a video game control, that have two red retractable cables. Students connect them to their laptops and program them to produce different notes or rhythms when they pull them up, down, left or right.\u003c/p>\n\u003cp>“We can rapidly prototype physical gestures, interactions and map them to sound,” Wang explains. “It enables a way to quickly explore a whole world of new sounds, interactions, and performance practices.”\u003c/p>\n\u003cfigure id=\"attachment_10500181\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/laptop-orchestra-5.jpg\">\u003cimg class=\"wp-image-10500181\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/laptop-orchestra-5.jpg\" alt=\" Erica Fearon demonstrates a piece of music she composed on her laptop. She programmed the cables to make different sounds when she moved them in different directions.\" width=\"1920\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5.jpg 2448w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-960x1280.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erica Fearon demonstrates a piece of music she composed on her laptop. She programmed the cables to make different sounds when she moved them in different directions. \u003ccite>(April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wang says this makes for a better experience for the audience – one that is both pleasing to listen to and also interesting to watch.\u003c/p>\n\u003cp>He says this is one of the ways laptop orchestra is evolving as a medium. Wang was a founding member of the first laptop orchestra, launched at Princeton University 10 years ago. He started the Stanford Laptop Orchestra, known affectionately as Slork, in 2008. Today, there are more than 70 laptop orchestras, but Wang says they’re still really just beginning.\u003c/p>\n\u003cp>“Ten years may be a long time in computer years. To really make it into an art form, it’s still quite early,” Wang says.\u003c/p>\n\u003cp>But some more advanced laptop musicians are pushing boundaries. Madeline Huberth helped form a chamber group called Sidelobe, which meets year-round and works on reinterpreting earlier compositions, choosing from a young but growing library of more than 300 works.\u003c/p>\n\u003cp>“We’ve been pulling pieces from the canon, from the laptop orchestra canon,” Huberth says. “Pieces that have done very well, that have been written by more seasoned composers, and we’re giving these performances new life.”\u003c/p>\n\u003cp>The biggest challenge laptop musicians face is the same challenge all artists confront, Wang says.\u003c/p>\n\u003cp>“Whether a violin, cello, piano or a laptop, we’re all looking for a different way to represent that spark of humanity,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Stanford Laptop Orchestra will perform a chamber music concert on April 30 and a full orchestral concert on May 30. The \u003c/em>\u003ca href=\"http://slork.stanford.edu/events/2015/slorktastic/\">\u003cem>events\u003c/em>\u003c/a>\u003cem> are both free and open to the public. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Madeline Huberth could play Beethoven with the best of them. She studied cello in college and planned on going professional.\u003c/p>\n\u003cp>But then she started to get shooting pains in her left hand when she practiced. Her fingers were tingling. And surgery did nothing to help.\u003c/p>\n\u003cp>“I started losing muscle mass in my hand,” Huberth says.\u003c/p>\n\u003cp>By graduation, she couldn’t lift her pinky anymore or stretch her index finger back to play B flat.\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/202439110&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/202439110'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It became very apparent at the end of college that I couldn’t pursue performance anymore,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Huberth threw herself into studying the science of music. She’s now a Ph.D. student at Stanford University’s \u003ca href=\"https://ccrma.stanford.edu/\" target=\"_blank\">Center for Computer Research in Music and Acoustics\u003c/a>, where she’s become adept at a new musical instrument: her laptop.\u003c/p>\n\u003cp>“Using a laptop, you can do anything that isn’t even physically possible,” she explains. “You can have an incredibly wide vibrato. Or you could simulate the sound of a string that’s the length of the building,” to produce an incredibly low pitch.\u003c/p>\n\u003cp>Today, Huberth is the teaching assistant for the \u003ca href=\"http://slork.stanford.edu/\" target=\"_blank\">Stanford Laptop Orchestra\u003c/a>. This is a class that meets Wednesday nights during the spring semester. Students write code to create their own instrument on the computer, which they will score into a full orchestral work by the end of the semester.\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/c1f1DATjZUg'\n title='//www.youtube.com/embed/c1f1DATjZUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Several students in the class have a musical background, like Huberth, while several others come from computer science or engineering.\u003c/p>\n\u003cp>“I studied physics and I have kind of a tech background,” graduate student Tim O’Brien says. “But I loved music all my life, so it kind of combines everything.”\u003c/p>\n\u003cp>At a recent class meeting, he and 13 other students sat on rows of meditation pillows, fixing code on their laptops and fiddling with speakers made out of IKEA salad bowls.\u003c/p>\n\u003cp>They rehearsed ensemble pieces that they will perform at an \u003ca href=\"http://slork.stanford.edu/events/2015/slorktastic/\">upcoming chamber concert\u003c/a>, and demonstrated their individual solo instruments.\u003c/p>\n\u003cp>O’Brien began his demo by taking a big breath and blowing softly into his laptop. Then he jingled his car keys over the keyboard and tapped his water bottle. He programmed his computer’s microphone to translate these human actions into a morphed, electronic sound. The class loved it. And so did the orchestra director.\u003c/p>\n\u003cfigure id=\"attachment_10500180\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/photo4.jpg\">\u003cimg class=\"wp-image-10500180\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/photo4.jpg\" alt=\"Ge Wang, assistant professor of music at Stanford's Center for Computer Research in Music and Acoustics, teaches a music coding lesson to students participating in the Stanford Laptop Orchestra.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4.jpg 3264w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ge Wang, assistant professor of music at Stanford's Center for Computer Research in Music and Acoustics, teaches a music coding lesson to students participating in the Stanford Laptop Orchestra. \u003ccite>(April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That was nothing short of magical,” says Ge Wang, assistant professor of music at Stanford. “Tim was able to really find this mix where human meets machine. And in that way, it was like this dialogue. But what came out of the computer was a sound that would not come anywhere except through a computer.”\u003c/p>\n\u003cp>Wang and Huberth also like when students get physical with the medium. For example, one student is programming an armband to produce sounds when he stretches or clenches his hand. Other students use Gametraks, little black boxes originally used as a video game control, that have two red retractable cables. Students connect them to their laptops and program them to produce different notes or rhythms when they pull them up, down, left or right.\u003c/p>\n\u003cp>“We can rapidly prototype physical gestures, interactions and map them to sound,” Wang explains. “It enables a way to quickly explore a whole world of new sounds, interactions, and performance practices.”\u003c/p>\n\u003cfigure id=\"attachment_10500181\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/laptop-orchestra-5.jpg\">\u003cimg class=\"wp-image-10500181\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/laptop-orchestra-5.jpg\" alt=\" Erica Fearon demonstrates a piece of music she composed on her laptop. She programmed the cables to make different sounds when she moved them in different directions.\" width=\"1920\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5.jpg 2448w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-960x1280.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erica Fearon demonstrates a piece of music she composed on her laptop. She programmed the cables to make different sounds when she moved them in different directions. \u003ccite>(April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wang says this makes for a better experience for the audience – one that is both pleasing to listen to and also interesting to watch.\u003c/p>\n\u003cp>He says this is one of the ways laptop orchestra is evolving as a medium. Wang was a founding member of the first laptop orchestra, launched at Princeton University 10 years ago. He started the Stanford Laptop Orchestra, known affectionately as Slork, in 2008. Today, there are more than 70 laptop orchestras, but Wang says they’re still really just beginning.\u003c/p>\n\u003cp>“Ten years may be a long time in computer years. To really make it into an art form, it’s still quite early,” Wang says.\u003c/p>\n\u003cp>But some more advanced laptop musicians are pushing boundaries. Madeline Huberth helped form a chamber group called Sidelobe, which meets year-round and works on reinterpreting earlier compositions, choosing from a young but growing library of more than 300 works.\u003c/p>\n\u003cp>“We’ve been pulling pieces from the canon, from the laptop orchestra canon,” Huberth says. “Pieces that have done very well, that have been written by more seasoned composers, and we’re giving these performances new life.”\u003c/p>\n\u003cp>The biggest challenge laptop musicians face is the same challenge all artists confront, Wang says.\u003c/p>\n\u003cp>“Whether a violin, cello, piano or a laptop, we’re all looking for a different way to represent that spark of humanity,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Stanford Laptop Orchestra will perform a chamber music concert on April 30 and a full orchestral concert on May 30. The \u003c/em>\u003ca href=\"http://slork.stanford.edu/events/2015/slorktastic/\">\u003cem>events\u003c/em>\u003c/a>\u003cem> are both free and open to the public. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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