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"disqusTitle": "Archivists Recover 'Lost' 1961 TV Documentary on Homosexuality",
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"content": "\u003cp>“The Rejected” is believed to be the first American TV documentary on homosexuality, released in 1961. For decades many have thought the film was lost. Until now.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/209017078\" params=\"color=0066cc&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>KQED-TV produced “The Rejected.” Critics say it was progressive, ahead of its time. In the film, openly gay men talked about their lives and the oppression they faced. That would not happen again on TV for years. The documentary has been studied and written about, but few have actually watched it.\u003c/p>\n\u003caside class=\"pullquote alignright\">'I just figured it was lost to the ages.'\u003ccite>Bob Connelly, Film Professor \u003c/cite>\u003c/aside>\n\u003cp>Professor Bob Connelly never thought he would see “The Rejected.” He says, “I just figured it was lost to the ages.”\u003c/p>\n\u003cp>Connelly has been teaching “The Rejected” for 14 years in his film class at American University in Washington, D.C. He wrote about it in graduate school, and again on the\u003ca href=\"http://www.advocate.com/politics/commentary/2011/09/21/op-ed-television-coming-out-story-1961\"> 50th anniversary of the film\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But like many others, Connelly could not find a copy. He called archives and scholars and even went to the Library of Congress. All he found there was a transcript.\u003c/p>\n\u003cp>So when Robert Chehoski called him a couple of years ago and said he was searching for the film, Connelly didn’t hold his breath.\u003c/p>\n\u003cp>Connelly says, “I really thought, 'buddy good luck. Nobody else has been able to find one, why would you be able to find one?'”\u003c/p>\n\u003cp>Chehoski is KQED's archivist. Now, you might think KQED would have the film. But no. Chehoski says local stations “simply did not have the room or resources to catalog everything.” The station had not kept a copy.\u003c/p>\n\u003cp>Today, archivists like Chehoski are trying to reclaim historic films like “The Rejected.”\u003c/p>\n\u003cfigure id=\"attachment_10552413\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut.jpg\">\u003cimg class=\"wp-image-10552413 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-800x1067.jpg\" alt=\"Archivist Alex Cherian finds old news footage and loads it up online.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Archivist Alex Cherian finds old news footage and loads it up online. (Sam Harnett/KQED) \u003ccite>(Sam Harnett/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chehoski says, “It just became that unicorn that I was looking for. I get a little obsessive I guess.”\u003c/p>\n\u003cp>Chehoski teamed up with Alex Cherian, another local archivist. Cherian runs the \u003ca href=\"https://diva.sfsu.edu/\">Bay Area Television Archive \u003c/a>at San Francisco State University. Together they went on a hunt that ended up taking six years.\u003c/p>\n\u003cp>Cherian says, “There was no treasure map. All I knew was in 1961, KQED had made this film. Where the hell was it?\"\u003c/p>\n\u003cp>The pair first tried some archives. No luck. They tracked down the original producer, Irving Saraf, to see if he knew anything. More bad news. Saraf told Cherian, “Oh yeah I made that film in 1961 but I haven’t been able to find it. It’s probably lost.”\u003c/p>\n\u003cp>Cherian and Chehoski then discovered KQED did not actually own the film. A New York TV station, WNET, did -- it had provided the film's funding.\u003c/p>\n\u003cp>From there, the archivists learned that at least one physical copy of “The Rejected” did exist, hiding in plain sight.\u003c/p>\n\u003cp>Cherian says, “There’s that cliched phrase, did you look down the back of the sofa?” AKA: the Library of Congress.\u003c/p>\n\u003cp>Yup, it was actually there, buried in the archive. But the film was neither easily accessible nor in perfect shape. So the archivists convinced the library and WNET to let them clean up, digitize and upload the video. Then they sent a link to Professor Connelly. He couldn’t believe what he was seeing.\u003c/p>\n\u003cp>Connelly says, “I am just blown away by the fact that it does exist.”\u003c/p>\n\u003cp>Now, more than 50 years after the film was made, anyone can go online and \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/225539\">watch it\u003c/a>.\u003c/p>\n\u003cp>The documentary starts with KQED Station Manager James Day telling the audience that what they will see deals with a subject that is “controversial, delicate, and to some downright unpleasant.” But, Day says, the issue cannot be ignored and should be talked about.\u003c/p>\n\u003cp>The film has Twilight-Zone-esque music and some of the discourse about homosexuality is painful to hear. The opening voice-over says, “This is a program about homosexuality. What causes it? Is there a cure for it?”\u003c/p>\n\u003cfigure id=\"attachment_10556737\" class=\"wp-caption alignleft\" style=\"max-width: 372px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/James-Day.png\">\u003cimg class=\" wp-image-10556737\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/James-Day-800x548.png\" alt=\"KQED Station Manager James Day introducing the controversial subject of homosexuality. \" width=\"372\" height=\"255\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day-800x548.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day-400x274.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day-960x658.png 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day.png 1029w\" sizes=\"(max-width: 372px) 100vw, 372px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">KQED Station Manager James Day introducing the controversial subject of homosexuality. \u003ccite>(Still from 'The Rejected')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But remember, it was the early '60s. Connelly says the film was progressive for the time, a breakthrough. During the documentary, different people talk to the camera—an anthropologist, psychologist, lawyer, and most surprisingly for that time, gay men.\u003c/p>\n\u003cp>In one sequence, there is a panel of three gay men answering questions. They are from the Mattachine Society, an early gay rights group. The man on the far right says, “The homosexual is no different than anyone else,” and that homosexuals should enjoy the same rights as everyone else.\u003c/p>\n\u003cp>Connelly says many viewers had never heard from an openly gay man before.\u003c/p>\n\u003cp>A number of LGBT publications \u003ca href=\"http://www.out.com/popnography/2015/5/26/first-documentary-homosexuality-ever-aired-us-long-thought-lost-now-online\">have written\u003c/a> about the recovery of this historical documentary. But there may yet be more to see of \"The Rejected.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film's producer, Saraf, says that a longer version was made, one with rare footage inside an early '60s gay bar. Whether that version still exists is unknown. Maybe it is in a film can stacked in some archive. Or it might have been tossed away with countless other reels of film from a bygone era.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The Rejected” is believed to be the first American TV documentary on homosexuality, released in 1961. For decades many have thought the film was lost. Until now.\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/209017078&visual=true&color=0066cc&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/209017078'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>KQED-TV produced “The Rejected.” Critics say it was progressive, ahead of its time. In the film, openly gay men talked about their lives and the oppression they faced. That would not happen again on TV for years. The documentary has been studied and written about, but few have actually watched it.\u003c/p>\n\u003caside class=\"pullquote alignright\">'I just figured it was lost to the ages.'\u003ccite>Bob Connelly, Film Professor \u003c/cite>\u003c/aside>\n\u003cp>Professor Bob Connelly never thought he would see “The Rejected.” He says, “I just figured it was lost to the ages.”\u003c/p>\n\u003cp>Connelly has been teaching “The Rejected” for 14 years in his film class at American University in Washington, D.C. He wrote about it in graduate school, and again on the\u003ca href=\"http://www.advocate.com/politics/commentary/2011/09/21/op-ed-television-coming-out-story-1961\"> 50th anniversary of the film\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But like many others, Connelly could not find a copy. He called archives and scholars and even went to the Library of Congress. All he found there was a transcript.\u003c/p>\n\u003cp>So when Robert Chehoski called him a couple of years ago and said he was searching for the film, Connelly didn’t hold his breath.\u003c/p>\n\u003cp>Connelly says, “I really thought, 'buddy good luck. Nobody else has been able to find one, why would you be able to find one?'”\u003c/p>\n\u003cp>Chehoski is KQED's archivist. Now, you might think KQED would have the film. But no. Chehoski says local stations “simply did not have the room or resources to catalog everything.” The station had not kept a copy.\u003c/p>\n\u003cp>Today, archivists like Chehoski are trying to reclaim historic films like “The Rejected.”\u003c/p>\n\u003cfigure id=\"attachment_10552413\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut.jpg\">\u003cimg class=\"wp-image-10552413 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-800x1067.jpg\" alt=\"Archivist Alex Cherian finds old news footage and loads it up online.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Archivist Alex Cherian finds old news footage and loads it up online. (Sam Harnett/KQED) \u003ccite>(Sam Harnett/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chehoski says, “It just became that unicorn that I was looking for. I get a little obsessive I guess.”\u003c/p>\n\u003cp>Chehoski teamed up with Alex Cherian, another local archivist. Cherian runs the \u003ca href=\"https://diva.sfsu.edu/\">Bay Area Television Archive \u003c/a>at San Francisco State University. Together they went on a hunt that ended up taking six years.\u003c/p>\n\u003cp>Cherian says, “There was no treasure map. All I knew was in 1961, KQED had made this film. Where the hell was it?\"\u003c/p>\n\u003cp>The pair first tried some archives. No luck. They tracked down the original producer, Irving Saraf, to see if he knew anything. More bad news. Saraf told Cherian, “Oh yeah I made that film in 1961 but I haven’t been able to find it. It’s probably lost.”\u003c/p>\n\u003cp>Cherian and Chehoski then discovered KQED did not actually own the film. A New York TV station, WNET, did -- it had provided the film's funding.\u003c/p>\n\u003cp>From there, the archivists learned that at least one physical copy of “The Rejected” did exist, hiding in plain sight.\u003c/p>\n\u003cp>Cherian says, “There’s that cliched phrase, did you look down the back of the sofa?” AKA: the Library of Congress.\u003c/p>\n\u003cp>Yup, it was actually there, buried in the archive. But the film was neither easily accessible nor in perfect shape. So the archivists convinced the library and WNET to let them clean up, digitize and upload the video. Then they sent a link to Professor Connelly. He couldn’t believe what he was seeing.\u003c/p>\n\u003cp>Connelly says, “I am just blown away by the fact that it does exist.”\u003c/p>\n\u003cp>Now, more than 50 years after the film was made, anyone can go online and \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/225539\">watch it\u003c/a>.\u003c/p>\n\u003cp>The documentary starts with KQED Station Manager James Day telling the audience that what they will see deals with a subject that is “controversial, delicate, and to some downright unpleasant.” But, Day says, the issue cannot be ignored and should be talked about.\u003c/p>\n\u003cp>The film has Twilight-Zone-esque music and some of the discourse about homosexuality is painful to hear. The opening voice-over says, “This is a program about homosexuality. What causes it? Is there a cure for it?”\u003c/p>\n\u003cfigure id=\"attachment_10556737\" class=\"wp-caption alignleft\" style=\"max-width: 372px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/James-Day.png\">\u003cimg class=\" wp-image-10556737\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/James-Day-800x548.png\" alt=\"KQED Station Manager James Day introducing the controversial subject of homosexuality. \" width=\"372\" height=\"255\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day-800x548.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day-400x274.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day-960x658.png 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day.png 1029w\" sizes=\"(max-width: 372px) 100vw, 372px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">KQED Station Manager James Day introducing the controversial subject of homosexuality. \u003ccite>(Still from 'The Rejected')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But remember, it was the early '60s. Connelly says the film was progressive for the time, a breakthrough. During the documentary, different people talk to the camera—an anthropologist, psychologist, lawyer, and most surprisingly for that time, gay men.\u003c/p>\n\u003cp>In one sequence, there is a panel of three gay men answering questions. They are from the Mattachine Society, an early gay rights group. The man on the far right says, “The homosexual is no different than anyone else,” and that homosexuals should enjoy the same rights as everyone else.\u003c/p>\n\u003cp>Connelly says many viewers had never heard from an openly gay man before.\u003c/p>\n\u003cp>A number of LGBT publications \u003ca href=\"http://www.out.com/popnography/2015/5/26/first-documentary-homosexuality-ever-aired-us-long-thought-lost-now-online\">have written\u003c/a> about the recovery of this historical documentary. But there may yet be more to see of \"The Rejected.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film's producer, Saraf, says that a longer version was made, one with rare footage inside an early '60s gay bar. Whether that version still exists is unknown. Maybe it is in a film can stacked in some archive. Or it might have been tossed away with countless other reels of film from a bygone era.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Carnaval, an explosion of Latino music and dance that wends its joyous way through San Francisco’s Mission district every Memorial Day weekend, was at its raucous best this year.\u003c/p>\n\u003cp>But despite the jubilant atmosphere, there was an undertow of worry in the air.\u003c/p>\n\u003cp>The working class Latinos who grew up in the Mission and have a longstanding relationship with Carnaval expressed concern about being priced out of their own homes. They also talked about how many of their former Carnaval colleagues can no longer practice or participate with their “contingents,” as the performing groups are called, because they have had to move so far away.\u003c/p>\n\u003cp>Where once there was only music, dance, pride and joy, there is now a growing sense of urgency as Carnaval becomes a space for community activism as well as art.\u003c/p>\n\u003cp>“On Carnaval Day, for families that have been displaced, they get to take back the streets,” says Annie Jupiter-Jones, Executive Director of Loco Bloco, one of the largest Carnaval contingents this year. “These streets are their streets again.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KQED Arts went inside this year’s parade to see and hear the action up close.\u003c/p>\n\u003cp>In this video story, we follow three contingents — Jupiter-Jones’s Loco Bloco, the Brazil-inspired dance and percussion company Fogo Na Roupa, and the Trinidadian puppeteers Mas Makers Massive – and find that the passion for Carnaval is undimmed by gentrification.\u003c/p>\n\u003cp>Even as neighborhood participation is thinning, there is a resolute determination among the people who built Carnaval to keep its fire burning brighter than ever.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a time when most of the news coming from the Mission is about locals being priced out for new condos and upscale eateries, here’s one reason to celebrate.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carnaval, an explosion of Latino music and dance that wends its joyous way through San Francisco’s Mission district every Memorial Day weekend, was at its raucous best this year.\u003c/p>\n\u003cp>But despite the jubilant atmosphere, there was an undertow of worry in the air.\u003c/p>\n\u003cp>The working class Latinos who grew up in the Mission and have a longstanding relationship with Carnaval expressed concern about being priced out of their own homes. They also talked about how many of their former Carnaval colleagues can no longer practice or participate with their “contingents,” as the performing groups are called, because they have had to move so far away.\u003c/p>\n\u003cp>Where once there was only music, dance, pride and joy, there is now a growing sense of urgency as Carnaval becomes a space for community activism as well as art.\u003c/p>\n\u003cp>“On Carnaval Day, for families that have been displaced, they get to take back the streets,” says Annie Jupiter-Jones, Executive Director of Loco Bloco, one of the largest Carnaval contingents this year. “These streets are their streets again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KQED Arts went inside this year’s parade to see and hear the action up close.\u003c/p>\n\u003cp>In this video story, we follow three contingents — Jupiter-Jones’s Loco Bloco, the Brazil-inspired dance and percussion company Fogo Na Roupa, and the Trinidadian puppeteers Mas Makers Massive – and find that the passion for Carnaval is undimmed by gentrification.\u003c/p>\n\u003cp>Even as neighborhood participation is thinning, there is a resolute determination among the people who built Carnaval to keep its fire burning brighter than ever.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a time when most of the news coming from the Mission is about locals being priced out for new condos and upscale eateries, here’s one reason to celebrate.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Meet the Man Behind the Scenes of the San Francisco Ethnic Dance Festival",
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"content": "\u003cp>Standing in front of a mirrored wall, dressed in khakis, a sweater and black ballet shoes, 84-year-old Carlos Carvajal taps along to the music. He’s rehearsing with a group of ballet students at a dance studio in San Leandro.\u003c/p>\n\u003cp>While the students watch, he moves his arms gracefully to demonstrate how to strike the proper pose. It’s effortless after all these years.\u003c/p>\n\u003cp>Carvajal is the co-artistic director for the annual \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-ethnic-dance-festival/\" target=\"_blank\">San Francisco Ethnic Dance Festival\u003c/a> opening this weekend, and an accomplished ballet dancer and choreographer.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/210100880\" 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\u003cfigure id=\"attachment_10548471\" class=\"wp-caption alignright\" style=\"max-width: 743px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut.jpg\">\u003cimg class=\"wp-image-10548471 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut.jpg\" alt=\"Carvajal strikes a pose while rehearsing a ballet as a young dancer.\" width=\"743\" height=\"1145\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut.jpg 743w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut-400x616.jpg 400w\" sizes=\"(max-width: 743px) 100vw, 743px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carvajal strikes a pose while rehearsing a ballet as a young dancer. \u003ccite>(Courtesy of Carlos Carvajal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He got his start when he joined a folk dance class in San Francisco as a teenager. “The moment I got into the folk dance class it was, I always say, like a duck taking to water because it was the most natural thing in the world for me to do,” Carvajal says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He tried ballet soon after, and his talents led him to dance with ballet companies in France, Germany and his native San Francisco.\u003c/p>\n\u003cp>When Carvajal came back to San Francisco in the late 1960s, the city was at the height of a new wave of thinking, he says. It was the perfect environment to exercise his creativity. He did just that when he produced a dance for the San Francisco Ballet in the 1970s to \u003ca href=\"https://www.youtube.com/watch?v=yNi0bukYRnA\" target=\"_blank\">music composed by Terry Riley\u003c/a>.\u003c/p>\n\u003cp>“[The composition] was called 'In C,' got terrible reviews by the critics,\" Carvajal says. \"I mean just awful.\"\u003c/p>\n\u003cp>And the reviews for his ballet weren't much better. Undeterred, he decided to strike out on his own as a choreographer and started the San Francisco Dance Spectrum.\u003c/p>\n\u003cp>[contextly_sidebar id=\"Lwd2Fx7NiJfYPmcLikVOqL65SgNkzhGJ\"]\u003c/p>\n\u003cp>He says he enjoys stepping back to see the entirety of his production as much as dancing: “People have said, ‘Don't you miss not being on stage?’ and I say in return, ‘Do you see all of those people up there? That's me.' \"\u003c/p>\n\u003cp>At his new company’s studio, he hosted Flamenco Dancer \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=4818\" target=\"_blank\">Rosa Montoya\u003c/a> when she got her start in San Francisco. Indian classical dancer \u003ca href=\"http://www.kathak.org/\" target=\"_blank\">Chitresh Das\u003c/a> performed there as well.\u003c/p>\n\u003cp>It was there that the seeds for the Ethnic Dance Festival were planted. Carvajal helped bring the dancers to a larger stage at the festival. It was the first time dancers from such diverse backgrounds came together -- in 1978.\u003c/p>\n\u003cfigure id=\"attachment_10544999\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut.jpg\">\u003cimg class=\"wp-image-10544999 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-800x598.jpg\" alt=\"Carlos Carvajal (right) works with two groups performing a cross-cultural transition piece for this year's Ethnic Dance Festival. \" width=\"800\" height=\"598\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-800x598.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-400x299.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-1180x881.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-960x717.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut.jpg 1296w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carlos Carvajal (right) works with two groups performing a cross-cultural transition piece for this year's Ethnic Dance Festival. \u003ccite>(Kyoungil Ong/San Francisco Ethnic Dance Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s unique in the entire world,\" Carvajal says. \"There is no place in the world where I know of a festival of this caliber, of this variety and excellence, except here in California.\"\u003c/p>\n\u003cp>Carvajal was named artistic director 10 years ago. As a person who loves folklore, he says, this was “like a fulfillment of a total dream.”\u003c/p>\n\u003cp>As Carvajal watches an old video in his San Francisco home, he notes that his age has, of course, slowed him down a bit. While he talks, a younger Carvajal appears on the grainy black-and-white screen, leaping across the stage.\u003c/p>\n\u003cp>“At the age of 84, I always say I don't dance like I used to when I was 20, of course. And no one does, and I don’t expect to and I never wanted to,” he says.\u003c/p>\n\u003cfigure id=\"attachment_10534166\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut.jpg\">\u003cimg class=\"wp-image-10534166 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-800x600.jpg\" alt=\"Carvajal rehearses with his ballet students at a dance studio in San Leandro.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carvajal rehearses with his ballet students at a dance studio in San Leandro. \u003ccite>(Paayal Zaveri/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watching him teach, it’s clear Carvajal still has the grace and spirit seen in that old video. It’s hard to tell he’s in his 80s as he demonstrates his choreography. And his students, like Jaliya Wilkinson, feel inspired by his enthusiasm.\u003c/p>\n\u003cp>“It makes me feel energetic and it just sort of brightens up the environment as well, too,” Wilkinson says. “It makes me want to work to my fullest potential.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For this year’s Ethnic Dance Festival, Carvajal will program the shows and design the stage. The dance space is a sacred space, he says, and he’s honored to lend his unique touch to the event.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Standing in front of a mirrored wall, dressed in khakis, a sweater and black ballet shoes, 84-year-old Carlos Carvajal taps along to the music. He’s rehearsing with a group of ballet students at a dance studio in San Leandro.\u003c/p>\n\u003cp>While the students watch, he moves his arms gracefully to demonstrate how to strike the proper pose. It’s effortless after all these years.\u003c/p>\n\u003cp>Carvajal is the co-artistic director for the annual \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-ethnic-dance-festival/\" target=\"_blank\">San Francisco Ethnic Dance Festival\u003c/a> opening this weekend, and an accomplished ballet dancer and choreographer.\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/210100880&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/210100880'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_10548471\" class=\"wp-caption alignright\" style=\"max-width: 743px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut.jpg\">\u003cimg class=\"wp-image-10548471 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut.jpg\" alt=\"Carvajal strikes a pose while rehearsing a ballet as a young dancer.\" width=\"743\" height=\"1145\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut.jpg 743w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut-400x616.jpg 400w\" sizes=\"(max-width: 743px) 100vw, 743px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carvajal strikes a pose while rehearsing a ballet as a young dancer. \u003ccite>(Courtesy of Carlos Carvajal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He got his start when he joined a folk dance class in San Francisco as a teenager. “The moment I got into the folk dance class it was, I always say, like a duck taking to water because it was the most natural thing in the world for me to do,” Carvajal says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He tried ballet soon after, and his talents led him to dance with ballet companies in France, Germany and his native San Francisco.\u003c/p>\n\u003cp>When Carvajal came back to San Francisco in the late 1960s, the city was at the height of a new wave of thinking, he says. It was the perfect environment to exercise his creativity. He did just that when he produced a dance for the San Francisco Ballet in the 1970s to \u003ca href=\"https://www.youtube.com/watch?v=yNi0bukYRnA\" target=\"_blank\">music composed by Terry Riley\u003c/a>.\u003c/p>\n\u003cp>“[The composition] was called 'In C,' got terrible reviews by the critics,\" Carvajal says. \"I mean just awful.\"\u003c/p>\n\u003cp>And the reviews for his ballet weren't much better. Undeterred, he decided to strike out on his own as a choreographer and started the San Francisco Dance Spectrum.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>He says he enjoys stepping back to see the entirety of his production as much as dancing: “People have said, ‘Don't you miss not being on stage?’ and I say in return, ‘Do you see all of those people up there? That's me.' \"\u003c/p>\n\u003cp>At his new company’s studio, he hosted Flamenco Dancer \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=4818\" target=\"_blank\">Rosa Montoya\u003c/a> when she got her start in San Francisco. Indian classical dancer \u003ca href=\"http://www.kathak.org/\" target=\"_blank\">Chitresh Das\u003c/a> performed there as well.\u003c/p>\n\u003cp>It was there that the seeds for the Ethnic Dance Festival were planted. Carvajal helped bring the dancers to a larger stage at the festival. It was the first time dancers from such diverse backgrounds came together -- in 1978.\u003c/p>\n\u003cfigure id=\"attachment_10544999\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut.jpg\">\u003cimg class=\"wp-image-10544999 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-800x598.jpg\" alt=\"Carlos Carvajal (right) works with two groups performing a cross-cultural transition piece for this year's Ethnic Dance Festival. \" width=\"800\" height=\"598\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-800x598.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-400x299.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-1180x881.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-960x717.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut.jpg 1296w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carlos Carvajal (right) works with two groups performing a cross-cultural transition piece for this year's Ethnic Dance Festival. \u003ccite>(Kyoungil Ong/San Francisco Ethnic Dance Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s unique in the entire world,\" Carvajal says. \"There is no place in the world where I know of a festival of this caliber, of this variety and excellence, except here in California.\"\u003c/p>\n\u003cp>Carvajal was named artistic director 10 years ago. As a person who loves folklore, he says, this was “like a fulfillment of a total dream.”\u003c/p>\n\u003cp>As Carvajal watches an old video in his San Francisco home, he notes that his age has, of course, slowed him down a bit. While he talks, a younger Carvajal appears on the grainy black-and-white screen, leaping across the stage.\u003c/p>\n\u003cp>“At the age of 84, I always say I don't dance like I used to when I was 20, of course. And no one does, and I don’t expect to and I never wanted to,” he says.\u003c/p>\n\u003cfigure id=\"attachment_10534166\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut.jpg\">\u003cimg class=\"wp-image-10534166 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-800x600.jpg\" alt=\"Carvajal rehearses with his ballet students at a dance studio in San Leandro.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carvajal rehearses with his ballet students at a dance studio in San Leandro. \u003ccite>(Paayal Zaveri/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watching him teach, it’s clear Carvajal still has the grace and spirit seen in that old video. It’s hard to tell he’s in his 80s as he demonstrates his choreography. And his students, like Jaliya Wilkinson, feel inspired by his enthusiasm.\u003c/p>\n\u003cp>“It makes me feel energetic and it just sort of brightens up the environment as well, too,” Wilkinson says. “It makes me want to work to my fullest potential.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For this year’s Ethnic Dance Festival, Carvajal will program the shows and design the stage. The dance space is a sacred space, he says, and he’s honored to lend his unique touch to the event.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Is '94110,' San Francisco's Techie TV Drama, Just Performance Art?",
"headTitle": "Is ‘94110,’ San Francisco’s Techie TV Drama, Just Performance Art? | KQED",
"content": "\u003cp>When \u003ca href=\"http://sfist.com/2015/04/20/tv_pilot_94110_posts_mission_castin.php\" target=\"_blank\" rel=\"noopener\">news hit last month\u003c/a> of a television production company holding auditions for a new reality series called \u003cem>94110\u003c/em>, about “six leading technology executives living, learning, and loving together in San Francisco’s Mission District,” \u003ca href=\"https://twitter.com/DocPop/status/589827803220037632/photo/1\" target=\"_blank\" rel=\"noopener\">many on Twitter\u003c/a> and other online forums asked, “Is this real?”\u003c/p>\n\u003cp>Despite criticisms of the show’s \u003ca href=\"http://sfist.com/2015/05/07/here_are_the_roles_that_tv_pilot_94.php\" target=\"_blank\" rel=\"noopener\">character profiles\u003c/a> and \u003ca href=\"http://sfist.com/2015/05/18/monologues_for_mission_pilot_94110.php\" target=\"_blank\" rel=\"noopener\">dialogue\u003c/a>, close to \u003ca href=\"http://missionlocal.org/2015/05/close-to-100-actors-audition-for-parts-in-94110/\" target=\"_blank\" rel=\"noopener\">100 local actors auditioned\u003c/a> for the show over a two-day period in May. \u003c/p>\n\u003cp>But now, with more information known about the team behind \u003cem>94110\u003c/em>, skepticism of the show’s validity seems warranted, especially when considering that a noted prankster is involved. The point person for the show — described by one producer as “Mark Zuckerberg fan fiction” — is Oakland performance artist Scott Vermeire.\u003c/p>\n\u003cfigure id=\"attachment_10703874\" class=\"wp-caption alignright\" style=\"max-width: 288px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Not-Smiling-Scott-Vermeire.jpeg\" alt=\"Scott Vermeire (Courtesy of Scott Vermeire)\" width=\"288\" height=\"434\" class=\"size-full wp-image-10703874\">\u003cfigcaption class=\"wp-caption-text\">Scott Vermeire (Courtesy of Scott Vermeire)\u003c/figcaption>\u003c/figure>\n\u003cp>For anyone hoping to take the show at face value, Vermeire’s association with \u003cem>94110\u003c/em> is a red flag. Like mischief-making actor Sascha Baron Cohen of \u003cem>Borat\u003c/em> and \u003cem>Ali G\u003c/em> fame, Vermeire portrays absurd characters, invents ridiculous products, and sells both in remarkably believable fashion. His past projects include “\u003ca href=\"https://www.youtube.com/watch?t=15&v=vKTmClPyHA0\" target=\"_blank\" rel=\"noopener\">Blinder\u003c/a>,” with Vermeire acting as a corporate salesman for a Google Glass app that allows users to pixelate unwelcome people out of view (suggested targets: the homeless and elderly); his band \u003ca href=\"http://www.sadvicious.com/\" target=\"_blank\" rel=\"noopener\">Sad Vicious\u003c/a>, which identifies as “San Jose’s Most Hated Band™”; and his contributions to the \u003ca href=\"http://wondermentconsortium.com/\" target=\"_blank\" rel=\"noopener\">Wonderment Consortium\u003c/a>, the Oakland-based art collective which launched the infamous Kickstarter campaign to build \u003ca href=\"http://www.dailydot.com/culture/kickstarter-tom-hanks-paper-mache-statue/\" target=\"_blank\" rel=\"noopener\">a papier-mâché statue of Tom Hanks’ \u003cem>Castaway\u003c/em> character\u003c/a> in front of as many Bay Area high schools as possible.\u003c/p>\n\u003cp>Vermeire isn’t a producer on \u003ci>94110\u003c/i> — the “award-winning” producers have so far been kept anonymous. But he is the director of marketing and communications for the show, and I reached out to him last month. Vermeire told me that his association with the TV show doesn’t disqualify it from being a real project, pointing to his real-life status as a successful businessman (Vermeire is co-owner of the \u003ca href=\"http://prmeatco.com/\" target=\"_blank\" rel=\"noopener\">Prather Ranch Meat Company,\u003c/a> inside San Francisco’s Ferry Building). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“First and foremost, I’m an entrepreneur,” Vermeire replied. “I’m also a media artist and yes, I’m funny. But this project capitalizes mostly on my skills as a visionary, my ability to communicate a new idea to a broad audience. The producers of \u003cem>94110\u003c/em> had seen some work I did with a group called Thunderball Media, and they liked my tenacity, so here we are.”\u003c/p>\n\u003cp>Here’s the thing — Thunderball Media* is not a real company, and it probably never was; it’s the company Vermeire pretends to represent when he performs “Blinder.” That’s how hard Vermeire sells his concepts: he never lets on that they’re a joke, no matter how lunatic they appear.\u003c/p>\n\u003cfigure id=\"attachment_10702677\" class=\"wp-caption alignright\" style=\"max-width: 620px\">\u003ca href=\"http://missionlocal.org/2015/05/close-to-100-actors-audition-for-parts-in-94110/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/94110-auditions.jpg\" alt=\"Outside the <i>94110</i> auditions at SFAQ (Courtesy of Jenny Manrique/Mission Local)\" width=\"620\" height=\"413\" class=\"size-full wp-image-10702677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/94110-auditions.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/94110-auditions-400x266.jpg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Outside the \u003ci>94110\u003c/i> auditions at SFAQ (Courtesy of Jenny Manrique/Mission Local)\u003c/figcaption>\u003c/figure>\n\u003cp>I then contacted Andrew McClintock, the Publisher and Editor-in-Chief of the arts magazine \u003cem>\u003ca href=\"http://sfaq.us/\" target=\"_blank\" rel=\"noopener\">SF Arts Quarterly,\u003c/a>\u003c/em> which hosted the auditions for \u003ci>94110\u003c/i> at the publication’s office on O’Farrell Street.\u003c/p>\n\u003cp>When asked about SFAQ’s role in the creation of \u003ci>94110\u003c/i>, McClintock was straightforward with his answer: none at all, except for offering the space for two days. But he also added that he has no desire for involvement with the project “in any capacity moving forward.” \u003c/p>\n\u003cp>“In hindsight, this TV show goes against what we stand for, and we don’t feel the production team was 100-percent upfront with us,” McClintock said. “I have since terminated communication with them.”\u003c/p>\n\u003cp>Vermeire has stated that the producers require those close to the project to sign non-disclosure agreements, which may explain McClintock’s inability to explain what exactly went wrong. But when asked why the producers insisted on remaining anonymous, his answer was vague but telling.\u003c/p>\n\u003cp>“We thought it was for a reason,” McClintock said, “that it didn’t turn out to be.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Records show that a Thunderball Media \u003ca href=\"http://www.corporationwiki.com/California/Santa-Monica/thunderball-media-llc/46673683.aspx\" target=\"_blank\" rel=\"noopener\">did exist for a time in Santa Monica\u003c/a>, but when asked, Vermeire said that the company was based in San Francisco.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Those following the story behind \u003ci>94110\u003c/i>, the San Francisco-based TV drama being put together these past few months, have probably asked themselves, \"Is this real?\" A cursory look at the players involved in the project would justify those suspicions. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"http://sfist.com/2015/04/20/tv_pilot_94110_posts_mission_castin.php\" target=\"_blank\" rel=\"noopener\">news hit last month\u003c/a> of a television production company holding auditions for a new reality series called \u003cem>94110\u003c/em>, about “six leading technology executives living, learning, and loving together in San Francisco’s Mission District,” \u003ca href=\"https://twitter.com/DocPop/status/589827803220037632/photo/1\" target=\"_blank\" rel=\"noopener\">many on Twitter\u003c/a> and other online forums asked, “Is this real?”\u003c/p>\n\u003cp>Despite criticisms of the show’s \u003ca href=\"http://sfist.com/2015/05/07/here_are_the_roles_that_tv_pilot_94.php\" target=\"_blank\" rel=\"noopener\">character profiles\u003c/a> and \u003ca href=\"http://sfist.com/2015/05/18/monologues_for_mission_pilot_94110.php\" target=\"_blank\" rel=\"noopener\">dialogue\u003c/a>, close to \u003ca href=\"http://missionlocal.org/2015/05/close-to-100-actors-audition-for-parts-in-94110/\" target=\"_blank\" rel=\"noopener\">100 local actors auditioned\u003c/a> for the show over a two-day period in May. \u003c/p>\n\u003cp>But now, with more information known about the team behind \u003cem>94110\u003c/em>, skepticism of the show’s validity seems warranted, especially when considering that a noted prankster is involved. The point person for the show — described by one producer as “Mark Zuckerberg fan fiction” — is Oakland performance artist Scott Vermeire.\u003c/p>\n\u003cfigure id=\"attachment_10703874\" class=\"wp-caption alignright\" style=\"max-width: 288px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Not-Smiling-Scott-Vermeire.jpeg\" alt=\"Scott Vermeire (Courtesy of Scott Vermeire)\" width=\"288\" height=\"434\" class=\"size-full wp-image-10703874\">\u003cfigcaption class=\"wp-caption-text\">Scott Vermeire (Courtesy of Scott Vermeire)\u003c/figcaption>\u003c/figure>\n\u003cp>For anyone hoping to take the show at face value, Vermeire’s association with \u003cem>94110\u003c/em> is a red flag. Like mischief-making actor Sascha Baron Cohen of \u003cem>Borat\u003c/em> and \u003cem>Ali G\u003c/em> fame, Vermeire portrays absurd characters, invents ridiculous products, and sells both in remarkably believable fashion. His past projects include “\u003ca href=\"https://www.youtube.com/watch?t=15&v=vKTmClPyHA0\" target=\"_blank\" rel=\"noopener\">Blinder\u003c/a>,” with Vermeire acting as a corporate salesman for a Google Glass app that allows users to pixelate unwelcome people out of view (suggested targets: the homeless and elderly); his band \u003ca href=\"http://www.sadvicious.com/\" target=\"_blank\" rel=\"noopener\">Sad Vicious\u003c/a>, which identifies as “San Jose’s Most Hated Band™”; and his contributions to the \u003ca href=\"http://wondermentconsortium.com/\" target=\"_blank\" rel=\"noopener\">Wonderment Consortium\u003c/a>, the Oakland-based art collective which launched the infamous Kickstarter campaign to build \u003ca href=\"http://www.dailydot.com/culture/kickstarter-tom-hanks-paper-mache-statue/\" target=\"_blank\" rel=\"noopener\">a papier-mâché statue of Tom Hanks’ \u003cem>Castaway\u003c/em> character\u003c/a> in front of as many Bay Area high schools as possible.\u003c/p>\n\u003cp>Vermeire isn’t a producer on \u003ci>94110\u003c/i> — the “award-winning” producers have so far been kept anonymous. But he is the director of marketing and communications for the show, and I reached out to him last month. Vermeire told me that his association with the TV show doesn’t disqualify it from being a real project, pointing to his real-life status as a successful businessman (Vermeire is co-owner of the \u003ca href=\"http://prmeatco.com/\" target=\"_blank\" rel=\"noopener\">Prather Ranch Meat Company,\u003c/a> inside San Francisco’s Ferry Building). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“First and foremost, I’m an entrepreneur,” Vermeire replied. “I’m also a media artist and yes, I’m funny. But this project capitalizes mostly on my skills as a visionary, my ability to communicate a new idea to a broad audience. The producers of \u003cem>94110\u003c/em> had seen some work I did with a group called Thunderball Media, and they liked my tenacity, so here we are.”\u003c/p>\n\u003cp>Here’s the thing — Thunderball Media* is not a real company, and it probably never was; it’s the company Vermeire pretends to represent when he performs “Blinder.” That’s how hard Vermeire sells his concepts: he never lets on that they’re a joke, no matter how lunatic they appear.\u003c/p>\n\u003cfigure id=\"attachment_10702677\" class=\"wp-caption alignright\" style=\"max-width: 620px\">\u003ca href=\"http://missionlocal.org/2015/05/close-to-100-actors-audition-for-parts-in-94110/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/94110-auditions.jpg\" alt=\"Outside the <i>94110</i> auditions at SFAQ (Courtesy of Jenny Manrique/Mission Local)\" width=\"620\" height=\"413\" class=\"size-full wp-image-10702677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/94110-auditions.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/94110-auditions-400x266.jpg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Outside the \u003ci>94110\u003c/i> auditions at SFAQ (Courtesy of Jenny Manrique/Mission Local)\u003c/figcaption>\u003c/figure>\n\u003cp>I then contacted Andrew McClintock, the Publisher and Editor-in-Chief of the arts magazine \u003cem>\u003ca href=\"http://sfaq.us/\" target=\"_blank\" rel=\"noopener\">SF Arts Quarterly,\u003c/a>\u003c/em> which hosted the auditions for \u003ci>94110\u003c/i> at the publication’s office on O’Farrell Street.\u003c/p>\n\u003cp>When asked about SFAQ’s role in the creation of \u003ci>94110\u003c/i>, McClintock was straightforward with his answer: none at all, except for offering the space for two days. But he also added that he has no desire for involvement with the project “in any capacity moving forward.” \u003c/p>\n\u003cp>“In hindsight, this TV show goes against what we stand for, and we don’t feel the production team was 100-percent upfront with us,” McClintock said. “I have since terminated communication with them.”\u003c/p>\n\u003cp>Vermeire has stated that the producers require those close to the project to sign non-disclosure agreements, which may explain McClintock’s inability to explain what exactly went wrong. But when asked why the producers insisted on remaining anonymous, his answer was vague but telling.\u003c/p>\n\u003cp>“We thought it was for a reason,” McClintock said, “that it didn’t turn out to be.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Records show that a Thunderball Media \u003ca href=\"http://www.corporationwiki.com/California/Santa-Monica/thunderball-media-llc/46673683.aspx\" target=\"_blank\" rel=\"noopener\">did exist for a time in Santa Monica\u003c/a>, but when asked, Vermeire said that the company was based in San Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Berkeley's Shakespeare & Co. Books Closes After 51 Years",
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"headTitle": "Berkeley’s Shakespeare & Co. Books Closes After 51 Years | KQED",
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"content": "\u003cp>Berkeley’s \u003ca href=\"http://www.shakespeareandcobooks.com/\" target=\"_blank\" rel=\"noopener\">Shakespeare & Co. Books\u003c/a>, one of the oldest independent bookstores in the Bay Area, closed abruptly Tuesday night after 51 years in business. Owner Jon Wobber confirmed the closure to KQED the following morning.\u003c/p>\n\u003cp>A homey space on the corner of Dwight and Telegraph Ave., the store was a longtime hub for bibliophiles thanks to its packed shelves of hard-to-find used fiction, poetry, and nonfiction; the store also played host to the kind of political tomes, metaphysical oddities, and literary events that whispered of a different, more radical time in Berkeley’s history.\u003c/p>\n\u003cp>But staring down the cost of necessary renovations and dwindling sales, the business hadn’t been profitable for “the past four or five years,” said Wobber by phone from Cotati, where he lives. “It happened quickly, but it’s also been happening for a long time.”\u003c/p>\n\u003cp>Wobber has been associated with Shakespeare and Co. for 25 years; he worked there part-time before buying the business in 2004. But since around 2010, “I’ve been putting in 65-hour weeks, and we haven’t been earning anything out of it … so when the previous owners decided to put the building on the market in March of 2014, I had to step back and say, ‘Whatever’s going on here, this is not a sustainable formula.’”\u003c/p>\n\u003cp>The building at 2499 Telegraph had been owned by successive generations of one family — the Kesslers — since 1915. In October 2014, the building was purchased by Telegraph Partners LLC, a group that owns a handful of other retail spaces on the block, including the Sweet Leaf cafe and Pieology, a pizzeria.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At that time, partner Ito Ripsteen (a broker who also serves as a board member for the Downtown Berkeley Association) \u003ca href=\"//www.contracostatimes.com/west-county-times/ci_26643944/berkeley-property-partner-sees-bright-future-telegraph\" target=\"_blank\" rel=\"noopener\">told the \u003cem>Contra Costa Times\u003c/em> that he had no immediate plans to bring in new tenants\u003c/a>. But Wobber was soon informed that the group wanted the store to undergo sweeping renovations — “not leveling the building, but [construction and remodeling] inside and out,” he says. This would have meant Shakespeare closing for six to nine months, something Wobber felt the store could not withstand financially.\u003c/p>\n\u003cp>Wobber says he understands the owners’ predicament, and is friendly with the landlord. “[Ripsteen] would like to have me there, I completely understand, but it’s just not practical.” Wobber said he believes the landlord is “committed to retail,” but otherwise couldn’t speculate on the fate of the building. Ripsteen was not immediately available for comment.\u003c/p>\n\u003cp>As for dwindling business, Wobber points to both e-books and the rise of online giants like Amazon (which “seems to have a goal of driving the hard copy book out of existence,” he says), as well as “a changing culture” and shifts in Berkeley’s landscape.\u003c/p>\n\u003cp>“People want things to be a lot more immediate, and I’m afraid we’re living in a kind of soundbite culture … there’s also just not as much foot traffic on Telegraph as there used to be. Berkeley’s more focused toward downtown now, maybe.”\u003c/p>\n\u003cp>Wobber put the bookstore on the market in August of last year, but said he hadn’t gotten any solid offers until he made a call late last week to Powell’s Books, the Portland, Oregon-based store that bills itself as “the largest independent used and new bookstore in the world.”\u003c/p>\n\u003cp>Buyers from Powell’s flew down within days; after surveying the store Tuesday afternoon, they made Wobber an offer for his entire stock, and Shakespeare and Co. closed for good at 8pm last night.\u003c/p>\n\u003cp>Lovers of actual physical books will note that this is hardly an isolated event, especially in Berkeley: Cody’s Books, another independent Telegraph Ave. stalwart since 1956, shut down in 2008, facing similar financial pressures. Though a few other booksellers remain nearby — the tiny Revolution Books is tucked into a small shopping center off Channing — Shakespeare and Co.’s closure means that Moe’s Books, which has been in business just across the street from Shakespeare since the mid-’60s, is technically the last bookstore on the Avenue.\u003c/p>\n\u003cp>According to writer \u003ca href=\"http://en.wikipedia.org/wiki/Aaron_Cometbus\" target=\"_blank\" rel=\"noopener\">Aaron Elliott\u003c/a>, who published an entire issue of his \u003ci>Cometbus \u003c/i>zine dedicated to the history of Telegraph Avenue, Moe’s maintained a bitter, long-running feud with Shakespeare & Co. One anecdote in \u003ci>Cometbus \u003c/i>recounts the one and only time Moe’s Books owner Moe Moskowitz set foot inside the competing store: Moskowitz chased a shoplifter across the street and into Shakespeare & Co., looked around, realized where he was and walked out.\u003c/p>\n\u003cp>Wobber shows no signs of such bitterness, however. “Moe’s is a great place,” he said. “I’ve been friendly with them. They were among the first to hear, and a couple [employees] came right over to wish me well.”\u003c/p>\n\u003cp>As for him, he plans to focus on Vicarious Experience, a store he’s owned — in a building he also owns — since 1979. He closed it temporarily when he took over Shakespeare in 2004, but with that store closing, he’ll be back in Cotati full-time, full steam ahead. If people miss the Shakespeare & Co. experience, they should come see him in Cotati, he said. “It’s still the same person selling books.”\u003c/p>\n\u003cp>Still, he acknowledges Shakespeare’s closing is “a big event” — for him personally, as well as for Berkeley.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We had a good bookstore,” he says. “I had a lot of good relationships there with people from all walks of life. Some of our best customers didn’t have a home and just needed a place to read … it was a community. And I’ll miss being part of it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Berkeley’s \u003ca href=\"http://www.shakespeareandcobooks.com/\" target=\"_blank\" rel=\"noopener\">Shakespeare & Co. Books\u003c/a>, one of the oldest independent bookstores in the Bay Area, closed abruptly Tuesday night after 51 years in business. Owner Jon Wobber confirmed the closure to KQED the following morning.\u003c/p>\n\u003cp>A homey space on the corner of Dwight and Telegraph Ave., the store was a longtime hub for bibliophiles thanks to its packed shelves of hard-to-find used fiction, poetry, and nonfiction; the store also played host to the kind of political tomes, metaphysical oddities, and literary events that whispered of a different, more radical time in Berkeley’s history.\u003c/p>\n\u003cp>But staring down the cost of necessary renovations and dwindling sales, the business hadn’t been profitable for “the past four or five years,” said Wobber by phone from Cotati, where he lives. “It happened quickly, but it’s also been happening for a long time.”\u003c/p>\n\u003cp>Wobber has been associated with Shakespeare and Co. for 25 years; he worked there part-time before buying the business in 2004. But since around 2010, “I’ve been putting in 65-hour weeks, and we haven’t been earning anything out of it … so when the previous owners decided to put the building on the market in March of 2014, I had to step back and say, ‘Whatever’s going on here, this is not a sustainable formula.’”\u003c/p>\n\u003cp>The building at 2499 Telegraph had been owned by successive generations of one family — the Kesslers — since 1915. In October 2014, the building was purchased by Telegraph Partners LLC, a group that owns a handful of other retail spaces on the block, including the Sweet Leaf cafe and Pieology, a pizzeria.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At that time, partner Ito Ripsteen (a broker who also serves as a board member for the Downtown Berkeley Association) \u003ca href=\"//www.contracostatimes.com/west-county-times/ci_26643944/berkeley-property-partner-sees-bright-future-telegraph\" target=\"_blank\" rel=\"noopener\">told the \u003cem>Contra Costa Times\u003c/em> that he had no immediate plans to bring in new tenants\u003c/a>. But Wobber was soon informed that the group wanted the store to undergo sweeping renovations — “not leveling the building, but [construction and remodeling] inside and out,” he says. This would have meant Shakespeare closing for six to nine months, something Wobber felt the store could not withstand financially.\u003c/p>\n\u003cp>Wobber says he understands the owners’ predicament, and is friendly with the landlord. “[Ripsteen] would like to have me there, I completely understand, but it’s just not practical.” Wobber said he believes the landlord is “committed to retail,” but otherwise couldn’t speculate on the fate of the building. Ripsteen was not immediately available for comment.\u003c/p>\n\u003cp>As for dwindling business, Wobber points to both e-books and the rise of online giants like Amazon (which “seems to have a goal of driving the hard copy book out of existence,” he says), as well as “a changing culture” and shifts in Berkeley’s landscape.\u003c/p>\n\u003cp>“People want things to be a lot more immediate, and I’m afraid we’re living in a kind of soundbite culture … there’s also just not as much foot traffic on Telegraph as there used to be. Berkeley’s more focused toward downtown now, maybe.”\u003c/p>\n\u003cp>Wobber put the bookstore on the market in August of last year, but said he hadn’t gotten any solid offers until he made a call late last week to Powell’s Books, the Portland, Oregon-based store that bills itself as “the largest independent used and new bookstore in the world.”\u003c/p>\n\u003cp>Buyers from Powell’s flew down within days; after surveying the store Tuesday afternoon, they made Wobber an offer for his entire stock, and Shakespeare and Co. closed for good at 8pm last night.\u003c/p>\n\u003cp>Lovers of actual physical books will note that this is hardly an isolated event, especially in Berkeley: Cody’s Books, another independent Telegraph Ave. stalwart since 1956, shut down in 2008, facing similar financial pressures. Though a few other booksellers remain nearby — the tiny Revolution Books is tucked into a small shopping center off Channing — Shakespeare and Co.’s closure means that Moe’s Books, which has been in business just across the street from Shakespeare since the mid-’60s, is technically the last bookstore on the Avenue.\u003c/p>\n\u003cp>According to writer \u003ca href=\"http://en.wikipedia.org/wiki/Aaron_Cometbus\" target=\"_blank\" rel=\"noopener\">Aaron Elliott\u003c/a>, who published an entire issue of his \u003ci>Cometbus \u003c/i>zine dedicated to the history of Telegraph Avenue, Moe’s maintained a bitter, long-running feud with Shakespeare & Co. One anecdote in \u003ci>Cometbus \u003c/i>recounts the one and only time Moe’s Books owner Moe Moskowitz set foot inside the competing store: Moskowitz chased a shoplifter across the street and into Shakespeare & Co., looked around, realized where he was and walked out.\u003c/p>\n\u003cp>Wobber shows no signs of such bitterness, however. “Moe’s is a great place,” he said. “I’ve been friendly with them. They were among the first to hear, and a couple [employees] came right over to wish me well.”\u003c/p>\n\u003cp>As for him, he plans to focus on Vicarious Experience, a store he’s owned — in a building he also owns — since 1979. He closed it temporarily when he took over Shakespeare in 2004, but with that store closing, he’ll be back in Cotati full-time, full steam ahead. If people miss the Shakespeare & Co. experience, they should come see him in Cotati, he said. “It’s still the same person selling books.”\u003c/p>\n\u003cp>Still, he acknowledges Shakespeare’s closing is “a big event” — for him personally, as well as for Berkeley.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We had a good bookstore,” he says. “I had a lot of good relationships there with people from all walks of life. Some of our best customers didn’t have a home and just needed a place to read … it was a community. And I’ll miss being part of it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Librarians Celebrate Reforms to Patriot Act",
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"content": "\u003cp>Librarians around the Bay Area have been celebrating after the US Senate passed a measure reforming a notorious section of the Patriot Act Tuesday.\u003c/p>\n\u003cp>Section 215, passed right after 9/11, gave the National Security Agency and the FBI wide powers to request information on the activities of library users without a warrant.\u003c/p>\n\u003cp>“It really lowered the legal standard at getting at records,” says Deborah Caldwell-Stone, Director of Office of Intellectual Freedom at the American Library Association.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/208683311″ 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>She and others argue that libraries are a sacred space for democracy. They are places for people to find books and use computers to access any subject, no matter how controversial, without the government looking over their shoulder. And Caldwell-Stone says that’s a right protected by the first amendment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Inevitably anyone who thinks they’re being observed,” says Caldwell-Stone, “is going to curtail what they read in some way, because they’re afraid of being sanctioned some way.”\u003c/p>\n\u003cp>The library association has lobbied hard for the reforms, dubbed the Freedom Act, which were passed last month by the House and by the Senate on Tuesday.\u003c/p>\n\u003cp>The bill limits what law enforcement agencies, including the National Security Agency (NSA), can request from libraries.\u003c/p>\n\u003cp>“Instead of obtaining just giant swathes of information in bulk,” says Sarah Houghton, San Rafael Public Library Director, and a leading critic of the Patriot Act, “the NSA has to ask for data, but on a very specific entity. But they also have to demonstrate that that individual is associated with a foreign power or terrorist group or other threat of some kind. So that is a huge change.”\u003c/p>\n\u003cp>The reforms also make it harder for the FBI to impose a gag order on librarians when they’re served with what are called National Security Letters demanding information on a patron. At least Houghton hopes that’s the case. “Much is left unsaid about how this will be executed in practice.”\u003c/p>\n\u003cp>In fact San Jose City Librarian Jill Bourne says Bay Area libraries have had standards in place for years to protect the privacy of their patrons. \u003c/p>\n\u003cp>“We actually don’t keep a lot of information,” Bourne says. “And that’s intentional. So when a person checks in a library book it is expunged from their record. When you look online, our systems are set up to erase the cache for every user. So we wouldn’t necessarily have a lot of data for them to look at.”\u003c/p>\n\u003cp>But Bourne notes those protections only go so far because libraries get access to the internet from large telecom companies. “We can’t really guarantee our patrons,” she says, “that the information that goes out through the internet couldn’t be reportable by that telecommunications company… And so we’ve kind of shifted into the business of educating our patrons around privacy issues online, and how to protect themselves.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bourne says that’s why the San Jose library is developing a game app with the Knight Foundation that would educate people about how to protect their online privacy.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Librarians around the Bay Area have been celebrating after the US Senate passed a measure reforming a notorious section of the Patriot Act Tuesday.\u003c/p>\n\u003cp>Section 215, passed right after 9/11, gave the National Security Agency and the FBI wide powers to request information on the activities of library users without a warrant.\u003c/p>\n\u003cp>“It really lowered the legal standard at getting at records,” says Deborah Caldwell-Stone, Director of Office of Intellectual Freedom at the American Library Association.\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/208683311″&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/208683311″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>She and others argue that libraries are a sacred space for democracy. They are places for people to find books and use computers to access any subject, no matter how controversial, without the government looking over their shoulder. And Caldwell-Stone says that’s a right protected by the first amendment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Inevitably anyone who thinks they’re being observed,” says Caldwell-Stone, “is going to curtail what they read in some way, because they’re afraid of being sanctioned some way.”\u003c/p>\n\u003cp>The library association has lobbied hard for the reforms, dubbed the Freedom Act, which were passed last month by the House and by the Senate on Tuesday.\u003c/p>\n\u003cp>The bill limits what law enforcement agencies, including the National Security Agency (NSA), can request from libraries.\u003c/p>\n\u003cp>“Instead of obtaining just giant swathes of information in bulk,” says Sarah Houghton, San Rafael Public Library Director, and a leading critic of the Patriot Act, “the NSA has to ask for data, but on a very specific entity. But they also have to demonstrate that that individual is associated with a foreign power or terrorist group or other threat of some kind. So that is a huge change.”\u003c/p>\n\u003cp>The reforms also make it harder for the FBI to impose a gag order on librarians when they’re served with what are called National Security Letters demanding information on a patron. At least Houghton hopes that’s the case. “Much is left unsaid about how this will be executed in practice.”\u003c/p>\n\u003cp>In fact San Jose City Librarian Jill Bourne says Bay Area libraries have had standards in place for years to protect the privacy of their patrons. \u003c/p>\n\u003cp>“We actually don’t keep a lot of information,” Bourne says. “And that’s intentional. So when a person checks in a library book it is expunged from their record. When you look online, our systems are set up to erase the cache for every user. So we wouldn’t necessarily have a lot of data for them to look at.”\u003c/p>\n\u003cp>But Bourne notes those protections only go so far because libraries get access to the internet from large telecom companies. “We can’t really guarantee our patrons,” she says, “that the information that goes out through the internet couldn’t be reportable by that telecommunications company… And so we’ve kind of shifted into the business of educating our patrons around privacy issues online, and how to protect themselves.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bourne says that’s why the San Jose library is developing a game app with the Knight Foundation that would educate people about how to protect their online privacy.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "luis-alfaros-new-play-grapples-with-the-pentecostal-church",
"title": "Luis Alfaro's New Play Takes You to Church (Pentecostal, that is)",
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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/this-golden-state-part-one-delano/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>\u003cem>This Golden State Part One: Delano\u003c/em>\u003c/h2>\n\u003cdiv class=\"event-desc\">MacArthur Genius Fellow Luis Alfaro’s newest play\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 21 to June 14, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Magic Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/this-golden-state-part-one-delano/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003ca href=\"http://dramaticarts.usc.edu/luis-alfaro/\" target=\"_blank\" rel=\"noopener\">Luis Alfaro\u003c/a> often writes plays about Latinos in California, with an unexpected framing device: Greek drama.\u003c/p>\n\u003cp>For instance, \u003ca href=\"http://magictheatre.org/oedipus-el-rey\" target=\"_blank\" rel=\"noopener\">Oedipus El Rey\u003c/a>, winner of a \u003ca href=\"http://www.theatrebayarea.org/?page=GlickmanAward\" target=\"_blank\" rel=\"noopener\">Glickman award\u003c/a> (which is awarded to the best new play that had its world premiere in the Bay Area), resets the famous Ancient Greek tale of father-son rivalry and motherly love in a Kern County prison and the Los Angeles barrios.\u003c/p>\n\u003cp>Now the \u003ca href=\"http://www.macfound.org/fellows/548/\" target=\"_blank\" rel=\"noopener\">MacArthur winning playwright\u003c/a> has shrugged off those ancient forms and written the first in a trilogy of plays about a minister reviving a Pentecostal church in the town of Delano called \u003cem>This Golden State\u003c/em>. The Magic has co-commissioned the trilogy with the \u003ca href=\"https://www.osfashland.org/\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a>, where Alfaro is resident playwright.\u003c/p>\n\u003cp>Located in the Southern San Joaquin Valley, \u003ca href=\"http://en.wikipedia.org/wiki/Delano,_California\" target=\"_blank\" rel=\"noopener\">Delano\u003c/a> is famous for being the birthplace of the \u003ca href=\"http://www.ufw.org/\" target=\"_blank\" rel=\"noopener\">United Farmworkers Union (UFW)\u003c/a>. Alfaro says he spent his summers there, on what he laughingly called summer holidays. Really, he picked fruit and vegetables alongside his parents, who were active in the UFW.\u003c/p>\n\u003cp>I talked to Alfaro recently about \u003cem>This Golden State\u003c/em>, which he said explores, “the nature of spirituality and faith, and what it takes to be in California during a major drought when you work the land.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>How much of your own experience growing up in Los Angeles and Delano do we see in the experiences of the characters?\u003c/strong>\u003c/p>\n\u003cp>My father was a very, very staunch catholic, my mother was a hard-core pentecostal, and somehow they managed to respect each other. I was at Alleluia Churches Saturday night and an altar boy at the catholic church Sunday mornings. So I did a lot of religion when I was a kid.\u003c/p>\n\u003cp>Mostly what I’m talking about is how pentecostalism for a lot of immigrants is a new American religion. I mean it’s the \u003ca href=\"http://www.nytimes.com/2005/01/09/weekinreview/more-religion-but-not-the-oldtime-kind.html\" target=\"_blank\" rel=\"noopener\">fastest growing religion in the world\u003c/a>, especially for immigrants.\u003c/p>\n\u003cp>Having been raised both a catholic and what we call an apostolic pentecostal, it’s interesting to see the way both churches operate.\u003c/p>\n\u003cp>You come to this country and there’s a kind of assimilation that happens, whether you like it or not. It’s interesting that it’s reflected in a religion that’s a little louder, involves tambourines and speaking in tongues, and things of that sort.\u003c/p>\n\u003cp>So when you come to the play, you’re actually coming to a bit of a church service. There’s some singing and you receive a little “missalette,” a miniature hymnal, with some hymns in it. You’re really walking into what looks like an old church in Delano, California.\u003c/p>\n\u003cfigure id=\"attachment_10719160\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10719160\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-1180x811.jpg\" alt=\"Elias (Sean San Jose*) receives counseling from Brother Abel (Ron Knapp*) \" width=\"640\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-1180x811.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-960x660.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Elias (Sean San Jose) receives counseling from Brother Abel (Ron Knapp) \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did your family deal with the division — your father being a catholic and your mother, pentecostal?\u003c/strong>\u003c/p>\n\u003cp>I was raised in really abject poverty in downtown Los Angeles at a time when it was really violent and really poor. Religion was the way I survived a really tough neighborhood.\u003c/p>\n\u003cp>The one thing I will say about the gangs in the 1970s is they were very respectful of the church. They didn’t mess with the church in any way. You really felt that word “sanctuary” in the church in a big way.\u003c/p>\n\u003cp>My father was in the seminary when he was young. So I think for him catholicism was deeply embedded in him.\u003c/p>\n\u003cp>He was tolerant, I would say. I never felt like they were competing or in conflict with one another. And they never talked bad about each other’s religion.\u003c/p>\n\u003cp>And if you’re a young theater geek, something about the catholic church and its rituals is very exciting especially if you’re an altar boy. Because you kind of figure out that Latin mass is presentational, it’s processional. It looked amazing.\u003c/p>\n\u003cp>Then coming over to the pentecostal church, it was deeply embedded in people’s dreams and beliefs. You have a lot of community building inside of it.\u003c/p>\n\u003cp>On Saturdays we’d go and start with the bible school, and there was a prayer meeting for the parents. My mother cooked and everybody would eat together. So it had a sense of a commune of sorts.\u003c/p>\n\u003cp>I’d say it was a little bit of a haven, especially for many of the immigrants in the community where I grew up. Even though I’m not actively involved with that religion anymore it feels like family. You call everybody brother and sister.\u003c/p>\n\u003cp>\u003cstrong>You’ve worked very hard in the past to get Latino audiences into the theater. What are you doing at the Magic for \u003cem>This Golden State \u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>I consider myself an artist who really came to art because I wanted to change the world.\u003c/p>\n\u003cp>One of my other homes is at the \u003ca href=\"http://victorygardens.org/\" target=\"_blank\" rel=\"noopener\">Victory Gardens Theater\u003c/a> in Chicago. I did a project there where at the first preview there was not a single person of color. But Chicago is an incredibly diverse city. So we started a campaign. Every night I said, if you could bring one young person to the theater or you can donate 10 dollars, we will give that ticket to a student. Immediately the first night I think we made $3500 dollars. And we started getting busloads of kids.\u003c/p>\n\u003cp>I think it’s super important to have that next generation come see a play like this. Not just my play, but also to come to the theater to wrestle with the big ideas of our society, to sit in a communal space, and to learn the ritual of theater. In some way we go to the theater to learn to be better people.\u003c/p>\n\u003cp>Right now at the Magic Theatre we’re making a concentrated effort to get people from Latino arts organizations in town and give them free tickets. If someone wants to come, they won’t be turned away for want of a ticket.\u003c/p>\n\u003cp>\u003cstrong>Do you plan to put flyers at pentecostal churches around the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>The play is very authentic. The costuming alone is exactly the way pentecostals look in the Central Valley.\u003c/p>\n\u003cp>\u003cstrong>What should I wear if I want to look like a member of the pentecostal church?\u003c/strong>\u003c/p>\n\u003cp>Very working class. I would think something [made by the work clothes company] \u003ca href=\"http://www.dickies.com/\" target=\"_blank\" rel=\"noopener\">Dickies\u003c/a>, right? Because you’re talking about people working the fields or people who work at one of the two state prisons.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>This Golden State \u003c/strong>opens Wednesday, June 10 at the \u003ca href=\"http://magictheatre.org/season/this-golden-state\" target=\"_blank\" rel=\"noopener\">Magic Theatre\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The MacArthur \"Genius\" Award winner explores religion and family in \u003ci>This Golden State\u003c/i>, the first in a trilogy of plays running at The Magic Theatre in San Francisco. ",
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"title": "Luis Alfaro's New Play Takes You to Church (Pentecostal, that is) | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/this-golden-state-part-one-delano/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>\u003cem>This Golden State Part One: Delano\u003c/em>\u003c/h2>\n\u003cdiv class=\"event-desc\">MacArthur Genius Fellow Luis Alfaro’s newest play\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 21 to June 14, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Magic Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/this-golden-state-part-one-delano/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003ca href=\"http://dramaticarts.usc.edu/luis-alfaro/\" target=\"_blank\" rel=\"noopener\">Luis Alfaro\u003c/a> often writes plays about Latinos in California, with an unexpected framing device: Greek drama.\u003c/p>\n\u003cp>For instance, \u003ca href=\"http://magictheatre.org/oedipus-el-rey\" target=\"_blank\" rel=\"noopener\">Oedipus El Rey\u003c/a>, winner of a \u003ca href=\"http://www.theatrebayarea.org/?page=GlickmanAward\" target=\"_blank\" rel=\"noopener\">Glickman award\u003c/a> (which is awarded to the best new play that had its world premiere in the Bay Area), resets the famous Ancient Greek tale of father-son rivalry and motherly love in a Kern County prison and the Los Angeles barrios.\u003c/p>\n\u003cp>Now the \u003ca href=\"http://www.macfound.org/fellows/548/\" target=\"_blank\" rel=\"noopener\">MacArthur winning playwright\u003c/a> has shrugged off those ancient forms and written the first in a trilogy of plays about a minister reviving a Pentecostal church in the town of Delano called \u003cem>This Golden State\u003c/em>. The Magic has co-commissioned the trilogy with the \u003ca href=\"https://www.osfashland.org/\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a>, where Alfaro is resident playwright.\u003c/p>\n\u003cp>Located in the Southern San Joaquin Valley, \u003ca href=\"http://en.wikipedia.org/wiki/Delano,_California\" target=\"_blank\" rel=\"noopener\">Delano\u003c/a> is famous for being the birthplace of the \u003ca href=\"http://www.ufw.org/\" target=\"_blank\" rel=\"noopener\">United Farmworkers Union (UFW)\u003c/a>. Alfaro says he spent his summers there, on what he laughingly called summer holidays. Really, he picked fruit and vegetables alongside his parents, who were active in the UFW.\u003c/p>\n\u003cp>I talked to Alfaro recently about \u003cem>This Golden State\u003c/em>, which he said explores, “the nature of spirituality and faith, and what it takes to be in California during a major drought when you work the land.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How much of your own experience growing up in Los Angeles and Delano do we see in the experiences of the characters?\u003c/strong>\u003c/p>\n\u003cp>My father was a very, very staunch catholic, my mother was a hard-core pentecostal, and somehow they managed to respect each other. I was at Alleluia Churches Saturday night and an altar boy at the catholic church Sunday mornings. So I did a lot of religion when I was a kid.\u003c/p>\n\u003cp>Mostly what I’m talking about is how pentecostalism for a lot of immigrants is a new American religion. I mean it’s the \u003ca href=\"http://www.nytimes.com/2005/01/09/weekinreview/more-religion-but-not-the-oldtime-kind.html\" target=\"_blank\" rel=\"noopener\">fastest growing religion in the world\u003c/a>, especially for immigrants.\u003c/p>\n\u003cp>Having been raised both a catholic and what we call an apostolic pentecostal, it’s interesting to see the way both churches operate.\u003c/p>\n\u003cp>You come to this country and there’s a kind of assimilation that happens, whether you like it or not. It’s interesting that it’s reflected in a religion that’s a little louder, involves tambourines and speaking in tongues, and things of that sort.\u003c/p>\n\u003cp>So when you come to the play, you’re actually coming to a bit of a church service. There’s some singing and you receive a little “missalette,” a miniature hymnal, with some hymns in it. You’re really walking into what looks like an old church in Delano, California.\u003c/p>\n\u003cfigure id=\"attachment_10719160\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10719160\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-1180x811.jpg\" alt=\"Elias (Sean San Jose*) receives counseling from Brother Abel (Ron Knapp*) \" width=\"640\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-1180x811.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-960x660.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Elias (Sean San Jose) receives counseling from Brother Abel (Ron Knapp) \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did your family deal with the division — your father being a catholic and your mother, pentecostal?\u003c/strong>\u003c/p>\n\u003cp>I was raised in really abject poverty in downtown Los Angeles at a time when it was really violent and really poor. Religion was the way I survived a really tough neighborhood.\u003c/p>\n\u003cp>The one thing I will say about the gangs in the 1970s is they were very respectful of the church. They didn’t mess with the church in any way. You really felt that word “sanctuary” in the church in a big way.\u003c/p>\n\u003cp>My father was in the seminary when he was young. So I think for him catholicism was deeply embedded in him.\u003c/p>\n\u003cp>He was tolerant, I would say. I never felt like they were competing or in conflict with one another. And they never talked bad about each other’s religion.\u003c/p>\n\u003cp>And if you’re a young theater geek, something about the catholic church and its rituals is very exciting especially if you’re an altar boy. Because you kind of figure out that Latin mass is presentational, it’s processional. It looked amazing.\u003c/p>\n\u003cp>Then coming over to the pentecostal church, it was deeply embedded in people’s dreams and beliefs. You have a lot of community building inside of it.\u003c/p>\n\u003cp>On Saturdays we’d go and start with the bible school, and there was a prayer meeting for the parents. My mother cooked and everybody would eat together. So it had a sense of a commune of sorts.\u003c/p>\n\u003cp>I’d say it was a little bit of a haven, especially for many of the immigrants in the community where I grew up. Even though I’m not actively involved with that religion anymore it feels like family. You call everybody brother and sister.\u003c/p>\n\u003cp>\u003cstrong>You’ve worked very hard in the past to get Latino audiences into the theater. What are you doing at the Magic for \u003cem>This Golden State \u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>I consider myself an artist who really came to art because I wanted to change the world.\u003c/p>\n\u003cp>One of my other homes is at the \u003ca href=\"http://victorygardens.org/\" target=\"_blank\" rel=\"noopener\">Victory Gardens Theater\u003c/a> in Chicago. I did a project there where at the first preview there was not a single person of color. But Chicago is an incredibly diverse city. So we started a campaign. Every night I said, if you could bring one young person to the theater or you can donate 10 dollars, we will give that ticket to a student. Immediately the first night I think we made $3500 dollars. And we started getting busloads of kids.\u003c/p>\n\u003cp>I think it’s super important to have that next generation come see a play like this. Not just my play, but also to come to the theater to wrestle with the big ideas of our society, to sit in a communal space, and to learn the ritual of theater. In some way we go to the theater to learn to be better people.\u003c/p>\n\u003cp>Right now at the Magic Theatre we’re making a concentrated effort to get people from Latino arts organizations in town and give them free tickets. If someone wants to come, they won’t be turned away for want of a ticket.\u003c/p>\n\u003cp>\u003cstrong>Do you plan to put flyers at pentecostal churches around the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>The play is very authentic. The costuming alone is exactly the way pentecostals look in the Central Valley.\u003c/p>\n\u003cp>\u003cstrong>What should I wear if I want to look like a member of the pentecostal church?\u003c/strong>\u003c/p>\n\u003cp>Very working class. I would think something [made by the work clothes company] \u003ca href=\"http://www.dickies.com/\" target=\"_blank\" rel=\"noopener\">Dickies\u003c/a>, right? Because you’re talking about people working the fields or people who work at one of the two state prisons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>This Golden State \u003c/strong>opens Wednesday, June 10 at the \u003ca href=\"http://magictheatre.org/season/this-golden-state\" target=\"_blank\" rel=\"noopener\">Magic Theatre\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Disneyland is toying with the idea of surge pricing, a payment system in which prices move up or down according to demand. For example, when patrons visit the park on busier days, like in summer or over Christmas, they would have to pay more for their ticket.\u003c/p>\n\u003cp>\"I support it,\" said Darcy Forsell, a San Mateo urban planner and Disneyland mega-fan. \"It equates supply and demand.\"\u003c/p>\n\u003cp>Forsell takes her two daughters at least five times a year. But there are moments for her when the happiest place on earth turns into one of the most miserable.\u003c/p>\n\u003cp>“When it gets super crowded, I just want to leave,\" she says. “The lines just get to be so long.”\u003c/p>\n\u003cp>Forsell says she’d be willing to pay more if it meant there were fewer people she’d have to compete with to get onto Space Mountain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"If pricing it a little bit higher means the demand drops, I think that's appropriate,\" she says.\u003c/p>\n\u003cp>That's exactly the idea behind a congestion pricing system Disneyland is considering now. The company sent a survey to parkgoers, and says it will review responses before making a final decision on whether to implement a new pricing plan.\u003c/p>\n\u003cp>Mark Dvorchak, managing partner at Pro Forma Advisors, a theme park economics consultancy, says the concept of surge pricing is relatively new to amusement parks, but is ubiquitous in other industries.\u003c/p>\n\u003cp>\"It's like getting a discount at the movie theater when you go to a matinee,\" he says. \"Or a plane flight. Friday night the ticket’s more expensive and on a Tuesday afternoon, it’s not.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/208272089\" params=\"auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true\" width=\"100%\" height=\"200\" iframe=\"true\" /]\u003c/p>\n\u003cp>So people who’d go to Disneyland on weekdays in February or September would pay less, about $99. While people who go on holidays or during the summer would pay up to $115.\u003c/p>\n\u003cp>\"It's not worth it,\" says Becky Walley. She's lived in Pasadena all her life and takes her kids to Disneyland a few times a year. She says you could hardly pay her to go in the summer.\u003c/p>\n\u003cp>\"It's just too hot,\" she says. “It is literally so packed you can hardly move.\"\u003c/p>\n\u003cp>But Christmas? That brings back precious childhood memories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I loved all the decorations. We used to go there over Christmas and just stand there on Main Street when it started to snow. And that was foreign to us in Southern California, so it was so cool to watch that,\" she remembers. \"I think I probably would pay extra for December.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Disneyland is toying with the idea of surge pricing, a payment system in which prices move up or down according to demand. For example, when patrons visit the park on busier days, like in summer or over Christmas, they would have to pay more for their ticket.\u003c/p>\n\u003cp>\"I support it,\" said Darcy Forsell, a San Mateo urban planner and Disneyland mega-fan. \"It equates supply and demand.\"\u003c/p>\n\u003cp>Forsell takes her two daughters at least five times a year. But there are moments for her when the happiest place on earth turns into one of the most miserable.\u003c/p>\n\u003cp>“When it gets super crowded, I just want to leave,\" she says. “The lines just get to be so long.”\u003c/p>\n\u003cp>Forsell says she’d be willing to pay more if it meant there were fewer people she’d have to compete with to get onto Space Mountain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"If pricing it a little bit higher means the demand drops, I think that's appropriate,\" she says.\u003c/p>\n\u003cp>That's exactly the idea behind a congestion pricing system Disneyland is considering now. The company sent a survey to parkgoers, and says it will review responses before making a final decision on whether to implement a new pricing plan.\u003c/p>\n\u003cp>Mark Dvorchak, managing partner at Pro Forma Advisors, a theme park economics consultancy, says the concept of surge pricing is relatively new to amusement parks, but is ubiquitous in other industries.\u003c/p>\n\u003cp>\"It's like getting a discount at the movie theater when you go to a matinee,\" he says. \"Or a plane flight. Friday night the ticket’s more expensive and on a Tuesday afternoon, it’s not.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='200'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/208272089&visual=true&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true'\n title='https://api.soundcloud.com/tracks/208272089'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So people who’d go to Disneyland on weekdays in February or September would pay less, about $99. While people who go on holidays or during the summer would pay up to $115.\u003c/p>\n\u003cp>\"It's not worth it,\" says Becky Walley. She's lived in Pasadena all her life and takes her kids to Disneyland a few times a year. She says you could hardly pay her to go in the summer.\u003c/p>\n\u003cp>\"It's just too hot,\" she says. “It is literally so packed you can hardly move.\"\u003c/p>\n\u003cp>But Christmas? That brings back precious childhood memories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I loved all the decorations. We used to go there over Christmas and just stand there on Main Street when it started to snow. And that was foreign to us in Southern California, so it was so cool to watch that,\" she remembers. \"I think I probably would pay extra for December.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Terry Walker gets a thrill out of seeing model trains. Whenever he gets a chance, he heads to Point Richmond to visit the\u003ca href=\"http://www.gsmrm.org/index.shtml\"> Golden State Model Railroad Museum\u003c/a> to relive a childhood pastime.\u003c/p>\n\u003cp>“I got into model trains about five years ago,” Walker says. “You know, an old man looking for something to do. My wife goes to knitting guild once a month on Sundays, and it gives me an opportunity to sneak over here and have a look.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/207900272\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>The Golden State Model Railroad Museum houses three train layouts, covering 10,000 square feet.\u003c/p>\n\u003cp>“This is a big warehouse and it’s full of three different scales of railroads,” Walker explains. “They want them to look like a real railroad. That’s why if you see some of these models, they’ve got graffiti all over them, and grease and vinegar.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The museum features steam locomotives, along with diesel freight and passenger trains -- built and operated by members of the East Bay Model Engineers Society.\u003c/p>\n\u003cp>“Trains going 'round and 'round fascinate me,” Walker says. “I feel a kinship towards people who mess around with trains, and I enjoy looking at the trains.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I had a happy childhood, and there is nothing wrong with staying in touch with your childhood as you get older,\" Walker continues. \"I spent hours and hours on the floor playing with my toys, and it gives me a little bit of feeling in my stomach of pleasure. That’s why I do it.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The museum features steam locomotives, along with diesel freight and passenger trains -- built and operated by members of the East Bay Model Engineers Society.\u003c/p>\n\u003cp>“Trains going 'round and 'round fascinate me,” Walker says. “I feel a kinship towards people who mess around with trains, and I enjoy looking at the trains.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I had a happy childhood, and there is nothing wrong with staying in touch with your childhood as you get older,\" Walker continues. \"I spent hours and hours on the floor playing with my toys, and it gives me a little bit of feeling in my stomach of pleasure. That’s why I do it.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Oakland visual arts nonprofit Pro Arts announced Wednesday Executive Director Margo Dunlap is stepping down after eleven years at the organization. This news comes just two weeks after Executive Director Lex Leifheit announced her departure from San Francisco’s SOMArts and two months after di Rosa Executive Director Kathryn Reasoner announced the end of her ten-year tenure at the Napa institution.\u003c/p>\n\u003cp>In an email announcement, the Pro Arts Board of Directors thanked Dunlap “for her tenacious work serving the arts community.” According to the email, Pro Arts nearly doubled its annual budget, expanded its educational youth arts programs in the Oakland Unified School District and initiated the \u003cem>2 x 2 Solos\u003c/em> exhibition series, a coveted showcase for emerging Bay Area artists and curators, during Dunlap’s tenure.\u003c/p>\n\u003cp>Despite these accomplishments, Dunlap’s departure is sudden — her name is already absent from the Pro Arts website and her LinkedIn profile now identifies her as an “Independent Management Contractor.” Board member Helene Fried declined to comment on why Dunlap stepped down, citing the former executive director’s privacy in what Fried termed a “personnel matter.”\u003c/p>\n\u003cp>The details of these three recent departures are very different. But together they point to gaps in nonprofit leadership at a time when many Bay Area arts organizations are struggling to remain afloat.\u003c/p>\n\u003cp>Leifheit, who joined SOMArts as executive director in 2008, leaves her position for a newly-created role in the Mayor’s Office Of Economic and Workforce Development. Reasoner departs to “pursue independent projects,” according to a Feb. 18 press release from di Rosa. Both Leifheit and Reasoner remain in their positions through the end of May. SOMArts and di Rosa have not yet announced their searches for new executive directors.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile at Pro Arts, Nancy Gonchar, board member and former Deputy Director of the San Francisco Arts Commission, will serve as Interim Executive Director while the board begins a search for Dunlap’s replacement.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Oakland visual arts nonprofit Pro Arts announced Wednesday Executive Director Margo Dunlap is stepping down after eleven years at the organization. This news comes just two weeks after Executive Director Lex Leifheit announced her departure from San Francisco’s SOMArts and two months after di Rosa Executive Director Kathryn Reasoner announced the end of her ten-year tenure at the Napa institution.\u003c/p>\n\u003cp>In an email announcement, the Pro Arts Board of Directors thanked Dunlap “for her tenacious work serving the arts community.” According to the email, Pro Arts nearly doubled its annual budget, expanded its educational youth arts programs in the Oakland Unified School District and initiated the \u003cem>2 x 2 Solos\u003c/em> exhibition series, a coveted showcase for emerging Bay Area artists and curators, during Dunlap’s tenure.\u003c/p>\n\u003cp>Despite these accomplishments, Dunlap’s departure is sudden — her name is already absent from the Pro Arts website and her LinkedIn profile now identifies her as an “Independent Management Contractor.” Board member Helene Fried declined to comment on why Dunlap stepped down, citing the former executive director’s privacy in what Fried termed a “personnel matter.”\u003c/p>\n\u003cp>The details of these three recent departures are very different. But together they point to gaps in nonprofit leadership at a time when many Bay Area arts organizations are struggling to remain afloat.\u003c/p>\n\u003cp>Leifheit, who joined SOMArts as executive director in 2008, leaves her position for a newly-created role in the Mayor’s Office Of Economic and Workforce Development. Reasoner departs to “pursue independent projects,” according to a Feb. 18 press release from di Rosa. Both Leifheit and Reasoner remain in their positions through the end of May. SOMArts and di Rosa have not yet announced their searches for new executive directors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Filipino-Americans Spin Pop Music Into International Fame",
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"content": "\u003cp>If you were a teenager in the '80s, certain pop music might remind you of being in a nightclub — disco hits and remixes by bands like Menage and Boys Town Gang.\u003c/p>\n\u003cp>For Filipino-American communities putting down roots in California, pop hits from bands like these became a kind of soundtrack. They were remixed and played at weddings, birthdays, anniversaries, debuts or coming-of-age parties. The demand for music at all these events gave rise to a phenomenon, the Filipino-American DJ.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/206784445\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>A new book called \"\u003ca href=\"http://legionsofboom.com/\">Legions of Boom\u003c/a>\" describes the cultural importance of the Filipino-American DJ scene that formed in the Bay Area during the '80s, and how it eventually led to the emergence of some internationally famous DJs. Today, young Filipino-Americans still look up to those DJs and aspire to spin records.\u003c/p>\n\u003cp>Orlando Madrid is part of the first generation of Filipino-American DJs in the Bay Area. At his garage in Daly City, south of San Francisco, he's hanging out with a bunch of DJs in their 20s. There is music equipment all around and stacks of records Madrid has digitized. He is playing us a classic from the '80s,\u003ca href=\"https://www.youtube.com/watch?v=GWHZxXuJFzw\"> \"Can't Take My Eyes Off Of You\" by Boys Town Gang.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10535153\" class=\"wp-caption alignleft\" style=\"max-width: 289px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut.jpg\">\u003cimg class=\"wp-image-10535153\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-800x1067.jpg\" alt=\"Orlando Madrid with an old mixer he used to deejay with back in the '80s.\" width=\"289\" height=\"386\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-960x1280.jpg 960w\" sizes=\"(max-width: 289px) 100vw, 289px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Orlando Madrid with an old mixer he used to deejay with back in the '80s. \u003ccite>(Sam Harnett/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s cha-cha, Madrid explains. Yes, cha-cha is a kind of ballroom dance, originally from Cuba. But electronic-disco versions from the '80s were big hits in the Filipino-American community. Madrid puts on another tune from his playlist. It’s a remix of the song \"\u003ca href=\"https://www.youtube.com/watch?v=VA4bKJUDn7o\">Memory\" \u003c/a>from the Broadway musical \"Cats.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kevin Brown is one of the young DJs crowded around Madrid. Brown says, “The DJ scene back in the day was legendary. People still talk about it.”\u003c/p>\n\u003cp>“The scene” back in Madrid's day was made up of mostly high schoolers, throwing parties in suburban garages, having competitions -- DJ battles. They formed groups, “Mobile DJ crews,” of four or five kids to do lighting, sound and music.\u003c/p>\n\u003caside class=\"pullquote alignright\">'The DJ scene back in the day was legendary. People still talk about it.'\u003ccite>DJ Kevin Brown\u003c/cite>\u003c/aside>\n\u003cp>Oliver Wang is a professor of sociology at California State University, Long Beach and author of \"\u003ca href=\"http://legionsofboom.com/\">Legions of Boom\u003c/a>.\" The book traces the development and cultural importance of these mobile DJ crews. Wang says, “If you were a Filipino teenager growing up in the Bay Area, you probably had some connection to that scene.”\u003c/p>\n\u003cp>Wang says some of the young DJs following in Madrid’s footsteps eventually broke out and got famous -- people like Qbert, Mix Master Mike, Apollo, Shortkut. But instead of just playing records, they started scratching them.\u003c/p>\n\u003cp>DJ Shortkut, aka Jonathan Cruz, says, “Oh yeah, definitely. I credit a lot of what I do now to the mobile scene.”\u003c/p>\n\u003cp>Cruz says that, like most Filipino-American DJs, he got his start at family gigs, where people demanded those '80s hits. He says, “It's funny man, it's early '80s aerobic music.”\u003c/p>\n\u003cp>Now, Cruz remixes a wide variety of music and has won regional and national DJ battles. He says Filipino-Americans like him used to stand out at competitions.\u003c/p>\n\u003cp>Cruz says, “I heard people underneath their breath say, ' Who are these Chinese guys out of nowhere from the West Coast coming out here to battle?' ”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'The joke is, there's a lot of fog here because everyone is cooking rice.' \u003ccite>DJ Orlando Madrid\u003c/cite>\u003c/aside>\n\u003cp>Since then, the Filipino-American population has grown, becoming the largest Asian-American minority in California. About half of the country’s entire 3.4 million Filipino-Americans live in the state. Daly City has the highest concentration of any U.S. city.\u003c/p>\n\u003cp>Orlando Madrid says you can see the evidence in the air. He says, “The joke is, there's a lot of fog here because everyone is cooking rice.”\u003c/p>\n\u003cp>Madrid says the DJ scene here was about more than playing pop music. It was a way to form an identity as the kids of immigrants. He never got famous, but he says the music kept him away from drugs and violence -- fallout from the Filipino-American gangs here in the '80s.\u003c/p>\n\u003cp>“The way I've recognized it,” Madrid says, “deejaying kept me out of a lot of trouble I could have gotten into.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Madrid says his family, like many in the community, supported his deejaying. They bought him equipment and drove him to parties. It makes sense -- they were getting down to the music as well.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you were a teenager in the '80s, certain pop music might remind you of being in a nightclub — disco hits and remixes by bands like Menage and Boys Town Gang.\u003c/p>\n\u003cp>For Filipino-American communities putting down roots in California, pop hits from bands like these became a kind of soundtrack. They were remixed and played at weddings, birthdays, anniversaries, debuts or coming-of-age parties. The demand for music at all these events gave rise to a phenomenon, the Filipino-American DJ.\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/206784445&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/206784445'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A new book called \"\u003ca href=\"http://legionsofboom.com/\">Legions of Boom\u003c/a>\" describes the cultural importance of the Filipino-American DJ scene that formed in the Bay Area during the '80s, and how it eventually led to the emergence of some internationally famous DJs. Today, young Filipino-Americans still look up to those DJs and aspire to spin records.\u003c/p>\n\u003cp>Orlando Madrid is part of the first generation of Filipino-American DJs in the Bay Area. At his garage in Daly City, south of San Francisco, he's hanging out with a bunch of DJs in their 20s. There is music equipment all around and stacks of records Madrid has digitized. He is playing us a classic from the '80s,\u003ca href=\"https://www.youtube.com/watch?v=GWHZxXuJFzw\"> \"Can't Take My Eyes Off Of You\" by Boys Town Gang.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10535153\" class=\"wp-caption alignleft\" style=\"max-width: 289px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut.jpg\">\u003cimg class=\"wp-image-10535153\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-800x1067.jpg\" alt=\"Orlando Madrid with an old mixer he used to deejay with back in the '80s.\" width=\"289\" height=\"386\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-960x1280.jpg 960w\" sizes=\"(max-width: 289px) 100vw, 289px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Orlando Madrid with an old mixer he used to deejay with back in the '80s. \u003ccite>(Sam Harnett/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s cha-cha, Madrid explains. Yes, cha-cha is a kind of ballroom dance, originally from Cuba. But electronic-disco versions from the '80s were big hits in the Filipino-American community. Madrid puts on another tune from his playlist. It’s a remix of the song \"\u003ca href=\"https://www.youtube.com/watch?v=VA4bKJUDn7o\">Memory\" \u003c/a>from the Broadway musical \"Cats.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kevin Brown is one of the young DJs crowded around Madrid. Brown says, “The DJ scene back in the day was legendary. People still talk about it.”\u003c/p>\n\u003cp>“The scene” back in Madrid's day was made up of mostly high schoolers, throwing parties in suburban garages, having competitions -- DJ battles. They formed groups, “Mobile DJ crews,” of four or five kids to do lighting, sound and music.\u003c/p>\n\u003caside class=\"pullquote alignright\">'The DJ scene back in the day was legendary. People still talk about it.'\u003ccite>DJ Kevin Brown\u003c/cite>\u003c/aside>\n\u003cp>Oliver Wang is a professor of sociology at California State University, Long Beach and author of \"\u003ca href=\"http://legionsofboom.com/\">Legions of Boom\u003c/a>.\" The book traces the development and cultural importance of these mobile DJ crews. Wang says, “If you were a Filipino teenager growing up in the Bay Area, you probably had some connection to that scene.”\u003c/p>\n\u003cp>Wang says some of the young DJs following in Madrid’s footsteps eventually broke out and got famous -- people like Qbert, Mix Master Mike, Apollo, Shortkut. But instead of just playing records, they started scratching them.\u003c/p>\n\u003cp>DJ Shortkut, aka Jonathan Cruz, says, “Oh yeah, definitely. I credit a lot of what I do now to the mobile scene.”\u003c/p>\n\u003cp>Cruz says that, like most Filipino-American DJs, he got his start at family gigs, where people demanded those '80s hits. He says, “It's funny man, it's early '80s aerobic music.”\u003c/p>\n\u003cp>Now, Cruz remixes a wide variety of music and has won regional and national DJ battles. He says Filipino-Americans like him used to stand out at competitions.\u003c/p>\n\u003cp>Cruz says, “I heard people underneath their breath say, ' Who are these Chinese guys out of nowhere from the West Coast coming out here to battle?' ”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'The joke is, there's a lot of fog here because everyone is cooking rice.' \u003ccite>DJ Orlando Madrid\u003c/cite>\u003c/aside>\n\u003cp>Since then, the Filipino-American population has grown, becoming the largest Asian-American minority in California. About half of the country’s entire 3.4 million Filipino-Americans live in the state. Daly City has the highest concentration of any U.S. city.\u003c/p>\n\u003cp>Orlando Madrid says you can see the evidence in the air. He says, “The joke is, there's a lot of fog here because everyone is cooking rice.”\u003c/p>\n\u003cp>Madrid says the DJ scene here was about more than playing pop music. It was a way to form an identity as the kids of immigrants. He never got famous, but he says the music kept him away from drugs and violence -- fallout from the Filipino-American gangs here in the '80s.\u003c/p>\n\u003cp>“The way I've recognized it,” Madrid says, “deejaying kept me out of a lot of trouble I could have gotten into.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Madrid says his family, like many in the community, supported his deejaying. They bought him equipment and drove him to parties. It makes sense -- they were getting down to the music as well.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Arts Funding Boosted to $6.1M in Governor's Revised Budget",
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"content": "\u003cp>The \u003ca href=\"http://www.cac.ca.gov/\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a> may be getting a modest bonus this fall, as well as some fiscal security.\u003c/p>\n\u003cp>Governor Jerry Brown’s \u003ca href=\"http://www.ebudget.ca.gov/\" target=\"_blank\" rel=\"noopener\">revised budget\u003c/a>, released last week, provides the council with $6.1 million, a significant $5 million increase over what the governor had recommended in his January budget proposal.\u003c/p>\n\u003cp>“It’s a modestly wonderful success,” said \u003ca href=\"http://asmdc.org/members/a46/\" target=\"_blank\" rel=\"noopener\">Assemblyman Adrin Nazarian \u003c/a>(D-Sherman Oaks), who for years has been pushing for a bigger state investment in the arts.\u003c/p>\n\u003cp>“It’s a wonderful success though,” he said, “because the general fund investment to the arts by our state has been so minimal.”\u003c/p>\n\u003cp>Nazarian had proposed even more for the arts council, but at least, he says, the governor’s budget would make the $5 million increase permanent. Late Wednesday a state Senate subcommittee voted to add $10 million in funding for the arts council, a figure almost certain to change as the budget goes to conference committee.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But any increase is welcome news for an agency that’s been starved for funds during the state budget crisis of recent years.\u003c/p>\n\u003cp>“This would be the first time a permanent increase has been seen in over a decade,” said Caitlin Fitzwater, Communications Director for the state arts council.\u003c/p>\n\u003cp>Fitzwater said the funds will allow the council to expand efforts designed to stimulate local economies, like \u003ca href=\"http://www.artscouncilsc.org/ebb-flow/\" target=\"_blank\" rel=\"noopener\">Ebb and Flow\u003c/a>, an arts project to bring visitors to a neglected section of the San Lorenzo River in the city of Santa Cruz.\u003c/p>\n\u003cp>“And this new budget allocation,” she said, “will allow us to grow these pilot programs that have already had successful results in our communities.”\u003c/p>\n\u003cfigure id=\"attachment_10681370\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Sherri-Young.jpg\" alt=\"Sherri Young, Executive Director for the African-American Shakespeare Company\" width=\"550\" height=\"410\" class=\"size-full wp-image-10681370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sherri-Young.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sherri-Young-400x298.jpg 400w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">Sherri Young, Executive Director for the African-American Shakespeare Company\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003cp>Additionally, the arts council may be able to increase grants for other groups active in their local communities, like the \u003ca href=\"http://www.african-americanshakes.org/\" target=\"_blank\" rel=\"noopener\">African American Shakespeare Company\u003c/a> in San Francisco.\u003c/p>\n\u003cp>“I’m excited,” said the company’s Executive Director, Sherri Young. “I mean it’s been too long. It’s been way too long.”\u003c/p>\n\u003cp>For this fiscal year, Young’s theater company received $12,000, which it uses to bring performances and theater classes to underserved kids.\u003c/p>\n\u003cp>Local arts advocates say they are pleased with the Governor’s proposal, as it makes sense in a state where\u003ca href=\"http://www.otis.edu/sites/default/files/2015_Otis_Report_on_the_Creative_Economy_CA.pdf\" target=\"_blank\" rel=\"noopener\"> one in ten people work in the creative economy\u003c/a>.\u003c/p>\n\u003cp>But they also said they’d be happier if California matched the average per-capita \u003ca href=\"http://www.nasaa-arts.org/Research/Funding/index.php\" target=\"_blank\" rel=\"noopener\">arts budgets of other states\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To reach that goal, California would have to allocate more than $42 million dollars a year to the arts.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.cac.ca.gov/\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a> may be getting a modest bonus this fall, as well as some fiscal security.\u003c/p>\n\u003cp>Governor Jerry Brown’s \u003ca href=\"http://www.ebudget.ca.gov/\" target=\"_blank\" rel=\"noopener\">revised budget\u003c/a>, released last week, provides the council with $6.1 million, a significant $5 million increase over what the governor had recommended in his January budget proposal.\u003c/p>\n\u003cp>“It’s a modestly wonderful success,” said \u003ca href=\"http://asmdc.org/members/a46/\" target=\"_blank\" rel=\"noopener\">Assemblyman Adrin Nazarian \u003c/a>(D-Sherman Oaks), who for years has been pushing for a bigger state investment in the arts.\u003c/p>\n\u003cp>“It’s a wonderful success though,” he said, “because the general fund investment to the arts by our state has been so minimal.”\u003c/p>\n\u003cp>Nazarian had proposed even more for the arts council, but at least, he says, the governor’s budget would make the $5 million increase permanent. Late Wednesday a state Senate subcommittee voted to add $10 million in funding for the arts council, a figure almost certain to change as the budget goes to conference committee.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But any increase is welcome news for an agency that’s been starved for funds during the state budget crisis of recent years.\u003c/p>\n\u003cp>“This would be the first time a permanent increase has been seen in over a decade,” said Caitlin Fitzwater, Communications Director for the state arts council.\u003c/p>\n\u003cp>Fitzwater said the funds will allow the council to expand efforts designed to stimulate local economies, like \u003ca href=\"http://www.artscouncilsc.org/ebb-flow/\" target=\"_blank\" rel=\"noopener\">Ebb and Flow\u003c/a>, an arts project to bring visitors to a neglected section of the San Lorenzo River in the city of Santa Cruz.\u003c/p>\n\u003cp>“And this new budget allocation,” she said, “will allow us to grow these pilot programs that have already had successful results in our communities.”\u003c/p>\n\u003cfigure id=\"attachment_10681370\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Sherri-Young.jpg\" alt=\"Sherri Young, Executive Director for the African-American Shakespeare Company\" width=\"550\" height=\"410\" class=\"size-full wp-image-10681370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sherri-Young.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sherri-Young-400x298.jpg 400w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">Sherri Young, Executive Director for the African-American Shakespeare Company\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003cp>Additionally, the arts council may be able to increase grants for other groups active in their local communities, like the \u003ca href=\"http://www.african-americanshakes.org/\" target=\"_blank\" rel=\"noopener\">African American Shakespeare Company\u003c/a> in San Francisco.\u003c/p>\n\u003cp>“I’m excited,” said the company’s Executive Director, Sherri Young. “I mean it’s been too long. It’s been way too long.”\u003c/p>\n\u003cp>For this fiscal year, Young’s theater company received $12,000, which it uses to bring performances and theater classes to underserved kids.\u003c/p>\n\u003cp>Local arts advocates say they are pleased with the Governor’s proposal, as it makes sense in a state where\u003ca href=\"http://www.otis.edu/sites/default/files/2015_Otis_Report_on_the_Creative_Economy_CA.pdf\" target=\"_blank\" rel=\"noopener\"> one in ten people work in the creative economy\u003c/a>.\u003c/p>\n\u003cp>But they also said they’d be happier if California matched the average per-capita \u003ca href=\"http://www.nasaa-arts.org/Research/Funding/index.php\" target=\"_blank\" rel=\"noopener\">arts budgets of other states\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To reach that goal, California would have to allocate more than $42 million dollars a year to the arts.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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},
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"id": "city-arts",
"title": "City Arts & Lectures",
"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",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"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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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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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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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"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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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"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",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"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",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"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/",
"meta": {
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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": {
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