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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One week after the assault, a new issue of \u003cem>Charlie Hebdo\u003c/em> became an international sensation, depicting the Prophet Muhammad shedding a tear and holding a sign reading: “Je Suis Charlie.” Above him, the headline announced: “Tout Est Pardonné” (All Is Forgiven).\u003c/p>\n\u003cp>Many people have urged him to keep working at the magazine, Luz told \u003cem>Liberation\u003c/em>, “but they forget that the worry is the inspiration.” Without it, he said, there can be no originality.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This week, the cartoonist is also releasing \u003ca href=\"http://www.futuropolis.fr/fiche_titre.php?id_article=790502\">Catharsis\u003c/a>, a “therapeutic book” that compiles his drawings and thoughts from the days and weeks after the attack. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Longtime+%27Charlie+Hebdo%27+Cartoonist+Announces+He%27s+Quitting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Why Don't Murals Get Covered By Graffiti in the Mission?",
"title": "Why Don't Murals Get Covered By Graffiti in the Mission?",
"headTitle": "Bay Curious | News Fix | KQED News",
"content": "\u003cp>\u003cem>As part of our series, \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">Bay Curious\u003c/a>, we’re answering questions from KQED listeners and readers. This question comes from Mission District resident Rebecca Busch, who wanted to know:\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>I think it’s interesting that murals don’t get covered in graffiti. Why do some murals stay up for a really long time, even in communities where there’s lots of graffiti on random walls and buildings? \u003c/strong>\u003c/p>\n\u003cp>San Francisco's Clarion Alley is considered by many to be the heart of the mural scene in the Bay Area. The street is lined with massive, vibrant murals that tackle subjects like gentrification, corporate greed and the environment.\u003c/p>\n\u003cp>\"Tags happen to some degree every week,\" says \u003ca href=\"http://www.meganwilson.com/index.php\" target=\"_blank\">Megan Wilson\u003c/a>, director of the \u003ca href=\"https://www.facebook.com/pages/Clarion-Alley-Mural-Project/127102311571\" target=\"_blank\">Clarion Alley Mural Project\u003c/a>, the group that curates the alleyway. \"It's generally younger artists who are just starting out and don't grasp the idea of respect.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/206235578\" 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>Though graffiti often marks up the perimeter of the murals, it's rare to find a tag cutting directly across the detailed center of the artwork, says Wilson.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At play is an unspoken set of rules that artists follow. To understand those rules you first need to know that there are three groups: graffiti writers, street artists and muralists.\u003c/p>\n\u003cp>[gallery type=\"circle\" ids=\"10530898,10530902,10530900\"]\u003c/p>\n\u003cp>Graffiti writers work illegally, and primarily paint letters and symbols. Their creations can range from a small signature on a mailbox to a large, multicolored word on the side of a building.\u003c/p>\n\u003cp>Street artists are also working illegally, but their work tends to look more like an illustration or graphic. Things like wheatpaste, stencils or stickers are classified as street art.\u003c/p>\n\u003cp>Muralists almost always do legal paintings. In San Francisco, they need permission from the property owner. They use paintbrushes or spray paint to create their large-scale works.\u003c/p>\n\u003cp>Each group follows different etiquette, and if you break that etiquette, there can be consequences.\u003c/p>\n\u003cp>\u003cstrong>The Case of the Honey Bear\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10530903\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Slash2.jpg\">\u003cimg class=\"size-thumbnail wp-image-10530903\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Slash2-400x533.jpg\" alt=\"After painting over tags, street artist fnnch found his stencils slashed. (Courtesy of fnnch)\" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">After painting over tags, street artist fnnch found his stencils slashed. (Courtesy of fnnch)\u003c/figcaption>\u003c/figure>\n\u003cp>In January, street artist\u003ca href=\"https://instagram.com/fnnch/\" target=\"_blank\"> fnnch\u003c/a> began creating stencils of honey bears within a four-block radius around the Mission District.\u003c/p>\n\u003cp>\"We all take this image for granted as being totally acceptable,\" says fnnch. \"But really it's a surreal idea that you would put honey into a container that's shaped like a bear.\"\u003c/p>\n\u003cp>On the first night he painted five honey bears, some of them directly on top of tags that graffiti writers had left on mailboxes. Within a week, someone had taken a blue spray-paint can and made a mark right through the center of the bears -- the ultimate sign of disrespect.\u003c/p>\n\u003cp>\"When I posted [photos of my work] on Instagram, people started to comment and say that I shouldn’t paint on top of tags for my own safety,\" says fnnch.\u003c/p>\n\u003cp>He had upset the graffiti hierarchy.\u003c/p>\n\u003cp>\u003cstrong>Playing By The Rules\u003c/strong>\u003c/p>\n\u003cp>Of the three groups, graffiti writers have the most structured hierarchy about what is OK and what is not OK to cover with new art.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>Know Your Graffiti Vocab\u003c/h2>\n\u003cp>[youtube http://www.youtube.com/watch?v=d2hgKsrOvkk&w=350&h=197]\u003c/p>\n\u003c/aside>\n\u003cp>\"Certain things can go over certain things, and writers understand that because it's pretty much basics in graffiti,\" says a San Francisco tagger who goes by the name Sinatra.\u003c/p>\n\u003cul>\n\u003cli class=\"p1\">\u003cstrong>Tag:\u003c/strong> At the bottom of the totem pole, tags are usually single-color signatures.\u003c/li>\n\u003cli class=\"p1\">\u003cstrong>Throw-up: \u003c/strong>A quickly drawn name in big bubble letters.\u003c/li>\n\u003cli class=\"p1\">\u003cstrong>Piece:\u003c/strong> Not as quick to execute as a throw-up. A piece will have cleaner lines and more detailed fill within the letters.\u003c/li>\n\u003cli class=\"p1\">\u003cstrong>Burner: \u003c/strong>The most respected type of work among graffiti writers. This art is a display of the best work a graffiti writer can do.\u003c/li>\n\u003c/ul>\n\u003cp>Generally, as long as what goes on top is bigger and more intricate, the community hums along.\u003c/p>\n\u003cp>But when someone upsets that hierarchy -- by putting a tag over a throw-up, or even a tag on top of another tag -- it's a sign of disrespect that could end in a fight, or ongoing efforts to destroy someone's work.\u003c/p>\n\u003cp>So what about fnnch's honey bears? Where do they fit into the hierarchy?\u003c/p>\n\u003caside class=\"alignleft\">\u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">\u003cimg style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2015/04/20/baycurious.png\" alt=\"\">\u003c/a>\u003cbr>\nWhat do you wonder about the Bay Area, its culture or people that you want KQED to investigate? \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\n\u003cp>\"I thought taggers would be fine with me painting over their tags because I thought what I was doing would be considered a piece,\" fnnch says. \"But what I came to learn is graffiti people don't view the street art people as being anywhere on the hierarchy.\"\u003c/p>\n\u003cp>I asked Sinatra what he thinks when a street artist puts his or her work on top of his tag.\u003c/p>\n\u003cp>\"That's beef. That's bad,\" Sinatra says. \"Every time I see that stencil, I'm going to put my name over it.\"\u003c/p>\n\u003cp>Alhough street artists and graffiti writers use similar materials and are competing for the same space, they aren't playing the same game. The rules are different.\u003c/p>\n\u003cfigure id=\"attachment_10530908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15208_IMG_5843-qut.jpg\">\u003cimg class=\"size-medium wp-image-10530908\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-800x533.jpg\" alt=\"A graffiti writer tags on top of a piece of street art. (Jeremy Raff/KQED)\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A graffiti writer tags on top of a piece of street art. (Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Above Them All? Murals\u003c/strong>\u003c/p>\n\u003cp>So if each group is abiding by its own etiquette, why are murals often left alone by graffiti writers and street artists?\u003c/p>\n\u003cp>To put it simply, muralists are the most respected within the larger community. Many of them came out of graffiti writing or street art and now command the respect of their peers.\u003c/p>\n\u003cp>Still, murals are certainly not immune to being painted on. Work done by outside artists, or those who have done a lot of corporate work, are often targeted by taggers.\u003c/p>\n\u003cp>And because Clarion Alley attracts so many visitors, it's become a high-profile location for taggers to make their mark.\u003c/p>\n\u003cp>Sinatra points to the background of one mural, where taggers have squeezed their tags into the negative space between the detailed brushwork.\u003c/p>\n\u003cp>\"It’s not exactly on the mural. But it’s just off to the side. It’s just like free space. They can paint over that easily,\" he says.\u003c/p>\n\u003cp>[contextly_sidebar id=\"IFXgmMgyVfNgDNvTR4VCHplNpLRdAeK7\"]\u003c/p>\n\u003cp>To Sinatra, a tag on the artwork itself would be an affront, but a tag on the solid-colored background or side of the mural? Fair game.\u003c/p>\n\u003cp>\"If I go over a mural, it's not because I don't like you. It's not because I'm trying to disrespect you,\" Sinatra says. \"It's because I like that spot. I want my name on that spot. You just happen to be in the way.\"\u003c/p>\n\u003cp>Remember Megan Wilson, who leads the group that oversees the murals on Clarion Alley? She doesn't quite see it that way. When artists from \u003cem>any\u003c/em> of the three groups paint without permission, it's not cool to her.\u003c/p>\n\u003cp>\"It's like, 'Why are you doing this to other artists? You think you're badass? Go out and do this on a bank. Go do this on some really lame corporation,' \" she says.\u003c/p>\n\u003cp>To her, the etiquette is dead simple.\u003c/p>\n\u003cp>\"It's not a matter of, oh there's some sort of code we go by. The code is just respect,\" she says. \"You respect the artist. You respect the work. You respect one another.\"\u003c/p>\n\u003cp>To keep the alley looking its best, Wilson and other volunteers are out there every week repairing the murals.\u003c/p>\n\u003cp>That may be why so many visitors -- like Rebecca, who asked this week's Bay Curious question -- can enjoy the art unobscured.\u003c/p>\n\u003cp>\u003cem>Got a question you want KQED’s Bay Curious team to investigate? \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">Ask!\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jeremy Raff contributed to this report. Thanks, Jeremy!\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>As part of our series, \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">Bay Curious\u003c/a>, we’re answering questions from KQED listeners and readers. This question comes from Mission District resident Rebecca Busch, who wanted to know:\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>I think it’s interesting that murals don’t get covered in graffiti. Why do some murals stay up for a really long time, even in communities where there’s lots of graffiti on random walls and buildings? \u003c/strong>\u003c/p>\n\u003cp>San Francisco's Clarion Alley is considered by many to be the heart of the mural scene in the Bay Area. The street is lined with massive, vibrant murals that tackle subjects like gentrification, corporate greed and the environment.\u003c/p>\n\u003cp>\"Tags happen to some degree every week,\" says \u003ca href=\"http://www.meganwilson.com/index.php\" target=\"_blank\">Megan Wilson\u003c/a>, director of the \u003ca href=\"https://www.facebook.com/pages/Clarion-Alley-Mural-Project/127102311571\" target=\"_blank\">Clarion Alley Mural Project\u003c/a>, the group that curates the alleyway. \"It's generally younger artists who are just starting out and don't grasp the idea of respect.\"\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/206235578&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/206235578'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Though graffiti often marks up the perimeter of the murals, it's rare to find a tag cutting directly across the detailed center of the artwork, says Wilson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At play is an unspoken set of rules that artists follow. To understand those rules you first need to know that there are three groups: graffiti writers, street artists and muralists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Graffiti writers work illegally, and primarily paint letters and symbols. Their creations can range from a small signature on a mailbox to a large, multicolored word on the side of a building.\u003c/p>\n\u003cp>Street artists are also working illegally, but their work tends to look more like an illustration or graphic. Things like wheatpaste, stencils or stickers are classified as street art.\u003c/p>\n\u003cp>Muralists almost always do legal paintings. In San Francisco, they need permission from the property owner. They use paintbrushes or spray paint to create their large-scale works.\u003c/p>\n\u003cp>Each group follows different etiquette, and if you break that etiquette, there can be consequences.\u003c/p>\n\u003cp>\u003cstrong>The Case of the Honey Bear\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10530903\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Slash2.jpg\">\u003cimg class=\"size-thumbnail wp-image-10530903\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Slash2-400x533.jpg\" alt=\"After painting over tags, street artist fnnch found his stencils slashed. (Courtesy of fnnch)\" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">After painting over tags, street artist fnnch found his stencils slashed. (Courtesy of fnnch)\u003c/figcaption>\u003c/figure>\n\u003cp>In January, street artist\u003ca href=\"https://instagram.com/fnnch/\" target=\"_blank\"> fnnch\u003c/a> began creating stencils of honey bears within a four-block radius around the Mission District.\u003c/p>\n\u003cp>\"We all take this image for granted as being totally acceptable,\" says fnnch. \"But really it's a surreal idea that you would put honey into a container that's shaped like a bear.\"\u003c/p>\n\u003cp>On the first night he painted five honey bears, some of them directly on top of tags that graffiti writers had left on mailboxes. Within a week, someone had taken a blue spray-paint can and made a mark right through the center of the bears -- the ultimate sign of disrespect.\u003c/p>\n\u003cp>\"When I posted [photos of my work] on Instagram, people started to comment and say that I shouldn’t paint on top of tags for my own safety,\" says fnnch.\u003c/p>\n\u003cp>He had upset the graffiti hierarchy.\u003c/p>\n\u003cp>\u003cstrong>Playing By The Rules\u003c/strong>\u003c/p>\n\u003cp>Of the three groups, graffiti writers have the most structured hierarchy about what is OK and what is not OK to cover with new art.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>Know Your Graffiti Vocab\u003c/h2>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d2hgKsrOvkk'\n title='//www.youtube.com/embed/d2hgKsrOvkk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003c/aside>\n\u003cp>\"Certain things can go over certain things, and writers understand that because it's pretty much basics in graffiti,\" says a San Francisco tagger who goes by the name Sinatra.\u003c/p>\n\u003cul>\n\u003cli class=\"p1\">\u003cstrong>Tag:\u003c/strong> At the bottom of the totem pole, tags are usually single-color signatures.\u003c/li>\n\u003cli class=\"p1\">\u003cstrong>Throw-up: \u003c/strong>A quickly drawn name in big bubble letters.\u003c/li>\n\u003cli class=\"p1\">\u003cstrong>Piece:\u003c/strong> Not as quick to execute as a throw-up. A piece will have cleaner lines and more detailed fill within the letters.\u003c/li>\n\u003cli class=\"p1\">\u003cstrong>Burner: \u003c/strong>The most respected type of work among graffiti writers. This art is a display of the best work a graffiti writer can do.\u003c/li>\n\u003c/ul>\n\u003cp>Generally, as long as what goes on top is bigger and more intricate, the community hums along.\u003c/p>\n\u003cp>But when someone upsets that hierarchy -- by putting a tag over a throw-up, or even a tag on top of another tag -- it's a sign of disrespect that could end in a fight, or ongoing efforts to destroy someone's work.\u003c/p>\n\u003cp>So what about fnnch's honey bears? Where do they fit into the hierarchy?\u003c/p>\n\u003caside class=\"alignleft\">\u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">\u003cimg style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2015/04/20/baycurious.png\" alt=\"\">\u003c/a>\u003cbr>\nWhat do you wonder about the Bay Area, its culture or people that you want KQED to investigate? \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\n\u003cp>\"I thought taggers would be fine with me painting over their tags because I thought what I was doing would be considered a piece,\" fnnch says. \"But what I came to learn is graffiti people don't view the street art people as being anywhere on the hierarchy.\"\u003c/p>\n\u003cp>I asked Sinatra what he thinks when a street artist puts his or her work on top of his tag.\u003c/p>\n\u003cp>\"That's beef. That's bad,\" Sinatra says. \"Every time I see that stencil, I'm going to put my name over it.\"\u003c/p>\n\u003cp>Alhough street artists and graffiti writers use similar materials and are competing for the same space, they aren't playing the same game. The rules are different.\u003c/p>\n\u003cfigure id=\"attachment_10530908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15208_IMG_5843-qut.jpg\">\u003cimg class=\"size-medium wp-image-10530908\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-800x533.jpg\" alt=\"A graffiti writer tags on top of a piece of street art. (Jeremy Raff/KQED)\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A graffiti writer tags on top of a piece of street art. (Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Above Them All? Murals\u003c/strong>\u003c/p>\n\u003cp>So if each group is abiding by its own etiquette, why are murals often left alone by graffiti writers and street artists?\u003c/p>\n\u003cp>To put it simply, muralists are the most respected within the larger community. Many of them came out of graffiti writing or street art and now command the respect of their peers.\u003c/p>\n\u003cp>Still, murals are certainly not immune to being painted on. Work done by outside artists, or those who have done a lot of corporate work, are often targeted by taggers.\u003c/p>\n\u003cp>And because Clarion Alley attracts so many visitors, it's become a high-profile location for taggers to make their mark.\u003c/p>\n\u003cp>Sinatra points to the background of one mural, where taggers have squeezed their tags into the negative space between the detailed brushwork.\u003c/p>\n\u003cp>\"It’s not exactly on the mural. But it’s just off to the side. It’s just like free space. They can paint over that easily,\" he says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>To Sinatra, a tag on the artwork itself would be an affront, but a tag on the solid-colored background or side of the mural? Fair game.\u003c/p>\n\u003cp>\"If I go over a mural, it's not because I don't like you. It's not because I'm trying to disrespect you,\" Sinatra says. \"It's because I like that spot. I want my name on that spot. You just happen to be in the way.\"\u003c/p>\n\u003cp>Remember Megan Wilson, who leads the group that oversees the murals on Clarion Alley? She doesn't quite see it that way. When artists from \u003cem>any\u003c/em> of the three groups paint without permission, it's not cool to her.\u003c/p>\n\u003cp>\"It's like, 'Why are you doing this to other artists? You think you're badass? Go out and do this on a bank. Go do this on some really lame corporation,' \" she says.\u003c/p>\n\u003cp>To her, the etiquette is dead simple.\u003c/p>\n\u003cp>\"It's not a matter of, oh there's some sort of code we go by. The code is just respect,\" she says. \"You respect the artist. You respect the work. You respect one another.\"\u003c/p>\n\u003cp>To keep the alley looking its best, Wilson and other volunteers are out there every week repairing the murals.\u003c/p>\n\u003cp>That may be why so many visitors -- like Rebecca, who asked this week's Bay Curious question -- can enjoy the art unobscured.\u003c/p>\n\u003cp>\u003cem>Got a question you want KQED’s Bay Curious team to investigate? \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">Ask!\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Jeremy Raff contributed to this report. Thanks, Jeremy!\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Between Homelands: How a Canoe Connects a Tongva Woman to Her Tribe",
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"headTitle": "Between Homelands | The California Report | KQED News",
"content": "\u003cp>\u003cem>“Between Homelands” is a series produced in partnership with students from USC Annenberg’s School for Communication and Journalism. They’re bringing us stories of people living in California who have come from afar, or who were born in the U.S. but feel like cultural foreigners.\u003c/em>\u003c/p>\n\u003cp>When Cindi Alvitre walks across the parking lot at California State University, Long Beach, she sees the asphalt, the buildings and the rows of cars. But she also sees something else. In her mind’s eye, she sees \u003ca href=\"https://www.youtube.com/watch?v=d6mXuBnmTms\" target=\"_blank\">Puvungna\u003c/a>, the sprawling tribal territory overlooking the Pacific Ocean that was once home to \u003ca href=\"http://www.tongvapeople.org/\" target=\"_blank\">Tongva \u003c/a>people.\u003c/p>\n\u003cp>\"When I walk around, I live in two worlds,” says Alvitre. “The other one is a constant conversation with nature and with the ancestors.\"\u003c/p>\n\u003cp>Alvitre’s ancestors were the dominant culture here until the Spanish conquest. In fact, the entire Los Angeles basin and beyond -- from the hills of downtown L.A. to the beaches of Catalina Island -- is the ancestral homeland of the Tongva.\u003c/p>\n\u003cp>Today, Alvitre is one of fewer than 2,000 remaining Tongvan descendants. The tribe is still seeking federal recognition. And in a region that’s been home for millennia, some contemporary Tongva struggle to find their place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/205685563\" 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>For those who are struggling, Alvitre, 60, is a pillar of cultural strength, helping them to connect with their indigenous roots. She talks about how the Tongva were ocean people, living in huts by the beach, wearing grass skirts and shells, and diving for abalone. And when she needs to reconnect, she goes to the ocean.\u003c/p>\n\u003cp>“Nature is a comfort zone,” she says. “To sit on a rock, out at the end of the jetty, to go in the water, to watch the seals and the sea lions … [it’s healing] just to be back in the natural world.\"\u003c/p>\n\u003cp>Alvitre traces her sense of connection back to her father. He filled her childhood with stories of the past. On car rides through Southern California, he would point out Tongva burial sites and former villages, or spots where her Indian grandfather once foraged for medicinal plants.\u003c/p>\n\u003cp>“I was always told, ‘This is your home. Your ancestors are from this home, and this is where they are buried,’ ” she says, remembering hikes with her dad. “When he walked through there, he would tell us, ‘Shh, don’t talk loud. This is a sacred place.’ ”\u003c/p>\n\u003cfigure id=\"attachment_10527442\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10527442\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/TiatSociety-800x523.jpg\" alt=\"A display at the Ti'at Society Artist Collective.\" width=\"800\" height=\"523\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-800x523.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-400x261.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-1440x941.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-1180x771.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-960x628.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A display at the Ti'at Society Artist Collective. \u003ccite>(Stephanie Case/USC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s how the beach sand and the grassy hills -- and even the land under L.A. high-rises and strip malls -- became embedded with ancestral meaning.\u003c/p>\n\u003cp>Alvitre took this knowledge into her life’s work. She is a professor of \u003ca href=\"http://www.cla.csulb.edu/departments/americanindianstudies/\">American Indian Studies\u003c/a> at Cal State University, Long Beach. And she was the first female chair of the Gabrieleno/Tongva Tribal Council.\u003c/p>\n\u003cp>One night, nearly 30 years ago, her ancestors came to her in a dream.\u003c/p>\n\u003cp>In the dream, a massive Tongvan warrior emerged from the mounds of the Saddleback Mountains. Beneath the mountains, a lake formed. Native Americans paddled across the lake in wooden canoes while speaking to each other in the Tongva language.\u003c/p>\n\u003cp>As soon as the rowers found their cadence, paddling in synchronicity, the warrior’s eyes opened, the mountains parted and the canoes set forth onto the ocean, toward Catalina Island.\u003c/p>\n\u003cp>“It was this amazing vision of mountains that I grew up around in Orange County, but here [are] these boats I’ve never seen,” says Alvitre.\u003c/p>\n\u003cp>Two weeks later, she got a call from Jim Noyes of the California Indigenous Maritime Association. He asked if she’d be interested in reviving her tribe’s naval culture by building a \u003cem>ti’at\u003c/em> -- a traditional Tongvan canoe.\u003c/p>\n\u003cp>“He described the boat in my dreams,” Alvitre says. “I was really blown away.”\u003c/p>\n\u003cp>Noyes and Alvitre joined forces then to start the \u003ca href=\"http://www.cla.csulb.edu/departments/americanindianstudies/marcus-lopez-tiat-restoration-orientation/\" target=\"_blank\">Ti’at Society\u003c/a>. The group built Moomat Ahiko (Tongvan for “Breath of the Ocean”) -– the first and only modern \u003cem>ti’at\u003c/em> in Southern California.\u003c/p>\n\u003cfigure id=\"attachment_10526216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Case-5-of-6.jpg\">\u003cimg class=\"wp-image-10526216 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Case-5-of-6-800x600.jpg\" alt=\"The ti'at Moomat Ahiko, gleaming after a new coat of paint, was featured at the pow wow.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The ti'at Moomat Ahiko, gleaming after a new coat of paint, was featured at the pow wow. \u003ccite>(Stephanie Case/USC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This spring, after more than two decades of use, Moomat Ahiko underwent repairs. At Cal State, Long Beach -- the former site of the village of Puvungna -- Ti’at Society members met every Sunday to restore the boat. They fixed leaks, gave it a chestnut-colored stain and painted a red ochre around its glittering abalone accents.\u003c/p>\n\u003cp>Alvitre and her group displayed the new and improved \u003cem>ti’at\u003c/em> at the \u003ca href=\"http://web.csulb.edu/divisions/students/sld/american_indian_services/pow_wow/\">45\u003csup>th\u003c/sup> Annual Cal State Puvugna Pow Wow\u003c/a> in March. Moomat Ahiko was a focal point amid the singers, drum circles and throngs of dancers dressed in the regalia of many tribes.\u003c/p>\n\u003cp>The next destination for Moomat Ahiko is the ocean. Members of the Ti’at Society plan to return the boat to the water in a ceremony this summer.\u003c/p>\n\u003cp>The ceremony will allow more Tongva to connect with the ocean -- and with their heritage. For Alvitre, that connection is so key to her identity that Moomat Ahiko is tattooed on her arm. Through immersing herself in Tongvan maritime culture, she’s unlocked a passion that feels like home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is my life,” says Alvitre. “This is the language I feel comfortable speaking.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>“Between Homelands” is a series produced in partnership with students from USC Annenberg’s School for Communication and Journalism. They’re bringing us stories of people living in California who have come from afar, or who were born in the U.S. but feel like cultural foreigners.\u003c/em>\u003c/p>\n\u003cp>When Cindi Alvitre walks across the parking lot at California State University, Long Beach, she sees the asphalt, the buildings and the rows of cars. But she also sees something else. In her mind’s eye, she sees \u003ca href=\"https://www.youtube.com/watch?v=d6mXuBnmTms\" target=\"_blank\">Puvungna\u003c/a>, the sprawling tribal territory overlooking the Pacific Ocean that was once home to \u003ca href=\"http://www.tongvapeople.org/\" target=\"_blank\">Tongva \u003c/a>people.\u003c/p>\n\u003cp>\"When I walk around, I live in two worlds,” says Alvitre. “The other one is a constant conversation with nature and with the ancestors.\"\u003c/p>\n\u003cp>Alvitre’s ancestors were the dominant culture here until the Spanish conquest. In fact, the entire Los Angeles basin and beyond -- from the hills of downtown L.A. to the beaches of Catalina Island -- is the ancestral homeland of the Tongva.\u003c/p>\n\u003cp>Today, Alvitre is one of fewer than 2,000 remaining Tongvan descendants. The tribe is still seeking federal recognition. And in a region that’s been home for millennia, some contemporary Tongva struggle to find their place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/205685563&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/205685563'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>For those who are struggling, Alvitre, 60, is a pillar of cultural strength, helping them to connect with their indigenous roots. She talks about how the Tongva were ocean people, living in huts by the beach, wearing grass skirts and shells, and diving for abalone. And when she needs to reconnect, she goes to the ocean.\u003c/p>\n\u003cp>“Nature is a comfort zone,” she says. “To sit on a rock, out at the end of the jetty, to go in the water, to watch the seals and the sea lions … [it’s healing] just to be back in the natural world.\"\u003c/p>\n\u003cp>Alvitre traces her sense of connection back to her father. He filled her childhood with stories of the past. On car rides through Southern California, he would point out Tongva burial sites and former villages, or spots where her Indian grandfather once foraged for medicinal plants.\u003c/p>\n\u003cp>“I was always told, ‘This is your home. Your ancestors are from this home, and this is where they are buried,’ ” she says, remembering hikes with her dad. “When he walked through there, he would tell us, ‘Shh, don’t talk loud. This is a sacred place.’ ”\u003c/p>\n\u003cfigure id=\"attachment_10527442\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10527442\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/TiatSociety-800x523.jpg\" alt=\"A display at the Ti'at Society Artist Collective.\" width=\"800\" height=\"523\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-800x523.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-400x261.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-1440x941.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-1180x771.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-960x628.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A display at the Ti'at Society Artist Collective. \u003ccite>(Stephanie Case/USC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s how the beach sand and the grassy hills -- and even the land under L.A. high-rises and strip malls -- became embedded with ancestral meaning.\u003c/p>\n\u003cp>Alvitre took this knowledge into her life’s work. She is a professor of \u003ca href=\"http://www.cla.csulb.edu/departments/americanindianstudies/\">American Indian Studies\u003c/a> at Cal State University, Long Beach. And she was the first female chair of the Gabrieleno/Tongva Tribal Council.\u003c/p>\n\u003cp>One night, nearly 30 years ago, her ancestors came to her in a dream.\u003c/p>\n\u003cp>In the dream, a massive Tongvan warrior emerged from the mounds of the Saddleback Mountains. Beneath the mountains, a lake formed. Native Americans paddled across the lake in wooden canoes while speaking to each other in the Tongva language.\u003c/p>\n\u003cp>As soon as the rowers found their cadence, paddling in synchronicity, the warrior’s eyes opened, the mountains parted and the canoes set forth onto the ocean, toward Catalina Island.\u003c/p>\n\u003cp>“It was this amazing vision of mountains that I grew up around in Orange County, but here [are] these boats I’ve never seen,” says Alvitre.\u003c/p>\n\u003cp>Two weeks later, she got a call from Jim Noyes of the California Indigenous Maritime Association. He asked if she’d be interested in reviving her tribe’s naval culture by building a \u003cem>ti’at\u003c/em> -- a traditional Tongvan canoe.\u003c/p>\n\u003cp>“He described the boat in my dreams,” Alvitre says. “I was really blown away.”\u003c/p>\n\u003cp>Noyes and Alvitre joined forces then to start the \u003ca href=\"http://www.cla.csulb.edu/departments/americanindianstudies/marcus-lopez-tiat-restoration-orientation/\" target=\"_blank\">Ti’at Society\u003c/a>. The group built Moomat Ahiko (Tongvan for “Breath of the Ocean”) -– the first and only modern \u003cem>ti’at\u003c/em> in Southern California.\u003c/p>\n\u003cfigure id=\"attachment_10526216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Case-5-of-6.jpg\">\u003cimg class=\"wp-image-10526216 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Case-5-of-6-800x600.jpg\" alt=\"The ti'at Moomat Ahiko, gleaming after a new coat of paint, was featured at the pow wow.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The ti'at Moomat Ahiko, gleaming after a new coat of paint, was featured at the pow wow. \u003ccite>(Stephanie Case/USC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This spring, after more than two decades of use, Moomat Ahiko underwent repairs. At Cal State, Long Beach -- the former site of the village of Puvungna -- Ti’at Society members met every Sunday to restore the boat. They fixed leaks, gave it a chestnut-colored stain and painted a red ochre around its glittering abalone accents.\u003c/p>\n\u003cp>Alvitre and her group displayed the new and improved \u003cem>ti’at\u003c/em> at the \u003ca href=\"http://web.csulb.edu/divisions/students/sld/american_indian_services/pow_wow/\">45\u003csup>th\u003c/sup> Annual Cal State Puvugna Pow Wow\u003c/a> in March. Moomat Ahiko was a focal point amid the singers, drum circles and throngs of dancers dressed in the regalia of many tribes.\u003c/p>\n\u003cp>The next destination for Moomat Ahiko is the ocean. Members of the Ti’at Society plan to return the boat to the water in a ceremony this summer.\u003c/p>\n\u003cp>The ceremony will allow more Tongva to connect with the ocean -- and with their heritage. For Alvitre, that connection is so key to her identity that Moomat Ahiko is tattooed on her arm. Through immersing herself in Tongvan maritime culture, she’s unlocked a passion that feels like home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is my life,” says Alvitre. “This is the language I feel comfortable speaking.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Thrill is Gone: B.B. King Dies, and Here's His Greatest Moment on Record",
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"content": "\u003cp>B.B. King, the 89-year-old legend of the blues, \u003ca href=\"http://variety.com/2015/music/news/blues-legend-b-b-king-dies-at-89-1201496991/\" target=\"_blank\" rel=\"noopener\">has died\u003c/a>.\u003c/p>\n\u003cp>The 89-year-old guitarist had been in hospice care since May 1, having reportedly been in poor health for many months previously. \u003c/p>\n\u003cp>And though his natural touch on the fretboard of “Lucille” has left this Earth, there’s one B.B. King moment that’ll live forever.\u003c/p>\n\u003cp>Cue the 1964 recording of \u003cem>Live at the Regal\u003c/em>, perhaps the greatest live blues album ever made. B.B. King, in top form, launches into the track “How Blue Can You Get?” — and brings the house down mid-song, at around 2:35.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Pq-o9hr4vy0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I gave you a brand new Ford,” King sings, “but you said ‘I want a Cadillac’ / I bought you a ten-dollar dinner, and you said ‘Thanks for the snack’ / I let you live in my penthouse, you said it was just a shack.”\u003c/p>\n\u003cp>And then the almighty kicker: “I gave you seven children, and now you wanna give ’em back!”\u003c/p>\n\u003cp>On the recording, the crowd goes utterly wild. And no wonder — who else was addressing such wreckage of love in popular song at the time? (Certainly not the early Beatles, whose fluffy “I Want to Hold Your Hand” was the \u003ca href=\"http://en.wikipedia.org/wiki/List_of_Billboard_Hot_100_number-one_singles_of_1964\" target=\"_blank\" rel=\"noopener\">No. 1 hit song of 1964\u003c/a>.)\u003c/p>\n\u003cp>“How Blue Can You Get?” enjoyed a mild revival in the 1990s, as a sample in the Primitive Radio Gods’ one-hit-wonder “\u003ca href=\"https://www.youtube.com/watch?v=4XJxFAoiWSY\" target=\"blank\" rel=\"noopener\">Standing Outside a Broken Phone Booth with Money in My Hand\u003c/a>” — but to B.B. King fans, it remains his crowning moment in a live setting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>B.B. King, whose contributions to the blues can hardly be overstated, leaves behind not seven children, as stated in the song, but a total of 15 children — by no less than 15 different women, \u003ca href=\"http://mobile.nytimes.com/2015/05/16/arts/music/b-b-king-blues-singer-dies-at-89.html?_r=0&referrer=\" target=\"_blank\" rel=\"noopener\">according to the \u003cem>New York Times\u003c/em>\u003c/a>. (No wonder, then, that the alimony- and child support-beholden artist routinely played 200-300 shows each year.)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I gave you a brand new Ford,” King sings, “but you said ‘I want a Cadillac’ / I bought you a ten-dollar dinner, and you said ‘Thanks for the snack’ / I let you live in my penthouse, you said it was just a shack.”\u003c/p>\n\u003cp>And then the almighty kicker: “I gave you seven children, and now you wanna give ’em back!”\u003c/p>\n\u003cp>On the recording, the crowd goes utterly wild. And no wonder — who else was addressing such wreckage of love in popular song at the time? (Certainly not the early Beatles, whose fluffy “I Want to Hold Your Hand” was the \u003ca href=\"http://en.wikipedia.org/wiki/List_of_Billboard_Hot_100_number-one_singles_of_1964\" target=\"_blank\" rel=\"noopener\">No. 1 hit song of 1964\u003c/a>.)\u003c/p>\n\u003cp>“How Blue Can You Get?” enjoyed a mild revival in the 1990s, as a sample in the Primitive Radio Gods’ one-hit-wonder “\u003ca href=\"https://www.youtube.com/watch?v=4XJxFAoiWSY\" target=\"blank\" rel=\"noopener\">Standing Outside a Broken Phone Booth with Money in My Hand\u003c/a>” — but to B.B. King fans, it remains his crowning moment in a live setting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>B.B. King, whose contributions to the blues can hardly be overstated, leaves behind not seven children, as stated in the song, but a total of 15 children — by no less than 15 different women, \u003ca href=\"http://mobile.nytimes.com/2015/05/16/arts/music/b-b-king-blues-singer-dies-at-89.html?_r=0&referrer=\" target=\"_blank\" rel=\"noopener\">according to the \u003cem>New York Times\u003c/em>\u003c/a>. (No wonder, then, that the alimony- and child support-beholden artist routinely played 200-300 shows each year.)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New Plan for Presidio Park Includes Ideal Spot for Star-Gazing",
"headTitle": "New Plan for Presidio Park Includes Ideal Spot for Star-Gazing | KQED",
"content": "\u003cp>The Presidio Trust, the federal corporation in charge of San Francisco’s Presidio, released its latest plan for a major waterfront park project Wednesday, taking one more step towards a 2018 completion date.\u003c/p>\n\u003cp>The new \u003ca href=\"http://newpresidioparklands.org/wp-content/uploads/2015/03/11x17-pdfs-REDUCED.pdf\" target=\"_blank\" rel=\"noopener\">proposed conceptual design\u003c/a> for the Presidio Parklands Project shows where all the paths through the park will run and the panoramic views to which visitors will be treated when the project is finished.\u003c/p>\n\u003cp>One of the key features of the latest round of plans is a reworking of the design for the site’s communal meeting place, known as a “Zocalo.” The reworked design now includes a fire pit for such activities as late night talks by park employees and star-gazing. With its 360-degree view that will include the San Francisco Bay, the city and the redeveloped Presidio park, Trust representatives predict the Zocalo will be popular with the public.\u003c/p>\n\u003cp>“We’ve created a place for the community where they would want to hang out,” Michael Boland, chief of planning, projects and programming for the Presidio Trust, says.\u003c/p>\n\u003cfigure id=\"attachment_10656929\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10656929\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image.jpg\" alt=\"A drawing of the Presidio's Zocalo (Courtesy of the Presidio Trust)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A drawing of the Presidio’s Zocalo (Courtesy of the Presidio Trust)\u003c/figcaption>\u003c/figure>\n\u003cp>The Zocalo looks like it might be an ideal spot for weddings and parties, but Boland says the space will not be made available for private events.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“So many people are going to be at the park, we don’t feel like we can really close off pieces of it from the public,” Boland says.\u003c/p>\n\u003cp>The release of the conceptual design comes the day before the project’s third public feedback meeting, which takes place Thursday evening at the Presidio Observation Post. The project has scheduled through the end of July a total of five meetings for residents to provide their input.\u003c/p>\n\u003cp>Boland says that this project is generating more public feedback than any project he has ever witnessed to date.\u003c/p>\n\u003cp>“We wanted to have the public deeply involved in the project because we wanted it to be relevant to a broad cross-section of people in our community,” Boland says. “The only way you can make that happen is to actually talk to them.”\u003c/p>\n\u003cfigure id=\"attachment_10656927\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10656927\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2.jpg\" alt=\"Another view of the Presidio's proposed Learning Center (Courtesy of the Presidio Trust)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Another view of the Presidio’s proposed Learning Center (Courtesy of the Presidio Trust)\u003c/figcaption>\u003c/figure>\n\u003cp>All this input has been beneficial for the design, Boland says.\u003c/p>\n\u003cp>The Presidio project architect firm, \u003ca href=\"http://newpresidioparklands.org/the-teams/james-corner-field-operations/\" target=\"_blank\" rel=\"noopener\">James Corner Field Operations,\u003c/a> incorporated an extensive public feedback process when the firm worked on New York City’s beloved High Line park, which was built on an elevated, disused section of the New York Central Railroad system.\u003c/p>\n\u003cp>And the firm is taking feedback on the Presidio development equally seriously. So far, notes from the Bay Area community have lead to such changes to park plans as reducing the amount of grass and incorporating an installation honoring the Presidio’s military past.\u003c/p>\n\u003cp>After Thursday night’s \u003ca href=\"http://www.presidio.gov/Calendar/Pages/Public-Board-Meeting-and-Presentation---Conceptual-Design-May-14.aspx\" target=\"_blank\" rel=\"noopener\">public board meeting\u003c/a>, The Presidio’s field operations team will start to explore the design in more depth. They will work out such details as the exact measurements of pathways and structures, and estimated total construction costs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though Boland was unable to provide a potential price tag for the project Thursday, the Trust has given itself a fundraising goal of $49 million, $35 million of which has already been raised.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Presidio Trust, the federal corporation in charge of San Francisco’s Presidio, released its latest plan for a major waterfront park project Wednesday, taking one more step towards a 2018 completion date.\u003c/p>\n\u003cp>The new \u003ca href=\"http://newpresidioparklands.org/wp-content/uploads/2015/03/11x17-pdfs-REDUCED.pdf\" target=\"_blank\" rel=\"noopener\">proposed conceptual design\u003c/a> for the Presidio Parklands Project shows where all the paths through the park will run and the panoramic views to which visitors will be treated when the project is finished.\u003c/p>\n\u003cp>One of the key features of the latest round of plans is a reworking of the design for the site’s communal meeting place, known as a “Zocalo.” The reworked design now includes a fire pit for such activities as late night talks by park employees and star-gazing. With its 360-degree view that will include the San Francisco Bay, the city and the redeveloped Presidio park, Trust representatives predict the Zocalo will be popular with the public.\u003c/p>\n\u003cp>“We’ve created a place for the community where they would want to hang out,” Michael Boland, chief of planning, projects and programming for the Presidio Trust, says.\u003c/p>\n\u003cfigure id=\"attachment_10656929\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10656929\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image.jpg\" alt=\"A drawing of the Presidio's Zocalo (Courtesy of the Presidio Trust)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A drawing of the Presidio’s Zocalo (Courtesy of the Presidio Trust)\u003c/figcaption>\u003c/figure>\n\u003cp>The Zocalo looks like it might be an ideal spot for weddings and parties, but Boland says the space will not be made available for private events.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“So many people are going to be at the park, we don’t feel like we can really close off pieces of it from the public,” Boland says.\u003c/p>\n\u003cp>The release of the conceptual design comes the day before the project’s third public feedback meeting, which takes place Thursday evening at the Presidio Observation Post. The project has scheduled through the end of July a total of five meetings for residents to provide their input.\u003c/p>\n\u003cp>Boland says that this project is generating more public feedback than any project he has ever witnessed to date.\u003c/p>\n\u003cp>“We wanted to have the public deeply involved in the project because we wanted it to be relevant to a broad cross-section of people in our community,” Boland says. “The only way you can make that happen is to actually talk to them.”\u003c/p>\n\u003cfigure id=\"attachment_10656927\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10656927\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2.jpg\" alt=\"Another view of the Presidio's proposed Learning Center (Courtesy of the Presidio Trust)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Another view of the Presidio’s proposed Learning Center (Courtesy of the Presidio Trust)\u003c/figcaption>\u003c/figure>\n\u003cp>All this input has been beneficial for the design, Boland says.\u003c/p>\n\u003cp>The Presidio project architect firm, \u003ca href=\"http://newpresidioparklands.org/the-teams/james-corner-field-operations/\" target=\"_blank\" rel=\"noopener\">James Corner Field Operations,\u003c/a> incorporated an extensive public feedback process when the firm worked on New York City’s beloved High Line park, which was built on an elevated, disused section of the New York Central Railroad system.\u003c/p>\n\u003cp>And the firm is taking feedback on the Presidio development equally seriously. So far, notes from the Bay Area community have lead to such changes to park plans as reducing the amount of grass and incorporating an installation honoring the Presidio’s military past.\u003c/p>\n\u003cp>After Thursday night’s \u003ca href=\"http://www.presidio.gov/Calendar/Pages/Public-Board-Meeting-and-Presentation---Conceptual-Design-May-14.aspx\" target=\"_blank\" rel=\"noopener\">public board meeting\u003c/a>, The Presidio’s field operations team will start to explore the design in more depth. They will work out such details as the exact measurements of pathways and structures, and estimated total construction costs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though Boland was unable to provide a potential price tag for the project Thursday, the Trust has given itself a fundraising goal of $49 million, $35 million of which has already been raised.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Glitter Artist René Garcia Jr. Dies at 41 (1973–2015)",
"headTitle": "Bay Area Glitter Artist René Garcia Jr. Dies at 41 (1973–2015) | KQED",
"content": "\u003cp>\u003ca href=\"http://www.renegarciajr.com/\" target=\"_blank\" rel=\"noopener\">René Garcia Jr.\u003c/a>, local artist known for his dazzling glitter paintings of pop culture iconography, died of natural causes on May 8 while vacationing in Orlando, Fla. He was 41.\u003c/p>\n\u003cfigure id=\"attachment_10657242\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10657242\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/beachpicnic-e1431639722801.jpg\" alt=\"René Garcia Jr., <i>Beach Picnic</i>, 2011. (Courtesy of the artist's website)\" width=\"640\" height=\"432\">\u003cfigcaption class=\"wp-caption-text\">René Garcia Jr., \u003ci>Beach Picnic\u003c/i>, 2011. (Courtesy of the artist’s website)\u003c/figcaption>\u003c/figure>\n\u003cp>A talented artist who worked across media — including painting, photography, illustration and installation — Garcia’s work was included in exhibitions across the U.S. He received regular commissions from individuals and organizations, most often for his large-scale glitter paintings, featuring everything from motorcycle-riding babes to big cats on beaches.\u003c/p>\n\u003cp>These paintings, constructed with simple “kindergarten” tools of Elmer’s glue and glitter shakers, are both decadent and optimistic.\u003c/p>\n\u003cp>In a \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=14701\" target=\"_blank\" rel=\"noopener\">2007 interview for KQED’s Spark\u003c/a>, Garcia admitted cheerfully, “I’ve been saying I’ll be done with glitter almost since I started, but the thing is people like it and I like it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cc_90t2LGzs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to those who knew him, Garcia’s high spirits were contagious. Artist Ryan de la Hoz, who worked at Project One, where Garcia showed on multiple occasions, says, “The joy felt by all on opening nights was palpable. His work exuded an energy that is increasingly rare in today’s creative sphere. You didn’t just glance at his work, you were captivated by it.”\u003c/p>\n\u003cfigure id=\"attachment_10657252\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10657252\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/dragster-e1431640374764.jpg\" alt=\"René Garcia Jr. Dragster, 2012. (Courtesy of the artist's website)\" width=\"640\" height=\"319\">\u003cfigcaption class=\"wp-caption-text\">René Garcia Jr. \u003ci>Dragster\u003c/i>, 2012. (Courtesy of the artist’s website)\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to his studio practice, Garcia volunteered at the San Francisco Friends School and Pacific Primary and as an art teacher at San Quentin State Prison as part of the \u003ca href=\"http://williamjamesassociation.org/prison_arts/\" target=\"_blank\" rel=\"noopener\">Prison Arts Project\u003c/a>. He grew up outside of Riverside, Calif., where he practiced his drawing skills on his bedroom walls and began a lifelong infatuation with the pop culture that would fill his artwork: Star Wars, science fiction, pop music, Amazonian ladies, demolition derbies and racing of all kinds. He studied film and literature at the University of California, Santa Cruz before moving to San Francisco in the mid-1990s, where his art career began in animation at the children’s video company Wild Brain.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Garcia is survived by his wife, Holly Rhodes, his children, Renecito and Della, his mother, Julie Garcia, and his sisters, Kristina Draper and Catalina Patton. The family is accepting donations the René Garcia Jr. Memorial Fund at \u003ca href=\"http://www.youcaring.com/memorial-fundraiser/ren-garcia-jr-memorial-fund-for-holly-renecito-della/352359\" target=\"_blank\" rel=\"noopener\">youcaring.com\u003c/a>. A retrospective exhibition of his works is planned for late summer in San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.renegarciajr.com/\" target=\"_blank\" rel=\"noopener\">René Garcia Jr.\u003c/a>, local artist known for his dazzling glitter paintings of pop culture iconography, died of natural causes on May 8 while vacationing in Orlando, Fla. He was 41.\u003c/p>\n\u003cfigure id=\"attachment_10657242\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10657242\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/beachpicnic-e1431639722801.jpg\" alt=\"René Garcia Jr., <i>Beach Picnic</i>, 2011. (Courtesy of the artist's website)\" width=\"640\" height=\"432\">\u003cfigcaption class=\"wp-caption-text\">René Garcia Jr., \u003ci>Beach Picnic\u003c/i>, 2011. (Courtesy of the artist’s website)\u003c/figcaption>\u003c/figure>\n\u003cp>A talented artist who worked across media — including painting, photography, illustration and installation — Garcia’s work was included in exhibitions across the U.S. He received regular commissions from individuals and organizations, most often for his large-scale glitter paintings, featuring everything from motorcycle-riding babes to big cats on beaches.\u003c/p>\n\u003cp>These paintings, constructed with simple “kindergarten” tools of Elmer’s glue and glitter shakers, are both decadent and optimistic.\u003c/p>\n\u003cp>In a \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=14701\" target=\"_blank\" rel=\"noopener\">2007 interview for KQED’s Spark\u003c/a>, Garcia admitted cheerfully, “I’ve been saying I’ll be done with glitter almost since I started, but the thing is people like it and I like it.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cc_90t2LGzs'\n title='//www.youtube.com/embed/cc_90t2LGzs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to those who knew him, Garcia’s high spirits were contagious. Artist Ryan de la Hoz, who worked at Project One, where Garcia showed on multiple occasions, says, “The joy felt by all on opening nights was palpable. His work exuded an energy that is increasingly rare in today’s creative sphere. You didn’t just glance at his work, you were captivated by it.”\u003c/p>\n\u003cfigure id=\"attachment_10657252\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10657252\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/dragster-e1431640374764.jpg\" alt=\"René Garcia Jr. Dragster, 2012. (Courtesy of the artist's website)\" width=\"640\" height=\"319\">\u003cfigcaption class=\"wp-caption-text\">René Garcia Jr. \u003ci>Dragster\u003c/i>, 2012. (Courtesy of the artist’s website)\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to his studio practice, Garcia volunteered at the San Francisco Friends School and Pacific Primary and as an art teacher at San Quentin State Prison as part of the \u003ca href=\"http://williamjamesassociation.org/prison_arts/\" target=\"_blank\" rel=\"noopener\">Prison Arts Project\u003c/a>. He grew up outside of Riverside, Calif., where he practiced his drawing skills on his bedroom walls and began a lifelong infatuation with the pop culture that would fill his artwork: Star Wars, science fiction, pop music, Amazonian ladies, demolition derbies and racing of all kinds. He studied film and literature at the University of California, Santa Cruz before moving to San Francisco in the mid-1990s, where his art career began in animation at the children’s video company Wild Brain.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Garcia is survived by his wife, Holly Rhodes, his children, Renecito and Della, his mother, Julie Garcia, and his sisters, Kristina Draper and Catalina Patton. The family is accepting donations the René Garcia Jr. Memorial Fund at \u003ca href=\"http://www.youcaring.com/memorial-fundraiser/ren-garcia-jr-memorial-fund-for-holly-renecito-della/352359\" target=\"_blank\" rel=\"noopener\">youcaring.com\u003c/a>. A retrospective exhibition of his works is planned for late summer in San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Curtain Could Rise Again Soon at San Jose's Hammer Theatre",
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"headTitle": "Curtain Could Rise Again Soon at San Jose’s Hammer Theatre | KQED",
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"content": "\u003cp>The Hammer Theatre Center in San Jose has been empty since last June, when its previous tenant, the San Jose Repertory Theatre, went \u003ca href=\"http://ww2.kqed.org/arts/2014/06/11/san-jose-rep-announces-closure/\" target=\"_blank\" rel=\"noopener\">bankrupt\u003c/a>. The best use the city has found since then for the $27 million complex has been pop-up retail.\u003c/p>\n\u003cp>But the curtain may rise again this fall if the city approves \u003ca href=\"http://www.sjsu.edu/\" target=\"_blank\" rel=\"noopener\">San Jose State University\u003c/a>’s request for a 3-year lease on the complex.\u003c/p>\n\u003cp>The university wants to use the facility — which is a few blocks from its campus — as a stage for its drama and dance departments, as well as special instructional events, co-productions with other theater companies and to rent to community groups.\u003c/p>\n\u003cp>“The position we’ve taken is that the university has as much of an interest in the economic and cultural health of downtown as the city does,” \u003ca href=\"http://www.sjsu.edu/humanitiesandarts/About_the_college/dean_lisa_vollendorf/\" target=\"_blank\" rel=\"noopener\">San Jose State Dean Lisa Vollendorf\u003c/a> says.\u003c/p>\n\u003cp>That’s a welcome argument for city officials.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The real loss when a facility like that is dark,” \u003ca href=\"http://www.sanjoseculture.org/index.aspx?NID=933\" target=\"_blank\" rel=\"noopener\">San Jose Cultural Affairs Director Kerry Adams Hapner\u003c/a> says. “We have a deficit in the economic impact that all those theater attendees provide to the surrounding area. They’re parking their car, visiting our restaurants, paying for babysitting services.”\u003c/p>\n\u003cp>But Hapner says the city would still have to provide a $285,000 subsidy to offset the $850,000 to $1 million annual cost of running the theater center.\u003c/p>\n\u003cp>San Jose State has had just one rival: an ad hoc committee headed by the theater’s namesakes, former Mayor Susan Hammer and her husband Phil, as well as \u003ca href=\"https://www.symphonysiliconvalley.org/index.php\" target=\"_blank\" rel=\"noopener\">Andrew Bales, President of Symphony Silicon Valley.\u003c/a>\u003c/p>\n\u003cp>The city, Bales says, is conceding a lot to reactivate the theater.\u003c/p>\n\u003cp>“That is the anxiety we all have about this proposal,” Bales says. “The problem is there isn’t somebody else making a proposal concrete enough for the city to act on.”\u003c/p>\n\u003cp>Bales says he and the Hammers can live with San Jose leasing the theater to San Jose State, as long as the city and the university work to bring professional theater back to what’s known as “The Blue Box.”\u003c/p>\n\u003cp>Cultural Affairs Director Hapner says that is the city’s intention.\u003c/p>\n\u003cp>Dean Vollendorf is more cautious, saying she supports professional theater at the Hammer, but wonders if any single resident company would want to take over the center as a permanent home, after the bankruptcy of San Jose Rep last year.\u003c/p>\n\u003cp>Hapner will be seeking authority to negotiate the terms of the lease with San Jose State in a series of public meetings, starting this Tuesday evening with the \u003ca href=\"http://www.sanjoseca.gov/index.aspx?NID=4498\" target=\"_blank\" rel=\"noopener\">Hammer Theatre Advisory Committee.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Wednesday, she’ll go before the \u003ca href=\"http://www.sanjoseculture.org/index.aspx?NID=933\" target=\"_blank\" rel=\"noopener\">San Jose Arts Commission\u003c/a>, and then the city council’s \u003ca href=\"http://www.sanjoseca.gov/index.aspx?nid=3631\" target=\"_blank\" rel=\"noopener\">Community and Economic Development Committee \u003c/a>on Monday.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Hammer Theatre Center in San Jose has been empty since last June, when its previous tenant, the San Jose Repertory Theatre, went \u003ca href=\"http://ww2.kqed.org/arts/2014/06/11/san-jose-rep-announces-closure/\" target=\"_blank\" rel=\"noopener\">bankrupt\u003c/a>. The best use the city has found since then for the $27 million complex has been pop-up retail.\u003c/p>\n\u003cp>But the curtain may rise again this fall if the city approves \u003ca href=\"http://www.sjsu.edu/\" target=\"_blank\" rel=\"noopener\">San Jose State University\u003c/a>’s request for a 3-year lease on the complex.\u003c/p>\n\u003cp>The university wants to use the facility — which is a few blocks from its campus — as a stage for its drama and dance departments, as well as special instructional events, co-productions with other theater companies and to rent to community groups.\u003c/p>\n\u003cp>“The position we’ve taken is that the university has as much of an interest in the economic and cultural health of downtown as the city does,” \u003ca href=\"http://www.sjsu.edu/humanitiesandarts/About_the_college/dean_lisa_vollendorf/\" target=\"_blank\" rel=\"noopener\">San Jose State Dean Lisa Vollendorf\u003c/a> says.\u003c/p>\n\u003cp>That’s a welcome argument for city officials.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Putting on a major fashion week under most circumstances is a demanding enterprise. You need beautiful clothes, talented designers and breathtaking models — not to mention sponsors.\u003c/p>\n\u003cp>To create a fashion week for Silicon Valley, Chris Lindland, the CEO of \u003ca href=\"https://www.betabrand.com/\" target=\"_blank\" rel=\"noopener\">Betabrand\u003c/a>, faced a different set of demands, like figuring out how to fit drones and robots into clothes and convincing software engineers to strut their stuff on the runway.\u003c/p>\n\u003cp>But it’s the unique challenge of combining drones, engineers and Burning Man aesthetics with fashion that inspired Lindland to launch \u003ca href=\"http://www.sv-fashionweek.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Silicon Valley Fashion Week?\u003c/strong>\u003c/a> in the first place (and yes, that question mark is intentional).\u003c/p>\n\u003cp>“It’s coming up with a big idea that’s like, ‘oh god, that would be either brilliant or a gigantic failure,’ and then going for it,” Leland says.\u003c/p>\n\u003cp>The fashion week, which takes place May 12-14 at the Chapel in San Francisco, features three nights of tech-centric style. The first night, sponsored by \u003ca href=\"http://www.genze.com/\" target=\"_blank\" rel=\"noopener\">GenZe\u003c/a>, focuses on “Electric Motion,” showcasing electric scooters, electric skateboards and other commuting-themed products. The second night is dedicated to “Tech Wearables,” and is sponsored by \u003ca href=\"http://www.pchintl.com/\" target=\"_blank\" rel=\"noopener\">PHC\u003c/a>. And the third night, “Funded Fashion,” supported by Betabrand, celebrates with a parade of outfits created through crowdfunding.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The title of the event is deliberately posed as a question: should Silicon Valley have a fashion week? While Lindland wants the question to spark conversation, he himself is convinced that the fashion snobs in New York have grossly underestimated the Valley’s influence on style.\u003c/p>\n\u003cp>“Internet fashion is no joke — it’s becoming a huge industry,” Lindland states.\u003c/p>\n\u003cp>Buying a ticket might be tricky — according to Lindland, the 1,000 tickets for the fashion week sold out in just three days. In fact, enthusiasm for the event is so great that Lindland is considering adding a fourth day, and he’s looking even further ahead than that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I hope we keep extending it as long as \u003cem>Beach Blanket Babylon\u003c/em> has been running in San Francisco.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Putting on a major fashion week under most circumstances is a demanding enterprise. You need beautiful clothes, talented designers and breathtaking models — not to mention sponsors.\u003c/p>\n\u003cp>To create a fashion week for Silicon Valley, Chris Lindland, the CEO of \u003ca href=\"https://www.betabrand.com/\" target=\"_blank\" rel=\"noopener\">Betabrand\u003c/a>, faced a different set of demands, like figuring out how to fit drones and robots into clothes and convincing software engineers to strut their stuff on the runway.\u003c/p>\n\u003cp>But it’s the unique challenge of combining drones, engineers and Burning Man aesthetics with fashion that inspired Lindland to launch \u003ca href=\"http://www.sv-fashionweek.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Silicon Valley Fashion Week?\u003c/strong>\u003c/a> in the first place (and yes, that question mark is intentional).\u003c/p>\n\u003cp>“It’s coming up with a big idea that’s like, ‘oh god, that would be either brilliant or a gigantic failure,’ and then going for it,” Leland says.\u003c/p>\n\u003cp>The fashion week, which takes place May 12-14 at the Chapel in San Francisco, features three nights of tech-centric style. The first night, sponsored by \u003ca href=\"http://www.genze.com/\" target=\"_blank\" rel=\"noopener\">GenZe\u003c/a>, focuses on “Electric Motion,” showcasing electric scooters, electric skateboards and other commuting-themed products. The second night is dedicated to “Tech Wearables,” and is sponsored by \u003ca href=\"http://www.pchintl.com/\" target=\"_blank\" rel=\"noopener\">PHC\u003c/a>. And the third night, “Funded Fashion,” supported by Betabrand, celebrates with a parade of outfits created through crowdfunding.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The title of the event is deliberately posed as a question: should Silicon Valley have a fashion week? While Lindland wants the question to spark conversation, he himself is convinced that the fashion snobs in New York have grossly underestimated the Valley’s influence on style.\u003c/p>\n\u003cp>“Internet fashion is no joke — it’s becoming a huge industry,” Lindland states.\u003c/p>\n\u003cp>Buying a ticket might be tricky — according to Lindland, the 1,000 tickets for the fashion week sold out in just three days. In fact, enthusiasm for the event is so great that Lindland is considering adding a fourth day, and he’s looking even further ahead than that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I hope we keep extending it as long as \u003cem>Beach Blanket Babylon\u003c/em> has been running in San Francisco.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>826 Valencia is expanding.\u003c/p>\n\u003cp>The Mission district-based literacy nonprofit, which has promoted creative writing in students ages 6 to 18 for the past 13 years, secured a 15-year lease in the Tenderloin, the organization announced on Friday.\u003c/p>\n\u003cp>The Tenderloin is San Francisco’s most densely populated neighborhood. It has a median household income of $23,804 and no social service programs that focus on writing.\u003c/p>\n\u003cp>Rent for this new space is reported to be 25% below market, according to the\u003ca href=\"http://www.sfchronicle.com/bayarea/article/Author-Dave-Eggers-nonprofit-heading-to-6250170.php\"> \u003cem>San Francisco Chronicle\u003c/em>\u003c/a>. 826 Valencia will get the first year in the new location rent free.\u003c/p>\n\u003cp>The organization hopes to open the Tenderloin branch in January 2016.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Any support to our community and our schools is very welcome,” Kevin Etter, behavior support coach at Tenderloin Elementary School, says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to its educational programs, which have expanded to cities across the country and abroad, 826 Valencia is known for its whimsical approach to retail. Visitors in San Francisco can currently head to 826’s famed Pirate storefront in the Mission to stock up on pirate supplies like messages in bottles, false whale teeth and mermaid bait. Proceeds from all sales go towards helping support 826’s free storytelling, book-making and after-school programs.\u003c/p>\n\n",
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"title": "Legislation to Protect Nightclubs from \"Complainy-Pants\" Neighbors Passes",
"headTitle": "Legislation to Protect Nightclubs from “Complainy-Pants” Neighbors Passes | KQED",
"content": "\u003cp>In a victory for San Francisco’s music community, a measure to protect nightclubs from \u003ca href=\"http://ww2.kqed.org/arts/2014/12/30/local-scenesters-take-to-forum-to-say-club-scene-not-endangered/\" target=\"_blank\" rel=\"noopener\">“complainy-pants” neighbors\u003c/a> was approved by the city’s Board of Supervisors on Tuesday.\u003c/p>\n\u003cp>The measure, advanced by Board President London Breed, prohibits those living next to nightclubs from filing a complaint about noise or other nuisances if the club is operating in adherence to its entertainment permit. It also requires developers of new residences — condos, in most cases — to disclose to potential residents the existence of and activity at nearby nightclubs.\u003c/p>\n\u003cp>Though the Red Devil Lounge has already closed and the Elbo Room \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">will shut down later this year\u003c/a>, other clubs around the city have faced uncertain futures due to looming development. Breed crafted the legislation after the Independent, on Divisadero Street, became aware of two mixed-use residential plans adjacent to the club. Recently, a \u003ca href=\"http://www.socketsite.com/archives/2015/04/plans-for-housing-to-rise-behind-bottom-of-the-hill.html\" target=\"_blank\" rel=\"noopener\">nine-unit condo project directly behind the Bottom of the Hill\u003c/a>, on 17th Street, passed its environmental review stage.\u003c/p>\n\u003cp>Even more stories came to light at a Planning Commission meeting back in March, \u003ca href=\"http://sfist.com/2015/03/20/nightclub_owners_make_noise_at_city.php\" target=\"_blank\" rel=\"noopener\">according to SFist\u003c/a>: a DJ at the Make-Out Room, Parker Gibbs, reported that the club had received complaints from neighbors at a new condo development that, ironically, touted the club as a nearby amenity in its marketing materials. As far back as 2011, the \u003ca href=\"http://www.sfweekly.com/shookdown/2011/03/21/slims-liquor-license-temporarily-suspended-due-to-neighbors-complaints\" target=\"_blank\" rel=\"noopener\">\u003cem>SF Weekly\u003c/em> reports\u003c/a>, Slim’s faced a 10-day liquor license suspension due to neighbors’ routine daily calls to police. And last year, \u003ca href=\"http://www.sfgate.com/bayarea/article/Residential-development-threatens-S-F-s-music-5680418.php\" target=\"_blank\" rel=\"noopener\">the \u003cem>San Francisco Chronicle\u003c/em> related the story\u003c/a> of a resident who bought a $1 million condo on 19th Street and swiftly began complaining about the Chapel, the Mission-District club just around the corner.\u003c/p>\n\u003cp>Breed’s legislation is hailed as a victory for nightclubs, music fans, and — let’s face it — common sense, even \u003ca href=\"http://www.billboard.com/biz/articles/6554080/effort-to-protect-san-francisco-clubs-from-noisy-lawsuits-passed-by-city\" target=\"_blank\" rel=\"noopener\">drawing coverage by music-industry journal \u003cem>Billboard\u003c/em>\u003c/a>. And though the measure doesn’t stop rising rents or amend the permitting process to make it any easier to open a new nightclub, it clearly provides a much-needed layer of protection for nightlife owners and their patrons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a victory for San Francisco’s music community, a measure to protect nightclubs from \u003ca href=\"http://ww2.kqed.org/arts/2014/12/30/local-scenesters-take-to-forum-to-say-club-scene-not-endangered/\" target=\"_blank\" rel=\"noopener\">“complainy-pants” neighbors\u003c/a> was approved by the city’s Board of Supervisors on Tuesday.\u003c/p>\n\u003cp>The measure, advanced by Board President London Breed, prohibits those living next to nightclubs from filing a complaint about noise or other nuisances if the club is operating in adherence to its entertainment permit. It also requires developers of new residences — condos, in most cases — to disclose to potential residents the existence of and activity at nearby nightclubs.\u003c/p>\n\u003cp>Though the Red Devil Lounge has already closed and the Elbo Room \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">will shut down later this year\u003c/a>, other clubs around the city have faced uncertain futures due to looming development. Breed crafted the legislation after the Independent, on Divisadero Street, became aware of two mixed-use residential plans adjacent to the club. Recently, a \u003ca href=\"http://www.socketsite.com/archives/2015/04/plans-for-housing-to-rise-behind-bottom-of-the-hill.html\" target=\"_blank\" rel=\"noopener\">nine-unit condo project directly behind the Bottom of the Hill\u003c/a>, on 17th Street, passed its environmental review stage.\u003c/p>\n\u003cp>Even more stories came to light at a Planning Commission meeting back in March, \u003ca href=\"http://sfist.com/2015/03/20/nightclub_owners_make_noise_at_city.php\" target=\"_blank\" rel=\"noopener\">according to SFist\u003c/a>: a DJ at the Make-Out Room, Parker Gibbs, reported that the club had received complaints from neighbors at a new condo development that, ironically, touted the club as a nearby amenity in its marketing materials. As far back as 2011, the \u003ca href=\"http://www.sfweekly.com/shookdown/2011/03/21/slims-liquor-license-temporarily-suspended-due-to-neighbors-complaints\" target=\"_blank\" rel=\"noopener\">\u003cem>SF Weekly\u003c/em> reports\u003c/a>, Slim’s faced a 10-day liquor license suspension due to neighbors’ routine daily calls to police. And last year, \u003ca href=\"http://www.sfgate.com/bayarea/article/Residential-development-threatens-S-F-s-music-5680418.php\" target=\"_blank\" rel=\"noopener\">the \u003cem>San Francisco Chronicle\u003c/em> related the story\u003c/a> of a resident who bought a $1 million condo on 19th Street and swiftly began complaining about the Chapel, the Mission-District club just around the corner.\u003c/p>\n\u003cp>Breed’s legislation is hailed as a victory for nightclubs, music fans, and — let’s face it — common sense, even \u003ca href=\"http://www.billboard.com/biz/articles/6554080/effort-to-protect-san-francisco-clubs-from-noisy-lawsuits-passed-by-city\" target=\"_blank\" rel=\"noopener\">drawing coverage by music-industry journal \u003cem>Billboard\u003c/em>\u003c/a>. And though the measure doesn’t stop rising rents or amend the permitting process to make it any easier to open a new nightclub, it clearly provides a much-needed layer of protection for nightlife owners and their patrons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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Thapa’s cousin is stranded with a broken arm in a village three hours from Nepal’s capital city of Kathmandu, after the Apr. 25 earthquake that has killed over 5,000. 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Saturday’s program will feature four films: \u003cem>\u003ca href=\"http://himalayanfilmfest.com/sf2015/films/refugees-of-shangri-la/\" target=\"_blank\" rel=\"noopener\">The Refugees of Shangri-La\u003c/a>\u003c/em> on forgotten exiles in Bhutan, another story based in Nepal looking at a wind turbine called \u003cem>\u003ca href=\"http://himalayanfilmfest.com/sf2015/films/tashis-turbine/\" target=\"_blank\" rel=\"noopener\">Tashi’s Turbine\u003c/a>\u003c/em>, a film about altruism by the name of \u003cem>\u003ca href=\"http://himalayanfilmfest.com/sf2015/films/way-of-life/\" target=\"_blank\" rel=\"noopener\">Way of Life\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"http://himalayanfilmfest.com/sf2015/films/when-hari-got-married/\" target=\"_blank\" rel=\"noopener\">When Hari Got Married\u003c/a>\u003c/em>, the story of a taxi driver’s arranged marriage in northern India.\u003c/p>\n\u003cp>For Thapa, films have played an important role in her life. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bringing together diaspora organizations in the U.S., organizers Amisha Hada and Thapa hope each community can adopt a school, or hospital, “We hope that Nepal doesn’t turn into another Haiti,” Hada said.\u003c/p>\n\u003cfigure id=\"attachment_10606898\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10606898 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jessica-Lea-DFID1-e1430382242115.jpg\" alt=\"The UK's International Search and Rescue team in Chautara, Sindhupalchok District – north east of Kathmandu, Nepal.\" width=\"640\" height=\"427\">\u003cfigcaption class=\"wp-caption-text\">Chautara, Sindhupalchok District – north east of Kathmandu just days after the magnitude 7.8 earthquake struck the country, killing more than 5000 people, and injuring thousands more. \u003ccite>(Jessica Lea/DFID)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thapa plans to travel to Nepal with a team of three or four others to help prevent infectious diseases from spreading as well as working on reconstruction. The team is using the film festival as a platform to bring people who are working on relief efforts together to share information.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thus far they have received overwhelming support from the Bay Area. “Folks are asking how they can contribute and people are taking time off, and working all night to help,” Thapa said. With an aim to provide sustained support the festival proceeds will go towards reconstruction efforts aiding local organizations through the Bay Area non-profit \u003ca title=\"Sahayeta\" href=\"http://www.sahayeta.org\" target=\"_blank\" rel=\"noopener\">Sahayeta\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
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"meta": {
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"source": "WNYC"
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"id": "fresh-air",
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"hidden-brain": {
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"hyphenacion": {
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"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. ",
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"jerrybrown": {
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"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. ",
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"order": 18
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"title": "Latino USA",
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"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",
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},
"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"
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"masters-of-scale": {
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"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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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"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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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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