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"content": "\u003cp>Oakland artist \u003ca href=\"http://packardjennings.com/\" target=\"_blank\" rel=\"noopener\">Packard Jennings\u003c/a> is no stranger to the press. His politically-conscious artwork has been covered by the \u003cem>New York Times\u003c/em>, the \u003cem>Washington Post\u003c/em>, A\u003cem>rtforum\u003c/em>, and many other publications. But he’s currently receiving media attention for a Craigslist post he had nothing to do with — \u003ca href=\"http://ww2.kqed.org/arts/2015/04/27/oakland-artist-smacks-down-tech-exec-for-using-image-in-viral-job-ad/\" target=\"_blank\" rel=\"noopener\">a San Diego tech executive used an image of Jennings’ without permission\u003c/a> for a “developers wanted” ad, which went viral. Now, instead of concentrating solely on his next work, Jennings is having to get “medieval” on Chatmeter CTO Paul Koch for the exec’s copyright infringement.\u003c/p>\n\u003cp>Jennings took a few minutes to answer some questions from KQED Arts about the situation and what he plans to do next. \u003c/p>\n\u003cp>\u003cstrong>How did you learn about your pic being used in the ad?\u003c/strong>\u003cbr>\nThis Craigslist post went viral. Beyond the attention on news sites, it blew up on social media. Several people recognized my work when it was posted on both Facebook and on the \u003cem>San Francisco Chronicle\u003c/em>’s site. I was contacted about it by three separate people.\u003c/p>\n\u003cfigure id=\"attachment_10602567\" class=\"wp-caption alignright\" style=\"max-width: 604px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland.jpg\" alt=\"Jennings in Switzerland back in 2006. (Courtesy of Jennings)\" width=\"604\" height=\"453\" class=\"size-full wp-image-10602567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland-400x300.jpg 400w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennings in Switzerland back in 2006. (Courtesy of Jennings)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How far are you willing to take this?\u003c/strong>\u003cbr>\nI’m willing take this as far as it needs to go. I’d rather it didn’t get to the point of needing to go to court, but I have been consulting several copyright lawyers and the California Lawyers for the Arts, in case it goes there. If it goes to court, it goes to court. It is a pretty cut-and-dry case of copyright infringement. They don’t have a leg to stand on, really.\u003c/p>\n\u003cp>\u003cstrong>What would be proper compensation?\u003c/strong>\u003cbr>\nIf he comes to me with a sincere offer that seems adequate I will consider it, but that could be a question for lawyers. The standard ranges of fines for copyright infringement are laid out in my first letter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Has this happened to you before?\u003c/strong>\u003cbr>\nI had someone selling a copy of my Bible Sticker, which I give away for free. It is based on stickers in Georgia biology school textbooks in 2005, which warned: “Evolution is a theory, not a fact, regarding the origin of living things. It should be read with an open mind and critically considered.” The Bible Sticker is given away for free with the instructions: “Keep this sticker in your wallet. When you stay in a motel, adhere your sticker to the inside jacket of the Bible.” Someone directed me to a person selling it on some site that custom prints T-shirts and stickers to order for vendors who have “stores” on the site. I contacted them and they took it down. It was made to be given away, not sold.\u003c/p>\n\u003cfigure id=\"attachment_10602568\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-912x1180.jpg\" alt=\"Jennings' second letter to Paul Koch\" width=\"640\" height=\"828\" class=\"size-large wp-image-10602568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-912x1180.jpg 912w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-463x600.jpg 463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-1180x1528.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-960x1243.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2.jpg 1582w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennings’ second letter to Paul Koch\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Does it matter if what he did was just a mistake?\u003c/strong>\u003cbr>\nI understand that people slip up and show a lapse in judgement. If he were just some guy trying to sell a bike, I wouldn’t sweat it. Everyone knows when they are using copyrighted artwork. In this case, he used it for an advertisement to gain publicity and recruit employees. In his own words (see the \u003ca href=\"http://nextshark.com/paul-koch-craigslist-job-ad-great-developers-startup/\" target=\"_blank\" rel=\"noopener\">Netshark interview\u003c/a>) he set out to create a viral campaign. He very purposely constructed the ad to cause a stir. He chose to ignore copyright because my image somehow resonated with him for this; I suppose the idea is that his tech company is somehow a radical place to work. In this, he was very purposefully using my image to help brand his company. Top this off with his casual dismissal of my grievance and you may see why this is not a simple mistake. \u003c/p>\n\u003cp>\u003cstrong>Do you think his apology was genuine?\u003c/strong>\u003cbr>\nI really can’t say. I didn’t speak to him in person and tone is impossible in text form.\u003c/p>\n\u003cp>\u003cstrong>Do you think if he knew what the picture was from or anything about you, that he would still use it?\u003c/strong>\u003cbr>\nI’m obviously speculating, but he still seems cavalier about his breach of copyright law. He offered $500, not for past usage or restitution, but to be able to use it legally for the ad going forward. After I told him why that was not OK (see my 2nd letter), he sent a response: \u003c/p>\n\u003cp>“Thank you for taking the time to give me your full perspective on the situation. In case you missed my earlier communications I would like to make sure you’re aware that I’ve already removed the image from the ad. Again I apologize for the oversight, as you can see I responded immediately to your request and did my best to rectify the situation.”\u003c/p>\n\u003cp>So offering to pay for it going forward is his “best” at rectifying the situation. This casual disregard of artist’s rights is not uncommon. I imagine if I was Lars from Metallica he would be a bit more responsive. With the current steamrolling of the Bay Area’s cultural heritage, I caught myself wondering if this is just an attitude that is endemic within tech culture, then realized that it is simply corporate culture. Tech companies have done a pretty good job selling us on the idea that they are different from regular corporate culture. Maybe they even believe it themselves.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Is this kind of image appropriation a growing problem? Do you know of other artists that have had similar struggles?\u003c/strong>\u003cbr>\nI’m not sure about current appropriation cases. A copyright lawyer or California Lawyers for the Arts would be able to tell you about current cases. I can tell you that artists being taken advantage of is continuing problem. Whether it is low paying commercial work where you are “lucky to have a job in your chosen field,” or art organizations that offer shows that don’t pay for shipping or provide a stipend for a “great opportunity,” or the troubles surrounding wages and retention for adjunct art teachers, or the rising cost of tuition for an arts education. Students are coming out of schools today with an undergrad degree in painting and $80,000 of debt. Sometimes you want to take that opportunity or you can afford to pay that tuition, but at times you feel like you just have to do it. There is tremendous competition in the arts. I don’t know about students today, but I didn’t have any idea how hard it is to pay back even $10,000 as an artist. A lot of American society thinks being an artist is a way to be a slacker, it’s the opposite. Being an artist is a tough road filled with low wages and a lot of struggle. We could use a break once in a while.\u003c/p>\n\n",
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"excerpt": "Packard Jennings is really angry at a San Diego tech executive for using an image of his without permission. After sending two expletive-filled letters to the tech exec admonishing him for his actions, Jennings explains why he's so ticked off. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland artist \u003ca href=\"http://packardjennings.com/\" target=\"_blank\" rel=\"noopener\">Packard Jennings\u003c/a> is no stranger to the press. His politically-conscious artwork has been covered by the \u003cem>New York Times\u003c/em>, the \u003cem>Washington Post\u003c/em>, A\u003cem>rtforum\u003c/em>, and many other publications. But he’s currently receiving media attention for a Craigslist post he had nothing to do with — \u003ca href=\"http://ww2.kqed.org/arts/2015/04/27/oakland-artist-smacks-down-tech-exec-for-using-image-in-viral-job-ad/\" target=\"_blank\" rel=\"noopener\">a San Diego tech executive used an image of Jennings’ without permission\u003c/a> for a “developers wanted” ad, which went viral. Now, instead of concentrating solely on his next work, Jennings is having to get “medieval” on Chatmeter CTO Paul Koch for the exec’s copyright infringement.\u003c/p>\n\u003cp>Jennings took a few minutes to answer some questions from KQED Arts about the situation and what he plans to do next. \u003c/p>\n\u003cp>\u003cstrong>How did you learn about your pic being used in the ad?\u003c/strong>\u003cbr>\nThis Craigslist post went viral. Beyond the attention on news sites, it blew up on social media. Several people recognized my work when it was posted on both Facebook and on the \u003cem>San Francisco Chronicle\u003c/em>’s site. I was contacted about it by three separate people.\u003c/p>\n\u003cfigure id=\"attachment_10602567\" class=\"wp-caption alignright\" style=\"max-width: 604px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland.jpg\" alt=\"Jennings in Switzerland back in 2006. (Courtesy of Jennings)\" width=\"604\" height=\"453\" class=\"size-full wp-image-10602567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland-400x300.jpg 400w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennings in Switzerland back in 2006. (Courtesy of Jennings)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How far are you willing to take this?\u003c/strong>\u003cbr>\nI’m willing take this as far as it needs to go. I’d rather it didn’t get to the point of needing to go to court, but I have been consulting several copyright lawyers and the California Lawyers for the Arts, in case it goes there. If it goes to court, it goes to court. It is a pretty cut-and-dry case of copyright infringement. They don’t have a leg to stand on, really.\u003c/p>\n\u003cp>\u003cstrong>What would be proper compensation?\u003c/strong>\u003cbr>\nIf he comes to me with a sincere offer that seems adequate I will consider it, but that could be a question for lawyers. The standard ranges of fines for copyright infringement are laid out in my first letter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Has this happened to you before?\u003c/strong>\u003cbr>\nI had someone selling a copy of my Bible Sticker, which I give away for free. It is based on stickers in Georgia biology school textbooks in 2005, which warned: “Evolution is a theory, not a fact, regarding the origin of living things. It should be read with an open mind and critically considered.” The Bible Sticker is given away for free with the instructions: “Keep this sticker in your wallet. When you stay in a motel, adhere your sticker to the inside jacket of the Bible.” Someone directed me to a person selling it on some site that custom prints T-shirts and stickers to order for vendors who have “stores” on the site. I contacted them and they took it down. It was made to be given away, not sold.\u003c/p>\n\u003cfigure id=\"attachment_10602568\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-912x1180.jpg\" alt=\"Jennings' second letter to Paul Koch\" width=\"640\" height=\"828\" class=\"size-large wp-image-10602568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-912x1180.jpg 912w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-463x600.jpg 463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-1180x1528.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-960x1243.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2.jpg 1582w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennings’ second letter to Paul Koch\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Does it matter if what he did was just a mistake?\u003c/strong>\u003cbr>\nI understand that people slip up and show a lapse in judgement. If he were just some guy trying to sell a bike, I wouldn’t sweat it. Everyone knows when they are using copyrighted artwork. In this case, he used it for an advertisement to gain publicity and recruit employees. In his own words (see the \u003ca href=\"http://nextshark.com/paul-koch-craigslist-job-ad-great-developers-startup/\" target=\"_blank\" rel=\"noopener\">Netshark interview\u003c/a>) he set out to create a viral campaign. He very purposely constructed the ad to cause a stir. He chose to ignore copyright because my image somehow resonated with him for this; I suppose the idea is that his tech company is somehow a radical place to work. In this, he was very purposefully using my image to help brand his company. Top this off with his casual dismissal of my grievance and you may see why this is not a simple mistake. \u003c/p>\n\u003cp>\u003cstrong>Do you think his apology was genuine?\u003c/strong>\u003cbr>\nI really can’t say. I didn’t speak to him in person and tone is impossible in text form.\u003c/p>\n\u003cp>\u003cstrong>Do you think if he knew what the picture was from or anything about you, that he would still use it?\u003c/strong>\u003cbr>\nI’m obviously speculating, but he still seems cavalier about his breach of copyright law. He offered $500, not for past usage or restitution, but to be able to use it legally for the ad going forward. After I told him why that was not OK (see my 2nd letter), he sent a response: \u003c/p>\n\u003cp>“Thank you for taking the time to give me your full perspective on the situation. In case you missed my earlier communications I would like to make sure you’re aware that I’ve already removed the image from the ad. Again I apologize for the oversight, as you can see I responded immediately to your request and did my best to rectify the situation.”\u003c/p>\n\u003cp>So offering to pay for it going forward is his “best” at rectifying the situation. This casual disregard of artist’s rights is not uncommon. I imagine if I was Lars from Metallica he would be a bit more responsive. With the current steamrolling of the Bay Area’s cultural heritage, I caught myself wondering if this is just an attitude that is endemic within tech culture, then realized that it is simply corporate culture. Tech companies have done a pretty good job selling us on the idea that they are different from regular corporate culture. Maybe they even believe it themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Is this kind of image appropriation a growing problem? Do you know of other artists that have had similar struggles?\u003c/strong>\u003cbr>\nI’m not sure about current appropriation cases. A copyright lawyer or California Lawyers for the Arts would be able to tell you about current cases. I can tell you that artists being taken advantage of is continuing problem. Whether it is low paying commercial work where you are “lucky to have a job in your chosen field,” or art organizations that offer shows that don’t pay for shipping or provide a stipend for a “great opportunity,” or the troubles surrounding wages and retention for adjunct art teachers, or the rising cost of tuition for an arts education. Students are coming out of schools today with an undergrad degree in painting and $80,000 of debt. Sometimes you want to take that opportunity or you can afford to pay that tuition, but at times you feel like you just have to do it. There is tremendous competition in the arts. I don’t know about students today, but I didn’t have any idea how hard it is to pay back even $10,000 as an artist. A lot of American society thinks being an artist is a way to be a slacker, it’s the opposite. Being an artist is a tough road filled with low wages and a lot of struggle. We could use a break once in a while.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland Artist Smacks Down Tech Exec for Using Image in Viral Job Ad",
"headTitle": "Oakland Artist Smacks Down Tech Exec for Using Image in Viral Job Ad | KQED",
"content": "\u003cp>An Oakland artist smacked down an executive at a San Diego tech company in a “Cease and F**king Desist” letter after the exec used one of the artist’s images without providing payment or even asking if it was okay to use in a Craigslist ad.\u003c/p>\n\u003cp>Paul Koch, CTO of Chatmeter, received major kudos last week for his job ad titled “\u003ca href=\"http://sfbay.craigslist.org/sfc/sof/4982493312.html\" target=\"_blank\" rel=\"noopener\">Searching for 2 F**king Great Developers,\u003c/a>” which included expletives and a funny picture of a man pushing over his desk. News outlets such as \u003cem>\u003ca href=\"http://nextshark.com/paul-koch-craigslist-job-ad-great-developers-startup/\" target=\"_blank\" rel=\"noopener\">Nextshark\u003c/a>\u003c/em> and \u003ca href=\"http://www.10news.com/news/local-startups-use-of-f-word-in-job-ad-goes-viral-turns-into-recruiting-gold\" target=\"_blank\" rel=\"noopener\">ABC 10 in San Diego\u003c/a> published articles on the ad, praising it for its unique take on a job listing.\u003c/p>\n\u003cfigure id=\"attachment_10599680\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-ad.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-ad.jpg\" alt=\"Snippet of Paul Koch's Craigslist ad (Courtesy of Packard Jennings)\" width=\"640\" height=\"360\" class=\"size-full wp-image-10599680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-ad.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-ad-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Snippet of Paul Koch’s Craigslist ad (Courtesy of Packard Jennings)\u003c/figcaption>\u003c/figure>\n\u003cp>But Oakland artist Packard Jennings did not find Koch’s ad funny at all. The picture Koch used was from Jennings’ “Business Reply,” a 16-page pamphlet containing a series of images portraying an office during worker upheaval. Koch not only didn’t pay Jennings for use of the image, which the artist claims is his most recognizable work; he didn’t even ask permission to post it.\u003c/p>\n\u003cp>As a matter of fact, if Koch knew the purpose of the work beforehand, he might not have used it. Jennings described the pamphlet \u003ca href=\"http://packardjennings.com/?page_id=2\" target=\"_blank\" rel=\"noopener\">on his website\u003c/a> as being for putting “inside the postage-paid, business-reply envelopes that come with junk mail offers and mailed back to the company of origin.”\u003c/p>\n\u003cp>Jennings’ most notable works are political by nature, including his “Anarchist Action Figure,” which he placed \u003ca href=\"http://www.nytimes.com/2007/12/24/us/24shopdrop.html\" target=\"_blank\" rel=\"noopener\">inside box stores in 2007 \u003c/a>and then filmed customers as they tried to purchase the toy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Late Sunday night, Jennings fired off a cease and desist letter to Koch, stating that if the exec did not remove the picture from the ad within 10 days, it would be taken as “willful infringement,” which could lead up to $150,000 in fines if Koch was found guilty in court.\u003c/p>\n\u003cfigure id=\"attachment_10599815\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-1.jpg\" alt=\"Packard Jennings' Cease and Desist letter (Courtesy of Jennings)\" width=\"640\" height=\"829\" class=\"size-full wp-image-10599815\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-1-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-1-463x600.jpg 463w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Packard Jennings’ Cease and Desist letter (Courtesy of Jennings)\u003c/figcaption>\u003c/figure>\n\u003cp>“As a f**king tech company, I would think that you could stop playing Mortal Kombat for one f**king minute to do an on-line search and discover the artwork,” wrote Jennings in his letter. “Your bulls**t corporate image is now associated with my artwork, which is in essence anti-corporate. Can you see how we have a f**king problem here?”\u003c/p>\n\u003cp>According to Jennings, Koch responded to the cease and desist letter with an email Monday morning. In it, Koch apologized to the artist for not reaching out, stating that he didn’t think anyone would want to have their names associated with such a profane ad. He also promised to pull the image from the ad and offered Jennings a one-time use fee of $500 for his troubles.\u003c/p>\n\u003cp>The image was removed from the ad before noon Monday.\u003c/p>\n\u003cp>Despite Koch’s offer, Jennings isn’t done going after the tech exec. In his response to Koch’s apology, Jennings made it clear that he never wants Koch to use his work again and that $500 is not enough to “rectify the situation.” \u003c/p>\n\u003cp>“If you look at my artwork, much of its content has an anti-corporate sentiment. I would never license my artwork for commercial purposes,” wrote Jennings in his response. “When you used my artwork in affiliation with your business, you altered the narrative about that work.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>We will continue to follow this story and update it when we learn new details.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An Oakland artist smacked down an executive at a San Diego tech company in a “Cease and F**king Desist” letter after the exec used one of the artist’s images without providing payment or even asking if it was okay to use in a Craigslist ad.\u003c/p>\n\u003cp>Paul Koch, CTO of Chatmeter, received major kudos last week for his job ad titled “\u003ca href=\"http://sfbay.craigslist.org/sfc/sof/4982493312.html\" target=\"_blank\" rel=\"noopener\">Searching for 2 F**king Great Developers,\u003c/a>” which included expletives and a funny picture of a man pushing over his desk. News outlets such as \u003cem>\u003ca href=\"http://nextshark.com/paul-koch-craigslist-job-ad-great-developers-startup/\" target=\"_blank\" rel=\"noopener\">Nextshark\u003c/a>\u003c/em> and \u003ca href=\"http://www.10news.com/news/local-startups-use-of-f-word-in-job-ad-goes-viral-turns-into-recruiting-gold\" target=\"_blank\" rel=\"noopener\">ABC 10 in San Diego\u003c/a> published articles on the ad, praising it for its unique take on a job listing.\u003c/p>\n\u003cfigure id=\"attachment_10599680\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-ad.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-ad.jpg\" alt=\"Snippet of Paul Koch's Craigslist ad (Courtesy of Packard Jennings)\" width=\"640\" height=\"360\" class=\"size-full wp-image-10599680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-ad.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-ad-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Snippet of Paul Koch’s Craigslist ad (Courtesy of Packard Jennings)\u003c/figcaption>\u003c/figure>\n\u003cp>But Oakland artist Packard Jennings did not find Koch’s ad funny at all. The picture Koch used was from Jennings’ “Business Reply,” a 16-page pamphlet containing a series of images portraying an office during worker upheaval. Koch not only didn’t pay Jennings for use of the image, which the artist claims is his most recognizable work; he didn’t even ask permission to post it.\u003c/p>\n\u003cp>As a matter of fact, if Koch knew the purpose of the work beforehand, he might not have used it. Jennings described the pamphlet \u003ca href=\"http://packardjennings.com/?page_id=2\" target=\"_blank\" rel=\"noopener\">on his website\u003c/a> as being for putting “inside the postage-paid, business-reply envelopes that come with junk mail offers and mailed back to the company of origin.”\u003c/p>\n\u003cp>Jennings’ most notable works are political by nature, including his “Anarchist Action Figure,” which he placed \u003ca href=\"http://www.nytimes.com/2007/12/24/us/24shopdrop.html\" target=\"_blank\" rel=\"noopener\">inside box stores in 2007 \u003c/a>and then filmed customers as they tried to purchase the toy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Late Sunday night, Jennings fired off a cease and desist letter to Koch, stating that if the exec did not remove the picture from the ad within 10 days, it would be taken as “willful infringement,” which could lead up to $150,000 in fines if Koch was found guilty in court.\u003c/p>\n\u003cfigure id=\"attachment_10599815\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-1.jpg\" alt=\"Packard Jennings' Cease and Desist letter (Courtesy of Jennings)\" width=\"640\" height=\"829\" class=\"size-full wp-image-10599815\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-1-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-1-463x600.jpg 463w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Packard Jennings’ Cease and Desist letter (Courtesy of Jennings)\u003c/figcaption>\u003c/figure>\n\u003cp>“As a f**king tech company, I would think that you could stop playing Mortal Kombat for one f**king minute to do an on-line search and discover the artwork,” wrote Jennings in his letter. “Your bulls**t corporate image is now associated with my artwork, which is in essence anti-corporate. Can you see how we have a f**king problem here?”\u003c/p>\n\u003cp>According to Jennings, Koch responded to the cease and desist letter with an email Monday morning. In it, Koch apologized to the artist for not reaching out, stating that he didn’t think anyone would want to have their names associated with such a profane ad. He also promised to pull the image from the ad and offered Jennings a one-time use fee of $500 for his troubles.\u003c/p>\n\u003cp>The image was removed from the ad before noon Monday.\u003c/p>\n\u003cp>Despite Koch’s offer, Jennings isn’t done going after the tech exec. In his response to Koch’s apology, Jennings made it clear that he never wants Koch to use his work again and that $500 is not enough to “rectify the situation.” \u003c/p>\n\u003cp>“If you look at my artwork, much of its content has an anti-corporate sentiment. I would never license my artwork for commercial purposes,” wrote Jennings in his response. “When you used my artwork in affiliation with your business, you altered the narrative about that work.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>We will continue to follow this story and update it when we learn new details.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Six Novelists Withdraw from Event Honoring 'Charlie Hebdo'",
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"content": "\u003cp>Six writers have withdrawn from the PEN American Center’s annual gala on May 5 in protest against the free-speech organization’s \u003ca href=\"http://www.pen.org/2015-pen-goodale-freedom-expression-courage-award\" target=\"_blank\" rel=\"noopener\">decision\u003c/a> to give the French satirical magazine \u003cem>Charlie Hebdo\u003c/em> its annual Freedom of Expression Courage Award.\u003c/p>\n\u003cp>The writers who have withdrawn from the event are Peter Carey, Michael Ondaatje, Francine Prose, Teju Cole, Rachel Kushner and Taiye Selasi, \u003cem>The New York Times\u003c/em> \u003ca href=\"http://www.nytimes.com/2015/04/27/nyregion/six-pen-members-decline-gala-after-award-for-charlie-hebdo.html?_r=0\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>.\u003c/p>\n\u003cp>In its decision to honor \u003cem>Charlie Hebdo\u003c/em>, PEN America cited the satirical publication’s “dauntlessness in the face of one of the most noxious assaults on expression in recent memory.” An attack on Jan. 7 by Islamist militants on the magazine and its staff killed 12 people, including some of its top cartoonists and editors. In a statement, PEN added:\u003c/p>\n\u003cblockquote>\n\u003cp>“The day after the attack, the surviving staff of \u003cem>Charlie Hebdo\u003c/em> magazine vowed to continue publication, releasing their next edition on time with a print run expanded from 40,000 to over eight million under the mantra ‘All is Forgiven,’ donating all proceeds to the families of the victims. The \u003cem>Charlie Hebdo\u003c/em> attacks dealt a blow to the bedrock principle that no act of expression, no matter how provocative or offensive, can justify violence.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cem>Charlie Hebdo\u003c/em> had long pilloried political and religious figures, but it was the publication’s depiction of Islam’s Prophet Muhammad that had drawn intense scrutiny — as well as death threats from militant groups. Many Muslims consider any depiction of their prophet — even positive ones — to be offensive. Critics of the magazine say \u003cem>Charlie Hebdo\u003c/em> was being deliberately provocative.\u003c/p>\n\u003cp>Kushner, in an email to the \u003cem>Times\u003c/em>, said she was withdrawing from the May 5 PEN gala because she was uncomfortable with \u003cem>Charlie Hebdo\u003c/em>‘s “cultural intolerance” and promotion of “a kind of forced secular view.” Those views, the \u003cem>Times\u003c/em> added, were echoed by the other writers who pulled out of the event.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carey told the \u003cem>Times\u003c/em> that PEN, in its decision, was going beyond its role of protecting freedom of expression.\u003c/p>\n\u003cp>“A hideous crime was committed, but was it a freedom-of-speech issue for PEN America to be self-righteous about?” he said in an email to the newspaper.\u003c/p>\n\u003cp>Novelist Salman Rushdie, a past president of PEN who spent years in hiding because of a fatwa over his novel \u003cem>The Satanic Verses\u003c/em>, criticized the writers for pulling out, saying while Carey and Ondaatje were old friends of his, they are “horribly wrong.”\u003c/p>\n\u003cp>In a statement Sunday, PEN said: “We do not believe that any of us must endorse the content of Charlie Hebdo’s cartoons in order to affirm the importance of the medium of satire, or to applaud the staff’s bravery in holding fast to those values in the face of life and death threats.”\u003c/p>\n\u003cp>It added:\u003c/p>\n\u003cblockquote>\n\u003cp>“We recognize that these issues are complex, and that there are good faith differences of opinion within our community. At PEN, we never shy away from controversy nor demand uniformity of opinion across our ranks. We will be sorry not to see those who have opted out of the gala, but we respect them for their convictions.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The award for \u003cem>Charlie Hebdo\u003c/em> will be accepted by the publication’s film critic and essayist Jean-Baptiste Thoret, who had arrived to work late on the day of the attack. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=6+Novelists+Withdraw+From+Event+Honoring+%27Charlie+Hebdo%27+For+Free+Speech&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Peter Carey and Rachel Kushner are among those who are withdrawing in protest from the PEN American Center's annual gala. Kushner says she is uncomfortable with \u003cem>Charlie Hebdo'\u003c/em>s \"cultural intolerance.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Six writers have withdrawn from the PEN American Center’s annual gala on May 5 in protest against the free-speech organization’s \u003ca href=\"http://www.pen.org/2015-pen-goodale-freedom-expression-courage-award\" target=\"_blank\" rel=\"noopener\">decision\u003c/a> to give the French satirical magazine \u003cem>Charlie Hebdo\u003c/em> its annual Freedom of Expression Courage Award.\u003c/p>\n\u003cp>The writers who have withdrawn from the event are Peter Carey, Michael Ondaatje, Francine Prose, Teju Cole, Rachel Kushner and Taiye Selasi, \u003cem>The New York Times\u003c/em> \u003ca href=\"http://www.nytimes.com/2015/04/27/nyregion/six-pen-members-decline-gala-after-award-for-charlie-hebdo.html?_r=0\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>.\u003c/p>\n\u003cp>In its decision to honor \u003cem>Charlie Hebdo\u003c/em>, PEN America cited the satirical publication’s “dauntlessness in the face of one of the most noxious assaults on expression in recent memory.” An attack on Jan. 7 by Islamist militants on the magazine and its staff killed 12 people, including some of its top cartoonists and editors. In a statement, PEN added:\u003c/p>\n\u003cblockquote>\n\u003cp>“The day after the attack, the surviving staff of \u003cem>Charlie Hebdo\u003c/em> magazine vowed to continue publication, releasing their next edition on time with a print run expanded from 40,000 to over eight million under the mantra ‘All is Forgiven,’ donating all proceeds to the families of the victims. The \u003cem>Charlie Hebdo\u003c/em> attacks dealt a blow to the bedrock principle that no act of expression, no matter how provocative or offensive, can justify violence.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cem>Charlie Hebdo\u003c/em> had long pilloried political and religious figures, but it was the publication’s depiction of Islam’s Prophet Muhammad that had drawn intense scrutiny — as well as death threats from militant groups. Many Muslims consider any depiction of their prophet — even positive ones — to be offensive. Critics of the magazine say \u003cem>Charlie Hebdo\u003c/em> was being deliberately provocative.\u003c/p>\n\u003cp>Kushner, in an email to the \u003cem>Times\u003c/em>, said she was withdrawing from the May 5 PEN gala because she was uncomfortable with \u003cem>Charlie Hebdo\u003c/em>‘s “cultural intolerance” and promotion of “a kind of forced secular view.” Those views, the \u003cem>Times\u003c/em> added, were echoed by the other writers who pulled out of the event.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carey told the \u003cem>Times\u003c/em> that PEN, in its decision, was going beyond its role of protecting freedom of expression.\u003c/p>\n\u003cp>“A hideous crime was committed, but was it a freedom-of-speech issue for PEN America to be self-righteous about?” he said in an email to the newspaper.\u003c/p>\n\u003cp>Novelist Salman Rushdie, a past president of PEN who spent years in hiding because of a fatwa over his novel \u003cem>The Satanic Verses\u003c/em>, criticized the writers for pulling out, saying while Carey and Ondaatje were old friends of his, they are “horribly wrong.”\u003c/p>\n\u003cp>In a statement Sunday, PEN said: “We do not believe that any of us must endorse the content of Charlie Hebdo’s cartoons in order to affirm the importance of the medium of satire, or to applaud the staff’s bravery in holding fast to those values in the face of life and death threats.”\u003c/p>\n\u003cp>It added:\u003c/p>\n\u003cblockquote>\n\u003cp>“We recognize that these issues are complex, and that there are good faith differences of opinion within our community. At PEN, we never shy away from controversy nor demand uniformity of opinion across our ranks. We will be sorry not to see those who have opted out of the gala, but we respect them for their convictions.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The award for \u003cem>Charlie Hebdo\u003c/em> will be accepted by the publication’s film critic and essayist Jean-Baptiste Thoret, who had arrived to work late on the day of the attack. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=6+Novelists+Withdraw+From+Event+Honoring+%27Charlie+Hebdo%27+For+Free+Speech&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Karina Deniké's Long Road to 'Under Glass'",
"title": "Karina Deniké's Long Road to 'Under Glass'",
"headTitle": "The California Report | KQED News",
"content": "\u003cfigure id=\"attachment_10501310\" class=\"wp-caption alignleft\" style=\"max-width: 745px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14921_karina-staranova-du-nord.jpg-alt_254.jpg\">\u003cimg class=\"size-full wp-image-10501310\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14921_karina-staranova-du-nord.jpg-alt_254.jpg\" alt=\"Karina Deniké \" width=\"745\" height=\"577\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/RS14921_karina-staranova-du-nord.jpg-alt_254.jpg 745w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RS14921_karina-staranova-du-nord.jpg-alt_254-400x310.jpg 400w\" sizes=\"(max-width: 745px) 100vw, 745px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Karina Deniké\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.karinadenike.com/\" target=\"_blank\">Karina Deniké\u003c/a> spent her formative years on the move, so perhaps it’s not surprising that her songs are filled with travelers and seekers, restless wanderers and mordant observers.\u003c/p>\n\u003cp>Born in the United Kingdom to Czech artists in exile after the Soviet Union crushed the Prague Spring in 1968, she spent her childhood performing street theater across Europe, North Africa and India.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/202438953\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>As a teen she settled with her family in Berkeley, falling in with jazz musicians and the punk scene around 924 Gilman. Over the past two decades she’s been an essential part of the Bay Area arts community, from providing powerhouse vocals in the ska-punk band Dance Hall Crashers in the 1990s to collaborating with Fat Mike and Jeff Marx on their recent rock musical \"Home Street Home.\"\u003c/p>\n\u003cp>But her new album, \"\u003ca href=\"https://karinadenike.bandcamp.com/album/under-glass\" target=\"_blank\">Under Glass\u003c/a>,\" is Deniké’s first project fully devoted to her own music and, not surprisingly, it’s impossible to pigeonhole.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Karina-collage_web.jpg\">\u003cimg class=\"alignleft wp-image-10501308\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Karina-collage_web-400x400.jpg\" alt=\"Karina+collage_web\" width=\"285\" height=\"285\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web.jpg 500w\" sizes=\"(max-width: 285px) 100vw, 285px\">\u003c/a>\u003c/p>\n\u003cp>While Deniké references at least half a dozen styles on the album’s 12 tracks, she uses a core group of players to provide a consistent play of textures, whether she’s delivering soaring girl-group harmonies with singer/songwriter Lily Taylor on \"Havin’ a Go,\" or taking a funhouse ride on the midway on \"Musée Mécanique.\"\u003c/p>\n\u003cp>There’s a dizzying quality to Deniké’s music, an uncanny, time-shifting feel where songs seem familiar until she adds an unexpected texture or an arresting original image. She’s joined on several tracks by horn players known for working with Tom Waits, an obvious influence. But where he makes do with his Louis Armstrong rasp, Deniké possesses a voice so rich and luxuriant she sounds like she was born to sing any song that comes her way.\u003c/p>\n\u003cp>One of the album’s consistent pleasures is that Deniké knows just how to frame her voice. She accompanies herself on various organs and keyboards and often uses Aaron Novik’s dry woody bass clarinet as a snaky counterpoint, like on the woozy ballad “Stop the Horses.\" It’s a mark of her tonal dexterity that she can assume so many different guises while being backed by the same excellent band. The shifts from track to track can be jarring, but each song creates its own little world.\u003c/p>\n\u003cp>Deniké can sound like a dangerous vixen from a film-noir nightclub (\"Golden Kimonos\"), a brassy show-tune belter (\"Boxing Glove\") or the leader of a Motownesque girl group (“Park It”).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Deniké closes the album with \"Až Budeš Vélky\" a tender Czech lullaby that her mother used to sing. Is she taking us back home, and was it all just a dream? The title \"Under Glass\" suggests something fixed in place, but Karina Deniké’s musical world never seems to stop changing, and her tales of travel and exotic locales sound better with each spin.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10501310\" class=\"wp-caption alignleft\" style=\"max-width: 745px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14921_karina-staranova-du-nord.jpg-alt_254.jpg\">\u003cimg class=\"size-full wp-image-10501310\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14921_karina-staranova-du-nord.jpg-alt_254.jpg\" alt=\"Karina Deniké \" width=\"745\" height=\"577\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/RS14921_karina-staranova-du-nord.jpg-alt_254.jpg 745w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RS14921_karina-staranova-du-nord.jpg-alt_254-400x310.jpg 400w\" sizes=\"(max-width: 745px) 100vw, 745px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Karina Deniké\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.karinadenike.com/\" target=\"_blank\">Karina Deniké\u003c/a> spent her formative years on the move, so perhaps it’s not surprising that her songs are filled with travelers and seekers, restless wanderers and mordant observers.\u003c/p>\n\u003cp>Born in the United Kingdom to Czech artists in exile after the Soviet Union crushed the Prague Spring in 1968, she spent her childhood performing street theater across Europe, North Africa and India.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/202438953&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/202438953'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As a teen she settled with her family in Berkeley, falling in with jazz musicians and the punk scene around 924 Gilman. Over the past two decades she’s been an essential part of the Bay Area arts community, from providing powerhouse vocals in the ska-punk band Dance Hall Crashers in the 1990s to collaborating with Fat Mike and Jeff Marx on their recent rock musical \"Home Street Home.\"\u003c/p>\n\u003cp>But her new album, \"\u003ca href=\"https://karinadenike.bandcamp.com/album/under-glass\" target=\"_blank\">Under Glass\u003c/a>,\" is Deniké’s first project fully devoted to her own music and, not surprisingly, it’s impossible to pigeonhole.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Karina-collage_web.jpg\">\u003cimg class=\"alignleft wp-image-10501308\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Karina-collage_web-400x400.jpg\" alt=\"Karina+collage_web\" width=\"285\" height=\"285\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web.jpg 500w\" sizes=\"(max-width: 285px) 100vw, 285px\">\u003c/a>\u003c/p>\n\u003cp>While Deniké references at least half a dozen styles on the album’s 12 tracks, she uses a core group of players to provide a consistent play of textures, whether she’s delivering soaring girl-group harmonies with singer/songwriter Lily Taylor on \"Havin’ a Go,\" or taking a funhouse ride on the midway on \"Musée Mécanique.\"\u003c/p>\n\u003cp>There’s a dizzying quality to Deniké’s music, an uncanny, time-shifting feel where songs seem familiar until she adds an unexpected texture or an arresting original image. She’s joined on several tracks by horn players known for working with Tom Waits, an obvious influence. But where he makes do with his Louis Armstrong rasp, Deniké possesses a voice so rich and luxuriant she sounds like she was born to sing any song that comes her way.\u003c/p>\n\u003cp>One of the album’s consistent pleasures is that Deniké knows just how to frame her voice. She accompanies herself on various organs and keyboards and often uses Aaron Novik’s dry woody bass clarinet as a snaky counterpoint, like on the woozy ballad “Stop the Horses.\" It’s a mark of her tonal dexterity that she can assume so many different guises while being backed by the same excellent band. The shifts from track to track can be jarring, but each song creates its own little world.\u003c/p>\n\u003cp>Deniké can sound like a dangerous vixen from a film-noir nightclub (\"Golden Kimonos\"), a brassy show-tune belter (\"Boxing Glove\") or the leader of a Motownesque girl group (“Park It”).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Deniké closes the album with \"Až Budeš Vélky\" a tender Czech lullaby that her mother used to sing. Is she taking us back home, and was it all just a dream? The title \"Under Glass\" suggests something fixed in place, but Karina Deniké’s musical world never seems to stop changing, and her tales of travel and exotic locales sound better with each spin.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Madeline Huberth could play Beethoven with the best of them. She studied cello in college and planned on going professional.\u003c/p>\n\u003cp>But then she started to get shooting pains in her left hand when she practiced. Her fingers were tingling. And surgery did nothing to help.\u003c/p>\n\u003cp>“I started losing muscle mass in my hand,” Huberth says.\u003c/p>\n\u003cp>By graduation, she couldn’t lift her pinky anymore or stretch her index finger back to play B flat.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/202439110\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>“It became very apparent at the end of college that I couldn’t pursue performance anymore,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Huberth threw herself into studying the science of music. She’s now a Ph.D. student at Stanford University’s \u003ca href=\"https://ccrma.stanford.edu/\" target=\"_blank\">Center for Computer Research in Music and Acoustics\u003c/a>, where she’s become adept at a new musical instrument: her laptop.\u003c/p>\n\u003cp>“Using a laptop, you can do anything that isn’t even physically possible,” she explains. “You can have an incredibly wide vibrato. Or you could simulate the sound of a string that’s the length of the building,” to produce an incredibly low pitch.\u003c/p>\n\u003cp>Today, Huberth is the teaching assistant for the \u003ca href=\"http://slork.stanford.edu/\" target=\"_blank\">Stanford Laptop Orchestra\u003c/a>. This is a class that meets Wednesday nights during the spring semester. Students write code to create their own instrument on the computer, which they will score into a full orchestral work by the end of the semester.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=c1f1DATjZUg\u003c/p>\n\u003cp>Several students in the class have a musical background, like Huberth, while several others come from computer science or engineering.\u003c/p>\n\u003cp>“I studied physics and I have kind of a tech background,” graduate student Tim O’Brien says. “But I loved music all my life, so it kind of combines everything.”\u003c/p>\n\u003cp>At a recent class meeting, he and 13 other students sat on rows of meditation pillows, fixing code on their laptops and fiddling with speakers made out of IKEA salad bowls.\u003c/p>\n\u003cp>They rehearsed ensemble pieces that they will perform at an \u003ca href=\"http://slork.stanford.edu/events/2015/slorktastic/\">upcoming chamber concert\u003c/a>, and demonstrated their individual solo instruments.\u003c/p>\n\u003cp>O’Brien began his demo by taking a big breath and blowing softly into his laptop. Then he jingled his car keys over the keyboard and tapped his water bottle. He programmed his computer’s microphone to translate these human actions into a morphed, electronic sound. The class loved it. And so did the orchestra director.\u003c/p>\n\u003cfigure id=\"attachment_10500180\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/photo4.jpg\">\u003cimg class=\"wp-image-10500180\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/photo4.jpg\" alt=\"Ge Wang, assistant professor of music at Stanford's Center for Computer Research in Music and Acoustics, teaches a music coding lesson to students participating in the Stanford Laptop Orchestra.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4.jpg 3264w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ge Wang, assistant professor of music at Stanford's Center for Computer Research in Music and Acoustics, teaches a music coding lesson to students participating in the Stanford Laptop Orchestra. \u003ccite>(April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That was nothing short of magical,” says Ge Wang, assistant professor of music at Stanford. “Tim was able to really find this mix where human meets machine. And in that way, it was like this dialogue. But what came out of the computer was a sound that would not come anywhere except through a computer.”\u003c/p>\n\u003cp>Wang and Huberth also like when students get physical with the medium. For example, one student is programming an armband to produce sounds when he stretches or clenches his hand. Other students use Gametraks, little black boxes originally used as a video game control, that have two red retractable cables. Students connect them to their laptops and program them to produce different notes or rhythms when they pull them up, down, left or right.\u003c/p>\n\u003cp>“We can rapidly prototype physical gestures, interactions and map them to sound,” Wang explains. “It enables a way to quickly explore a whole world of new sounds, interactions, and performance practices.”\u003c/p>\n\u003cfigure id=\"attachment_10500181\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/laptop-orchestra-5.jpg\">\u003cimg class=\"wp-image-10500181\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/laptop-orchestra-5.jpg\" alt=\" Erica Fearon demonstrates a piece of music she composed on her laptop. She programmed the cables to make different sounds when she moved them in different directions.\" width=\"1920\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5.jpg 2448w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-960x1280.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erica Fearon demonstrates a piece of music she composed on her laptop. She programmed the cables to make different sounds when she moved them in different directions. \u003ccite>(April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wang says this makes for a better experience for the audience – one that is both pleasing to listen to and also interesting to watch.\u003c/p>\n\u003cp>He says this is one of the ways laptop orchestra is evolving as a medium. Wang was a founding member of the first laptop orchestra, launched at Princeton University 10 years ago. He started the Stanford Laptop Orchestra, known affectionately as Slork, in 2008. Today, there are more than 70 laptop orchestras, but Wang says they’re still really just beginning.\u003c/p>\n\u003cp>“Ten years may be a long time in computer years. To really make it into an art form, it’s still quite early,” Wang says.\u003c/p>\n\u003cp>But some more advanced laptop musicians are pushing boundaries. Madeline Huberth helped form a chamber group called Sidelobe, which meets year-round and works on reinterpreting earlier compositions, choosing from a young but growing library of more than 300 works.\u003c/p>\n\u003cp>“We’ve been pulling pieces from the canon, from the laptop orchestra canon,” Huberth says. “Pieces that have done very well, that have been written by more seasoned composers, and we’re giving these performances new life.”\u003c/p>\n\u003cp>The biggest challenge laptop musicians face is the same challenge all artists confront, Wang says.\u003c/p>\n\u003cp>“Whether a violin, cello, piano or a laptop, we’re all looking for a different way to represent that spark of humanity,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Stanford Laptop Orchestra will perform a chamber music concert on April 30 and a full orchestral concert on May 30. The \u003c/em>\u003ca href=\"http://slork.stanford.edu/events/2015/slorktastic/\">\u003cem>events\u003c/em>\u003c/a>\u003cem> are both free and open to the public. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Madeline Huberth could play Beethoven with the best of them. She studied cello in college and planned on going professional.\u003c/p>\n\u003cp>But then she started to get shooting pains in her left hand when she practiced. Her fingers were tingling. And surgery did nothing to help.\u003c/p>\n\u003cp>“I started losing muscle mass in my hand,” Huberth says.\u003c/p>\n\u003cp>By graduation, she couldn’t lift her pinky anymore or stretch her index finger back to play B flat.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/202439110&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/202439110'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It became very apparent at the end of college that I couldn’t pursue performance anymore,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Huberth threw herself into studying the science of music. She’s now a Ph.D. student at Stanford University’s \u003ca href=\"https://ccrma.stanford.edu/\" target=\"_blank\">Center for Computer Research in Music and Acoustics\u003c/a>, where she’s become adept at a new musical instrument: her laptop.\u003c/p>\n\u003cp>“Using a laptop, you can do anything that isn’t even physically possible,” she explains. “You can have an incredibly wide vibrato. Or you could simulate the sound of a string that’s the length of the building,” to produce an incredibly low pitch.\u003c/p>\n\u003cp>Today, Huberth is the teaching assistant for the \u003ca href=\"http://slork.stanford.edu/\" target=\"_blank\">Stanford Laptop Orchestra\u003c/a>. This is a class that meets Wednesday nights during the spring semester. Students write code to create their own instrument on the computer, which they will score into a full orchestral work by the end of the semester.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/c1f1DATjZUg'\n title='//www.youtube.com/embed/c1f1DATjZUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Several students in the class have a musical background, like Huberth, while several others come from computer science or engineering.\u003c/p>\n\u003cp>“I studied physics and I have kind of a tech background,” graduate student Tim O’Brien says. “But I loved music all my life, so it kind of combines everything.”\u003c/p>\n\u003cp>At a recent class meeting, he and 13 other students sat on rows of meditation pillows, fixing code on their laptops and fiddling with speakers made out of IKEA salad bowls.\u003c/p>\n\u003cp>They rehearsed ensemble pieces that they will perform at an \u003ca href=\"http://slork.stanford.edu/events/2015/slorktastic/\">upcoming chamber concert\u003c/a>, and demonstrated their individual solo instruments.\u003c/p>\n\u003cp>O’Brien began his demo by taking a big breath and blowing softly into his laptop. Then he jingled his car keys over the keyboard and tapped his water bottle. He programmed his computer’s microphone to translate these human actions into a morphed, electronic sound. The class loved it. And so did the orchestra director.\u003c/p>\n\u003cfigure id=\"attachment_10500180\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/photo4.jpg\">\u003cimg class=\"wp-image-10500180\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/photo4.jpg\" alt=\"Ge Wang, assistant professor of music at Stanford's Center for Computer Research in Music and Acoustics, teaches a music coding lesson to students participating in the Stanford Laptop Orchestra.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4.jpg 3264w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ge Wang, assistant professor of music at Stanford's Center for Computer Research in Music and Acoustics, teaches a music coding lesson to students participating in the Stanford Laptop Orchestra. \u003ccite>(April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That was nothing short of magical,” says Ge Wang, assistant professor of music at Stanford. “Tim was able to really find this mix where human meets machine. And in that way, it was like this dialogue. But what came out of the computer was a sound that would not come anywhere except through a computer.”\u003c/p>\n\u003cp>Wang and Huberth also like when students get physical with the medium. For example, one student is programming an armband to produce sounds when he stretches or clenches his hand. Other students use Gametraks, little black boxes originally used as a video game control, that have two red retractable cables. Students connect them to their laptops and program them to produce different notes or rhythms when they pull them up, down, left or right.\u003c/p>\n\u003cp>“We can rapidly prototype physical gestures, interactions and map them to sound,” Wang explains. “It enables a way to quickly explore a whole world of new sounds, interactions, and performance practices.”\u003c/p>\n\u003cfigure id=\"attachment_10500181\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/laptop-orchestra-5.jpg\">\u003cimg class=\"wp-image-10500181\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/laptop-orchestra-5.jpg\" alt=\" Erica Fearon demonstrates a piece of music she composed on her laptop. She programmed the cables to make different sounds when she moved them in different directions.\" width=\"1920\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5.jpg 2448w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-960x1280.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erica Fearon demonstrates a piece of music she composed on her laptop. She programmed the cables to make different sounds when she moved them in different directions. \u003ccite>(April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wang says this makes for a better experience for the audience – one that is both pleasing to listen to and also interesting to watch.\u003c/p>\n\u003cp>He says this is one of the ways laptop orchestra is evolving as a medium. Wang was a founding member of the first laptop orchestra, launched at Princeton University 10 years ago. He started the Stanford Laptop Orchestra, known affectionately as Slork, in 2008. Today, there are more than 70 laptop orchestras, but Wang says they’re still really just beginning.\u003c/p>\n\u003cp>“Ten years may be a long time in computer years. To really make it into an art form, it’s still quite early,” Wang says.\u003c/p>\n\u003cp>But some more advanced laptop musicians are pushing boundaries. Madeline Huberth helped form a chamber group called Sidelobe, which meets year-round and works on reinterpreting earlier compositions, choosing from a young but growing library of more than 300 works.\u003c/p>\n\u003cp>“We’ve been pulling pieces from the canon, from the laptop orchestra canon,” Huberth says. “Pieces that have done very well, that have been written by more seasoned composers, and we’re giving these performances new life.”\u003c/p>\n\u003cp>The biggest challenge laptop musicians face is the same challenge all artists confront, Wang says.\u003c/p>\n\u003cp>“Whether a violin, cello, piano or a laptop, we’re all looking for a different way to represent that spark of humanity,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Stanford Laptop Orchestra will perform a chamber music concert on April 30 and a full orchestral concert on May 30. The \u003c/em>\u003ca href=\"http://slork.stanford.edu/events/2015/slorktastic/\">\u003cem>events\u003c/em>\u003c/a>\u003cem> are both free and open to the public. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Armenian Genocide Anniversary Sparks Fiery Art in Los Angeles",
"title": "Armenian Genocide Anniversary Sparks Fiery Art in Los Angeles",
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"content": "\u003cp>A lot of Armenian-Americans of a certain age can relate to L.A. actress and comedienne Lory Tatoulian.\u003c/p>\n\u003cp>“I remember when my grandfather would come and visit us, he would share a room with me and he would wake up in the middle of the night screaming,” recalls Tatoulian, sitting beside her mother, Araxy Tatoulian, in the kitchen of Lory's home in downtown Pasadena.\u003c/p>\n\u003cp>“And I remember getting scared and running to my mom’s bedroom, and I didn’t understand what was happening,” she says.\u003c/p>\n\u003cp>Lory's mother would try to calm her down.\u003c/p>\n\u003cp>“And I would say, 'Lory, he has a pain, and later on when you grow up I’m going to tell you the story,' ” Araxy Tatoulian says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Araxy Tatoulian's parents survived the Armenian genocide, barely.\u003c/p>\n\u003cp>Her mother was wounded by Ottoman soldiers while she fought alongside men in the Armenian resistance.\u003c/p>\n\u003cp>She lived with the bullet until her death 30 years ago. The bullet is now part of a museum collection of genocide-related material in Armenia.\u003c/p>\n\u003cp>Araxy’s father, at the age of 8, was taken in by Arab Bedouins after his family was butchered. He was later reunited with surviving family in Lebanon.\u003c/p>\n\u003cfigure id=\"attachment_10500418\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-Tatoulians.jpg\">\u003cimg class=\"wp-image-10500418 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-Tatoulians.jpg\" alt=\" Araxy Tataloulian (L) and her daughter Lory with pictures of Araxy’s mother and father, survivors of the Armenian genocide. \" width=\"1920\" height=\"1544\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-400x322.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-1440x1158.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-1180x949.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-960x772.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\"> Araxy Tataloulian (L) and her daughter, Lory, with pictures of Araxy’s mother and father, survivors of the Armenian genocide. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lory Tatoulian says her grandparents rarely spoke of their experiences.\u003c/p>\n\u003cp>“But you just felt it in their eyes. It was manifest in the way they raised us with this underlying anxiety that something horrible could always happen,” Lory Tatoulian says. “That was an energy that was always present.”\u003c/p>\n\u003cp>But family life was also filled with a great deal of laughter and creativity. Her grandmother was also a stage actress and writer. Her mother, Araxy, is a teacher and poet.\u003c/p>\n\u003cp>“This is my story. This is a burden I also carry, and what am I to do with this pain?” Lory Tatoulian asks. “What am I to do with those stories, with those nightmares?”\u003c/p>\n\u003cp>Around 200 people crowded into \u003ca title=\"Abril Books\" href=\"http://www.abrilbooks.com/\">Abril Bookstore \u003c/a>in Glendale recently to hear Araxy and Lory Tatoulian sing traditional Armenian songs and share stories and photos of their family’s survival.\u003c/p>\n\u003cp>Araxy Tatoulian says her generation also kept stories of the genocide alive through art. But it’s younger generations who have really thrust it into the pop culture mainstream.\u003c/p>\n\u003cp>“This new generation, second and third generation, they feel like there’s a still a pain,\" says Araxy Tatoulian. \"So that’s why this year is very special. It’s a sacred centennial.\"\u003c/p>\n\u003cp>Hundreds of people also attended last week’s L.A. premiere of \u003ca title=\"1915: THE MOVIE\" href=\"http://www.1915themovie.com/\">\"1915: The Movie,\"\u003c/a> the first American feature film to explore how the anguish of the Armenian genocide continues to ripple across the generations.\u003c/p>\n\u003cp>“One hundred years after the Armenian genocide, this rather obsessed and haunted theater director is staging a play, which he believes will bring the ghosts of this forgotten crime back to life,” co-director and screenwriter Alec Mouhibian explains.\u003c/p>\n\u003cp>“And it turns out that personal confrontations with the truth need to be made before the historic confrontations can be made on the stage for the play to work,” Mouhibian says.\u003c/p>\n\u003cp>Both historic and contemporary confrontations must deal with the executions, death marches and land seizures of 100 years ago. Turkey concedes atrocities were committed against Christian Armenians under Ottoman rule during World War I. But it insists they occurred during wartime, when many Turks also perished.\u003c/p>\n\u003cp>To this day Turkey denies there was ever a systematic plan to wipe out Armenians, or that as many as 1.5 million Armenian men, woman and children perished.\u003c/p>\n\u003cp>“1915” co-director Garin Hovannisian, whose father, Raffi Hovannisian, is the first foreign minister of \u003ca href=\"http://en.wikipedia.org/wiki/Armenia\">Armenia\u003c/a>, says that as long as the denial persists, so, too, will the protests.\u003c/p>\n\u003cp>“If you’re aware as an Armenian, you’re also aware of the fact that Turkey’s denial is just not passive denial. It’s aggressive denial,” Hovannisian says. “So the battle is ongoing, and that’s why I think we have no opportunity to back down.”\u003c/p>\n\u003cp>One of the loudest voices in the call for genocide recognition is the Grammy Award-winning L.A. metal band \u003ca title=\"System of a Down\" href=\"http://www.systemofadown.com/\">System of a Down\u003c/a>.\u003c/p>\n\u003cp>All four members are also descendants of Armenian genocide survivors. This week System of a Down wrapped up an international tour commemorating the genocide’s centennial with its first-ever performance in Armenia, in a massive \u003ca title=\"System of a Down in Armenia\" href=\"https://www.youtube.com/watch?v=NYblpyVo_cc\">outdoor concert in the capital city, Yerevan. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10500460\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg\">\u003cimg class=\"wp-image-10500460 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg\" alt=\"Screen shot from the web simulcast of System of a Down’s April 23 outdoor performance in Yerevan, Armenia’s capital. It was the band’s first ever performance in Armenia. \" width=\"1920\" height=\"1220\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-400x254.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-800x508.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-1440x915.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-1180x750.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-960x610.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screen shot from the web simulcast of System of a Down’s April 23 outdoor performance in Yerevan, Armenia’s capital. It was the band’s first-ever performance in Armenia. \u003ccite>(System of a Down)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The important thing is justice,” said vocalist Serj Tankian, speaking about the band’s 20-year crusade in a video statement at the start of its \"Wake up the Souls\" tour.\u003c/p>\n\u003cp>“If someone killed my family and burned my house down and I’m running after them for 100 years, you have to have incrimination, you have to courts involved, etc,” Tankian says.\u003c/p>\n\u003cp>An online campaign launched this year by Glendale rapper R-Mean to raise awareness of the genocide sums it up in its slogan: \"\u003ca title=\"R-Mean Open Wounds video\" href=\"https://www.youtube.com/watch?v=0qDVkXKfm1M\">Our Wounds Are Still Open\u003c/a>.\"\u003c/p>\n\u003cp>Open wounds is also the theme of a street mural painted last year in L.A.’s Little Armenia neighborhood by artist Arutyun Gozukuchikyan, who goes by the name \u003ca title=\"ArtViaArt\" href=\"http://www.artviaart.com/\">ArtViaArt\u003c/a>.\u003c/p>\n\u003cp>The mural shows a forearm sliced open by a dagger, the year 1915 exposed beneath the skin. \"Our Wounds are Still Open\" is painted in letters that look as if they were carved into the concrete.\u003c/p>\n\u003cp>\"As for why and what difference this will make, it’s just documenting,” Gozukuchikyan says. “I don’t know what the next generation will do, but you’re kind of just painting history.”\u003c/p>\n\u003cfigure id=\"attachment_10500461\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-ArtG.jpg\">\u003cimg class=\"wp-image-10500461 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-ArtG.jpg\" alt=\"Arutyun Gozukuchikyan otherwise known as ArtViaArt and his recent street mural in L.A.’s Little Armenia commemorating the Armenian genocide. \" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arutyun Gozukuchikyan, otherwise known as ArtViaArt, and his recent street mural in L.A.’s Little Armenia commemorating the Armenian genocide. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A second mural completed a few months ago shows an elderly Armenian woman, Gozukuchikyan’s grandmother, her mouth bound with a cloth that's again inscribed with the year 1915.\u003c/p>\n\u003cp>Gozukuchikyan says a lot of older Armenians were hesitant to ever talk about the genocide, let alone to protest.\u003c/p>\n\u003cp>“This generation’s different, this generation’s stepping up,” Gozukuchikyan says. “This is our way of saying: No one wants to recognize this? We’ll recognize it ourselves.\"\u003c/p>\n\u003cp>Gozukuchikyan says he’s done with the genocide as a subject, for now anyway. All he could say is right up there on the walls.\u003c/p>\n\u003cp>It’s a sentiment that “1915” co-director Garvin Hovannissian can relate to.\u003c/p>\n\u003cp>“When we were making this film I’d always been thinking of April 24 as our last chance of telling the world what happened to us,” Hovannissian says.\u003c/p>\n\u003cp>“But it’s really the first time that many people are going to hear about (the genocide). And that’s another way of saying our work and struggle are still ahead of us.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And maybe through a film, song or street mural, the Armenian genocide will remain burnished in people’s memories for another hundred years.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of Armenian-Americans of a certain age can relate to L.A. actress and comedienne Lory Tatoulian.\u003c/p>\n\u003cp>“I remember when my grandfather would come and visit us, he would share a room with me and he would wake up in the middle of the night screaming,” recalls Tatoulian, sitting beside her mother, Araxy Tatoulian, in the kitchen of Lory's home in downtown Pasadena.\u003c/p>\n\u003cp>“And I remember getting scared and running to my mom’s bedroom, and I didn’t understand what was happening,” she says.\u003c/p>\n\u003cp>Lory's mother would try to calm her down.\u003c/p>\n\u003cp>“And I would say, 'Lory, he has a pain, and later on when you grow up I’m going to tell you the story,' ” Araxy Tatoulian says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Araxy Tatoulian's parents survived the Armenian genocide, barely.\u003c/p>\n\u003cp>Her mother was wounded by Ottoman soldiers while she fought alongside men in the Armenian resistance.\u003c/p>\n\u003cp>She lived with the bullet until her death 30 years ago. The bullet is now part of a museum collection of genocide-related material in Armenia.\u003c/p>\n\u003cp>Araxy’s father, at the age of 8, was taken in by Arab Bedouins after his family was butchered. He was later reunited with surviving family in Lebanon.\u003c/p>\n\u003cfigure id=\"attachment_10500418\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-Tatoulians.jpg\">\u003cimg class=\"wp-image-10500418 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-Tatoulians.jpg\" alt=\" Araxy Tataloulian (L) and her daughter Lory with pictures of Araxy’s mother and father, survivors of the Armenian genocide. \" width=\"1920\" height=\"1544\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-400x322.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-1440x1158.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-1180x949.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-960x772.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\"> Araxy Tataloulian (L) and her daughter, Lory, with pictures of Araxy’s mother and father, survivors of the Armenian genocide. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lory Tatoulian says her grandparents rarely spoke of their experiences.\u003c/p>\n\u003cp>“But you just felt it in their eyes. It was manifest in the way they raised us with this underlying anxiety that something horrible could always happen,” Lory Tatoulian says. “That was an energy that was always present.”\u003c/p>\n\u003cp>But family life was also filled with a great deal of laughter and creativity. Her grandmother was also a stage actress and writer. Her mother, Araxy, is a teacher and poet.\u003c/p>\n\u003cp>“This is my story. This is a burden I also carry, and what am I to do with this pain?” Lory Tatoulian asks. “What am I to do with those stories, with those nightmares?”\u003c/p>\n\u003cp>Around 200 people crowded into \u003ca title=\"Abril Books\" href=\"http://www.abrilbooks.com/\">Abril Bookstore \u003c/a>in Glendale recently to hear Araxy and Lory Tatoulian sing traditional Armenian songs and share stories and photos of their family’s survival.\u003c/p>\n\u003cp>Araxy Tatoulian says her generation also kept stories of the genocide alive through art. But it’s younger generations who have really thrust it into the pop culture mainstream.\u003c/p>\n\u003cp>“This new generation, second and third generation, they feel like there’s a still a pain,\" says Araxy Tatoulian. \"So that’s why this year is very special. It’s a sacred centennial.\"\u003c/p>\n\u003cp>Hundreds of people also attended last week’s L.A. premiere of \u003ca title=\"1915: THE MOVIE\" href=\"http://www.1915themovie.com/\">\"1915: The Movie,\"\u003c/a> the first American feature film to explore how the anguish of the Armenian genocide continues to ripple across the generations.\u003c/p>\n\u003cp>“One hundred years after the Armenian genocide, this rather obsessed and haunted theater director is staging a play, which he believes will bring the ghosts of this forgotten crime back to life,” co-director and screenwriter Alec Mouhibian explains.\u003c/p>\n\u003cp>“And it turns out that personal confrontations with the truth need to be made before the historic confrontations can be made on the stage for the play to work,” Mouhibian says.\u003c/p>\n\u003cp>Both historic and contemporary confrontations must deal with the executions, death marches and land seizures of 100 years ago. Turkey concedes atrocities were committed against Christian Armenians under Ottoman rule during World War I. But it insists they occurred during wartime, when many Turks also perished.\u003c/p>\n\u003cp>To this day Turkey denies there was ever a systematic plan to wipe out Armenians, or that as many as 1.5 million Armenian men, woman and children perished.\u003c/p>\n\u003cp>“1915” co-director Garin Hovannisian, whose father, Raffi Hovannisian, is the first foreign minister of \u003ca href=\"http://en.wikipedia.org/wiki/Armenia\">Armenia\u003c/a>, says that as long as the denial persists, so, too, will the protests.\u003c/p>\n\u003cp>“If you’re aware as an Armenian, you’re also aware of the fact that Turkey’s denial is just not passive denial. It’s aggressive denial,” Hovannisian says. “So the battle is ongoing, and that’s why I think we have no opportunity to back down.”\u003c/p>\n\u003cp>One of the loudest voices in the call for genocide recognition is the Grammy Award-winning L.A. metal band \u003ca title=\"System of a Down\" href=\"http://www.systemofadown.com/\">System of a Down\u003c/a>.\u003c/p>\n\u003cp>All four members are also descendants of Armenian genocide survivors. This week System of a Down wrapped up an international tour commemorating the genocide’s centennial with its first-ever performance in Armenia, in a massive \u003ca title=\"System of a Down in Armenia\" href=\"https://www.youtube.com/watch?v=NYblpyVo_cc\">outdoor concert in the capital city, Yerevan. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10500460\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg\">\u003cimg class=\"wp-image-10500460 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg\" alt=\"Screen shot from the web simulcast of System of a Down’s April 23 outdoor performance in Yerevan, Armenia’s capital. It was the band’s first ever performance in Armenia. \" width=\"1920\" height=\"1220\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-400x254.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-800x508.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-1440x915.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-1180x750.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-960x610.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screen shot from the web simulcast of System of a Down’s April 23 outdoor performance in Yerevan, Armenia’s capital. It was the band’s first-ever performance in Armenia. \u003ccite>(System of a Down)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The important thing is justice,” said vocalist Serj Tankian, speaking about the band’s 20-year crusade in a video statement at the start of its \"Wake up the Souls\" tour.\u003c/p>\n\u003cp>“If someone killed my family and burned my house down and I’m running after them for 100 years, you have to have incrimination, you have to courts involved, etc,” Tankian says.\u003c/p>\n\u003cp>An online campaign launched this year by Glendale rapper R-Mean to raise awareness of the genocide sums it up in its slogan: \"\u003ca title=\"R-Mean Open Wounds video\" href=\"https://www.youtube.com/watch?v=0qDVkXKfm1M\">Our Wounds Are Still Open\u003c/a>.\"\u003c/p>\n\u003cp>Open wounds is also the theme of a street mural painted last year in L.A.’s Little Armenia neighborhood by artist Arutyun Gozukuchikyan, who goes by the name \u003ca title=\"ArtViaArt\" href=\"http://www.artviaart.com/\">ArtViaArt\u003c/a>.\u003c/p>\n\u003cp>The mural shows a forearm sliced open by a dagger, the year 1915 exposed beneath the skin. \"Our Wounds are Still Open\" is painted in letters that look as if they were carved into the concrete.\u003c/p>\n\u003cp>\"As for why and what difference this will make, it’s just documenting,” Gozukuchikyan says. “I don’t know what the next generation will do, but you’re kind of just painting history.”\u003c/p>\n\u003cfigure id=\"attachment_10500461\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-ArtG.jpg\">\u003cimg class=\"wp-image-10500461 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-ArtG.jpg\" alt=\"Arutyun Gozukuchikyan otherwise known as ArtViaArt and his recent street mural in L.A.’s Little Armenia commemorating the Armenian genocide. \" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arutyun Gozukuchikyan, otherwise known as ArtViaArt, and his recent street mural in L.A.’s Little Armenia commemorating the Armenian genocide. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A second mural completed a few months ago shows an elderly Armenian woman, Gozukuchikyan’s grandmother, her mouth bound with a cloth that's again inscribed with the year 1915.\u003c/p>\n\u003cp>Gozukuchikyan says a lot of older Armenians were hesitant to ever talk about the genocide, let alone to protest.\u003c/p>\n\u003cp>“This generation’s different, this generation’s stepping up,” Gozukuchikyan says. “This is our way of saying: No one wants to recognize this? We’ll recognize it ourselves.\"\u003c/p>\n\u003cp>Gozukuchikyan says he’s done with the genocide as a subject, for now anyway. All he could say is right up there on the walls.\u003c/p>\n\u003cp>It’s a sentiment that “1915” co-director Garvin Hovannissian can relate to.\u003c/p>\n\u003cp>“When we were making this film I’d always been thinking of April 24 as our last chance of telling the world what happened to us,” Hovannissian says.\u003c/p>\n\u003cp>“But it’s really the first time that many people are going to hear about (the genocide). And that’s another way of saying our work and struggle are still ahead of us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And maybe through a film, song or street mural, the Armenian genocide will remain burnished in people’s memories for another hundred years.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Poetry Priced Out: Rent Hike Forces Emeryville Laureate to Move | KQED",
"content": "\u003cp>Yes, it’s a little bit of a surprise that Emeryville, a town that many Bay Area residents probably associate with the massive yellow-and-blue \u003ca target=\"_self\" href=\"http://photos.wikimapia.org/p/00/02/12/18/29_full.jpg\" rel=\"noopener\">Swedish furniture store\u003c/a> adjacent to the MacArthur Maze, has a poet laureate. \u003c/p>\n\u003cp>But in the interest of enriching the local cultural landscape, the city created \u003ca href=\"http://ww2.kqed.org/news/2015/04/22/emeryville-poet-laureate-priced-out\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/04/22/emeryville-poet-laureate-priced-out\" target=\"_self\" title=\"Poetry Priced Out: Rent Hike Forces Emeryville Laureate to Move\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>Yes, it's a little bit of a surprise that Emeryville, a town that many Bay Area residents probably associate with the massive yellow-and-blue \u003ca target=\"_self\" href=\"http://photos.wikimapia.org/p/00/02/12/18/29_full.jpg\" rel=\"noopener\">Swedish furniture store\u003c/a> adjacent to the MacArthur Maze, has a poet laureate. \u003c/p>\r\n\u003cp>But in the interest of enriching the local cultural landscape, the city created \u003ca href=\"http://ww2.kqed.org/news/2015/04/22/emeryville-poet-laureate-priced-out\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yes, it’s a little bit of a surprise that Emeryville, a town that many Bay Area residents probably associate with the massive yellow-and-blue \u003ca target=\"_self\" href=\"http://photos.wikimapia.org/p/00/02/12/18/29_full.jpg\" rel=\"noopener\">Swedish furniture store\u003c/a> adjacent to the MacArthur Maze, has a poet laureate. \u003c/p>\n\u003cp>But in the interest of enriching the local cultural landscape, the city created \u003ca href=\"http://ww2.kqed.org/news/2015/04/22/emeryville-poet-laureate-priced-out\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/04/22/emeryville-poet-laureate-priced-out\" target=\"_self\" title=\"Poetry Priced Out: Rent Hike Forces Emeryville Laureate to Move\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>There’s an art of conversation, to be sure, but can conversations themselves \u003cem>be\u003c/em> art? They can, when the artists involved are engaging in what’s known as social practice.\u003c/p>\n\u003cp>Social practice projects might look like just about anything — journalism, community organizing, even a shop. The goal is to create social change by staging actions that engage people and make them think – and talk. “For me,” says social-practice artist and professor Stephanie Syjuco, “the best social practice projects actually try to attract people to join a conversation.”\u003c/p>\n\u003cp>Two artists, Chris Treggiari and Chris Johnson, recently went into the streets of Oakland to record conversations and make art (see their projects in the \u003ca href=\"https://youtu.be/ocCsQpnjNrw\" target=\"_blank\" rel=\"noopener\">video on this page\u003c/a>). Treggiari and partner Peter Foucault, working with the Center for Investigative Reporting, built an interactive “news” van that they used to collect stories of people they met. “We really want to get a feel for what a community is going through,” Treggiari says, “what is changing and how is it changing and what’s [their] opinion on it.”\u003c/p>\n\u003cp>Chris Johnson’s project, “The Best Way to Find a Hero,” focuses on acts of everyday heroism – or, as Johnson puts it, “people who are surviving and thriving and raising families against adversity.” For the work, he made a map of Oakland that includes the parts of the city that are “defined as troubled neighborhoods by developers.” Johnson threw darts at the map and then went to those addresses, video camera in hand, to document the heroic stories of the people he encountered.\u003c/p>\n\u003cp>Today’s social practice projects have art historical roots in participatory works from earlier eras. In \u003cem>\u003ca href=\"http://www.jonrubin.net/museum-visitor-wallet-photos/\">Pictures Collected from Museum Visitors Wallets\u003c/a>\u003c/em>, Harrell Fletcher and Jon Rubin interviewed SFMOMA museum visitors about the photographs they happened to carry with them. Ten were enlarged and became part of the museum’s permanent collection. \u003cem>\u003ca href=\"http://www.learningtoloveyoumore.com/\">Learning to Love You More,\u003c/a>\u003c/em> by Harrell Fletcher and Miranda July, was an early, pre-social-media website where participants completed assignments — such as “Draw a scene from a movie that made you cry” — and viewed each other’s’ submissions. In her commission \u003cem>\u003ca href=\"http://www.sfmoma.org/exhib_events/events/series/1337\">Shadowshop,\u003c/a>\u003c/em> Stephanie Syjuco turned an SFMOMA gallery into a store in which local artists and museum visitors were invited to explore themes of capitalism, commodity and counterfeit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Syjuco understands that this type of art can be difficult for people to comprehend at first. “If it’s in a museum or a gallery, people seem to understand, ‘Well, that’s where art belongs.’ But when it goes out into the world and is sometimes indistinguishable from other things that happen, I think that can be really beautiful.”\u003c/p>\n\u003cp>“The challenge,” says Johnson, “is how do you get people to care about social issues?” For these artists, finding the answer often starts with asking the right questions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem> Chris Treggiari and Chris Johnson’s projects can both be seen in the exhibit\u003c/em> \u003ca href=\"http://www.museumca.org/exhibit/who-is-oakland\">Who Is Oakland\u003c/a>, \u003cem>at the Oakland Museum of California,\u003c/em> \u003cem>April 11–July 12, 2015. Learn more about participatory and social practice works at \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/306\">SFMOMA.com\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s an art of conversation, to be sure, but can conversations themselves \u003cem>be\u003c/em> art? They can, when the artists involved are engaging in what’s known as social practice.\u003c/p>\n\u003cp>Social practice projects might look like just about anything — journalism, community organizing, even a shop. The goal is to create social change by staging actions that engage people and make them think – and talk. “For me,” says social-practice artist and professor Stephanie Syjuco, “the best social practice projects actually try to attract people to join a conversation.”\u003c/p>\n\u003cp>Two artists, Chris Treggiari and Chris Johnson, recently went into the streets of Oakland to record conversations and make art (see their projects in the \u003ca href=\"https://youtu.be/ocCsQpnjNrw\" target=\"_blank\" rel=\"noopener\">video on this page\u003c/a>). Treggiari and partner Peter Foucault, working with the Center for Investigative Reporting, built an interactive “news” van that they used to collect stories of people they met. “We really want to get a feel for what a community is going through,” Treggiari says, “what is changing and how is it changing and what’s [their] opinion on it.”\u003c/p>\n\u003cp>Chris Johnson’s project, “The Best Way to Find a Hero,” focuses on acts of everyday heroism – or, as Johnson puts it, “people who are surviving and thriving and raising families against adversity.” For the work, he made a map of Oakland that includes the parts of the city that are “defined as troubled neighborhoods by developers.” Johnson threw darts at the map and then went to those addresses, video camera in hand, to document the heroic stories of the people he encountered.\u003c/p>\n\u003cp>Today’s social practice projects have art historical roots in participatory works from earlier eras. In \u003cem>\u003ca href=\"http://www.jonrubin.net/museum-visitor-wallet-photos/\">Pictures Collected from Museum Visitors Wallets\u003c/a>\u003c/em>, Harrell Fletcher and Jon Rubin interviewed SFMOMA museum visitors about the photographs they happened to carry with them. Ten were enlarged and became part of the museum’s permanent collection. \u003cem>\u003ca href=\"http://www.learningtoloveyoumore.com/\">Learning to Love You More,\u003c/a>\u003c/em> by Harrell Fletcher and Miranda July, was an early, pre-social-media website where participants completed assignments — such as “Draw a scene from a movie that made you cry” — and viewed each other’s’ submissions. In her commission \u003cem>\u003ca href=\"http://www.sfmoma.org/exhib_events/events/series/1337\">Shadowshop,\u003c/a>\u003c/em> Stephanie Syjuco turned an SFMOMA gallery into a store in which local artists and museum visitors were invited to explore themes of capitalism, commodity and counterfeit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Syjuco understands that this type of art can be difficult for people to comprehend at first. “If it’s in a museum or a gallery, people seem to understand, ‘Well, that’s where art belongs.’ But when it goes out into the world and is sometimes indistinguishable from other things that happen, I think that can be really beautiful.”\u003c/p>\n\u003cp>“The challenge,” says Johnson, “is how do you get people to care about social issues?” For these artists, finding the answer often starts with asking the right questions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem> Chris Treggiari and Chris Johnson’s projects can both be seen in the exhibit\u003c/em> \u003ca href=\"http://www.museumca.org/exhibit/who-is-oakland\">Who Is Oakland\u003c/a>, \u003cem>at the Oakland Museum of California,\u003c/em> \u003cem>April 11–July 12, 2015. Learn more about participatory and social practice works at \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/306\">SFMOMA.com\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Learning From the 'Compañeras' of Chiapas: Zapatista Women's Stories",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/companeras-book-release/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Compañeras’ Book Release\u003c/h2>\n\u003cdiv class=\"event-desc\">Stories from Zapatista women.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 23, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Eric Quezada Center for Culture and Politics\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/companeras-book-release/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>On the first day of 1994, as the North American Free Trade Agreement laws first went into effect, a group of Mexican rebels declared war against their government. Several thousand Zapatistas descended on towns throughout Chiapas, demanding revolution and resistance against globalization. They wanted radical democracy, and for 20 years they have not only sustained themselves, they have built an autonomous society with healthcare, education and sustainable agriculture.\u003c/p>\n\u003cp>One major and often untold aspect of the Zapatista movement is that of women’s leadership, a topic Hilary Klein covers inclusively in her new book, \u003cem>\u003ca href=\"http://catalog.sevenstories.com/products/companeras-zapatista-womens-stories\" target=\"_blank\" rel=\"noopener\">Compañeras: Zapatista Women’s Stories\u003c/a>\u003c/em> (Seven Stories Press, 2015). \u003ca href=\"http://www.politicaleducation.org/\">The Eric Quezada Center for Culture and Politics\u003c/a> in San Francisco celebrates the launch of Klein’s work with a book reading and signing, a panel discussion with Tere Almaguer, Caleb Duarte, and Roxanne Dunbar-Ortiz, and live music from Francisco Herrera on Apr. 23.\u003c/p>\n\u003cp>In \u003cem>Compañeras\u003c/em>, Klein features firsthand stories of Zapatista women she interviewed while working with women’s projects in Chiapas for six years. Stories illustrate the major changes women experienced after leaving their homes and traditional gender roles to join the uprising and the empowerment and freedom that followed.\u003c/p>\n\u003cp>The tales range from new access to health care and health education, to tales of women in leadership and their changed roles within the family. \u003cem>Compañeras\u003c/em> provides an all-encompassing portrait of the positive personal and societal revolution that the women, as equal, key players in the Zapatista movement, have created and experienced. In Chiapas, the role of women as a collective entity has transformed their society. Furthermore, women’s equality isn’t limited to the Zapatista communities, but also impacts civilians living in more traditional \u003ca href=\"http://www.telesurtv.net/english/opinion/International-Womens-Day-in-Zapatista-Territory-20150306-0033.html\" target=\"_blank\" rel=\"noopener\">neighboring communities\u003c/a>.\u003c/p>\n\u003cp>The Zapatista society isn’t perfect and remains a work in progress, but as Klein describes it – particularly in regards to women’s equality – there is much to be learned from them about creating a radically safe, empowered society for women and girls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/companeras-book-release/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Compañeras’ Book Release\u003c/h2>\n\u003cdiv class=\"event-desc\">Stories from Zapatista women.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 23, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Eric Quezada Center for Culture and Politics\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/companeras-book-release/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>On the first day of 1994, as the North American Free Trade Agreement laws first went into effect, a group of Mexican rebels declared war against their government. Several thousand Zapatistas descended on towns throughout Chiapas, demanding revolution and resistance against globalization. They wanted radical democracy, and for 20 years they have not only sustained themselves, they have built an autonomous society with healthcare, education and sustainable agriculture.\u003c/p>\n\u003cp>One major and often untold aspect of the Zapatista movement is that of women’s leadership, a topic Hilary Klein covers inclusively in her new book, \u003cem>\u003ca href=\"http://catalog.sevenstories.com/products/companeras-zapatista-womens-stories\" target=\"_blank\" rel=\"noopener\">Compañeras: Zapatista Women’s Stories\u003c/a>\u003c/em> (Seven Stories Press, 2015). \u003ca href=\"http://www.politicaleducation.org/\">The Eric Quezada Center for Culture and Politics\u003c/a> in San Francisco celebrates the launch of Klein’s work with a book reading and signing, a panel discussion with Tere Almaguer, Caleb Duarte, and Roxanne Dunbar-Ortiz, and live music from Francisco Herrera on Apr. 23.\u003c/p>\n\u003cp>In \u003cem>Compañeras\u003c/em>, Klein features firsthand stories of Zapatista women she interviewed while working with women’s projects in Chiapas for six years. Stories illustrate the major changes women experienced after leaving their homes and traditional gender roles to join the uprising and the empowerment and freedom that followed.\u003c/p>\n\u003cp>The tales range from new access to health care and health education, to tales of women in leadership and their changed roles within the family. \u003cem>Compañeras\u003c/em> provides an all-encompassing portrait of the positive personal and societal revolution that the women, as equal, key players in the Zapatista movement, have created and experienced. In Chiapas, the role of women as a collective entity has transformed their society. Furthermore, women’s equality isn’t limited to the Zapatista communities, but also impacts civilians living in more traditional \u003ca href=\"http://www.telesurtv.net/english/opinion/International-Womens-Day-in-Zapatista-Territory-20150306-0033.html\" target=\"_blank\" rel=\"noopener\">neighboring communities\u003c/a>.\u003c/p>\n\u003cp>The Zapatista society isn’t perfect and remains a work in progress, but as Klein describes it – particularly in regards to women’s equality – there is much to be learned from them about creating a radically safe, empowered society for women and girls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“Hard work, low pay, miserable conditions, and more!”\u003c/p>\n\u003cp>That’s the actual motto for the California Conservation Corps, the state program that puts young adults to work in emergency response, park improvements and fire protection. In Marin, many corps members — known affectionately as “C’s” – do hard physical work building and maintaining the world-class trails in places like Point Reyes, Mount Tamalpais and Muir Woods.\u003c/p>\n\u003cp>Because the young people burn thousands of calories a day, food plays a crucial role for a CCC crew, and their menu has barely changed since the ’30s.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/201327335″ 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>After hiking a couple miles up a wooded path, 20-year-old Willy Parker shows me the huge drainage area he and the rest of the crew are shoring up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’ll last for a couple hundred years,” he tells me. “I think that’s pretty awesome.”\u003c/p>\n\u003cp>We’re on a section of trail near Devil’s Gulch Camp in West Marin. I’m trying to understand this puzzle of huge rocks that crew members maneuver to fill a huge hole.\u003c/p>\n\u003cp>Parker tells me we’re looking at about 30 rocks, each as heavy as 100 pounds. Crew members roll rocks down the trail and work in teams, using long metal poles to place them correctly. They mark and chisel the rocks to get the perfect size, so they’ll fit snugly.\u003c/p>\n\u003cp>“They all have to be contacting, one edge to another edge,” says Parker.\u003c/p>\n\u003cfigure id=\"attachment_10491691\" class=\"wp-caption alignright\" style=\"max-width: 495px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RockAndStone.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10491691 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RockAndStone-800x633.jpg\" alt=\"California Conservation Corps members, “Cs” for short, roll rocks as heavy as 500 pounds to their work area, set them into place and chisel them for a snug fit.\" width=\"495\" height=\"392\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-800x633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-400x317.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-1440x1140.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-1180x934.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-768x608.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-320x253.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone.jpg 1920w\" sizes=\"auto, (max-width: 495px) 100vw, 495px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">California Conservation Corps members, “C’s” for short, roll rocks as heavy as 500 pounds to their work area, set them into place and chisel them for a snug fit. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s to support the tens of thousands of hikers, mountain bikers and horseback riders expected to use this trail. If you hike this trail in a year or two, Parker says, you won’t be able to see the work that went on here.\u003c/p>\n\u003cp>“Over time, the dirt, the leaves will fall over it to make it look natural,” he says.\u003c/p>\n\u003cp>Parker is part of what’s called a spike crew: Members will be working this site off and on for over a year. They spend eight days working, then six days at a residential center near Lake Tahoe. There they get time off and take classes. Like Parker, many work on their GEDs.\u003c/p>\n\u003cp>While these corps members prod heavy stones into place, Samantha Pack and Gabino Lopez have left the trail early to report to KP.\u003c/p>\n\u003cp>“KP stands for kitchen patrol, or kitchen police as we call it,” says Lopez. “It’s the person whose duty it is to take care of the kitchen and camp, all the chores like start the fire, clean around the kitchen.”\u003c/p>\n\u003cp>The kitchen’s really clean, but it’s not much to look at.\u003c/p>\n\u003cp>“Basically, it’s an old burlap tent,” says Pack. “It’s set up with our two stoves, both powered by propane. Two chests are filled with our pots, pans, dishes, and the top is our serving table. It’s a tight space!”\u003c/p>\n\u003cp>Lopez is getting creative, chopping onions and slicing oranges and lemon for the fish they’re serving the 20 crew members and two supervisors. “For us KP’s, we try to make something delicious, just to make the crew feel like they’re at their house.”\u003c/p>\n\u003cp>Each year, the California Conservation Corps hires about 3,000 men and women between 18 and 25. Each has his or her own reasons for joining, but many here, like Samantha Pack, told me they needed some direction.\u003c/p>\n\u003cp>“Everybody has their different problems, but I was very defiant,” she says. “I didn’t know what I wanted. I was always taught to run from my problems. When I started to realize that running wasn’t getting anything done, my mentality changed.”\u003c/p>\n\u003cfigure id=\"attachment_10491694\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/TentCookin.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10491694\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/TentCookin-800x568.jpg\" alt=\"Gabino Lopez, left, and Samantha Pack hard at work on 'kitchen patrol.' \" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-400x284.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-1440x1023.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-1180x838.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-320x227.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gabino Lopez, left, and Samantha Pack hard at work on ‘kitchen patrol.’ \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An alumna told her about the program, and the Bakersfield native found she really loves hands-on trail work.\u003c/p>\n\u003cp>“I had never done any labor at all. I grew up not going to school, sitting on the couch,” Pack says. “Then all of a sudden being told, ‘Dig this hole, move this there,’ it really gave me what I guess I always needed. Not only that discipline, but having that urgency to get things done the right way.”\u003c/p>\n\u003cp>“It’s like we’re a big machine as a group, and the KP’s are the batteries to the machine,” says Lopez.\u003c/p>\n\u003cp>Since they’re out here for more than a week, the food for each meal is planned and packed ahead. KP’s can use ingredients creatively, but they have to consider coming meals. Lopez pulls out the eight-day food calendar, labeled for breakfast and dinner.\u003c/p>\n\u003cp>“Today, we’re having fish fillet, rice pilaf, carrots and salad,” he explains. “Day Four, we’re having pork chops, red potatoes, with broccoli and salad.”\u003c/p>\n\u003cp>A few miles away, in his office on Mount Tamalpais, I meet Victor Bjelajac, who oversees maintenance of state parks in Marin. He’s flipping through pages in a binder, looking at old food orders.\u003c/p>\n\u003cp>[contextly_sidebar id=”fSu9GIDgULAADpkMNYluvfByflKgIFTJ”]\u003c/p>\n\u003cp>“This was a group of Civilian Conservation Corps members that were working at Mount Tamalpais. This one was from 1939.”\u003c/p>\n\u003cp>And guess what? It sounds a lot like what the KP crew is making tonight.\u003c/p>\n\u003cp>“For supper, there was fillet of sole, mashed potatoes, creamed carrots, bread, butter,” Bjelajac reads.\u003c/p>\n\u003cp>The similarities in the menu aren’t sentimental. Camp food has always had to fuel large groups for hard labor. Launched in 1933 as a response to the Great Depression, the Civilian Conservation Corps employed millions of young men, many of them veterans, to work on remote, government-owned lands — planting trees, building roadways, updating parks.\u003c/p>\n\u003cp>In Marin, they built trails and camps and a beautiful amphitheater, still in use today. The Corps accepted only men, and the crews were segregated by race.\u003c/p>\n\u003cp>“It seems inconceivable today when you look at California Conservation Corps,” says Bjelajac.\u003c/p>\n\u003cp>The CCC is about a quarter women, and very diverse. But he says what the two have in common is young people, doing important work as a group for the public good. That, and the food.\u003c/p>\n\u003cp>“Part of the culture that’s built around a camp gets built around meals,” he says.\u003c/p>\n\u003cfigure id=\"attachment_10491700\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CampTV.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10491700\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CampTV-800x655.jpg\" alt=\"Gabino Lopez tends the fire, also known as the camp TV.\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-400x327.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-1440x1178.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-1180x966.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-320x262.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gabino Lopez tends the fire, also known as the camp TV. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back at camp, Gabino Lopez tends a fire as his fellow corps members start to come off the trail.\u003c/p>\n\u003cp>“I would honestly rather sit at the fire and watch it for three hours than sit at home on a couch and just watch TV,” Lopez says. “I’d rather bathe in a creek than shower in a bathroom. It makes me feel more alive, I think.”\u003c/p>\n\u003cp>And he’s happy pan-frying fish and sauteing carrots in a tent. Willy Parker says that after working all day and hiking down, KP is a life-saver.\u003c/p>\n\u003cp>“Just to get to camp, and the food is smelling good, and everybody just be walking around the KP tent ready to eat,” he says. “So it’s pretty good, we got that right there.”\u003c/p>\n\u003cp>Like a lot of this crew, Parker never went camping or fishing as a kid.\u003c/p>\n\u003cp>“Camping is amazing,” he says with a laugh. “It’s amazing. I hadn’t done none of that till I joined the CCC.”\u003c/p>\n\u003cp>But it’s not just about trying new things. Parker has a 2-year-old daughter at home in Sacramento, and he says being a C gives him purpose, and pride.\u003c/p>\n\u003cp>“To me, I feel like it’s a great experience,” he says. “I can bring my daughter up here when she gets older to understand, and be like, ‘I built this.’ It just opens my heart and my mind. I can do something I never thought I could do.”\u003c/p>\n\u003cp>He says he used to look at trails and ask, “I wonder how you build this? Or who built this? Now, I find myself actually answering my own question.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The series \u003ca href=\"http://www.californiafoodways.com/\" target=\"_blank\" rel=\"noopener\">California Foodways\u003c/a> is supported in part by \u003ca href=\"http://www.calhum.org/\" target=\"_blank\" rel=\"noopener\">Cal Humanities\u003c/a>. Reporter Lisa Morehouse produced it during a fellowship at \u003ca href=\"http://www.hedgebrook.org/\" target=\"_blank\" rel=\"noopener\">Hedgebrook\u003c/a>, a residency for women writers. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Hard work, low pay, miserable conditions, and more!”\u003c/p>\n\u003cp>That’s the actual motto for the California Conservation Corps, the state program that puts young adults to work in emergency response, park improvements and fire protection. In Marin, many corps members — known affectionately as “C’s” – do hard physical work building and maintaining the world-class trails in places like Point Reyes, Mount Tamalpais and Muir Woods.\u003c/p>\n\u003cp>Because the young people burn thousands of calories a day, food plays a crucial role for a CCC crew, and their menu has barely changed since the ’30s.\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/201327335″&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/201327335″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>After hiking a couple miles up a wooded path, 20-year-old Willy Parker shows me the huge drainage area he and the rest of the crew are shoring up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’ll last for a couple hundred years,” he tells me. “I think that’s pretty awesome.”\u003c/p>\n\u003cp>We’re on a section of trail near Devil’s Gulch Camp in West Marin. I’m trying to understand this puzzle of huge rocks that crew members maneuver to fill a huge hole.\u003c/p>\n\u003cp>Parker tells me we’re looking at about 30 rocks, each as heavy as 100 pounds. Crew members roll rocks down the trail and work in teams, using long metal poles to place them correctly. They mark and chisel the rocks to get the perfect size, so they’ll fit snugly.\u003c/p>\n\u003cp>“They all have to be contacting, one edge to another edge,” says Parker.\u003c/p>\n\u003cfigure id=\"attachment_10491691\" class=\"wp-caption alignright\" style=\"max-width: 495px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RockAndStone.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10491691 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RockAndStone-800x633.jpg\" alt=\"California Conservation Corps members, “Cs” for short, roll rocks as heavy as 500 pounds to their work area, set them into place and chisel them for a snug fit.\" width=\"495\" height=\"392\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-800x633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-400x317.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-1440x1140.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-1180x934.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-768x608.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-320x253.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone.jpg 1920w\" sizes=\"auto, (max-width: 495px) 100vw, 495px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">California Conservation Corps members, “C’s” for short, roll rocks as heavy as 500 pounds to their work area, set them into place and chisel them for a snug fit. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s to support the tens of thousands of hikers, mountain bikers and horseback riders expected to use this trail. If you hike this trail in a year or two, Parker says, you won’t be able to see the work that went on here.\u003c/p>\n\u003cp>“Over time, the dirt, the leaves will fall over it to make it look natural,” he says.\u003c/p>\n\u003cp>Parker is part of what’s called a spike crew: Members will be working this site off and on for over a year. They spend eight days working, then six days at a residential center near Lake Tahoe. There they get time off and take classes. Like Parker, many work on their GEDs.\u003c/p>\n\u003cp>While these corps members prod heavy stones into place, Samantha Pack and Gabino Lopez have left the trail early to report to KP.\u003c/p>\n\u003cp>“KP stands for kitchen patrol, or kitchen police as we call it,” says Lopez. “It’s the person whose duty it is to take care of the kitchen and camp, all the chores like start the fire, clean around the kitchen.”\u003c/p>\n\u003cp>The kitchen’s really clean, but it’s not much to look at.\u003c/p>\n\u003cp>“Basically, it’s an old burlap tent,” says Pack. “It’s set up with our two stoves, both powered by propane. Two chests are filled with our pots, pans, dishes, and the top is our serving table. It’s a tight space!”\u003c/p>\n\u003cp>Lopez is getting creative, chopping onions and slicing oranges and lemon for the fish they’re serving the 20 crew members and two supervisors. “For us KP’s, we try to make something delicious, just to make the crew feel like they’re at their house.”\u003c/p>\n\u003cp>Each year, the California Conservation Corps hires about 3,000 men and women between 18 and 25. Each has his or her own reasons for joining, but many here, like Samantha Pack, told me they needed some direction.\u003c/p>\n\u003cp>“Everybody has their different problems, but I was very defiant,” she says. “I didn’t know what I wanted. I was always taught to run from my problems. When I started to realize that running wasn’t getting anything done, my mentality changed.”\u003c/p>\n\u003cfigure id=\"attachment_10491694\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/TentCookin.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10491694\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/TentCookin-800x568.jpg\" alt=\"Gabino Lopez, left, and Samantha Pack hard at work on 'kitchen patrol.' \" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-400x284.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-1440x1023.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-1180x838.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-320x227.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gabino Lopez, left, and Samantha Pack hard at work on ‘kitchen patrol.’ \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An alumna told her about the program, and the Bakersfield native found she really loves hands-on trail work.\u003c/p>\n\u003cp>“I had never done any labor at all. I grew up not going to school, sitting on the couch,” Pack says. “Then all of a sudden being told, ‘Dig this hole, move this there,’ it really gave me what I guess I always needed. Not only that discipline, but having that urgency to get things done the right way.”\u003c/p>\n\u003cp>“It’s like we’re a big machine as a group, and the KP’s are the batteries to the machine,” says Lopez.\u003c/p>\n\u003cp>Since they’re out here for more than a week, the food for each meal is planned and packed ahead. KP’s can use ingredients creatively, but they have to consider coming meals. Lopez pulls out the eight-day food calendar, labeled for breakfast and dinner.\u003c/p>\n\u003cp>“Today, we’re having fish fillet, rice pilaf, carrots and salad,” he explains. “Day Four, we’re having pork chops, red potatoes, with broccoli and salad.”\u003c/p>\n\u003cp>A few miles away, in his office on Mount Tamalpais, I meet Victor Bjelajac, who oversees maintenance of state parks in Marin. He’s flipping through pages in a binder, looking at old food orders.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“This was a group of Civilian Conservation Corps members that were working at Mount Tamalpais. This one was from 1939.”\u003c/p>\n\u003cp>And guess what? It sounds a lot like what the KP crew is making tonight.\u003c/p>\n\u003cp>“For supper, there was fillet of sole, mashed potatoes, creamed carrots, bread, butter,” Bjelajac reads.\u003c/p>\n\u003cp>The similarities in the menu aren’t sentimental. Camp food has always had to fuel large groups for hard labor. Launched in 1933 as a response to the Great Depression, the Civilian Conservation Corps employed millions of young men, many of them veterans, to work on remote, government-owned lands — planting trees, building roadways, updating parks.\u003c/p>\n\u003cp>In Marin, they built trails and camps and a beautiful amphitheater, still in use today. The Corps accepted only men, and the crews were segregated by race.\u003c/p>\n\u003cp>“It seems inconceivable today when you look at California Conservation Corps,” says Bjelajac.\u003c/p>\n\u003cp>The CCC is about a quarter women, and very diverse. But he says what the two have in common is young people, doing important work as a group for the public good. That, and the food.\u003c/p>\n\u003cp>“Part of the culture that’s built around a camp gets built around meals,” he says.\u003c/p>\n\u003cfigure id=\"attachment_10491700\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CampTV.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10491700\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CampTV-800x655.jpg\" alt=\"Gabino Lopez tends the fire, also known as the camp TV.\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-400x327.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-1440x1178.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-1180x966.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-320x262.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gabino Lopez tends the fire, also known as the camp TV. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back at camp, Gabino Lopez tends a fire as his fellow corps members start to come off the trail.\u003c/p>\n\u003cp>“I would honestly rather sit at the fire and watch it for three hours than sit at home on a couch and just watch TV,” Lopez says. “I’d rather bathe in a creek than shower in a bathroom. It makes me feel more alive, I think.”\u003c/p>\n\u003cp>And he’s happy pan-frying fish and sauteing carrots in a tent. Willy Parker says that after working all day and hiking down, KP is a life-saver.\u003c/p>\n\u003cp>“Just to get to camp, and the food is smelling good, and everybody just be walking around the KP tent ready to eat,” he says. “So it’s pretty good, we got that right there.”\u003c/p>\n\u003cp>Like a lot of this crew, Parker never went camping or fishing as a kid.\u003c/p>\n\u003cp>“Camping is amazing,” he says with a laugh. “It’s amazing. I hadn’t done none of that till I joined the CCC.”\u003c/p>\n\u003cp>But it’s not just about trying new things. Parker has a 2-year-old daughter at home in Sacramento, and he says being a C gives him purpose, and pride.\u003c/p>\n\u003cp>“To me, I feel like it’s a great experience,” he says. “I can bring my daughter up here when she gets older to understand, and be like, ‘I built this.’ It just opens my heart and my mind. I can do something I never thought I could do.”\u003c/p>\n\u003cp>He says he used to look at trails and ask, “I wonder how you build this? Or who built this? Now, I find myself actually answering my own question.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The series \u003ca href=\"http://www.californiafoodways.com/\" target=\"_blank\" rel=\"noopener\">California Foodways\u003c/a> is supported in part by \u003ca href=\"http://www.calhum.org/\" target=\"_blank\" rel=\"noopener\">Cal Humanities\u003c/a>. Reporter Lisa Morehouse produced it during a fellowship at \u003ca href=\"http://www.hedgebrook.org/\" target=\"_blank\" rel=\"noopener\">Hedgebrook\u003c/a>, a residency for women writers. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Pan Am Mystique Lives on -- in Pacoima",
"title": "The Pan Am Mystique Lives on -- in Pacoima",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Want to relive the golden years of aviation? In a warehouse miles from Hollywood, you’ll find a high-class tribute to the beloved airline Pan Am.\u003c/p>\n\u003cp>Every other Saturday night, customers line up outside a warehouse in Pacoima to relive a nostalgic experience.\u003c/p>\n\u003cp>As a small boy, said Anthony Toth, “I started collecting airplane models, and small things like timetables and luggage tags. But as I got older, the desire to have more and more aircraft things became greater and greater.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'Tears came to my eyes, because it was so real.'\u003c/aside>\n\u003cp>So much so that Toth visited so-called airport graveyards in the deserts that sold larger pieces of fuselage … “sidewall panels, and overhead bins, and galley modules and seats. And as I became a young adult, no matter where I lived, I always had a small aircraft mockup in my house. And fast forward about 20 years later, this is what happens.”\u003c/p>\n\u003cp>What happened was Pan Am Experience, Toth’s tribute to the beloved Pan American Airways, complete with original Boeing 747 parts, first-class and coach-section seating, staircase to a dining and cocktail area and a crew in full retro stewardess attire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/201327631\" 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>Pan Am flew to destinations all around the world, at a time when the rest of the world hadn’t started flying. Only the affluent got to spin around the globe.\u003c/p>\n\u003cp>Flying was different then, and the Pan Am experience recreates it for paying customers -- many of whom have their own stowed memories.\u003c/p>\n\u003cp>Josh Defelice and Brent Kaspar are flight attendants who live in West Hollywood, and came to see what flying used to be like when it was “actually glamorous,” they say.\u003c/p>\n\u003cp>Barbara Norberg worked as an attendant on the real Pan Am, from 1970 until the company went out of business in 1991, handling Clipper service customers who meandered throughout the cabin, in and out of first class.\u003c/p>\n\u003cfigure id=\"attachment_10494067\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam2.jpg\">\u003cimg class=\"size-medium wp-image-10494067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam2-800x600.jpg\" alt=\"History buffs Andrea and Anthony Welch came from Houston, Texas for the Pan Am Experience\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">History buffs Andrea and Anthony Welch came from Houston, Texas, for the Pan Am Experience \u003ccite>(Avishay Artsy/KCRW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Passengers were different,” Norberg, the Pan Am Experience hospitality director, said. “You see tonight, everyone’s here, dressed up, looking nice, looking like they’re going to travel around the world. Now you get on an airplane, people barely dress, let alone dress up, so, it’s a kind of a different atmosphere on airplanes. It’s a bus with wings.”\u003c/p>\n\u003cp>Norberg, like others who are here, reminisce in this experience. One that begins at the front of the sound stage, in Pacoima, before passengers are gently shooed onto the plane.\u003c/p>\n\u003cp>Uniformed attendants Holly Gray and Roger Garcia check passengers into this mock journey to the past. Both are actors, and they’re fully dressed in 1960s Pan Am blue and white.\u003c/p>\n\u003cp>“We’re flying all over the world, so every day is new,” Garcia said.\u003c/p>\n\u003cp>“Plus, it’s different every night. You meet new people with interesting jobs. People that have worked in the airline industry before, and you get to hear wonderful memories,” Grey said. “So, it’s a really cool experience to feel like you’re part of this big family that was Pan Am.”\u003c/p>\n\u003cp>Inside the plane, in first class, the velvet blue and red seats, the passenger information cards, even the glasses and silverware, it’s all vintage Pan Am.\u003c/p>\n\u003cp>And, of course, there’s the food.\u003c/p>\n\u003cp>“You have a plate with caprese or you can get shrimp. And then we serve either the pasta or we have the meat with the chateaubriand sauce, or we have the chicken. And then we have a plate of fruit and cheese, and then we serve the cake. Five-course meal, yes,” said our attendant, Melorine Adler.\u003c/p>\n\u003cp>The flight attendant actually carves a roast on a rolling cart. Similar to how it was done onboard a flight, decades ago.\u003c/p>\n\u003cp>The Pan Am Experience is actually part of a complex of old airplane cabins and cockpits. You see an inside airplane scene on TV or in a movie? Chances are it was filmed here, in Pacoima, at a place called Air Hollywood.\u003c/p>\n\u003cfigure id=\"attachment_10494069\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam3.jpg\">\u003cimg class=\"size-medium wp-image-10494069\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam3-800x1067.jpg\" alt=\"Betsy Holt serves up shrimp salad and other appetizers aboard the Pan Am Experience.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-768x1024.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-320x427.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Betsy Holt serves up shrimp salad and other appetizers aboard the Pan Am Experience. \u003ccite>(Avishay Artsy/KCRW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We did the pilot for LOST. We did the movie 'Bridesmaids',” said Air Hollywood general manager Rob Shalhoub. “We have a wide body jet, it’s a 767, we have two narrow-body jets, a 757 and a 737, we have a G3 private jet, we have a Lear jet, a bunch of cockpits, a lot of props, an airport terminal.”\u003c/p>\n\u003cp>There’s even the cockpit to the famous comedy \"Airplane,\" where a version of Otto, the automatic pilot, still sits.\u003c/p>\n\u003cp>But who cares about the big screen, when this experience feeds the memories of a grateful employee?\u003c/p>\n\u003cp>The real-life movie that plays in the mind of Barbara Norberg, who wore the outfit, served the drinks, made passengers and customers smile -- this experience keeps Pan Am alive.\u003c/p>\n\u003cp>“I walked into the first-class door there, and tears came to my eyes, because it was so real. It was so well done. It was really amazing,” said Norberg. “Now I’m over that, because I just enjoy watching people have a good time.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That good time is first class, in price and experience. A glimpse -- even if for an evening -- of what it was like up there … way back when.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Want to relive the golden years of aviation? In a warehouse miles from Hollywood, you’ll find a high-class tribute to the beloved airline Pan Am.\u003c/p>\n\u003cp>Every other Saturday night, customers line up outside a warehouse in Pacoima to relive a nostalgic experience.\u003c/p>\n\u003cp>As a small boy, said Anthony Toth, “I started collecting airplane models, and small things like timetables and luggage tags. But as I got older, the desire to have more and more aircraft things became greater and greater.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'Tears came to my eyes, because it was so real.'\u003c/aside>\n\u003cp>So much so that Toth visited so-called airport graveyards in the deserts that sold larger pieces of fuselage … “sidewall panels, and overhead bins, and galley modules and seats. And as I became a young adult, no matter where I lived, I always had a small aircraft mockup in my house. And fast forward about 20 years later, this is what happens.”\u003c/p>\n\u003cp>What happened was Pan Am Experience, Toth’s tribute to the beloved Pan American Airways, complete with original Boeing 747 parts, first-class and coach-section seating, staircase to a dining and cocktail area and a crew in full retro stewardess attire.\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/201327631&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/201327631'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Pan Am flew to destinations all around the world, at a time when the rest of the world hadn’t started flying. Only the affluent got to spin around the globe.\u003c/p>\n\u003cp>Flying was different then, and the Pan Am experience recreates it for paying customers -- many of whom have their own stowed memories.\u003c/p>\n\u003cp>Josh Defelice and Brent Kaspar are flight attendants who live in West Hollywood, and came to see what flying used to be like when it was “actually glamorous,” they say.\u003c/p>\n\u003cp>Barbara Norberg worked as an attendant on the real Pan Am, from 1970 until the company went out of business in 1991, handling Clipper service customers who meandered throughout the cabin, in and out of first class.\u003c/p>\n\u003cfigure id=\"attachment_10494067\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam2.jpg\">\u003cimg class=\"size-medium wp-image-10494067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam2-800x600.jpg\" alt=\"History buffs Andrea and Anthony Welch came from Houston, Texas for the Pan Am Experience\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">History buffs Andrea and Anthony Welch came from Houston, Texas, for the Pan Am Experience \u003ccite>(Avishay Artsy/KCRW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Passengers were different,” Norberg, the Pan Am Experience hospitality director, said. “You see tonight, everyone’s here, dressed up, looking nice, looking like they’re going to travel around the world. Now you get on an airplane, people barely dress, let alone dress up, so, it’s a kind of a different atmosphere on airplanes. It’s a bus with wings.”\u003c/p>\n\u003cp>Norberg, like others who are here, reminisce in this experience. One that begins at the front of the sound stage, in Pacoima, before passengers are gently shooed onto the plane.\u003c/p>\n\u003cp>Uniformed attendants Holly Gray and Roger Garcia check passengers into this mock journey to the past. Both are actors, and they’re fully dressed in 1960s Pan Am blue and white.\u003c/p>\n\u003cp>“We’re flying all over the world, so every day is new,” Garcia said.\u003c/p>\n\u003cp>“Plus, it’s different every night. You meet new people with interesting jobs. People that have worked in the airline industry before, and you get to hear wonderful memories,” Grey said. “So, it’s a really cool experience to feel like you’re part of this big family that was Pan Am.”\u003c/p>\n\u003cp>Inside the plane, in first class, the velvet blue and red seats, the passenger information cards, even the glasses and silverware, it’s all vintage Pan Am.\u003c/p>\n\u003cp>And, of course, there’s the food.\u003c/p>\n\u003cp>“You have a plate with caprese or you can get shrimp. And then we serve either the pasta or we have the meat with the chateaubriand sauce, or we have the chicken. And then we have a plate of fruit and cheese, and then we serve the cake. Five-course meal, yes,” said our attendant, Melorine Adler.\u003c/p>\n\u003cp>The flight attendant actually carves a roast on a rolling cart. Similar to how it was done onboard a flight, decades ago.\u003c/p>\n\u003cp>The Pan Am Experience is actually part of a complex of old airplane cabins and cockpits. You see an inside airplane scene on TV or in a movie? Chances are it was filmed here, in Pacoima, at a place called Air Hollywood.\u003c/p>\n\u003cfigure id=\"attachment_10494069\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam3.jpg\">\u003cimg class=\"size-medium wp-image-10494069\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam3-800x1067.jpg\" alt=\"Betsy Holt serves up shrimp salad and other appetizers aboard the Pan Am Experience.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-768x1024.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-320x427.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Betsy Holt serves up shrimp salad and other appetizers aboard the Pan Am Experience. \u003ccite>(Avishay Artsy/KCRW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We did the pilot for LOST. We did the movie 'Bridesmaids',” said Air Hollywood general manager Rob Shalhoub. “We have a wide body jet, it’s a 767, we have two narrow-body jets, a 757 and a 737, we have a G3 private jet, we have a Lear jet, a bunch of cockpits, a lot of props, an airport terminal.”\u003c/p>\n\u003cp>There’s even the cockpit to the famous comedy \"Airplane,\" where a version of Otto, the automatic pilot, still sits.\u003c/p>\n\u003cp>But who cares about the big screen, when this experience feeds the memories of a grateful employee?\u003c/p>\n\u003cp>The real-life movie that plays in the mind of Barbara Norberg, who wore the outfit, served the drinks, made passengers and customers smile -- this experience keeps Pan Am alive.\u003c/p>\n\u003cp>“I walked into the first-class door there, and tears came to my eyes, because it was so real. It was so well done. It was really amazing,” said Norberg. “Now I’m over that, because I just enjoy watching people have a good time.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That good time is first class, in price and experience. A glimpse -- even if for an evening -- of what it was like up there … way back when.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Century-Old Player Pianos Come to Life at Stanford",
"title": "Century-Old Player Pianos Come to Life at Stanford",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Player pianos that are 100 years old will come to life this Saturday at Stanford University, reproducing historic performances by composers like George Gershwin and Igor Stravinksy. The \u003ca href=\"https://events.stanford.edu/events/495/49503/\">concert\u003c/a> is part of the university's new \u003ca href=\"http://library.stanford.edu/projects/player-piano-project\">Player Piano Project\u003c/a>.\u003c/p>\n\u003cp>Player pianos were “capable of reproducing the nuances of touch and timing of a pianist who recorded in real time,” explains Kumaran Arul, a music instructor at Stanford. The pianos play music recorded on perforated rolls.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/201327486\" 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>Arul led the effort to acquire and preserve the more than 7,500 rolls and 10 player pianos from a collector in Australia.\u003c/p>\n\u003cp>The pianos became very popular in the late 19\u003csup>th\u003c/sup> and early 20\u003csup>th\u003c/sup> centuries and then died out as phonographs improved.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In listening to the rolls, Arul and his colleagues are finding that old pianists were not as tied to sheet music as today’s musicians are. They were willing to take more risks, and be more flexible with rhythm and tempo changes.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=xsuPVBAwg4s&w=640&h=360]\u003c/p>\n\u003cp>Nayantara Jain, a senior piano student at Stanford, is using the rolls to inform her own playing.\u003c/p>\n\u003cp>“These actual composers playing their own pieces do things that teachers will tell you are not OK,” Jain says. “It just opens a whole world of expressive possibility and it’s really exciting.”\u003c/p>\n\u003cp>On Saturday, the Stanford Symphony Orchestra, composed of student players, will accompany Percy Grainger, a pianist who died in 1961, as his 1921 roll runs on a player piano. Rex Lawson, a player piano expert from London, will play a foot-operated version of a player piano, manipulating the roll as it plays.\u003c/p>\n\u003cfigure id=\"attachment_10494122\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RubensteinRoll.jpg\">\u003cimg class=\"size-medium wp-image-10494122\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RubensteinRoll-800x503.jpg\" alt=\"A player piano roll containing the touch and timing of a performance by Arthur Rubinstein.\" width=\"800\" height=\"503\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-800x503.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-400x252.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-1440x906.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-1180x742.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-768x483.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-320x201.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A player piano roll containing the touch and timing of a performance by Arthur Rubinstein. \u003ccite>(Courtesy Stanford University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lawson is optimistic that the concert and the Player Piano Project will bring much-needed attention to the old pianos and rolls.\u003c/p>\n\u003cp>“These things are not toys,” Lawson says. “They’re serious musical instruments, and it’s jolly good, finally, that people are beginning to take them seriously.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Soon the rolls will also be available to musicians beyond the Stanford community. Kumaran Arul and his colleagues are in the process of building a custom scanner that will digitize the rolls and make them available online.\u003c/p>\n\n",
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"headline": "Century-Old Player Pianos Come to Life at Stanford",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Player pianos that are 100 years old will come to life this Saturday at Stanford University, reproducing historic performances by composers like George Gershwin and Igor Stravinksy. The \u003ca href=\"https://events.stanford.edu/events/495/49503/\">concert\u003c/a> is part of the university's new \u003ca href=\"http://library.stanford.edu/projects/player-piano-project\">Player Piano Project\u003c/a>.\u003c/p>\n\u003cp>Player pianos were “capable of reproducing the nuances of touch and timing of a pianist who recorded in real time,” explains Kumaran Arul, a music instructor at Stanford. The pianos play music recorded on perforated rolls.\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/201327486&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/201327486'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Arul led the effort to acquire and preserve the more than 7,500 rolls and 10 player pianos from a collector in Australia.\u003c/p>\n\u003cp>The pianos became very popular in the late 19\u003csup>th\u003c/sup> and early 20\u003csup>th\u003c/sup> centuries and then died out as phonographs improved.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In listening to the rolls, Arul and his colleagues are finding that old pianists were not as tied to sheet music as today’s musicians are. They were willing to take more risks, and be more flexible with rhythm and tempo changes.\u003c/p>\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/xsuPVBAwg4s'\n title='//www.youtube.com/embed/xsuPVBAwg4s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Nayantara Jain, a senior piano student at Stanford, is using the rolls to inform her own playing.\u003c/p>\n\u003cp>“These actual composers playing their own pieces do things that teachers will tell you are not OK,” Jain says. “It just opens a whole world of expressive possibility and it’s really exciting.”\u003c/p>\n\u003cp>On Saturday, the Stanford Symphony Orchestra, composed of student players, will accompany Percy Grainger, a pianist who died in 1961, as his 1921 roll runs on a player piano. Rex Lawson, a player piano expert from London, will play a foot-operated version of a player piano, manipulating the roll as it plays.\u003c/p>\n\u003cfigure id=\"attachment_10494122\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RubensteinRoll.jpg\">\u003cimg class=\"size-medium wp-image-10494122\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RubensteinRoll-800x503.jpg\" alt=\"A player piano roll containing the touch and timing of a performance by Arthur Rubinstein.\" width=\"800\" height=\"503\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-800x503.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-400x252.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-1440x906.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-1180x742.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-768x483.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-320x201.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A player piano roll containing the touch and timing of a performance by Arthur Rubinstein. \u003ccite>(Courtesy Stanford University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lawson is optimistic that the concert and the Player Piano Project will bring much-needed attention to the old pianos and rolls.\u003c/p>\n\u003cp>“These things are not toys,” Lawson says. “They’re serious musical instruments, and it’s jolly good, finally, that people are beginning to take them seriously.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Soon the rolls will also be available to musicians beyond the Stanford community. Kumaran Arul and his colleagues are in the process of building a custom scanner that will digitize the rolls and make them available online.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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