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"content": "\u003cp>Have you ever gone to Chinatown in San Francisco for some dim sum, looked around and thought to yourself: Look at all this authentic Chinese-style architecture.\u003c/p>\n\u003cp>Well, not exactly.\u003c/p>\n\u003cp>The architecture is actually an American idea of what Chinese buildings should look like, built in a way that would attract tourists.\u003c/p>\n\u003cp>The Chinese Culture Center of San Francisco’s director of education and engagement, Darin Ow-Wing, offers tours of the neighborhood that highlight historical facts like this. His tours help paint a richer history of the Chinese in America.\u003c/p>\n\u003cp>I took a walking tour with Ow-Wing as the neighborhood got ready to celebrate this year’s Lunar New Year, which started Thursday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So, back to the architecture. The story goes that after the 1906 earthquake, city leaders wanted to move the Chinese to the city’s outskirts and claim the valuable real estate for something else. After negotiations, it was settled that the Chinese would get to stay but would relinquish the right to design and build Chinatown. Instead, it was built to attract tourists.\u003c/p>\n\u003cp>This backstory is why one historian has described Chinatown as an “Oriental Disneyland.” Or, as Ow-Wing says, Chinatown is permanently wearing the equivalent of a “clown outfit.”\u003c/p>\n\u003cp>The \u003ca href=\"http://www.c-c-c.org/\" target=\"_blank\">Chinese Culture Center of San Francisco\u003c/a> gives tours to about 4,000 students and tourists a year. Public tours start at the Hilton San Francisco Financial District, 750 Kearny St.\u003c/p>\n\u003cp>Currently tours are at Tuesdays and Thursdays at 1 p.m., and Saturdays at 10 a.m. There are three tour programs: Dynasty to Democracy, Chinatown Art Walk and a Tale of Two Chinatowns.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here are a few stops on Ow-Wing’s Dynasty to Democracy walking tour:\u003c/p>\n\u003cdiv class=\"callout\">\u003cimg class=\"alignleft\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/portsmouthsq.jpg\" alt=\"Courtesy Google Street View\" width=\"400\" height=\"400\">\n\u003ch3>\u003ca href=\"http://www.sfgate.com/outdoors/urbanoutings/article/Portsmouth-Square-in-San-Francisco-3682940.php\" target=\"_blank\">Portsmouth Square\u003c/a>\u003c/h3>\n\u003ch5>Bounded by Clay, Washington and Kearny streets, and Walter U. Lum Place\u003c/h5>\n\u003cp>Ow-Wing on Portsmouth Square: “This was the power center of old San Francisco. This was where all the rich people, the politicians, anyone who had to do with anything in San Francisco hung out here.”\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout\">\u003cimg class=\"alignleft\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/tinhowtemple.jpg\" alt=\"Courtesy Google Street View\" width=\"400\" height=\"400\">\n\u003ch3>\u003ca href=\"http://www.chinatownology.com/tin_how_temple.html\" target=\"_blank\">Tin How Temple\u003c/a>\u003c/h3>\n\u003ch5>125 Waverly Place\u003c/h5>\n\u003cp>Ow-Wing on the Tin How Temple, one of the oldest temples in the state: “How it works is this: It is a legitimate temple. People do come here to do their thing. But they’re really open, they’re very friendly, they’re fine with visitors coming in as well. We just have to be really, really, really quiet.”\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout\">\u003cimg class=\"alignleft\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/waverly.jpg\" alt=\"Courtesy Google Street View\" width=\"400\" height=\"400\">\n\u003ch3>Waverly Place\u003c/h3>\n\u003ch5>Two-block street between Washington and Sacramento streets; Home to many family, or benevolent, associations\u003c/h5>\n\u003cp>Ow-Wing on the family associations: “Chinatown had to kind of manage itself for about 100 years. … So 100 years ago, you’re a young man, by yourself, over here. You’re coming to America to work. You land here, you don’t know anyone, but your name is Yee. You’ve got this little piece of paper that says go find your family association. So you’d actually come here. You’d be able to stay here a couple nights. They’d find out where you’re supposed to be working. You’d make some friends here.”\u003c/p>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So, back to the architecture. The story goes that after the 1906 earthquake, city leaders wanted to move the Chinese to the city’s outskirts and claim the valuable real estate for something else. After negotiations, it was settled that the Chinese would get to stay but would relinquish the right to design and build Chinatown. Instead, it was built to attract tourists.\u003c/p>\n\u003cp>This backstory is why one historian has described Chinatown as an “Oriental Disneyland.” Or, as Ow-Wing says, Chinatown is permanently wearing the equivalent of a “clown outfit.”\u003c/p>\n\u003cp>The \u003ca href=\"http://www.c-c-c.org/\" target=\"_blank\">Chinese Culture Center of San Francisco\u003c/a> gives tours to about 4,000 students and tourists a year. Public tours start at the Hilton San Francisco Financial District, 750 Kearny St.\u003c/p>\n\u003cp>Currently tours are at Tuesdays and Thursdays at 1 p.m., and Saturdays at 10 a.m. There are three tour programs: Dynasty to Democracy, Chinatown Art Walk and a Tale of Two Chinatowns.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here are a few stops on Ow-Wing’s Dynasty to Democracy walking tour:\u003c/p>\n\u003cdiv class=\"callout\">\u003cimg class=\"alignleft\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/portsmouthsq.jpg\" alt=\"Courtesy Google Street View\" width=\"400\" height=\"400\">\n\u003ch3>\u003ca href=\"http://www.sfgate.com/outdoors/urbanoutings/article/Portsmouth-Square-in-San-Francisco-3682940.php\" target=\"_blank\">Portsmouth Square\u003c/a>\u003c/h3>\n\u003ch5>Bounded by Clay, Washington and Kearny streets, and Walter U. Lum Place\u003c/h5>\n\u003cp>Ow-Wing on Portsmouth Square: “This was the power center of old San Francisco. This was where all the rich people, the politicians, anyone who had to do with anything in San Francisco hung out here.”\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout\">\u003cimg class=\"alignleft\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/tinhowtemple.jpg\" alt=\"Courtesy Google Street View\" width=\"400\" height=\"400\">\n\u003ch3>\u003ca href=\"http://www.chinatownology.com/tin_how_temple.html\" target=\"_blank\">Tin How Temple\u003c/a>\u003c/h3>\n\u003ch5>125 Waverly Place\u003c/h5>\n\u003cp>Ow-Wing on the Tin How Temple, one of the oldest temples in the state: “How it works is this: It is a legitimate temple. People do come here to do their thing. But they’re really open, they’re very friendly, they’re fine with visitors coming in as well. We just have to be really, really, really quiet.”\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout\">\u003cimg class=\"alignleft\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/waverly.jpg\" alt=\"Courtesy Google Street View\" width=\"400\" height=\"400\">\n\u003ch3>Waverly Place\u003c/h3>\n\u003ch5>Two-block street between Washington and Sacramento streets; Home to many family, or benevolent, associations\u003c/h5>\n\u003cp>Ow-Wing on the family associations: “Chinatown had to kind of manage itself for about 100 years. … So 100 years ago, you’re a young man, by yourself, over here. You’re coming to America to work. You land here, you don’t know anyone, but your name is Yee. You’ve got this little piece of paper that says go find your family association. So you’d actually come here. You’d be able to stay here a couple nights. They’d find out where you’re supposed to be working. You’d make some friends here.”\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After Pulitzer Prize-winning poet Philip Levine died last Saturday, many obituaries and tributes acknowledged him as a poet who wrote about factory life in Detroit. \u003c/p>\n\u003cp>But what you may not know is that he was actually deeply rooted in Fresno and was an avid jazz lover. In the the last \u003ca href=\"http://ww2.kqed.org/news/2015/02/20/philip-levine-benjamin-boone-fresno-jazz-poetry\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/02/20/philip-levine-benjamin-boone-fresno-jazz-poetry\" target=\"_self\" title=\"At 87, Poet Laureate Philip Levine Jazzed It Up\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>After Pulitzer Prize-winning poet Philip Levine died last Saturday, many obituaries and tributes acknowledged him as a poet who wrote about factory life in Detroit. \u003c/p>\n\u003cp>But what you may not know is that he was actually deeply rooted in Fresno and was an avid jazz lover. In the the last \u003ca href=\"http://ww2.kqed.org/news/2015/02/20/philip-levine-benjamin-boone-fresno-jazz-poetry\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cp>This Saturday, San Francisco will celebrate the centennial of a major piece of its history:\u003ca href=\"http://www.californiahistoricalsociety.org/exhibitions/current_exhibitions/\"> the Panama Pacific International Exposition\u003c/a>.\u003c/p>\n\u003cp>It was a world’s fair timed to showcase San Francisco’s recovery from the 1906 earthquake, and to display U.S. imperial might in the Pacific, just after the completion of the Panama Canal.\u003c/p>\n\u003cp>But the expo also introduced the nation to a new musical instrument, and if you’d been there a hundred years ago, here’s a song you might have heard.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dXvVR6P0beA\u003c/p>\n\u003cp>What you’re hearing is a 1915 recording of “On the Beach at Waikiki,” written by Henry Kailimai. He led a delegation of Hawaiian musicians to the fair, where he introduced this famous song.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“On the Beach” is just one of the songs ukulele master and teacher \u003ca href=\"http://hirambell.net/\">Hiram Kaailau Bell \u003c/a>will play on Saturday, at a \u003ca href=\"http://www.ppie100.org/event/uke-thon/\">“Uke-a-Thon”\u003c/a> under the rotunda at the last surviving remnant of the fair, the Palace of Fine Arts. The Uke-a-Thon is expected to draw hundreds of ukulele players.\u003c/p>\n\u003cp>Bell plucked and strummed a bit of “On the Beach…” and some other songs for me recently in his South San Francisco music studio.\u003c/p>\n\u003cp>(Listen here to Bell playing “Ulili-E”).\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/192033553″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>The ukulele was a Hawaiian adaptation of the machete, a small four stringed guitar brought to the islands by Portuguese workers in the late 19th century.\u003c/p>\n\u003cp>Bell says the fingers of the workers “were moving up and down so quickly, they looked like jumping fleas. ‘Uku’ means flea, and ‘lele’ means jump. I don’t know if I believe that story or not.”\u003c/p>\n\u003cp>http://youtu.be/qLEHorytyBk\u003c/p>\n\u003cp>Of course the ukulele is a hotter instrument than ever these days, with the popularity of songs by Jake Shimabukuro, Amanda Palmer, Israel Kamakawiwo’ole, Zooey Deschanel, and the appearance of hundreds of ukulele clubs around the country.\u003c/p>\n\u003cp>But the uke was a rarity on the U.S. mainland in 1915, until millions of people got a taste for its sound at the fair.\u003c/p>\n\u003cp>“Not only the ukulele, but the steel guitar became very popular. Five years after, Hawaiian was among the most sought after music on the mainland.”\u003c/p>\n\u003cp>Almost 19 million people visited the expo during its nine-month run, and the Hawaiian Pavilion was among the most popular, recording 34 thousand visitors in one day. People were charmed by the music, the hula dancing and an exotic beverage new to the mainland — pineapple juice.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/192032867&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“White Hawaiians were interested in using the fair to advertise Hawaii as a tourist destination,” says Abigail M. Markwyn, the author of \u003ca href=\"http://www.nebraskapress.unl.edu/product/Empress-San-Francisco,675974.aspx\">\u003cem>Empress: The Pacific Rim, the Great West, and California at the Panama-Pacific International Exposition\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10406291\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10406291\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Markwyn-Pic-400x533.jpg\" alt=\"Abigail M. Markwyn.\" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Markwyn-Pic-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Markwyn-Pic-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Markwyn-Pic.jpg 768w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Abigail M. Markwyn.\u003c/figcaption>\u003c/figure>\n\u003cp>Markwyn’s book details the social and political tensions that were the backdrop of this international bash. She details how, almost by accident, the fair showcased the colonialism that had prompted U.S. business leaders to overthrow Hawaii’s ruling Queen Liliuokalani in 1893, with the help of U.S. Marines. Hawaii became a U.S. territory five years later, in 1898.\u003c/p>\n\u003cp>Markwyn describes one evening in June when an estimated 2,000 Hawaiians staged a pageant on the lagoon by the Palace of Fine Arts, attracting 25 thousand attendees. The event included a pageant in which the “Queen of Hawaii” appeared with her princesses in native canoes.\u003c/p>\n\u003cp>“The Queen,” Markwyn says, “was a white Hawaiian socialite. And the princesses that were supposed to represent the five islands were all mixed race, young, native Hawaiian women. So it really encapsulated that relationship of the colonizer to the colonized to a pretty profound way, from our 21st-century perspective.”\u003c/p>\n\u003cp>The expo also featured delegations and pavilions from China and Japan, wooed by organizers of the fair, despite federal laws barring Chinese immigration, and state laws aimed at barring Japanese-Americans from buying land.\u003c/p>\n\u003cp>Markwyn says fair organizers arranged a publicity stunt, advertising the wedding of a white sailor with his mixed-race Hawaiian girlfriend.\u003c/p>\n\u003cp>“And then a few days later,” Markwyn says, “there was an article that said this marriage could not happen, because she was of Asian descent, and he was white, and therefore under California law their marriage was illegal.\u003c/p>\n\u003cp>“So they were actually not allowed to perform the marriage at the fair, because when they went down to the County Clerk’s office in San Francisco, they found they couldn’t get a license. And I just found this such a fascinating story, because it demonstrates the way in which the politics in California intruded onto the fairground.”\u003c/p>\n\u003cp>Ukulele master Bell, born in Oahu, says the Panama-Pacific Expo’s sometimes ugly racial history doesn’t make him any less eager to share his love of the ukulele, and the joy its music brings. For him, it’s a reminder of “How we can overcome hardships and come out celebrating.”\u003c/p>\n\u003cp>At Saturday’s Uke-a-thon, Bell shares a stage with Dr. Marc Goldyne, a non-Hawaiian ukulele fanatic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goldyne says he plans to sing and play the popular “Aloha Oe,” also known as “Farewell to Thee.” It was written by Queen Liliuokalani as a lover’s goodbye. For many Hawaiians, the song has come to symbolize the loss of their independence.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This Saturday, San Francisco will celebrate the centennial of a major piece of its history:\u003ca href=\"http://www.californiahistoricalsociety.org/exhibitions/current_exhibitions/\"> the Panama Pacific International Exposition\u003c/a>.\u003c/p>\n\u003cp>It was a world’s fair timed to showcase San Francisco’s recovery from the 1906 earthquake, and to display U.S. imperial might in the Pacific, just after the completion of the Panama Canal.\u003c/p>\n\u003cp>But the expo also introduced the nation to a new musical instrument, and if you’d been there a hundred years ago, here’s a song you might have heard.\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/dXvVR6P0beA'\n title='//www.youtube.com/embed/dXvVR6P0beA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What you’re hearing is a 1915 recording of “On the Beach at Waikiki,” written by Henry Kailimai. He led a delegation of Hawaiian musicians to the fair, where he introduced this famous song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“On the Beach” is just one of the songs ukulele master and teacher \u003ca href=\"http://hirambell.net/\">Hiram Kaailau Bell \u003c/a>will play on Saturday, at a \u003ca href=\"http://www.ppie100.org/event/uke-thon/\">“Uke-a-Thon”\u003c/a> under the rotunda at the last surviving remnant of the fair, the Palace of Fine Arts. The Uke-a-Thon is expected to draw hundreds of ukulele players.\u003c/p>\n\u003cp>Bell plucked and strummed a bit of “On the Beach…” and some other songs for me recently in his South San Francisco music studio.\u003c/p>\n\u003cp>(Listen here to Bell playing “Ulili-E”).\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/192033553″&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/192033553″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The ukulele was a Hawaiian adaptation of the machete, a small four stringed guitar brought to the islands by Portuguese workers in the late 19th century.\u003c/p>\n\u003cp>Bell says the fingers of the workers “were moving up and down so quickly, they looked like jumping fleas. ‘Uku’ means flea, and ‘lele’ means jump. I don’t know if I believe that story or not.”\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/qLEHorytyBk'\n title='//www.youtube.com/embed/qLEHorytyBk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Of course the ukulele is a hotter instrument than ever these days, with the popularity of songs by Jake Shimabukuro, Amanda Palmer, Israel Kamakawiwo’ole, Zooey Deschanel, and the appearance of hundreds of ukulele clubs around the country.\u003c/p>\n\u003cp>But the uke was a rarity on the U.S. mainland in 1915, until millions of people got a taste for its sound at the fair.\u003c/p>\n\u003cp>“Not only the ukulele, but the steel guitar became very popular. Five years after, Hawaiian was among the most sought after music on the mainland.”\u003c/p>\n\u003cp>Almost 19 million people visited the expo during its nine-month run, and the Hawaiian Pavilion was among the most popular, recording 34 thousand visitors in one day. People were charmed by the music, the hula dancing and an exotic beverage new to the mainland — pineapple juice.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/192032867&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“White Hawaiians were interested in using the fair to advertise Hawaii as a tourist destination,” says Abigail M. Markwyn, the author of \u003ca href=\"http://www.nebraskapress.unl.edu/product/Empress-San-Francisco,675974.aspx\">\u003cem>Empress: The Pacific Rim, the Great West, and California at the Panama-Pacific International Exposition\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10406291\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10406291\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Markwyn-Pic-400x533.jpg\" alt=\"Abigail M. Markwyn.\" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Markwyn-Pic-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Markwyn-Pic-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Markwyn-Pic.jpg 768w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Abigail M. Markwyn.\u003c/figcaption>\u003c/figure>\n\u003cp>Markwyn’s book details the social and political tensions that were the backdrop of this international bash. She details how, almost by accident, the fair showcased the colonialism that had prompted U.S. business leaders to overthrow Hawaii’s ruling Queen Liliuokalani in 1893, with the help of U.S. Marines. Hawaii became a U.S. territory five years later, in 1898.\u003c/p>\n\u003cp>Markwyn describes one evening in June when an estimated 2,000 Hawaiians staged a pageant on the lagoon by the Palace of Fine Arts, attracting 25 thousand attendees. The event included a pageant in which the “Queen of Hawaii” appeared with her princesses in native canoes.\u003c/p>\n\u003cp>“The Queen,” Markwyn says, “was a white Hawaiian socialite. And the princesses that were supposed to represent the five islands were all mixed race, young, native Hawaiian women. So it really encapsulated that relationship of the colonizer to the colonized to a pretty profound way, from our 21st-century perspective.”\u003c/p>\n\u003cp>The expo also featured delegations and pavilions from China and Japan, wooed by organizers of the fair, despite federal laws barring Chinese immigration, and state laws aimed at barring Japanese-Americans from buying land.\u003c/p>\n\u003cp>Markwyn says fair organizers arranged a publicity stunt, advertising the wedding of a white sailor with his mixed-race Hawaiian girlfriend.\u003c/p>\n\u003cp>“And then a few days later,” Markwyn says, “there was an article that said this marriage could not happen, because she was of Asian descent, and he was white, and therefore under California law their marriage was illegal.\u003c/p>\n\u003cp>“So they were actually not allowed to perform the marriage at the fair, because when they went down to the County Clerk’s office in San Francisco, they found they couldn’t get a license. And I just found this such a fascinating story, because it demonstrates the way in which the politics in California intruded onto the fairground.”\u003c/p>\n\u003cp>Ukulele master Bell, born in Oahu, says the Panama-Pacific Expo’s sometimes ugly racial history doesn’t make him any less eager to share his love of the ukulele, and the joy its music brings. For him, it’s a reminder of “How we can overcome hardships and come out celebrating.”\u003c/p>\n\u003cp>At Saturday’s Uke-a-thon, Bell shares a stage with Dr. Marc Goldyne, a non-Hawaiian ukulele fanatic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goldyne says he plans to sing and play the popular “Aloha Oe,” also known as “Farewell to Thee.” It was written by Queen Liliuokalani as a lover’s goodbye. For many Hawaiians, the song has come to symbolize the loss of their independence.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Young Gifted and Black, or YGB, is a youth performance ensemble based in Oakland. More than 50 performers — ranging in age from 6 to 18 — learn and memorize compilations of historical black poems and contemporary raps, which they perform around the Bay Area.\u003c/p>\n\u003cp>“We try to cover anywhere from 50 to 100 years of history in our presentation,” said Hodari Davis, director of YGB. The program aims to teach black students aspects of their history not taught in school, and to allow the students to relay their knowledge to the community through performance.\u003c/p>\n\u003cfigure id=\"attachment_10436823\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/ygb-pictures.jpg\">\u003cimg class=\"size-medium wp-image-10436823\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/ygb-pictures-800x487.jpg\" alt=\"Young Gifted and Black performers rehearse after school at Oakland School for the Arts.\" width=\"800\" height=\"487\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/ygb-pictures-800x487.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/ygb-pictures-400x243.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/ygb-pictures-1440x876.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/ygb-pictures.jpg 2032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Young Gifted and Black performers rehearse after school at Oakland School for the Arts. \u003ccite>(Anya Schultz/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Through their own development of confidence and consciousness, they develop the consciousness of others,” said Davis.\u003c/p>\n\u003cp>\u003ca href=\"http://younggiftedandblack.org/index.html\" target=\"_blank\">YGB\u003c/a> has emerged in Oakland from a strong family legacy. Hodari’s mother, Laroilyn Davis, was the original founder of YGB in Ithaca, New York. She started YGB in 1981 when Hodari was in third grade, as she recognized the lack of black history in her son’s curriculum.\u003c/p>\n\u003cp>The Davis family decided to revitalize YGB in Oakland six years ago when Hodari’s daughter, Ikera Davis, was in middle school. Ikera now performs in the high school group and teaches the younger students.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hodari writes original raps for the students to learn, combining them with historical songs and poems he grew up performing. The high school group incorporates more contemporary messages in their sets, with pieces about today’s police brutality and discrimination. The younger students learn and perform mantras from prominent black leaders such as Huey Newton and W.E.B. Du Bois.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They don’t perform like cute little kids,” said Hodari’s wife, Candice Davis, who also teaches for YGB. “They perform like they mean it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Young Gifted and Black, or YGB, is a youth performance ensemble based in Oakland. More than 50 performers — ranging in age from 6 to 18 — learn and memorize compilations of historical black poems and contemporary raps, which they perform around the Bay Area.\u003c/p>\n\u003cp>“We try to cover anywhere from 50 to 100 years of history in our presentation,” said Hodari Davis, director of YGB. The program aims to teach black students aspects of their history not taught in school, and to allow the students to relay their knowledge to the community through performance.\u003c/p>\n\u003cfigure id=\"attachment_10436823\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/ygb-pictures.jpg\">\u003cimg class=\"size-medium wp-image-10436823\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/ygb-pictures-800x487.jpg\" alt=\"Young Gifted and Black performers rehearse after school at Oakland School for the Arts.\" width=\"800\" height=\"487\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/ygb-pictures-800x487.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/ygb-pictures-400x243.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/ygb-pictures-1440x876.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/ygb-pictures.jpg 2032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Young Gifted and Black performers rehearse after school at Oakland School for the Arts. \u003ccite>(Anya Schultz/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Through their own development of confidence and consciousness, they develop the consciousness of others,” said Davis.\u003c/p>\n\u003cp>\u003ca href=\"http://younggiftedandblack.org/index.html\" target=\"_blank\">YGB\u003c/a> has emerged in Oakland from a strong family legacy. Hodari’s mother, Laroilyn Davis, was the original founder of YGB in Ithaca, New York. She started YGB in 1981 when Hodari was in third grade, as she recognized the lack of black history in her son’s curriculum.\u003c/p>\n\u003cp>The Davis family decided to revitalize YGB in Oakland six years ago when Hodari’s daughter, Ikera Davis, was in middle school. Ikera now performs in the high school group and teaches the younger students.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "From 'The Simpsons' to Stravinsky: Creating Community With Oakland's Awesome Orchestra",
"title": "From 'The Simpsons' to Stravinsky: Creating Community With Oakland's Awesome Orchestra",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>You don’t have to audition to play with Oakland's \u003ca href=\"http://www.awesomeorchestra.org/\" target=\"_blank\">Awesome Orchestra Collective\u003c/a>, but for its free monthly sessions, there are rules, or what they call \u003ca href=\"http://www.awesomeorchestra.org/about.html\" target=\"_blank\">commandments\u003c/a>: Sign up; learn your part; show up; relax; be welcoming; have fun. And be excellent to each other.\u003c/p>\n\u003cp>The orchestra is the brainchild of Berkeley's \u003ca href=\"http://www.davidmoschler.com/\" target=\"_blank\">David Möschler\u003c/a>. The 31-year-old conductor started the group in 2013, inspired by planning a surprise for a friend's ill father. The man was a doctor but had always dreamed of conducting. In 12 hours, Möschler managed to gather a 30-piece chamber orchestra.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/191028420\" 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>\"Everybody was very moved, all the players,\" he remembers. \"Everybody came up to me after, every single musician said, 'Dave we love playing in your theater shows, but this was awesome.' So, the seed was planted.\"\u003c/p>\n\u003cp>Making classical music more accessible for both the players and the audience is one of the missions of the group. Unless it's participating in a ticketed performance, the orchestra's roving sessions are always free and open to the public. But these aren't typical classical music performances -- these are more like public rehearsals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A lot of times when you’re experiencing art, you see the final product,\" says founding member and composer \u003ca href=\"http://www.brianadammccune.com/\">Brian Adam McCune\u003c/a>. \"You go to a concert, you see an orchestra, you see the culmination of weeks of rehearsal. Awesome Orchestra is an invitation to the creative process.\"\u003c/p>\n\u003cp>Möschler wanted the orchestra to be adventurous with a high level of musicianship, so in addition to playing classics from the masters, it tackles everything from \u003ca href=\"http://bjork.com/\" target=\"_blank\">Bjork\u003c/a> and \u003ca href=\"http://www.thelonelyisland.com/\" target=\"_blank\">The Lonely Island\u003c/a> to music from \"\u003ca href=\"http://www.starwars.com/\" target=\"_blank\">Star Wars\u003c/a>\" and \"\u003ca href=\"http://www.lordoftherings.net/\" target=\"_blank\">Lord of the Rings\u003c/a>.\" According to Möschler, the group has seen over a thousand musicians in the last year and a half of sessions.\u003c/p>\n\u003cfigure id=\"attachment_10432783\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/AwesomeOrchBones.jpg\">\u003cimg class=\"size-thumbnail wp-image-10432783\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/AwesomeOrchBones-400x306.jpg\" alt=\"The Awesome Orchestra holds one of their monthly sessions at the Contemporary Jewish Museum in San Francisco.\" width=\"400\" height=\"306\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/AwesomeOrchBones-400x306.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/AwesomeOrchBones-800x612.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/AwesomeOrchBones.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Awesome Orchestra holds one of its monthly sessions at the Contemporary Jewish Museum in San Francisco. \u003ccite>(Suzie Racho/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Violinist Tessa DeCarlo brought her friend, viola player Kate Capra, to a recent session at San Francisco's \u003ca href=\"http://www.thecjm.org/\" target=\"_blank\">Contemporary Jewish Museum\u003c/a>. For DeCarlo, the session was a refreshing alternative to the normally high-pressure and competitive atmosphere of other classical ensembles.\u003c/p>\n\u003cp>\"I love it. It's very low key. They're playing very challenging music but in a kind of let's-get-together-and-jam way, which is really fun. Plus, you don't have to come to 30 rehearsals, you just come and play. It's also very exciting to be playing with a lot of young people; I'm an old person, and it's really exciting to look around and see piercings and tattoos and funny hairdos and so forth. So, I'm really enjoying that too.\"\u003c/p>\n\u003cp>That sense of community is something Möschler feels is an integral part of making something like the Awesome Orchestra work.\u003c/p>\n\u003cp>\"We're actively trying to keep people inspired by making it a culture of encouragement and not about the politics of who's sitting in front of whom, how much they are going to get paid,\" says Möschler. \"But when you get right down to it, people want to go on an adventure, and music is just a really great conduit for people to connect.\"\u003c/p>\n\u003cp>But the Awesome Orchestra also provides a space for members to debut original works and arrangements. In 2014, the orchestra backed singer-songwriter \u003ca href=\"http://www.mattmontgomery.net/\" target=\"_blank\">Matt Montgomery\u003c/a> at the record release show for his EP, \"Petty Troubles.\" And increasing exposure has led to collaborations with other musicians outside the group, including \u003ca title=\"Van Dyke Parks\" href=\"http://www.bananastan.com/biog.html\" target=\"_blank\">Van Dyke Parks\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe src=\"https://player.vimeo.com/video/90780374\" width=\"640\" height=\"360\" frameborder=\"0\" title=\"Awesöme Orchestra\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Parks, the celebrated Los Angeles songwriter, arranger and composer, has worked with everyone from Randy Newman and Harry Nilsson to Joanna Newsom and Skrillex. He famously collaborated with \u003ca href=\"http://www.brianwilson.com/\" target=\"_blank\">Brian Wilson\u003c/a> on \u003ca href=\"http://www.thebeachboys.com\" target=\"_blank\">The Beach Boys\u003c/a> album \"\u003ca title=\"Smile\" href=\"http://www.thebeachboys.com/#?music=376\" target=\"_blank\">Smile\u003c/a>.” Parks has performed with the Awesome Orchestra twice, most recently at San Francisco's \u003ca title=\"Z Space\" href=\"http://zspace.org/\" target=\"_blank\">Z Space\u003c/a> last year. He says he looks forward to working with the group again.\u003c/p>\n\u003cp>“I go to a lot of the world to be with orchestras, and when we look at a group that goes from \u003ca href=\"http://www.simpsonsworld.com\" target=\"_blank\">'The Simpsons'\u003c/a> to \u003ca href=\"http://www.shostakovichquartets.com/\" target=\"_blank\">Shostakovich \u003c/a>and \u003ca href=\"https://www.kennedy-center.org/explorer/artists/?entity_id=3823&source_type=C\" target=\"_blank\">Stravinsky\u003c/a>, we know that the people are delivering the goods,\" Parks says.\u003c/p>\n\u003cp>As for Möschler, he hopes the Awesome Orchestra can continue to grow. He says musicians from other parts of the state have already started to make special trips just to play with the group.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"There are people in every city that would do this if they knew what it was like. Sometimes the concept is a little weird at first because we've been so ingrained about what it's like to play in an orchestra or to see an orchestra. But once they come and see one of our sessions, they understand. I would love to bring this to as many cities as could hold it, and for the group here to be the home base.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You don’t have to audition to play with Oakland's \u003ca href=\"http://www.awesomeorchestra.org/\" target=\"_blank\">Awesome Orchestra Collective\u003c/a>, but for its free monthly sessions, there are rules, or what they call \u003ca href=\"http://www.awesomeorchestra.org/about.html\" target=\"_blank\">commandments\u003c/a>: Sign up; learn your part; show up; relax; be welcoming; have fun. And be excellent to each other.\u003c/p>\n\u003cp>The orchestra is the brainchild of Berkeley's \u003ca href=\"http://www.davidmoschler.com/\" target=\"_blank\">David Möschler\u003c/a>. The 31-year-old conductor started the group in 2013, inspired by planning a surprise for a friend's ill father. The man was a doctor but had always dreamed of conducting. In 12 hours, Möschler managed to gather a 30-piece chamber orchestra.\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/191028420&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/191028420'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"Everybody was very moved, all the players,\" he remembers. \"Everybody came up to me after, every single musician said, 'Dave we love playing in your theater shows, but this was awesome.' So, the seed was planted.\"\u003c/p>\n\u003cp>Making classical music more accessible for both the players and the audience is one of the missions of the group. Unless it's participating in a ticketed performance, the orchestra's roving sessions are always free and open to the public. But these aren't typical classical music performances -- these are more like public rehearsals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A lot of times when you’re experiencing art, you see the final product,\" says founding member and composer \u003ca href=\"http://www.brianadammccune.com/\">Brian Adam McCune\u003c/a>. \"You go to a concert, you see an orchestra, you see the culmination of weeks of rehearsal. Awesome Orchestra is an invitation to the creative process.\"\u003c/p>\n\u003cp>Möschler wanted the orchestra to be adventurous with a high level of musicianship, so in addition to playing classics from the masters, it tackles everything from \u003ca href=\"http://bjork.com/\" target=\"_blank\">Bjork\u003c/a> and \u003ca href=\"http://www.thelonelyisland.com/\" target=\"_blank\">The Lonely Island\u003c/a> to music from \"\u003ca href=\"http://www.starwars.com/\" target=\"_blank\">Star Wars\u003c/a>\" and \"\u003ca href=\"http://www.lordoftherings.net/\" target=\"_blank\">Lord of the Rings\u003c/a>.\" According to Möschler, the group has seen over a thousand musicians in the last year and a half of sessions.\u003c/p>\n\u003cfigure id=\"attachment_10432783\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/AwesomeOrchBones.jpg\">\u003cimg class=\"size-thumbnail wp-image-10432783\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/AwesomeOrchBones-400x306.jpg\" alt=\"The Awesome Orchestra holds one of their monthly sessions at the Contemporary Jewish Museum in San Francisco.\" width=\"400\" height=\"306\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/AwesomeOrchBones-400x306.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/AwesomeOrchBones-800x612.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/AwesomeOrchBones.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Awesome Orchestra holds one of its monthly sessions at the Contemporary Jewish Museum in San Francisco. \u003ccite>(Suzie Racho/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Violinist Tessa DeCarlo brought her friend, viola player Kate Capra, to a recent session at San Francisco's \u003ca href=\"http://www.thecjm.org/\" target=\"_blank\">Contemporary Jewish Museum\u003c/a>. For DeCarlo, the session was a refreshing alternative to the normally high-pressure and competitive atmosphere of other classical ensembles.\u003c/p>\n\u003cp>\"I love it. It's very low key. They're playing very challenging music but in a kind of let's-get-together-and-jam way, which is really fun. Plus, you don't have to come to 30 rehearsals, you just come and play. It's also very exciting to be playing with a lot of young people; I'm an old person, and it's really exciting to look around and see piercings and tattoos and funny hairdos and so forth. So, I'm really enjoying that too.\"\u003c/p>\n\u003cp>That sense of community is something Möschler feels is an integral part of making something like the Awesome Orchestra work.\u003c/p>\n\u003cp>\"We're actively trying to keep people inspired by making it a culture of encouragement and not about the politics of who's sitting in front of whom, how much they are going to get paid,\" says Möschler. \"But when you get right down to it, people want to go on an adventure, and music is just a really great conduit for people to connect.\"\u003c/p>\n\u003cp>But the Awesome Orchestra also provides a space for members to debut original works and arrangements. In 2014, the orchestra backed singer-songwriter \u003ca href=\"http://www.mattmontgomery.net/\" target=\"_blank\">Matt Montgomery\u003c/a> at the record release show for his EP, \"Petty Troubles.\" And increasing exposure has led to collaborations with other musicians outside the group, including \u003ca title=\"Van Dyke Parks\" href=\"http://www.bananastan.com/biog.html\" target=\"_blank\">Van Dyke Parks\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe src=\"https://player.vimeo.com/video/90780374\" width=\"640\" height=\"360\" frameborder=\"0\" title=\"Awesöme Orchestra\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Parks, the celebrated Los Angeles songwriter, arranger and composer, has worked with everyone from Randy Newman and Harry Nilsson to Joanna Newsom and Skrillex. He famously collaborated with \u003ca href=\"http://www.brianwilson.com/\" target=\"_blank\">Brian Wilson\u003c/a> on \u003ca href=\"http://www.thebeachboys.com\" target=\"_blank\">The Beach Boys\u003c/a> album \"\u003ca title=\"Smile\" href=\"http://www.thebeachboys.com/#?music=376\" target=\"_blank\">Smile\u003c/a>.” Parks has performed with the Awesome Orchestra twice, most recently at San Francisco's \u003ca title=\"Z Space\" href=\"http://zspace.org/\" target=\"_blank\">Z Space\u003c/a> last year. He says he looks forward to working with the group again.\u003c/p>\n\u003cp>“I go to a lot of the world to be with orchestras, and when we look at a group that goes from \u003ca href=\"http://www.simpsonsworld.com\" target=\"_blank\">'The Simpsons'\u003c/a> to \u003ca href=\"http://www.shostakovichquartets.com/\" target=\"_blank\">Shostakovich \u003c/a>and \u003ca href=\"https://www.kennedy-center.org/explorer/artists/?entity_id=3823&source_type=C\" target=\"_blank\">Stravinsky\u003c/a>, we know that the people are delivering the goods,\" Parks says.\u003c/p>\n\u003cp>As for Möschler, he hopes the Awesome Orchestra can continue to grow. He says musicians from other parts of the state have already started to make special trips just to play with the group.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"There are people in every city that would do this if they knew what it was like. Sometimes the concept is a little weird at first because we've been so ingrained about what it's like to play in an orchestra or to see an orchestra. But once they come and see one of our sessions, they understand. I would love to bring this to as many cities as could hold it, and for the group here to be the home base.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Here’s a question: Why do Latinos, but especially public radio reporters, love to over-pronounce their Spanish, even when they’re speaking in English?\u003c/p>\n\u003cp>If you’re a public radio geek, you know what I’m talking about, right? There’s \u003ca href=\"http://www.scpr.org/about/people/staff/adolfo-guzman-lopez\" target=\"_blank\" rel=\"noopener noreferrer\">Adolfo Guzman-Lopez\u003c/a> of KPCC and a regular contributor to \u003ca href=\"http://ww2.kqed.org/news/programs/the-california-report\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s California Report\u003c/a>, \u003ca href=\"http://www.scpr.org/about/people/staff/adolfo-guzman-lopez\" target=\"_blank\" rel=\"noopener noreferrer\">Maria Hinojosa\u003c/a> of “\u003ca href=\"http://latinousa.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Latino USA\u003c/a>” and NPR’s \u003ca href=\"http://www.npr.org/people/2100429/mandalit-del-barco\" target=\"_blank\" rel=\"noopener noreferrer\">Mandalit del Barco\u003c/a>.\u003c/p>\n\u003cp>Gustavo Arellano pens the syndicated column \u003ca href=\"http://www.ocweekly.com/columns/ask-a-mexican-32466/\" target=\"_blank\" rel=\"noopener noreferrer\">¡Ask A Mexican!\u003c/a> and he says he gets this question all the time.\u003c/p>\n\u003caside class=\"pullquote alignright\">“Maybe if I grew up in the 1950s, instead of Gustavo Arellano, I’d call myself Gus Arriola, like the great cartoonist. But now I don’t have any shame in saying my name. I don’t have any shame in correcting people who call me Ar-ruh-LAH-noh. More than anything, by pronouncing something correctly, you’re just making people smarter.”\u003ccite>Gustavo Arellano\u003cbr>\nSyndicated columnist for ¡Ask A Mexican!\u003c/cite>\u003c/aside>\n\u003cp>“In other words, if I’m talking to you right now in the King’s English and I say my name is \u003cem>Gustavo Arellano\u003c/em> instead of Goo-STAH-voh ar-ree-YAH-no, why do I do that?” Arellano asks. “Why does Adolfo Guzman-Lopez say his name \u003cem>Adolfo Guzman-Lopez\u003c/em> instead of uh-DALL-foh GOOZ-monn low-PEZZ? Why do we have to be so Mexican? Americans just go nuts about that.”\u003c/p>\n\u003cp>By Americans, Arellano means mostly whites, but I’m Korean-American, and I’ve wondered the same thing. And so I got Arellano on the line and asked him: Why do you say your name all Mexican?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s the correct way. I mean, heaven forbid, us reporters, want to have our names pronounced correctly,” he answers.\u003c/p>\n\u003cp>But here’s the thing, I tell Arellano, “I’m Korean-American. My last name is Kim, or that’s the way I pronounce it, but in Korean it would actually be \u003cem>Geem\u003c/em>, and if we were even going to go further I should really be signing out: This is \u003cem>Geem Quee-nuh Seuk\u003c/em>, right?”\u003c/p>\n\u003cp>“You should totally do that,” Arellano quips.\u003c/p>\n\u003cp>“But I’d feel sorta silly,” I share.\u003c/p>\n\u003cp>“You shouldn’t feel silly,” Arellano counsels. “You see, if anything, you have some ethnic studies courses that you have to take so you’re not going to feel silly about that. And look at all the European language loan words that we have.”\u003c/p>\n\u003cp>And it’s true, you rarely hear public radio-type listeners mispronouncing words like \u003cem>c’est la vie\u003c/em> or \u003cem>garçon\u003c/em>.\u003c/p>\n\u003cp>“A lot of those words we are forced to pronounce them as close to the actual pronunciation,” Arellano adds. “And if you don’t, somehow you’re not cultured — French being the best example.”\u003c/p>\n\u003cp>At the same time, Arellano says lots of Americans don’t think twice about butchering Spanish. But he says it’s 2015, and Latinos are now California’s largest ethnic group.\u003c/p>\n\u003cp>“Maybe if I grew up in the 1950s, instead of Gustavo Arellano, I’d call myself Gus Arriola, like the great cartoonist,” Arellano says. “But now I don’t have any shame in saying my name. I don’t have any shame in correcting people who call me Ar-ruh-LAH-noh. More than anything, by pronouncing something correctly, you’re just making people smarter.”\u003c/p>\n\u003cp>But it’s not so cut-and-dried for all Latinos.\u003c/p>\n\u003cp>“You gotta ask people,” Adolfo Guzman-Lopez says. “For example, the former head of the teachers union in L.A. His name’s not John Pérez. It’s John Purr-REZ.”\u003c/p>\n\u003cp>I asked Guzman-Lopez: When you’re not on the air, how do you pronounce your name?\u003c/p>\n\u003cp>“Well it depends on whether I felt you could handle a Spanish pronunciation,” he says. “If I saw you and I thought, oh man she can’t handle it … ‘Hi, my name is uh-DALL-foh.’”\u003c/p>\n\u003cp>So then, why does he say his name with a Spanish pronunciation on air?\u003c/p>\n\u003cp>“Because I can,” Guzman-Lopez says. “And because my mom would get really pissed off if she heard me say it any other way.”\u003c/p>\n\u003cp>Fair enough. Nobody wants to upset their mom. But I have this question: Arellano and Guzman-Lopez pronounce their names in Spanish because they say it’s the correct way. But then, why do they say Los Angeles instead of \u003cem>Los Ángeles\u003c/em>, like the you’d say it in Spanish?\u003c/p>\n\u003cp>“And, I think, that’s what drives non-Spanish speakers crazy,” Guzman-Lopez says. “Why not \u003cem>San Pedro\u003c/em>? Why not \u003cem>Los Feliz\u003c/em>? After all, it was a Californio-Spanish speakers that gave it that name. It seems like a whim, doesn’t it?\u003c/p>\n\u003cp>“A little bit,” I answer.\u003c/p>\n\u003cp>But then Guzman-Lopez and I start hashing it out. He reconsiders and he says, maybe it is whim. And in a way, doesn’t that just sum up the story of California?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s made up of people from a bunch of seemingly random countries, who’ve all assimilated in very different, very personal — and seemingly whimsical ways. You can see it in our food and our music and in our language.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here’s a question: Why do Latinos, but especially public radio reporters, love to over-pronounce their Spanish, even when they’re speaking in English?\u003c/p>\n\u003cp>If you’re a public radio geek, you know what I’m talking about, right? There’s \u003ca href=\"http://www.scpr.org/about/people/staff/adolfo-guzman-lopez\" target=\"_blank\" rel=\"noopener noreferrer\">Adolfo Guzman-Lopez\u003c/a> of KPCC and a regular contributor to \u003ca href=\"http://ww2.kqed.org/news/programs/the-california-report\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s California Report\u003c/a>, \u003ca href=\"http://www.scpr.org/about/people/staff/adolfo-guzman-lopez\" target=\"_blank\" rel=\"noopener noreferrer\">Maria Hinojosa\u003c/a> of “\u003ca href=\"http://latinousa.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Latino USA\u003c/a>” and NPR’s \u003ca href=\"http://www.npr.org/people/2100429/mandalit-del-barco\" target=\"_blank\" rel=\"noopener noreferrer\">Mandalit del Barco\u003c/a>.\u003c/p>\n\u003cp>Gustavo Arellano pens the syndicated column \u003ca href=\"http://www.ocweekly.com/columns/ask-a-mexican-32466/\" target=\"_blank\" rel=\"noopener noreferrer\">¡Ask A Mexican!\u003c/a> and he says he gets this question all the time.\u003c/p>\n\u003caside class=\"pullquote alignright\">“Maybe if I grew up in the 1950s, instead of Gustavo Arellano, I’d call myself Gus Arriola, like the great cartoonist. But now I don’t have any shame in saying my name. I don’t have any shame in correcting people who call me Ar-ruh-LAH-noh. More than anything, by pronouncing something correctly, you’re just making people smarter.”\u003ccite>Gustavo Arellano\u003cbr>\nSyndicated columnist for ¡Ask A Mexican!\u003c/cite>\u003c/aside>\n\u003cp>“In other words, if I’m talking to you right now in the King’s English and I say my name is \u003cem>Gustavo Arellano\u003c/em> instead of Goo-STAH-voh ar-ree-YAH-no, why do I do that?” Arellano asks. “Why does Adolfo Guzman-Lopez say his name \u003cem>Adolfo Guzman-Lopez\u003c/em> instead of uh-DALL-foh GOOZ-monn low-PEZZ? Why do we have to be so Mexican? Americans just go nuts about that.”\u003c/p>\n\u003cp>By Americans, Arellano means mostly whites, but I’m Korean-American, and I’ve wondered the same thing. And so I got Arellano on the line and asked him: Why do you say your name all Mexican?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s the correct way. I mean, heaven forbid, us reporters, want to have our names pronounced correctly,” he answers.\u003c/p>\n\u003cp>But here’s the thing, I tell Arellano, “I’m Korean-American. My last name is Kim, or that’s the way I pronounce it, but in Korean it would actually be \u003cem>Geem\u003c/em>, and if we were even going to go further I should really be signing out: This is \u003cem>Geem Quee-nuh Seuk\u003c/em>, right?”\u003c/p>\n\u003cp>“You should totally do that,” Arellano quips.\u003c/p>\n\u003cp>“But I’d feel sorta silly,” I share.\u003c/p>\n\u003cp>“You shouldn’t feel silly,” Arellano counsels. “You see, if anything, you have some ethnic studies courses that you have to take so you’re not going to feel silly about that. And look at all the European language loan words that we have.”\u003c/p>\n\u003cp>And it’s true, you rarely hear public radio-type listeners mispronouncing words like \u003cem>c’est la vie\u003c/em> or \u003cem>garçon\u003c/em>.\u003c/p>\n\u003cp>“A lot of those words we are forced to pronounce them as close to the actual pronunciation,” Arellano adds. “And if you don’t, somehow you’re not cultured — French being the best example.”\u003c/p>\n\u003cp>At the same time, Arellano says lots of Americans don’t think twice about butchering Spanish. But he says it’s 2015, and Latinos are now California’s largest ethnic group.\u003c/p>\n\u003cp>“Maybe if I grew up in the 1950s, instead of Gustavo Arellano, I’d call myself Gus Arriola, like the great cartoonist,” Arellano says. “But now I don’t have any shame in saying my name. I don’t have any shame in correcting people who call me Ar-ruh-LAH-noh. More than anything, by pronouncing something correctly, you’re just making people smarter.”\u003c/p>\n\u003cp>But it’s not so cut-and-dried for all Latinos.\u003c/p>\n\u003cp>“You gotta ask people,” Adolfo Guzman-Lopez says. “For example, the former head of the teachers union in L.A. His name’s not John Pérez. It’s John Purr-REZ.”\u003c/p>\n\u003cp>I asked Guzman-Lopez: When you’re not on the air, how do you pronounce your name?\u003c/p>\n\u003cp>“Well it depends on whether I felt you could handle a Spanish pronunciation,” he says. “If I saw you and I thought, oh man she can’t handle it … ‘Hi, my name is uh-DALL-foh.’”\u003c/p>\n\u003cp>So then, why does he say his name with a Spanish pronunciation on air?\u003c/p>\n\u003cp>“Because I can,” Guzman-Lopez says. “And because my mom would get really pissed off if she heard me say it any other way.”\u003c/p>\n\u003cp>Fair enough. Nobody wants to upset their mom. But I have this question: Arellano and Guzman-Lopez pronounce their names in Spanish because they say it’s the correct way. But then, why do they say Los Angeles instead of \u003cem>Los Ángeles\u003c/em>, like the you’d say it in Spanish?\u003c/p>\n\u003cp>“And, I think, that’s what drives non-Spanish speakers crazy,” Guzman-Lopez says. “Why not \u003cem>San Pedro\u003c/em>? Why not \u003cem>Los Feliz\u003c/em>? After all, it was a Californio-Spanish speakers that gave it that name. It seems like a whim, doesn’t it?\u003c/p>\n\u003cp>“A little bit,” I answer.\u003c/p>\n\u003cp>But then Guzman-Lopez and I start hashing it out. He reconsiders and he says, maybe it is whim. And in a way, doesn’t that just sum up the story of California?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s made up of people from a bunch of seemingly random countries, who’ve all assimilated in very different, very personal — and seemingly whimsical ways. You can see it in our food and our music and in our language.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Jazz Review: Age Doesn't Slow Charles McPherson on 'The Journey'",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>When Clint Eastwood needed an alto saxophonist who could approximate Charlie Parker’s blazing bebop idiom for the soundtrack to his 1988 biopic \"Bird,\" \u003ca title=\"Charles McPherson\" href=\"http://www.charlesmcpherson.com/\" target=\"_blank\">Charles McPherson\u003c/a> got the call.\u003c/p>\n\u003cp>Not long after the film hit theaters, I used to see McPherson performing at small clubs in Los Angeles. His allegiance to Parker’s music was obvious, but so was his wealth of original ideas, and I was always struck that such a powerfully expressive musician could be experienced in such close quarters. His longtime residency in San Diego certainly didn’t keep him in the national spotlight. Now 75, McPherson has spent about half his life in Southern California, but he hasn’t lost a bit of his edge on his latest album, \"\u003ca href=\"https://www.google.com/search?q=the+journey+mcpherson+capri\" target=\"_blank\">The Journey\u003c/a>\" (Capri Records).\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/191028736\" 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>His first new release in five years, it’s an impressive reminder that McPherson possesses an urgent and utterly personal sound. A quintet session recorded in Denver with an excellent local cast, \"The Journey\" is the work of an artist with nothing to prove. Four of the album’s nine tracks were composed by McPherson’s bandmates, including the alluring ballad “Elena” by tenor saxophonist \u003ca title=\"Keith Oxman\" href=\"http://www.jazz.com/encyclopedia/oxman-keith-jay\" target=\"_blank\">Keith Oxman\u003c/a>. The album’s centerpiece is McPherson’s “Manhattan Nocturne,” a 10-minute excursion that sustains a sultry mood. Set to a caressing Latin groove, it’s a languorous late-night ride that’s more about the pleasure of the hang than any particular destination.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/McPherson-The-Journey-Cover.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10432375\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/McPherson-The-Journey-Cover-400x410.jpg\" alt=\"Charles McPherson-The Journey\" width=\"400\" height=\"410\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/McPherson-The-Journey-Cover-400x410.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/McPherson-The-Journey-Cover-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/McPherson-The-Journey-Cover.jpg 725w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My favorite track is the standard “I Should Care,” a duet with pianist \u003ca href=\"http://www.music.illinois.edu/faculty/john-chip-stephens\" target=\"_blank\">Chip Stephens\u003c/a>, a player with harmonic insights to match McPherson’s. The saxophonist delivers the melody like a crooner, but by the middle of the piece he’s singing his own song. The formidable rhythm-section tandem of bassist \u003ca href=\"http://musicians.allaboutjazz.com/kenwalker\" target=\"_blank\">Ken Walker\u003c/a> and drummer \u003ca href=\"http://www.toddreid.com/\" target=\"_blank\">Todd Reid\u003c/a> rejoin the action on McPherson’s title track, a piece that would have fit in snuggly on one of the saxophonist’s classic hard bop sessions.\u003c/p>\n\u003cp>McPherson came up through the Detroit jazz scene in the 1950s, when Charlie Parker’s influence was still pervasive and unavoidable. At the end of the decade he joined an influx of Motor City talent heading to New York, where legendary bassist Charles Mingus quickly scooped him up. McPherson spent more than a decade playing in Mingus’ tumultuous band, longer than almost any other musician. But the bassist wasn’t recording much at the time, and McPherson’s contributions to Mingus’ music are often overlooked.\u003c/p>\n\u003cp>Throughout his tenure with Mingus, McPherson recorded a series of convincing albums for Prestige, starting with 1964’s combustible \u003ca href=\"http://www.allmusic.com/album/be-bop-revisited-mw0000276269\" target=\"_blank\">\u003cem>Bebop Revisited!\u003c/em>\u003c/a> featuring pianist Barry Harris, his Detroit mentor. He continued recording regularly in the 1970s for Mainstream and \u003ca href=\"http://www.xanadurecords.com/\" target=\"_blank\">Xanadu\u003c/a>, but few of those excellent albums surfaced on CD, though some are now available for download.\u003c/p>\n\u003cp>Since settling in San Diego in the late 1970s, McPherson has mostly kept a low profile, mentoring young musicians and recording occasionally with top-shelf New York players (1995’s \"\u003ca href=\"http://www.allmusic.com/album/come-play-with-me-mw0000182966\" target=\"_blank\">Come Play With Me\u003c/a>\" on Arabesque is a particular favorite of mine).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>His new date in Denver is a reminder that great musicians can be found anywhere.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Clint Eastwood needed an alto saxophonist who could approximate Charlie Parker’s blazing bebop idiom for the soundtrack to his 1988 biopic \"Bird,\" \u003ca title=\"Charles McPherson\" href=\"http://www.charlesmcpherson.com/\" target=\"_blank\">Charles McPherson\u003c/a> got the call.\u003c/p>\n\u003cp>Not long after the film hit theaters, I used to see McPherson performing at small clubs in Los Angeles. His allegiance to Parker’s music was obvious, but so was his wealth of original ideas, and I was always struck that such a powerfully expressive musician could be experienced in such close quarters. His longtime residency in San Diego certainly didn’t keep him in the national spotlight. Now 75, McPherson has spent about half his life in Southern California, but he hasn’t lost a bit of his edge on his latest album, \"\u003ca href=\"https://www.google.com/search?q=the+journey+mcpherson+capri\" target=\"_blank\">The Journey\u003c/a>\" (Capri Records).\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/191028736&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/191028736'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>His first new release in five years, it’s an impressive reminder that McPherson possesses an urgent and utterly personal sound. A quintet session recorded in Denver with an excellent local cast, \"The Journey\" is the work of an artist with nothing to prove. Four of the album’s nine tracks were composed by McPherson’s bandmates, including the alluring ballad “Elena” by tenor saxophonist \u003ca title=\"Keith Oxman\" href=\"http://www.jazz.com/encyclopedia/oxman-keith-jay\" target=\"_blank\">Keith Oxman\u003c/a>. The album’s centerpiece is McPherson’s “Manhattan Nocturne,” a 10-minute excursion that sustains a sultry mood. Set to a caressing Latin groove, it’s a languorous late-night ride that’s more about the pleasure of the hang than any particular destination.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/McPherson-The-Journey-Cover.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10432375\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/McPherson-The-Journey-Cover-400x410.jpg\" alt=\"Charles McPherson-The Journey\" width=\"400\" height=\"410\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/McPherson-The-Journey-Cover-400x410.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/McPherson-The-Journey-Cover-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/McPherson-The-Journey-Cover.jpg 725w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My favorite track is the standard “I Should Care,” a duet with pianist \u003ca href=\"http://www.music.illinois.edu/faculty/john-chip-stephens\" target=\"_blank\">Chip Stephens\u003c/a>, a player with harmonic insights to match McPherson’s. The saxophonist delivers the melody like a crooner, but by the middle of the piece he’s singing his own song. The formidable rhythm-section tandem of bassist \u003ca href=\"http://musicians.allaboutjazz.com/kenwalker\" target=\"_blank\">Ken Walker\u003c/a> and drummer \u003ca href=\"http://www.toddreid.com/\" target=\"_blank\">Todd Reid\u003c/a> rejoin the action on McPherson’s title track, a piece that would have fit in snuggly on one of the saxophonist’s classic hard bop sessions.\u003c/p>\n\u003cp>McPherson came up through the Detroit jazz scene in the 1950s, when Charlie Parker’s influence was still pervasive and unavoidable. At the end of the decade he joined an influx of Motor City talent heading to New York, where legendary bassist Charles Mingus quickly scooped him up. McPherson spent more than a decade playing in Mingus’ tumultuous band, longer than almost any other musician. But the bassist wasn’t recording much at the time, and McPherson’s contributions to Mingus’ music are often overlooked.\u003c/p>\n\u003cp>Throughout his tenure with Mingus, McPherson recorded a series of convincing albums for Prestige, starting with 1964’s combustible \u003ca href=\"http://www.allmusic.com/album/be-bop-revisited-mw0000276269\" target=\"_blank\">\u003cem>Bebop Revisited!\u003c/em>\u003c/a> featuring pianist Barry Harris, his Detroit mentor. He continued recording regularly in the 1970s for Mainstream and \u003ca href=\"http://www.xanadurecords.com/\" target=\"_blank\">Xanadu\u003c/a>, but few of those excellent albums surfaced on CD, though some are now available for download.\u003c/p>\n\u003cp>Since settling in San Diego in the late 1970s, McPherson has mostly kept a low profile, mentoring young musicians and recording occasionally with top-shelf New York players (1995’s \"\u003ca href=\"http://www.allmusic.com/album/come-play-with-me-mw0000182966\" target=\"_blank\">Come Play With Me\u003c/a>\" on Arabesque is a particular favorite of mine).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>His new date in Denver is a reminder that great musicians can be found anywhere.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "From the Archive: Maya Angelou Hosts 1968 Series 'Blacks, Blues, Black!'",
"title": "From the Archive: Maya Angelou Hosts 1968 Series 'Blacks, Blues, Black!'",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>\u003cem>To celebrate Black History Month, we will be highlighting clips from the KQED video archive throughout February. All clips have been made available by the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv\" target=\"_blank\">Bay Area TV Archive at San Francisco State University\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.youtube.com/watch?v=0pbL5sR9oiM\" target=\"_blank\">above clip\u003c/a> features three excerpts from the series \"Blacks, Blues, Black!\" The material includes Maya Angelou reciting the poem \"A Letter to an Aspiring Junkie,\" a performance and interview she did with legendary blues guitarist B.B. King, and a visit to Martin Luther King School in San Francisco.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/10287\" target=\"_blank\">Watch \"Blacks, Blues, Black!\"\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/10287/\" target=\"_blank\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/bbb-title.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp>All ten episodes available online at the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv\" target=\"_blank\">S.F. Bay Area Television Archive\u003c/a>.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223548\" target=\"_blank\">Episode one: \"Positive Africanisms\"\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223549\" target=\"_blank\">Episode two: \"Negative Africanisms\"\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223550\" target=\"_blank\">Episode three: African history\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223551\" target=\"_blank\">Episode four: Music\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/10287\" target=\"_blank\">more\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 1968, Maya Angelou wrote and produced a 10-part series for KQED called \"Blacks, Blues, Black!\" The series explored the influence of African-American culture on American society, and featured episodes on African history, art, Africanisms and \"violence in the black American world.\"\u003c/p>\n\u003cp>After airing in the summer of 1968, \"Blacks, Blues, Black!\" was lost and unavailable for decades. Angelou herself had reportedly been searching for the series for years. Her representatives reached out to the Bay Area TV archive as early as 2005 looking for it, but there was no trace of the series there or in any other local archive, including KQED's.\u003c/p>\n\u003cp>In 2009, San Francisco State film archivist Alex Cherian was working on a project for the Corporation for Public Broadcasting, sifting through thousands of cans of film, when he came across one canister with a single handwritten word scribbled on the outside: \"Angelou.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Intrigued, Cherian queued up the film to find the poet touring a neighborhood in Watts, just a few years after the 1965 riots had ripped through that community. In the segment, which Cherian would later learn was part of the ninth episode, Angelou says the conflicts in Watts \"represented a people, a race fighting for survival.\"\u003c/p>\n\u003cp>\"The material was so compelling, I wanted to find the whole series,\" Cherian says. \"I assumed it would be relatively simple. It was not.\"\u003c/p>\n\u003cfigure id=\"attachment_10432277\" class=\"wp-caption alignleft\" style=\"max-width: 445px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/cherian_sf-state.jpg\">\u003cimg class=\" wp-image-10432277\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/cherian_sf-state-1440x800.jpg\" alt=\"SF State film archivist Alex Cherian pictured in a 2011 short film produced by KPIX. (SF Bay Area TV Archive)\" width=\"445\" height=\"247\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/cherian_sf-state.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/cherian_sf-state-400x222.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/cherian_sf-state-800x444.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/cherian_sf-state-672x372.jpg 672w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/cherian_sf-state-1038x576.jpg 1038w\" sizes=\"(max-width: 445px) 100vw, 445px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF State film archivist Alex Cherian pictured in a 2011 short film produced by KPIX. (SF Bay Area TV Archive)\u003c/figcaption>\u003c/figure>\n\u003cp>He spent the next four years looking for any information about the series but found virtually nothing. In early 2013, on a whim, he called the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv\" target=\"_blank\">Library of Congress\u003c/a> and learned that they had the entire 10-hour series preserved on \u003ca href=\"http://upload.wikimedia.org/wikipedia/commons/b/b9/2-inch_Quad_Tape_Reel_with_miniDV_cassette.jpg\" target=\"_blank\">two-inch videotape\u003c/a>.\u003c/p>\n\u003cp>So why did the Library have it? To make a long story short, KQED co-produced many films with \u003ca href=\"http://en.wikipedia.org/wiki/National_Educational_Television\" target=\"_blank\">National Educational Television\u003c/a>, a public broadcasting predecessor to PBS in the sixties. When NET dissolved in 1970, a part of their archive including KQED's \"Blacks, Blues, Black!\" was transferred to WNET, New York City's public media affiliate. At some point after that, WNET deposited a small sampling of this inherited archive at the Library of Congress, where it sat untouched for decades.\u003c/p>\n\u003cp>Until Cherian called in 2013.\u003c/p>\n\u003cfigure id=\"attachment_10432274\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/angelou-and-king.jpg\">\u003cimg class=\"wp-image-10432274 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/angelou-and-king-1440x1076.jpg\" alt='Maya Angelou interviewing B.B. King in an episode about music from \"Blacks, Blues, Black!\"' width=\"640\" height=\"478\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/angelou-and-king.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/angelou-and-king-400x299.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/angelou-and-king-800x598.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maya Angelou interviewing B.B. King in an episode about music from \"Blacks, Blues, Black!\" (KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>After determining that KQED was the copyright holder and securing permission, the Library of Congress agreed to digitize the series, at a cost of close to $5,000. Over the next year, the J. Paul Leonard Library at San Francisco State, where the Bay Area TV Archive is housed, was able to raise the necessary funds, mainly through commercial licensing for Bay Area television stations.\u003c/p>\n\u003cp>At that point, confident that \"Blacks, Blues, Black!\" would finally be made widely available again, Cherian reached out to Maya Angelou's representatives to share the good news. In an email dated May 14, 2014, Angelou's office manager relayed that the poet was \"over the moon\" that the series had been found.\u003c/p>\n\u003cp>Two weeks later, on May 28, Angelou passed away.\u003c/p>\n\u003cp>By that time the hot summer months had set in, and with them another delay. \"It turns out the Library of Congress doesn’t work with old video in the humid season,\" Cherian said. So the restoration process was put on hold until November.\u003c/p>\n\u003cp>Finally, last month, Cherian received the full 10 hours of uncompressed digital masters of \"Blacks, Blues, Black!\" All ten episodes are now freely available \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/10287\" target=\"_blank\">online\u003c/a>.\u003c/p>\n\u003cp>According to Cherian, an American Masters documentary film about Dr. Angelou's life, set to be released in 2016 and endorsed by her family, may use some of the unique footage rediscovered in this series.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you have any information regarding \u003cem>\"Blacks, Blues, Black!\"\u003c/em> contact Alex Cherian at acherian@sfsu.edu. All information will be added to the series record within the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv\" target=\"_blank\">Bay Area TV Archive\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>To celebrate Black History Month, we will be highlighting clips from the KQED video archive throughout February. All clips have been made available by the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv\" target=\"_blank\">Bay Area TV Archive at San Francisco State University\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.youtube.com/watch?v=0pbL5sR9oiM\" target=\"_blank\">above clip\u003c/a> features three excerpts from the series \"Blacks, Blues, Black!\" The material includes Maya Angelou reciting the poem \"A Letter to an Aspiring Junkie,\" a performance and interview she did with legendary blues guitarist B.B. King, and a visit to Martin Luther King School in San Francisco.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/10287\" target=\"_blank\">Watch \"Blacks, Blues, Black!\"\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/10287/\" target=\"_blank\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/bbb-title.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp>All ten episodes available online at the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv\" target=\"_blank\">S.F. Bay Area Television Archive\u003c/a>.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223548\" target=\"_blank\">Episode one: \"Positive Africanisms\"\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223549\" target=\"_blank\">Episode two: \"Negative Africanisms\"\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223550\" target=\"_blank\">Episode three: African history\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223551\" target=\"_blank\">Episode four: Music\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/10287\" target=\"_blank\">more\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 1968, Maya Angelou wrote and produced a 10-part series for KQED called \"Blacks, Blues, Black!\" The series explored the influence of African-American culture on American society, and featured episodes on African history, art, Africanisms and \"violence in the black American world.\"\u003c/p>\n\u003cp>After airing in the summer of 1968, \"Blacks, Blues, Black!\" was lost and unavailable for decades. Angelou herself had reportedly been searching for the series for years. Her representatives reached out to the Bay Area TV archive as early as 2005 looking for it, but there was no trace of the series there or in any other local archive, including KQED's.\u003c/p>\n\u003cp>In 2009, San Francisco State film archivist Alex Cherian was working on a project for the Corporation for Public Broadcasting, sifting through thousands of cans of film, when he came across one canister with a single handwritten word scribbled on the outside: \"Angelou.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Intrigued, Cherian queued up the film to find the poet touring a neighborhood in Watts, just a few years after the 1965 riots had ripped through that community. In the segment, which Cherian would later learn was part of the ninth episode, Angelou says the conflicts in Watts \"represented a people, a race fighting for survival.\"\u003c/p>\n\u003cp>\"The material was so compelling, I wanted to find the whole series,\" Cherian says. \"I assumed it would be relatively simple. It was not.\"\u003c/p>\n\u003cfigure id=\"attachment_10432277\" class=\"wp-caption alignleft\" style=\"max-width: 445px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/cherian_sf-state.jpg\">\u003cimg class=\" wp-image-10432277\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/cherian_sf-state-1440x800.jpg\" alt=\"SF State film archivist Alex Cherian pictured in a 2011 short film produced by KPIX. (SF Bay Area TV Archive)\" width=\"445\" height=\"247\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/cherian_sf-state.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/cherian_sf-state-400x222.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/cherian_sf-state-800x444.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/cherian_sf-state-672x372.jpg 672w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/cherian_sf-state-1038x576.jpg 1038w\" sizes=\"(max-width: 445px) 100vw, 445px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF State film archivist Alex Cherian pictured in a 2011 short film produced by KPIX. (SF Bay Area TV Archive)\u003c/figcaption>\u003c/figure>\n\u003cp>He spent the next four years looking for any information about the series but found virtually nothing. In early 2013, on a whim, he called the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv\" target=\"_blank\">Library of Congress\u003c/a> and learned that they had the entire 10-hour series preserved on \u003ca href=\"http://upload.wikimedia.org/wikipedia/commons/b/b9/2-inch_Quad_Tape_Reel_with_miniDV_cassette.jpg\" target=\"_blank\">two-inch videotape\u003c/a>.\u003c/p>\n\u003cp>So why did the Library have it? To make a long story short, KQED co-produced many films with \u003ca href=\"http://en.wikipedia.org/wiki/National_Educational_Television\" target=\"_blank\">National Educational Television\u003c/a>, a public broadcasting predecessor to PBS in the sixties. When NET dissolved in 1970, a part of their archive including KQED's \"Blacks, Blues, Black!\" was transferred to WNET, New York City's public media affiliate. At some point after that, WNET deposited a small sampling of this inherited archive at the Library of Congress, where it sat untouched for decades.\u003c/p>\n\u003cp>Until Cherian called in 2013.\u003c/p>\n\u003cfigure id=\"attachment_10432274\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/angelou-and-king.jpg\">\u003cimg class=\"wp-image-10432274 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/angelou-and-king-1440x1076.jpg\" alt='Maya Angelou interviewing B.B. King in an episode about music from \"Blacks, Blues, Black!\"' width=\"640\" height=\"478\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/angelou-and-king.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/angelou-and-king-400x299.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/angelou-and-king-800x598.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maya Angelou interviewing B.B. King in an episode about music from \"Blacks, Blues, Black!\" (KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>After determining that KQED was the copyright holder and securing permission, the Library of Congress agreed to digitize the series, at a cost of close to $5,000. Over the next year, the J. Paul Leonard Library at San Francisco State, where the Bay Area TV Archive is housed, was able to raise the necessary funds, mainly through commercial licensing for Bay Area television stations.\u003c/p>\n\u003cp>At that point, confident that \"Blacks, Blues, Black!\" would finally be made widely available again, Cherian reached out to Maya Angelou's representatives to share the good news. In an email dated May 14, 2014, Angelou's office manager relayed that the poet was \"over the moon\" that the series had been found.\u003c/p>\n\u003cp>Two weeks later, on May 28, Angelou passed away.\u003c/p>\n\u003cp>By that time the hot summer months had set in, and with them another delay. \"It turns out the Library of Congress doesn’t work with old video in the humid season,\" Cherian said. So the restoration process was put on hold until November.\u003c/p>\n\u003cp>Finally, last month, Cherian received the full 10 hours of uncompressed digital masters of \"Blacks, Blues, Black!\" All ten episodes are now freely available \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/10287\" target=\"_blank\">online\u003c/a>.\u003c/p>\n\u003cp>According to Cherian, an American Masters documentary film about Dr. Angelou's life, set to be released in 2016 and endorsed by her family, may use some of the unique footage rediscovered in this series.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you have any information regarding \u003cem>\"Blacks, Blues, Black!\"\u003c/em> contact Alex Cherian at acherian@sfsu.edu. All information will be added to the series record within the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv\" target=\"_blank\">Bay Area TV Archive\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Got You Covered: Valentine's Day Cards for the Bay Area",
"headTitle": "Got You Covered: Valentine’s Day Cards for the Bay Area | KQED",
"content": "\u003cp>Last year we decided to help out all of you Valentine’s Day slackers by designing and providing you with some fun, \u003ca href=\"http://ww2.kqed.org/news/2014/02/12/say-i-love-you-with-bay-area-themed-valentines/\" target=\"_blank\" rel=\"noopener\">Bay Area-themed valentine cards.\u003c/a>\u003c/p>\n\u003cp>This year we took it a step further by commissioning six local artists to provide us with the art for this year’s list of Bay Area puns and inside jokes. As you will see below, the artists did not disappoint! Share, copy or print to your heart’s content.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/toteslove.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10383027\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/toteslove.png\" alt=\"toteslove\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-400x400.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-600x600.png 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-75x75.png 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>First is “I Totes Love You” by Jeff Meadows, local artist and sign painter. His work can be seen at \u003ca href=\"http://jeff-meadows.com/\" target=\"_blank\" rel=\"noopener\">jeff-meadows.com.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Coit-Looker-e1423702683137.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382963\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Coit-Looker-e1423702683137.jpg\" alt=\"Coit Looker\" width=\"800\" height=\"800\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Next is “You’re Coit the Looker” by illustrator and graphic designer Brian Standeford, whose work can be seen regularly on \u003ca href=\"http://cargocollective.com/standeforddesign/Bold-Italic-Work\" target=\"_blank\" rel=\"noopener\">The Bold Italic\u003c/a>. But make sure to check out \u003ca href=\"http://cargocollective.com/standeforddesign\" target=\"_blank\" rel=\"noopener\">all of it\u003c/a>, especially his album covers and concert posters.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kqed-val.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382991\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kqed-val.jpg\" alt=\"kqed-val\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>We really lucked out in getting Sirron Norris to contribute “You’re My Bae.” If you haven’t seen his work and murals around the Mission, you \u003ca href=\"http://www.sirronnorris.com/latest\" target=\"_blank\" rel=\"noopener\">must seek it out\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Bill-Zindel.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382949\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Bill-Zindel.jpg\" alt=\"Bill Zindel\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Artist, illustrator, and designer Bill Zindel illustrates “You Had Me at Hella,” which exemplifies his wonderful collage work. You can see more of it on \u003ca href=\"http://billzindel.com/259737/projects\" target=\"_blank\" rel=\"noopener\">his website.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/hayward2-e1423704261382.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382978\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/hayward2-e1423704261382.jpg\" alt=\"hayward\" width=\"800\" height=\"533\">\u003c/a>\u003c/p>\n\u003cp>Next is “You Make My Knees Wobble Like the Hayward Fault,” by comic book and visual artist Thien Pham. Join his fan club at \u003ca href=\"http://thienisawesome.blogspot.com/\" target=\"_blank\" rel=\"noopener\">thienisawesome.blogspot.com\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10383016\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003.jpg\" alt=\"MashaKouznetsova_LikeALightJacket_003\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Finally, we have “Like a Light Jacket” by the multi-talented Masha Kouznetsova. You can check out her wide variety of illustrations, drawings and sculptures on her\u003ca href=\"http://instagram.com/mashakouznetsova\" target=\"_blank\" rel=\"noopener\"> Instagram page\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Want to give your loved one something cute, quirky and Bay Area-themed for Valentine's Day? Take your pick from six new valentines we commissioned just for you.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year we decided to help out all of you Valentine’s Day slackers by designing and providing you with some fun, \u003ca href=\"http://ww2.kqed.org/news/2014/02/12/say-i-love-you-with-bay-area-themed-valentines/\" target=\"_blank\" rel=\"noopener\">Bay Area-themed valentine cards.\u003c/a>\u003c/p>\n\u003cp>This year we took it a step further by commissioning six local artists to provide us with the art for this year’s list of Bay Area puns and inside jokes. As you will see below, the artists did not disappoint! Share, copy or print to your heart’s content.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/toteslove.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10383027\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/toteslove.png\" alt=\"toteslove\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-400x400.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-600x600.png 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-75x75.png 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>First is “I Totes Love You” by Jeff Meadows, local artist and sign painter. His work can be seen at \u003ca href=\"http://jeff-meadows.com/\" target=\"_blank\" rel=\"noopener\">jeff-meadows.com.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Coit-Looker-e1423702683137.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382963\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Coit-Looker-e1423702683137.jpg\" alt=\"Coit Looker\" width=\"800\" height=\"800\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Next is “You’re Coit the Looker” by illustrator and graphic designer Brian Standeford, whose work can be seen regularly on \u003ca href=\"http://cargocollective.com/standeforddesign/Bold-Italic-Work\" target=\"_blank\" rel=\"noopener\">The Bold Italic\u003c/a>. But make sure to check out \u003ca href=\"http://cargocollective.com/standeforddesign\" target=\"_blank\" rel=\"noopener\">all of it\u003c/a>, especially his album covers and concert posters.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kqed-val.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382991\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kqed-val.jpg\" alt=\"kqed-val\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>We really lucked out in getting Sirron Norris to contribute “You’re My Bae.” If you haven’t seen his work and murals around the Mission, you \u003ca href=\"http://www.sirronnorris.com/latest\" target=\"_blank\" rel=\"noopener\">must seek it out\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Bill-Zindel.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382949\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Bill-Zindel.jpg\" alt=\"Bill Zindel\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Artist, illustrator, and designer Bill Zindel illustrates “You Had Me at Hella,” which exemplifies his wonderful collage work. You can see more of it on \u003ca href=\"http://billzindel.com/259737/projects\" target=\"_blank\" rel=\"noopener\">his website.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/hayward2-e1423704261382.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382978\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/hayward2-e1423704261382.jpg\" alt=\"hayward\" width=\"800\" height=\"533\">\u003c/a>\u003c/p>\n\u003cp>Next is “You Make My Knees Wobble Like the Hayward Fault,” by comic book and visual artist Thien Pham. Join his fan club at \u003ca href=\"http://thienisawesome.blogspot.com/\" target=\"_blank\" rel=\"noopener\">thienisawesome.blogspot.com\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10383016\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003.jpg\" alt=\"MashaKouznetsova_LikeALightJacket_003\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Finally, we have “Like a Light Jacket” by the multi-talented Masha Kouznetsova. You can check out her wide variety of illustrations, drawings and sculptures on her\u003ca href=\"http://instagram.com/mashakouznetsova\" target=\"_blank\" rel=\"noopener\"> Instagram page\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "What’s Up With S.F.’s Bad Architecture? | KQED",
"content": "\u003cp>\u003cem>As part of our series, \u003ca target=\"_self\" href=\"http://ww2.kqed.org/news/series/boomtown\" rel=\"noopener\">Boomtown\u003c/a>, we’re \u003ca target=\"_self\" href=\"http://ww2.kqed.org/news/series/questions\" rel=\"noopener\">answering questions\u003c/a> from KQED listeners and readers. Our second one comes from Dave Taylor, who is not impressed by the new buildings going up in San Francisco. He asks:\u003c/em>\u003c/p>\n\u003cp>\u003cfigure>\u003cfigcaption>Dave Taylor.\u003c/figcaption>\u003c/figure>\n\u003c/p>\n\u003cp>\u003cstrong>“Why are the new buildings so ugly?”\u003c/strong>\u003c/p>\n\u003cp>The economic boom has \u003ca href=\"http://ww2.kqed.org/news/2015/02/11/-whats-up-with-sf-bad-architecture/\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/02/11/-whats-up-with-sf-bad-architecture/\" target=\"_self\" title=\"What’s Up With S.F.’s Bad Architecture?\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>\u003cem>As part of our series, \u003ca target=\"_self\" href=\"http://ww2.kqed.org/news/series/boomtown\" rel=\"noopener\">Boomtown\u003c/a>, we're \u003ca target=\"_self\" href=\"http://ww2.kqed.org/news/series/questions\" rel=\"noopener\">answering questions\u003c/a> from KQED listeners and readers. Our second one comes from Dave Taylor, who is not impressed by the new buildings going up in San Francisco. He asks:\u003c/em>\u003c/p>\n\u003cp>\u003cfigure>\u003cfigcaption>Dave Taylor.\u003c/figcaption>\u003c/figure>\u003c/p>\n\u003cp>\u003cstrong>“Why are the new buildings so ugly?”\u003c/strong>\u003c/p>\n\u003cp>The economic boom has \u003ca href=\"http://ww2.kqed.org/news/2015/02/11/-whats-up-with-sf-bad-architecture/\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>As part of our series, \u003ca target=\"_self\" href=\"http://ww2.kqed.org/news/series/boomtown\" rel=\"noopener\">Boomtown\u003c/a>, we’re \u003ca target=\"_self\" href=\"http://ww2.kqed.org/news/series/questions\" rel=\"noopener\">answering questions\u003c/a> from KQED listeners and readers. Our second one comes from Dave Taylor, who is not impressed by the new buildings going up in San Francisco. He asks:\u003c/em>\u003c/p>\n\u003cp>\u003cfigure>\u003cfigcaption>Dave Taylor.\u003c/figcaption>\u003c/figure>\n\u003c/p>\n\u003cp>\u003cstrong>“Why are the new buildings so ugly?”\u003c/strong>\u003c/p>\n\u003cp>The economic boom has \u003ca href=\"http://ww2.kqed.org/news/2015/02/11/-whats-up-with-sf-bad-architecture/\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/02/11/-whats-up-with-sf-bad-architecture/\" target=\"_self\" title=\"What’s Up With S.F.’s Bad Architecture?\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Finding Beauty Along the Edges: Remembering Rex Ray (1956–2015)",
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"content": "\u003cp>News of San Francisco artist and designer Rex Ray’s death rippled out over the ether Monday afternoon, with many friends and admirers expressing sorrow on social media. Author Rebecca Solnit posted on Facebook about meeting Ray in 1989, and in noting that he designed her first book, wrote, “He made ‘high’ art as well as design and then they merged into something gorgeous and extravagant and joyous and very colorful.” Shortly thereafter \u003ca href=\"http://www.davidbowie.com/news/rex-ray-says-goodbye-and-fu-54141\" target=\"_blank\" rel=\"noopener\">a warm tribute to Ray\u003c/a> went up on David Bowie’s website, coinciding with a heartfelt \u003ca href=\"https://www.facebook.com/griff.williams.5/posts/10206082145677131\" target=\"_blank\" rel=\"noopener\">post\u003c/a> by Griff Williams, owner of Gallery 16 and the artist’s gallerist of nearly 20 years. That Ray’s work so fluidly traverses art and design is a testament to his inestimable talents; that his work is so widely embraced is a testament to him.\u003c/p>\n\u003cp>I didn’t know Ray personally, but I would know his work from across the room. I first encountered his collages in 2002 at ModernBook/Gallery494, a gallery-cum-bookstore then located in Palo Alto that featured small exhibitions of highly crafted artworks and art books with a strong design aesthetic. Small works on panel by Ray lined the walls; their lush resin coated surfaces and exquisite color palettes drew me in off the street like a bee to honey, and I wasn’t the only one. I worked at a gallery two doors down and everyone who walked in asked me if I’d seen Ray’s show. The work held broad appeal in Palo Alto, to be sure, where Joseph Eichler’s mid-century modern homes are symbols of good taste and timeless design. Ray’s intricate cut paper collages have always been simultaneously retro and contemporary.\u003c/p>\n\u003cp>His finely detailed images are often evocative of foliage and often present a bejeweled dreamscape, firmly entrenched in loveliness. Ferris wheels, starbursts and delicate chains make appearances, as do organic forms composed of tear-shaped cut paper petals. Ray’s color combinations are somehow optimistic, or maybe it was his implementation of cutaway shapes, giving practical beauty to the cuttings others might have thrown away. But not Ray — in his work negative space is as essential as positive space, and it speaks volumes about his eye for detail. Coming upon his work now, I look for the “edge events,” small details that give powerful visual impact to the edges of his work. The eye could languish in the center of his compositions quite happily, but Ray also knew to celebrate their boundaries.\u003c/p>\n\u003cfigure id=\"attachment_10379763\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10379763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg\" alt='\"Discolaria\" 2009 Collage on linen 100\" x 300\"' width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/discolariaCrop-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Discolaria,” 2009. \u003ccite>(Gallery 16)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if the work hinged somehow on being “too beautiful” for some people — we all know the type — his rock ‘n’ roll side could engage anyone. By day, of course, Ray was a graphic designer with a penchant for music. He did corporate gigs and commercial projects for the likes of Apple and Levi’s, including a construction barrier that may have one-upped a lot of public art on display at the time. Early on, he designed posters and T-shirts for ACT UP, and later he created concert posters for just about everyone, including Florence and the Machine, Radiohead, Kanye West, Rihanna, The Rolling Stones, Bryan Adams, Beck, R. E. M., and Paul McCartney, among many others.\u003c/p>\n\u003cp>Beyond all of that, he experimented with putting his work on everything from posters to note cards, mugs to iPad covers, jigsaw puzzles to decorative trays, and beyond. He illustrated children’s books and calendars — and once even wrapped a Smartcar in his designs for charity. The beauty of covering all the bases, the so-called high and low, is that the work belongs everywhere, from the museum walls to the gift shop to the street. I vividly recall seeing SFMOMA’s gift shop window tricked out a few years ago with a display of Ray’s wares. He also had many museum shows, of course, and reproductions, as fun as they are, are never as amazing as the work is in person, but frankly it was his ability and his willingness to experiment in so many arenas that was a huge part of his appeal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Purists have debated whether Ray’s art was really design or whether his design was really art, but these boring distinctions hardly mattered — really, who cares? He kept working, prolifically imprinting his legacy everywhere. Gone too soon, at just age 58 after years of battling lymphoma, he left a tremendous array of art and design to populate the void. The work that remains, all of it, reminds us to look for art high and low — and to find beauty along the edges however, wherever we can.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Work by Rex Ray is currently featured in the traveling group exhibition, \u003cem>Beauty Reigns: A Baroque Sensibility in Recent Painting\u003c/em>, which is organized by René Paul Barilleaux, Chief Curator, for San Antonio’s McNay Art Museum. A public memorial for Ray is scheduled for March 12, 6pm, at Gallery 16. For more information, see \u003ca href=\"http://www.gallery16.com/\" target=\"_blank\" rel=\"noopener\">Gallery 16’s site\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>News of San Francisco artist and designer Rex Ray’s death rippled out over the ether Monday afternoon, with many friends and admirers expressing sorrow on social media. Author Rebecca Solnit posted on Facebook about meeting Ray in 1989, and in noting that he designed her first book, wrote, “He made ‘high’ art as well as design and then they merged into something gorgeous and extravagant and joyous and very colorful.” Shortly thereafter \u003ca href=\"http://www.davidbowie.com/news/rex-ray-says-goodbye-and-fu-54141\" target=\"_blank\" rel=\"noopener\">a warm tribute to Ray\u003c/a> went up on David Bowie’s website, coinciding with a heartfelt \u003ca href=\"https://www.facebook.com/griff.williams.5/posts/10206082145677131\" target=\"_blank\" rel=\"noopener\">post\u003c/a> by Griff Williams, owner of Gallery 16 and the artist’s gallerist of nearly 20 years. That Ray’s work so fluidly traverses art and design is a testament to his inestimable talents; that his work is so widely embraced is a testament to him.\u003c/p>\n\u003cp>I didn’t know Ray personally, but I would know his work from across the room. I first encountered his collages in 2002 at ModernBook/Gallery494, a gallery-cum-bookstore then located in Palo Alto that featured small exhibitions of highly crafted artworks and art books with a strong design aesthetic. Small works on panel by Ray lined the walls; their lush resin coated surfaces and exquisite color palettes drew me in off the street like a bee to honey, and I wasn’t the only one. I worked at a gallery two doors down and everyone who walked in asked me if I’d seen Ray’s show. The work held broad appeal in Palo Alto, to be sure, where Joseph Eichler’s mid-century modern homes are symbols of good taste and timeless design. Ray’s intricate cut paper collages have always been simultaneously retro and contemporary.\u003c/p>\n\u003cp>His finely detailed images are often evocative of foliage and often present a bejeweled dreamscape, firmly entrenched in loveliness. Ferris wheels, starbursts and delicate chains make appearances, as do organic forms composed of tear-shaped cut paper petals. Ray’s color combinations are somehow optimistic, or maybe it was his implementation of cutaway shapes, giving practical beauty to the cuttings others might have thrown away. But not Ray — in his work negative space is as essential as positive space, and it speaks volumes about his eye for detail. Coming upon his work now, I look for the “edge events,” small details that give powerful visual impact to the edges of his work. The eye could languish in the center of his compositions quite happily, but Ray also knew to celebrate their boundaries.\u003c/p>\n\u003cfigure id=\"attachment_10379763\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10379763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg\" alt='\"Discolaria\" 2009 Collage on linen 100\" x 300\"' width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/discolariaCrop-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Discolaria,” 2009. \u003ccite>(Gallery 16)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if the work hinged somehow on being “too beautiful” for some people — we all know the type — his rock ‘n’ roll side could engage anyone. By day, of course, Ray was a graphic designer with a penchant for music. He did corporate gigs and commercial projects for the likes of Apple and Levi’s, including a construction barrier that may have one-upped a lot of public art on display at the time. Early on, he designed posters and T-shirts for ACT UP, and later he created concert posters for just about everyone, including Florence and the Machine, Radiohead, Kanye West, Rihanna, The Rolling Stones, Bryan Adams, Beck, R. E. M., and Paul McCartney, among many others.\u003c/p>\n\u003cp>Beyond all of that, he experimented with putting his work on everything from posters to note cards, mugs to iPad covers, jigsaw puzzles to decorative trays, and beyond. He illustrated children’s books and calendars — and once even wrapped a Smartcar in his designs for charity. The beauty of covering all the bases, the so-called high and low, is that the work belongs everywhere, from the museum walls to the gift shop to the street. I vividly recall seeing SFMOMA’s gift shop window tricked out a few years ago with a display of Ray’s wares. He also had many museum shows, of course, and reproductions, as fun as they are, are never as amazing as the work is in person, but frankly it was his ability and his willingness to experiment in so many arenas that was a huge part of his appeal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Purists have debated whether Ray’s art was really design or whether his design was really art, but these boring distinctions hardly mattered — really, who cares? He kept working, prolifically imprinting his legacy everywhere. Gone too soon, at just age 58 after years of battling lymphoma, he left a tremendous array of art and design to populate the void. The work that remains, all of it, reminds us to look for art high and low — and to find beauty along the edges however, wherever we can.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Work by Rex Ray is currently featured in the traveling group exhibition, \u003cem>Beauty Reigns: A Baroque Sensibility in Recent Painting\u003c/em>, which is organized by René Paul Barilleaux, Chief Curator, for San Antonio’s McNay Art Museum. A public memorial for Ray is scheduled for March 12, 6pm, at Gallery 16. For more information, see \u003ca href=\"http://www.gallery16.com/\" target=\"_blank\" rel=\"noopener\">Gallery 16’s site\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Something Very Big Might Be Coming to Burning Man 2015",
"title": "Something Very Big Might Be Coming to Burning Man 2015",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>RENO, Nev. (AP) — The bigger, the better, when it comes to dreams at \u003ca href=\"http://burningman.org/\" target=\"_blank\">Burning Man\u003c/a>. Usually. But is it possible to dream too big?\u003c/p>\n\u003cp>One California Burner, Ken Feldman, is about to find out this year, as he endeavors to create the biggest \"mutant vehicle,\" or art car, that ever would grace the playa of the Black Rock Desert.\u003c/p>\n\u003cp>The vehicle: a 747 airplane constructed from the remnants of has-been planes abandoned at an aviation \"boneyard\" in the middle of the Mojave Desert in Southern California.\u003c/p>\n\u003cp>\"Our goal for year one is to get it there,\" Feldman said, noting that he hopes to make it a recurring art installation during the annual Burning Man festivities.\u003c/p>\n\u003cp>No, it will not be flying to the site, despite early rumors, of which there have been many about this behemoth project -- though it will be tugged around in the dust by an \"aircraft tug.\"\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>Promotional Video for the 747 Project\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/lVLYJE4_fbc\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>To get to the playa, it will spend nearly a week on the road as it is being transported on a platform trailer by an Orange County-based heavy equipment hauling company.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The plane will be flanked by a handful of police escorts and bucket trucks as it makes its way to its final destination. To go down the road, and to be a safe vehicle on the playa, the producers will remove both its wings and tail.\u003c/p>\n\u003cp>The man tasked with getting the plane there, 72-year-old Roy Hatley, operations manager for Orange Heavy Haul, said the load is \"no biggie\" compared with some of the other items he has driven cross-country. It's only three stories high, four buses wide, half of a football field long and 100-something-thousand pounds heavy, he said.\u003c/p>\n\u003cp>[contextly_sidebar id=\"QZbkFsoXtNDYNw8bVmacengOUGhTlLJz\"]\u003c/p>\n\u003cp>\"I will go to Burning Man one time, when I go and pick it up,\" Hatley said, noting that he is letting some of the other employees drive the plane to the \"Black Hills, or the Black Rock, or whatever it's called,\" so they can get a sneak peek of what the annual, weeklong celebration is about. \"It's not my type of entertainment, let's put it that way.\"\u003c/p>\n\u003cp>The more than 100 volunteers working on the operation had no idea that the plane would receive so much attention, good and bad. \"Who is to say what's too big, what's too small?\" said Feldman, of Venice, Calif. \"I think there is a valid concern from the Burning Man community: 'Oh, jeez, a bunch of billionaires with their toys.' \"\u003c/p>\n\u003cp>On Burning Man's Facebook page, commentators have said that it is an exciting new effort and that they are eager to use it, but just as many are criticizing it. Some are concerned about how it might leave a trace in the desert, and others about whether it is safe to be driven around in the midst of the tens of thousands of people that will be gathering. Others are saying that it is a symbol of hypocrisy and arrogance and misplaced millionaire money.\u003c/p>\n\u003cp>But this is not that, Feldman said. Feldman is no modern, Burner-version of Howard Hughes.\u003c/p>\n\u003cp>He is just an \"average guy,\" he said, who drives a 20-year-old car and has as shallow pockets as any Joe Schmoe. While he considers himself an aviation enthusiast and has some background in aerospace engineering, he has never built a plane.\u003c/p>\n\u003cp>\"I have designed several planes, for the science fair in high school,\" he said, jokingly. Kind of.\u003c/p>\n\u003cp>But in 2009, during his second year at Burning Man, he saw two bicycles, both made from out-of-date plane fuselages, trekking across the barren desert. He imagined what it would be like to make an art car out of a plane's parts.\u003c/p>\n\u003cp>\"I sketched this out in the dust. That's the short version,\" Feldman said.\u003c/p>\n\u003cp>Since then, he worked on iconic art cars, or Burning Man vehicles, including Robot Heart and Charlie the Unicorn.\u003c/p>\n\u003cp>After Charlie the Unicorn, Feldman swore he would not work on another art car unless it was an art plane.\u003c/p>\n\u003cp>Feldman founded a nonprofit, Big Imagination Foundation, to support the plane, but he hopes the foundation will become a routine funder of larger-than-life projects around the world, not just art ones but also humanities and science projects.\u003c/p>\n\u003cp>He does have some big investors already, but the bulk of the foundation's funds will come from smaller donations, he said. Because the Burning Man nonprofit has not yet approved the \"Department of Mutant Vehicle\" permit for the plane, Feldman said that Big Imagination Foundation cannot start crowdfunding yet.\u003c/p>\n\u003cp>One of the staunchest supporters of the project, and a member of the Big Imagination Foundation board, Jonathan Teo, said that the goal is to make this feat by the people and for the people.\u003c/p>\n\u003cp>\"Exclusivity has been creeping into the playa,\" Teo said. \"Our view is, that's silly. We wanted to create a project that the community could fund, could build and could enjoy. We're trying to set an example of radical inclusion.\"\u003c/p>\n\u003cp>No one would be turned away from coming in to enjoy the plane from the inside, assuming it was not filled to capacity at the time. What the inside holds is unknown and will remain so until Burning Man, Feldman said.\u003c/p>\n\u003cp>Though the Burning Man nonprofit will not be expressing any opinion about the project, Burning Man's staff will look at the project carefully.\u003c/p>\n\u003cp>Burning Man Communications Director Megan Miller said last week that the staff would be meeting with Feldman to discuss safety measures that the artists would have to take. Whether the nonprofit will approve the project permit remains to be seen, but Miller said that the staff at least finds the group's aspirations admirable.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I love when our community dreams something this big; I don't know any other event where this would be possible,\" Miller said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>RENO, Nev. (AP) — The bigger, the better, when it comes to dreams at \u003ca href=\"http://burningman.org/\" target=\"_blank\">Burning Man\u003c/a>. Usually. But is it possible to dream too big?\u003c/p>\n\u003cp>One California Burner, Ken Feldman, is about to find out this year, as he endeavors to create the biggest \"mutant vehicle,\" or art car, that ever would grace the playa of the Black Rock Desert.\u003c/p>\n\u003cp>The vehicle: a 747 airplane constructed from the remnants of has-been planes abandoned at an aviation \"boneyard\" in the middle of the Mojave Desert in Southern California.\u003c/p>\n\u003cp>\"Our goal for year one is to get it there,\" Feldman said, noting that he hopes to make it a recurring art installation during the annual Burning Man festivities.\u003c/p>\n\u003cp>No, it will not be flying to the site, despite early rumors, of which there have been many about this behemoth project -- though it will be tugged around in the dust by an \"aircraft tug.\"\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>Promotional Video for the 747 Project\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/lVLYJE4_fbc\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>To get to the playa, it will spend nearly a week on the road as it is being transported on a platform trailer by an Orange County-based heavy equipment hauling company.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The plane will be flanked by a handful of police escorts and bucket trucks as it makes its way to its final destination. To go down the road, and to be a safe vehicle on the playa, the producers will remove both its wings and tail.\u003c/p>\n\u003cp>The man tasked with getting the plane there, 72-year-old Roy Hatley, operations manager for Orange Heavy Haul, said the load is \"no biggie\" compared with some of the other items he has driven cross-country. It's only three stories high, four buses wide, half of a football field long and 100-something-thousand pounds heavy, he said.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"I will go to Burning Man one time, when I go and pick it up,\" Hatley said, noting that he is letting some of the other employees drive the plane to the \"Black Hills, or the Black Rock, or whatever it's called,\" so they can get a sneak peek of what the annual, weeklong celebration is about. \"It's not my type of entertainment, let's put it that way.\"\u003c/p>\n\u003cp>The more than 100 volunteers working on the operation had no idea that the plane would receive so much attention, good and bad. \"Who is to say what's too big, what's too small?\" said Feldman, of Venice, Calif. \"I think there is a valid concern from the Burning Man community: 'Oh, jeez, a bunch of billionaires with their toys.' \"\u003c/p>\n\u003cp>On Burning Man's Facebook page, commentators have said that it is an exciting new effort and that they are eager to use it, but just as many are criticizing it. Some are concerned about how it might leave a trace in the desert, and others about whether it is safe to be driven around in the midst of the tens of thousands of people that will be gathering. Others are saying that it is a symbol of hypocrisy and arrogance and misplaced millionaire money.\u003c/p>\n\u003cp>But this is not that, Feldman said. Feldman is no modern, Burner-version of Howard Hughes.\u003c/p>\n\u003cp>He is just an \"average guy,\" he said, who drives a 20-year-old car and has as shallow pockets as any Joe Schmoe. While he considers himself an aviation enthusiast and has some background in aerospace engineering, he has never built a plane.\u003c/p>\n\u003cp>\"I have designed several planes, for the science fair in high school,\" he said, jokingly. Kind of.\u003c/p>\n\u003cp>But in 2009, during his second year at Burning Man, he saw two bicycles, both made from out-of-date plane fuselages, trekking across the barren desert. He imagined what it would be like to make an art car out of a plane's parts.\u003c/p>\n\u003cp>\"I sketched this out in the dust. That's the short version,\" Feldman said.\u003c/p>\n\u003cp>Since then, he worked on iconic art cars, or Burning Man vehicles, including Robot Heart and Charlie the Unicorn.\u003c/p>\n\u003cp>After Charlie the Unicorn, Feldman swore he would not work on another art car unless it was an art plane.\u003c/p>\n\u003cp>Feldman founded a nonprofit, Big Imagination Foundation, to support the plane, but he hopes the foundation will become a routine funder of larger-than-life projects around the world, not just art ones but also humanities and science projects.\u003c/p>\n\u003cp>He does have some big investors already, but the bulk of the foundation's funds will come from smaller donations, he said. Because the Burning Man nonprofit has not yet approved the \"Department of Mutant Vehicle\" permit for the plane, Feldman said that Big Imagination Foundation cannot start crowdfunding yet.\u003c/p>\n\u003cp>One of the staunchest supporters of the project, and a member of the Big Imagination Foundation board, Jonathan Teo, said that the goal is to make this feat by the people and for the people.\u003c/p>\n\u003cp>\"Exclusivity has been creeping into the playa,\" Teo said. \"Our view is, that's silly. We wanted to create a project that the community could fund, could build and could enjoy. We're trying to set an example of radical inclusion.\"\u003c/p>\n\u003cp>No one would be turned away from coming in to enjoy the plane from the inside, assuming it was not filled to capacity at the time. What the inside holds is unknown and will remain so until Burning Man, Feldman said.\u003c/p>\n\u003cp>Though the Burning Man nonprofit will not be expressing any opinion about the project, Burning Man's staff will look at the project carefully.\u003c/p>\n\u003cp>Burning Man Communications Director Megan Miller said last week that the staff would be meeting with Feldman to discuss safety measures that the artists would have to take. Whether the nonprofit will approve the project permit remains to be seen, but Miller said that the staff at least finds the group's aspirations admirable.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I love when our community dreams something this big; I don't know any other event where this would be possible,\" Miller said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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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": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"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.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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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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},
"science-friday": {
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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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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
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