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"content": "\u003cp>I first heard about the attacks on the \u003cem>Charlie Hebdo\u003c/em> cartoonists early in the morning while juggling my two kids at breakfast. My wife and I spoke in hushed tones and spelled out words in front of the kids. I want to keep this sort of awfulness from them as long as possible. Our oldest knows I’m a cartoonist, and suddenly, cartoonists getting killed was the top story on every news outlet.\u003c/p>\n\u003cp>While I have the luxury of living and working in the United States, where thankfully free speech is revered, the attacks in Paris definitely put the “what if?” in the back of my head.\u003c/p>\n\u003cp>No time for that, I had to contact my political cartoonist friends around the country to see if they had any news or knew any of the cartoonists at \u003cem>Charlie Hebdo\u003c/em>. It didn’t take long to hear stories of palling around with these guys or having beers with them, and now they were dead, targeted by terrorists for their cartoons.\u003c/p>\n\u003cp>Imagine your grandfather or an older uncle who can draw and make people laugh. They’re fun at parties and have an interesting, weird job. That describes many of the cartoonists I know, and seems to apply to the cartoonists killed at \u003cem>Charlie Hebdo\u003c/em>. (Three of the cartoonists who were killed were \u003ca href=\"http://www.theguardian.com/world/2015/jan/07/cartoonists-victims-charlie-hebdo-attack\" target=\"_blank\" rel=\"noopener\">over 70 years old\u003c/a>.)\u003c/p>\n\u003cp>I don’t want to minimize the senseless killing of the other non-cartoonists, but it was the cartoonists who led the crazed gunmen to attack the \u003cem>Charlie Hebdo\u003c/em> offices that day. They did it because of the cartoons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So, should we take a closer look at the content and offensive nature of some of those \u003ca href=\"http://www.charliehebdo.fr/\" target=\"_blank\" rel=\"noopener\">cartoons\u003c/a>? Should we dig deeper into the \u003ca href=\"http://www.nytimes.com/2015/01/14/world/europe/new-charlie-hebdo-has-muhammad-cartoon.html\" target=\"_blank\" rel=\"noopener\">cultural differences\u003c/a> that caused people to react so violently? Should we investigate whether these cartoons \u003ca href=\"https://firstlook.org/theintercept/2015/01/09/solidarity-charlie-hebdo-cartoons/\" target=\"_blank\" rel=\"noopener\">crossed a line\u003c/a> that shouldn’t be crossed?\u003c/p>\n\u003cp>No. You do not kill people because your feelings were hurt. Period.\u003c/p>\n\u003cp>More than feelings being hurt, were these cartoons “blasphemy?” \u003ca href=\"http://www.nytimes.com/2015/01/15/world/attack-prompts-debate-on-the-roots-of-muslim-objection-to-image-making-.html?_r=0\" target=\"_blank\" rel=\"noopener\">Perhaps\u003c/a>, depending on who you ask. Sure, the Koran \u003ca href=\"http://www.newsweek.com/koran-does-not-forbid-images-prophet-298298\" target=\"_blank\" rel=\"noopener\">discourages\u003c/a> making images of divine figures, but this is in the context of preventing idol worship. Did these terrorists really worry people would worship the cartoon images in \u003cem>Charlie Hebdo\u003c/em>? After all, that’s why the Koran mentions the dangers of making images.\u003c/p>\n\u003cp>Of course, their worry is probably that Muhammad is being disrespected or mocked, but who gets to decide what is in good fun and what is cruel, blasphemous mocking? The guy with the AK-47, apparently. \u003c/p>\n\u003cp>Even if cartoons or other images depict Muhammad, the Koran does not call for punishing the creators of these images with death—that is the guy with the AK-47’s interpretation of Islam’s most holy text. \u003c/p>\n\u003cp>You see the dangerous rabbit hole we go down when we try to critique cartoons based on the interpretations of madmen, for that is what these terrorists really are. We shouldn’t second-guess cartoons based on a violent extremist’s interpretation of a 1,400-year-old holy book. That would be like altering federal legislation in the United States lest it offend the guy who \u003ca href=\"http://www.cnn.com/2015/01/13/politics/john-boehner-bartender-poison/\" target=\"_blank\" rel=\"noopener\">thinks he’s Jesus\u003c/a> and wants to poison John Boehner. \u003c/p>\n\u003cp>Yes, if there was no racism in France, peace in the Middle East and happy well-adjusted people everywhere, the Paris attacks may not have happened. But rather than avenging years of colonialism in the Middle East, fighting discrimination in France and defending the Prophet Muhammad, methinks these killers wanted to be bigger than they really were and do it the easy way. What’s easier than shooting up a bunch of high-profile old cartoonists?\u003c/p>\n\u003cp>Since editing cartoons and limiting speech based on the unintelligible demands of the confused and violent mind of an Islamic extremist is so ridiculous, what about the vast majority of Muslims who are moderate, some of who may be offended by cartoons?\u003c/p>\n\u003cp>Let them be offended. \u003c/p>\n\u003cp>Sorry, but many cartoons are intended to offend. While I would not create work like the Danish Muhammad cartoons or those appearing in \u003cem>Charlie Hebdo\u003c/em> (my cartoons depicting Muhammad are a \u003ca href=\"http://youtu.be/Tyl2bPqmjoI\" target=\"_blank\" rel=\"noopener\">little more\u003c/a>, um, \u003ca href=\"http://youtu.be/9W5tAMKHwS8\" target=\"_blank\" rel=\"noopener\">subtle\u003c/a>), I firmly stand by their right to create those cartoons, as ham-fisted and goofy as they are.\u003cbr>\nStrangely enough, I think one of the best \u003ca href=\"http://www.theguardian.com/world/2006/aug/20/iran.israel\" target=\"_blank\" rel=\"noopener\">responses\u003c/a> to the Danish Muhammad cartoons came from the Iranian newspaper \u003cem>Hamshahri\u003c/em>, which launched their “International Holocaust Cartoon Competition” in 2006. Yes, the cartoon competition was all about Holocaust denial, and the cartoons were anti-Semitic and vile. But I’ll take a war of ideas and cartoons anytime over actual violence. Let’s fight speech with more speech!\u003c/p>\n\u003cp>One thing most people don’t know is that attacks on cartoonists happen all the time. I’ve become involved with \u003ca href=\"http://cartoonistsrights.org/\" target=\"_blank\" rel=\"noopener\">Cartoonists Rights Network International\u003c/a>, a group that shines a light on cartoonists around the world who have been attacked, imprisoned or killed. I have become friends with many cartoonists who have had to hide out from thugs, been jailed or beaten—inspiring men and women who continue to draw cartoons under threat of lawsuits, physical attacks or death. \u003c/p>\n\u003cp>My hope is that the power of cartoons—and conversely the attacks on powerful cartoons—receive more attention after the \u003cem>Charlie Hebdo\u003c/em> attacks.\u003c/p>\n\u003cp>Even though it may not always seem like it, the pen (or pencil, or brush, or computer) really is mightier than the sword. Five million copies of \u003cem>Charlie Hebdo\u003c/em> and inspired cartoonists around the world—now we know who gets the last laugh.\u003c/p>\n\u003cp>–\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mark Fiore is a flash-animation editorial cartoonist working in San Francisco. His \u003ca href=\"https://www.markfiore.com/\" target=\"_blank\" rel=\"noopener\">website\u003c/a> hosts voicemails from irate readers threatening him on a regular basis. He is the recipient of the 2010 Pulitzer Prize for editorial cartooning. Follow him on Twitter at \u003ca href=\"https://twitter.com/markfiore\" target=\"_blank\" rel=\"noopener\">@MarkFiore\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I first heard about the attacks on the \u003cem>Charlie Hebdo\u003c/em> cartoonists early in the morning while juggling my two kids at breakfast. My wife and I spoke in hushed tones and spelled out words in front of the kids. I want to keep this sort of awfulness from them as long as possible. Our oldest knows I’m a cartoonist, and suddenly, cartoonists getting killed was the top story on every news outlet.\u003c/p>\n\u003cp>While I have the luxury of living and working in the United States, where thankfully free speech is revered, the attacks in Paris definitely put the “what if?” in the back of my head.\u003c/p>\n\u003cp>No time for that, I had to contact my political cartoonist friends around the country to see if they had any news or knew any of the cartoonists at \u003cem>Charlie Hebdo\u003c/em>. It didn’t take long to hear stories of palling around with these guys or having beers with them, and now they were dead, targeted by terrorists for their cartoons.\u003c/p>\n\u003cp>Imagine your grandfather or an older uncle who can draw and make people laugh. They’re fun at parties and have an interesting, weird job. That describes many of the cartoonists I know, and seems to apply to the cartoonists killed at \u003cem>Charlie Hebdo\u003c/em>. (Three of the cartoonists who were killed were \u003ca href=\"http://www.theguardian.com/world/2015/jan/07/cartoonists-victims-charlie-hebdo-attack\" target=\"_blank\" rel=\"noopener\">over 70 years old\u003c/a>.)\u003c/p>\n\u003cp>I don’t want to minimize the senseless killing of the other non-cartoonists, but it was the cartoonists who led the crazed gunmen to attack the \u003cem>Charlie Hebdo\u003c/em> offices that day. They did it because of the cartoons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So, should we take a closer look at the content and offensive nature of some of those \u003ca href=\"http://www.charliehebdo.fr/\" target=\"_blank\" rel=\"noopener\">cartoons\u003c/a>? Should we dig deeper into the \u003ca href=\"http://www.nytimes.com/2015/01/14/world/europe/new-charlie-hebdo-has-muhammad-cartoon.html\" target=\"_blank\" rel=\"noopener\">cultural differences\u003c/a> that caused people to react so violently? Should we investigate whether these cartoons \u003ca href=\"https://firstlook.org/theintercept/2015/01/09/solidarity-charlie-hebdo-cartoons/\" target=\"_blank\" rel=\"noopener\">crossed a line\u003c/a> that shouldn’t be crossed?\u003c/p>\n\u003cp>No. You do not kill people because your feelings were hurt. Period.\u003c/p>\n\u003cp>More than feelings being hurt, were these cartoons “blasphemy?” \u003ca href=\"http://www.nytimes.com/2015/01/15/world/attack-prompts-debate-on-the-roots-of-muslim-objection-to-image-making-.html?_r=0\" target=\"_blank\" rel=\"noopener\">Perhaps\u003c/a>, depending on who you ask. Sure, the Koran \u003ca href=\"http://www.newsweek.com/koran-does-not-forbid-images-prophet-298298\" target=\"_blank\" rel=\"noopener\">discourages\u003c/a> making images of divine figures, but this is in the context of preventing idol worship. Did these terrorists really worry people would worship the cartoon images in \u003cem>Charlie Hebdo\u003c/em>? After all, that’s why the Koran mentions the dangers of making images.\u003c/p>\n\u003cp>Of course, their worry is probably that Muhammad is being disrespected or mocked, but who gets to decide what is in good fun and what is cruel, blasphemous mocking? The guy with the AK-47, apparently. \u003c/p>\n\u003cp>Even if cartoons or other images depict Muhammad, the Koran does not call for punishing the creators of these images with death—that is the guy with the AK-47’s interpretation of Islam’s most holy text. \u003c/p>\n\u003cp>You see the dangerous rabbit hole we go down when we try to critique cartoons based on the interpretations of madmen, for that is what these terrorists really are. We shouldn’t second-guess cartoons based on a violent extremist’s interpretation of a 1,400-year-old holy book. That would be like altering federal legislation in the United States lest it offend the guy who \u003ca href=\"http://www.cnn.com/2015/01/13/politics/john-boehner-bartender-poison/\" target=\"_blank\" rel=\"noopener\">thinks he’s Jesus\u003c/a> and wants to poison John Boehner. \u003c/p>\n\u003cp>Yes, if there was no racism in France, peace in the Middle East and happy well-adjusted people everywhere, the Paris attacks may not have happened. But rather than avenging years of colonialism in the Middle East, fighting discrimination in France and defending the Prophet Muhammad, methinks these killers wanted to be bigger than they really were and do it the easy way. What’s easier than shooting up a bunch of high-profile old cartoonists?\u003c/p>\n\u003cp>Since editing cartoons and limiting speech based on the unintelligible demands of the confused and violent mind of an Islamic extremist is so ridiculous, what about the vast majority of Muslims who are moderate, some of who may be offended by cartoons?\u003c/p>\n\u003cp>Let them be offended. \u003c/p>\n\u003cp>Sorry, but many cartoons are intended to offend. While I would not create work like the Danish Muhammad cartoons or those appearing in \u003cem>Charlie Hebdo\u003c/em> (my cartoons depicting Muhammad are a \u003ca href=\"http://youtu.be/Tyl2bPqmjoI\" target=\"_blank\" rel=\"noopener\">little more\u003c/a>, um, \u003ca href=\"http://youtu.be/9W5tAMKHwS8\" target=\"_blank\" rel=\"noopener\">subtle\u003c/a>), I firmly stand by their right to create those cartoons, as ham-fisted and goofy as they are.\u003cbr>\nStrangely enough, I think one of the best \u003ca href=\"http://www.theguardian.com/world/2006/aug/20/iran.israel\" target=\"_blank\" rel=\"noopener\">responses\u003c/a> to the Danish Muhammad cartoons came from the Iranian newspaper \u003cem>Hamshahri\u003c/em>, which launched their “International Holocaust Cartoon Competition” in 2006. Yes, the cartoon competition was all about Holocaust denial, and the cartoons were anti-Semitic and vile. But I’ll take a war of ideas and cartoons anytime over actual violence. Let’s fight speech with more speech!\u003c/p>\n\u003cp>One thing most people don’t know is that attacks on cartoonists happen all the time. I’ve become involved with \u003ca href=\"http://cartoonistsrights.org/\" target=\"_blank\" rel=\"noopener\">Cartoonists Rights Network International\u003c/a>, a group that shines a light on cartoonists around the world who have been attacked, imprisoned or killed. I have become friends with many cartoonists who have had to hide out from thugs, been jailed or beaten—inspiring men and women who continue to draw cartoons under threat of lawsuits, physical attacks or death. \u003c/p>\n\u003cp>My hope is that the power of cartoons—and conversely the attacks on powerful cartoons—receive more attention after the \u003cem>Charlie Hebdo\u003c/em> attacks.\u003c/p>\n\u003cp>Even though it may not always seem like it, the pen (or pencil, or brush, or computer) really is mightier than the sword. Five million copies of \u003cem>Charlie Hebdo\u003c/em> and inspired cartoonists around the world—now we know who gets the last laugh.\u003c/p>\n\u003cp>–\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mark Fiore is a flash-animation editorial cartoonist working in San Francisco. His \u003ca href=\"https://www.markfiore.com/\" target=\"_blank\" rel=\"noopener\">website\u003c/a> hosts voicemails from irate readers threatening him on a regular basis. He is the recipient of the 2010 Pulitzer Prize for editorial cartooning. Follow him on Twitter at \u003ca href=\"https://twitter.com/markfiore\" target=\"_blank\" rel=\"noopener\">@MarkFiore\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>According to the \u003ca href=\"http://www.modbee.com/news/article7485422.html\" target=\"_blank\">Modesto Bee\u003c/a>, Bill Cosby got a standing ovation when he performed in Turlock Sunday. The show was the 77-year-old comedian's first in California since multiple accusations of sexual assault exploded in the media.\u003c/p>\n\u003cp>The Bee talked to several people who attended the show, as well as a lone protester.\u003c/p>\n\u003cp>\"I knew this was going to happen,\" said Suzette Sims, who carried a sign that said \"I believe the women\" outside the Turlock Community Theatre. \"I believe very strongly this whole situation is a testament to how women have been treated in our country. ... If you're powerful and important the rules don't apply to you.\"\u003c/p>\n\u003cp>Denise Palecek said she was a longtime fan of Cosby, but that she seriously considered not attending. \"I see both sides, I guess.\"\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/yqRwZFHkJs8\" target=\"_blank\">More here\u003c/a>...\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=yqRwZFHkJs8&w=560&h=315]\u003c/p>\n\n",
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"content": "\u003cp>The recording industry continues to reel from falling CD sales as music fans flock to low-cost streaming. But this is hardly the first disruptive technology to shake record companies to the core. In the early 1940s, musicians shut down almost all recording in a struggle for increased royalties, seeking compensation for jukebox and radio play. Much like today, seismic changes in the music business opened doors for new sounds and new business models.\u003c/p>\n\u003cp>In Los Angeles, where the wartime boom fueled an explosion of creativity in black music, nearly a dozen independent labels sprang up to document the profusion of talent after the \u003ca href=\"http://www.afm.org/\">American Federation of Musicians\u003c/a> declared a strike in 1942 seeking 1-cent royalties on every record sold. Suddenly, styles ignored or overlooked by the big three -- \u003ca href=\"http://www.decca.com/\">Decca\u003c/a>, \u003ca href=\"http://columbiarecords.com/home\">Columbia\u003c/a> and \u003ca href=\"http://grammys.rcarecords.com/\">Victor\u003c/a> -- found a home, and no indie created a more enduring legacy than \u003ca href=\"http://www.nytimes.com/2000/03/23/arts/ross-russell-90-recorded-charlie-parker.html\">Ross Russell’s Dial Records.\u003c/a>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/186438043\" 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>Russell, a writer who owned a small Hollywood music shop, launched Dial to record \u003ca href=\"http://www.cmgww.com/music/parker/home.html\">Charlie Parker\u003c/a>, or Bird, the genius alto saxophonist who forged the virtuosic new vocabulary of bebop with trumpeter Dizzy Gillespie. On their first trip to the West Coast, they played a three-month gig at Billy Berg’s, one of the first integrated clubs in Hollywood. The engagement firmly established the bracing new style on the Southland scene, and Russell quickly set about documenting Diz and Bird. When the rest of the band headed home, Parker stayed in L.A. He’s featured on about a third of the tracks on a new nine-disc set by the mail-order label \u003ca href=\"http://www.mosaicrecords.com/The-Complete-Dial-Modern-Jazz-Sessions-260/productinfo/260-MD-CD/\">Mosaic: \"The Complete Dial Modern Jazz Sessions.\"\u003c/a>\u003c/p>\n\u003cp>These recordings are the stuff of legend, capturing Bird on some his first dates under his own name, initially accompanied by a 20-year-old trumpeter named \u003ca href=\"http://www.milesdavis.com/us/home\">Miles Davis\u003c/a>. Focusing on his original pieces, like “Yardbird Suite,” “Ornithology” and “Moose the Mooche,” Parker plays with dazzling fluency.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=kRkVyaOGsag&w=640&h=350]\u003c/p>\n\u003cp>Russell recorded Bird at his best and at a moment of crisis, when his self-destructive habits caught up to him in the studio, leaving him ragged and forlorn on a version of “Lover Man.” Parker felt betrayed that Russell released the track, but he continued to record for Dial. When Bird moved back to New York in 1947, Russell and the label followed, recording the quintessential bebop combo on a series of blazing sessions featuring Bird’s working band with Miles, \u003ca href=\"http://www.vervemusicgroup.com/maxroach\">Max Roach\u003c/a>, bassist \u003ca href=\"http://www.allmusic.com/artist/tommy-potter-mn0000521303/biography\">Tommy Potter\u003c/a> and pianist \u003ca href=\"http://musicians.allaboutjazz.com/dukejordan\">Duke Jordan.\u003c/a>\u003c/p>\n\u003cp>But Dial continued to document L.A . modernists like trumpeter \u003ca href=\"http://www.allmusic.com/artist/howard-mcghee-mn0000276917\" target=\"_blank\">Howard McGhee,\u003c/a> pianist \u003ca href=\"http://musicians.allaboutjazz.com/errollgarner\">Erroll Garner\u003c/a> and tenor saxophonist \u003ca href=\"http://www.dextergordon.com/\">Dexter Gordon\u003c/a>, who made a point of featuring another rising L.A. star, trombonist \u003ca href=\"http://thegirlsintheband.com/2013/11/melba-liston/\">Melba Liston \u003c/a>(she went on to do brilliant work as an arranger with \u003ca href=\"http://www.dizzygillespie.com/\">Dizzy Gillespie\u003c/a> and \u003ca href=\"http://www.randyweston.info/\">Randy Weston\u003c/a>). A charismatic musician with a huge, muscular sound, Gordon gained a popular following in L.A. through his epic tenor battles with the lithe-toned Wardell Gray at a Central Avenue chicken joint called The-Bird-in-the-Basket. Using both sides of a 78, Russell captured their fierce but friendly jousting on “The Chase,” one of the label’s most popular records.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=Kcscx7IvAiI&w=640&h=350]\u003c/p>\n\u003cp>The pieces by Dexter, Bird and Errol Garner, who sounds irrepressibly joyful on solo and trio sessions, have circulated widely over the years, but the box set also includes some eye-opening discoveries. The 21-year-old trumpeter \u003ca href=\"http://www.allmusic.com/artist/sonny-berman-mn0000043619/biography\">Sonny Berman\u003c/a>, who died just months after his session, sounds magnificent with a band gleaned from \u003ca href=\"http://www.woodyherman.com/\">Woody Herman’s\u003c/a> orchestra. McGhee’s work is equally revelatory, as his work with pianist \u003ca href=\"http://musicians.allaboutjazz.com/dodomarmarosa\">Dodo Marmarosa \u003c/a>(who’s also featured on some sparkling trio tracks of his own) shows why he was considered a worthy rival for Gillespie.\u003c/p>\n\u003cp>Bebop is often portrayed as the movement that sundered jazz from its popular following, transforming it from dance music into art music. But that narrative is far too simple. While innovative L.A. artists like blues guitarist T-Bone Walker, R&B crooner Charles Brown, and Joe Liggins and the Honeydrippers siphoned off much of jazz’s black audience, bebop had plenty of support, too.\u003c/p>\n\u003cp>The box set’s subtext is the devastation wrought by heroin on this generation of musicians. The roll call of achingly young casualties includes Bird, Berman, Gray, Fats Navarro and Serge Challof. Gordon, McGhee and drummer Roy Porter lost decades to addiction and incarceration. The liner notes, which aren’t quite up to Mosaic’s Grammy-winning standards, elide this sad reality, but provide a good overview of the label’s brief but glorious run.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After 1948, Russell briefly turned his attention to contemporary European composers like Stravinsky and Schoenberg. Years later he wrote \"Bird Lives!,\" a colorful but often apocryphal account of Charlie Parker’s life. But there’s no denying the musical truth that Russell captured in the studio. This smartly produced box set is designed for collectors who want every note, or anyone who wants a front-row seat at a revolution that continues to reverberate.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The recording industry continues to reel from falling CD sales as music fans flock to low-cost streaming. But this is hardly the first disruptive technology to shake record companies to the core. In the early 1940s, musicians shut down almost all recording in a struggle for increased royalties, seeking compensation for jukebox and radio play. Much like today, seismic changes in the music business opened doors for new sounds and new business models.\u003c/p>\n\u003cp>In Los Angeles, where the wartime boom fueled an explosion of creativity in black music, nearly a dozen independent labels sprang up to document the profusion of talent after the \u003ca href=\"http://www.afm.org/\">American Federation of Musicians\u003c/a> declared a strike in 1942 seeking 1-cent royalties on every record sold. Suddenly, styles ignored or overlooked by the big three -- \u003ca href=\"http://www.decca.com/\">Decca\u003c/a>, \u003ca href=\"http://columbiarecords.com/home\">Columbia\u003c/a> and \u003ca href=\"http://grammys.rcarecords.com/\">Victor\u003c/a> -- found a home, and no indie created a more enduring legacy than \u003ca href=\"http://www.nytimes.com/2000/03/23/arts/ross-russell-90-recorded-charlie-parker.html\">Ross Russell’s Dial Records.\u003c/a>\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/186438043&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/186438043'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Russell, a writer who owned a small Hollywood music shop, launched Dial to record \u003ca href=\"http://www.cmgww.com/music/parker/home.html\">Charlie Parker\u003c/a>, or Bird, the genius alto saxophonist who forged the virtuosic new vocabulary of bebop with trumpeter Dizzy Gillespie. On their first trip to the West Coast, they played a three-month gig at Billy Berg’s, one of the first integrated clubs in Hollywood. The engagement firmly established the bracing new style on the Southland scene, and Russell quickly set about documenting Diz and Bird. When the rest of the band headed home, Parker stayed in L.A. He’s featured on about a third of the tracks on a new nine-disc set by the mail-order label \u003ca href=\"http://www.mosaicrecords.com/The-Complete-Dial-Modern-Jazz-Sessions-260/productinfo/260-MD-CD/\">Mosaic: \"The Complete Dial Modern Jazz Sessions.\"\u003c/a>\u003c/p>\n\u003cp>These recordings are the stuff of legend, capturing Bird on some his first dates under his own name, initially accompanied by a 20-year-old trumpeter named \u003ca href=\"http://www.milesdavis.com/us/home\">Miles Davis\u003c/a>. Focusing on his original pieces, like “Yardbird Suite,” “Ornithology” and “Moose the Mooche,” Parker plays with dazzling fluency.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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When Bird moved back to New York in 1947, Russell and the label followed, recording the quintessential bebop combo on a series of blazing sessions featuring Bird’s working band with Miles, \u003ca href=\"http://www.vervemusicgroup.com/maxroach\">Max Roach\u003c/a>, bassist \u003ca href=\"http://www.allmusic.com/artist/tommy-potter-mn0000521303/biography\">Tommy Potter\u003c/a> and pianist \u003ca href=\"http://musicians.allaboutjazz.com/dukejordan\">Duke Jordan.\u003c/a>\u003c/p>\n\u003cp>But Dial continued to document L.A . modernists like trumpeter \u003ca href=\"http://www.allmusic.com/artist/howard-mcghee-mn0000276917\" target=\"_blank\">Howard McGhee,\u003c/a> pianist \u003ca href=\"http://musicians.allaboutjazz.com/errollgarner\">Erroll Garner\u003c/a> and tenor saxophonist \u003ca href=\"http://www.dextergordon.com/\">Dexter Gordon\u003c/a>, who made a point of featuring another rising L.A. star, trombonist \u003ca href=\"http://thegirlsintheband.com/2013/11/melba-liston/\">Melba Liston \u003c/a>(she went on to do brilliant work as an arranger with \u003ca href=\"http://www.dizzygillespie.com/\">Dizzy Gillespie\u003c/a> and \u003ca href=\"http://www.randyweston.info/\">Randy Weston\u003c/a>). A charismatic musician with a huge, muscular sound, Gordon gained a popular following in L.A. through his epic tenor battles with the lithe-toned Wardell Gray at a Central Avenue chicken joint called The-Bird-in-the-Basket. Using both sides of a 78, Russell captured their fierce but friendly jousting on “The Chase,” one of the label’s most popular records.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Kcscx7IvAiI'\n title='//www.youtube.com/embed/Kcscx7IvAiI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The pieces by Dexter, Bird and Errol Garner, who sounds irrepressibly joyful on solo and trio sessions, have circulated widely over the years, but the box set also includes some eye-opening discoveries. The 21-year-old trumpeter \u003ca href=\"http://www.allmusic.com/artist/sonny-berman-mn0000043619/biography\">Sonny Berman\u003c/a>, who died just months after his session, sounds magnificent with a band gleaned from \u003ca href=\"http://www.woodyherman.com/\">Woody Herman’s\u003c/a> orchestra. McGhee’s work is equally revelatory, as his work with pianist \u003ca href=\"http://musicians.allaboutjazz.com/dodomarmarosa\">Dodo Marmarosa \u003c/a>(who’s also featured on some sparkling trio tracks of his own) shows why he was considered a worthy rival for Gillespie.\u003c/p>\n\u003cp>Bebop is often portrayed as the movement that sundered jazz from its popular following, transforming it from dance music into art music. But that narrative is far too simple. While innovative L.A. artists like blues guitarist T-Bone Walker, R&B crooner Charles Brown, and Joe Liggins and the Honeydrippers siphoned off much of jazz’s black audience, bebop had plenty of support, too.\u003c/p>\n\u003cp>The box set’s subtext is the devastation wrought by heroin on this generation of musicians. The roll call of achingly young casualties includes Bird, Berman, Gray, Fats Navarro and Serge Challof. Gordon, McGhee and drummer Roy Porter lost decades to addiction and incarceration. The liner notes, which aren’t quite up to Mosaic’s Grammy-winning standards, elide this sad reality, but provide a good overview of the label’s brief but glorious run.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After 1948, Russell briefly turned his attention to contemporary European composers like Stravinsky and Schoenberg. Years later he wrote \"Bird Lives!,\" a colorful but often apocryphal account of Charlie Parker’s life. But there’s no denying the musical truth that Russell captured in the studio. This smartly produced box set is designed for collectors who want every note, or anyone who wants a front-row seat at a revolution that continues to reverberate.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "S.F. Tape Music Festival Showcases the Art of Captured Sound",
"title": "S.F. Tape Music Festival Showcases the Art of Captured Sound",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>The Victoria Theatre is packed. It is completely dark except for the glow of emergency exit signs. Vaudeville performers used to fill the stage down in front, but now nothing is there but an array of speakers. Everyone in the audience is facing them, waiting for the sound that will soon erupt into the room.\u003c/p>\n\u003cp>This is the scene in San Francisco at the country's largest, and probably only, tape music festival. The first composition to come out of the speakers: \"La Voz del Fuelle\" by Diana Salazar.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/22319714\" 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>“Tape music” is a term for experimental audio art. Composers record and manipulate sounds with computers and mixers. Then the compositions get projected onto speakers that surround the listeners.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/146590273\" 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>This piece is \"giraSol~giraNada\" by David Arango Valencia, but listening to it on headphones does not do it justice. When it's performed there are no visual distractions. The audio swirls around you, gliding from speaker to speaker, creating its own dimensions inside the darkened room.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the first set, people sitting near me describe the sensation of listening. The woman to my right says she has been listening to this kind of experimental music for 30 years. She likes it because “you don't know where it is going to go.” The man on my left says it makes you “drift in and out of visual memories.” “You feel like you are being pulled into or away from different things,” the woman next to him says. “There were some volcanoes and things happening for sure. I felt like I was in a river.” The guy adds that “it's cool all these people came out to sit in the dark and trip out on all these sounds.”\u003c/p>\n\u003cp>For the festival organizers, it's cool the music draws such a big crowd -- and it's also kind of a shock.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/186436279\" 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>“I had no thought that so many people would be into this kind of music,\" says festival coordinator Matt Ingalls. He started this show with some friends 15 years ago essentially for their own enjoyment. The core Tape Music group is Ingalls, Thom Blum, Kent Jolly, Cliff Caruthers and Joseph Anderson.\u003c/p>\n\u003cp>\"[For the first year], we just got all our home studio equipment together and did a performance,\" Ingalls explains, “and it sounded really cool and we were like, 'Hey, why don't we turn this into a festival?'”\u003c/p>\n\u003cp>The show has grown ever since, as has interest in the genre. Now places like the \u003ca href=\"http://www.sfsymphony.org/About-Us/Press-Room/Press-Releases/SoundBox-Fact-Sheet-14-15.aspx\">San Francisco Symphony\u003c/a> and the city’s \u003ca href=\"http://www.exploratorium.edu/press-office/press-releases/exploratoriums-experimental-music-series-plays-december\">Exploratorium \u003c/a>have experimental music nights. At the yearly Tape Music Festival you can hear new compositions alongside classics, such as the 1930 recording made by German filmmaker \u003ca href=\"https://www.youtube.com/watch?v=KVZVpAVfZ6M\">Walter Ruttman\u003c/a>.\u003c/p>\n\u003cp>Ingalls considers this the first piece of tape music. It's an audio collage of urban sounds titled \"Weekend.\"\u003c/p>\n\u003cp>The name “tape music” comes from the act of recording sounds onto tape. The genre is also called “acousmatic sound” or “Musique Concrète” in France -- there it gained popularity in the '40s and '50s. By the 1960s, tape music had started to influence American rock-and-roll musicians like Frank Zappa.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yDNXsNkX-0c\u003c/p>\n\u003cp>In classic Zappa weirdness, this piece from 1968 is titled \"Nasal Retentive Calliope Music.\"\u003c/p>\n\u003cp>Ingalls says in the '60s it seemed like tape music might become more mainstream. “Everyone felt it was moving that way,” he says. “It was a very experimental time for music, but somehow, somehow music lost its way and moved back to more mundane pop.”\u003c/p>\n\u003cp>Instead of becoming popular, experimental music moved into academia and became computerized. Former UC Berkeley Professor David Wessel wrote this piece, \"Antony,\" in 1977. He created the music by using a mainframe computer to layer numerous sine waves of sound on top of each other.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9GCZ53HRdH0\u003c/p>\n\u003cp>Modern composers like \u003ca href=\"https://soundcloud.com/thom-blum\">Thom Blum\u003c/a> and Cliff Caruthers now depend on computers, but the heart of tape music still lies in the sounds they record. “I've always been interested in sound,” Caruthers says. “Even as a little kid, those things always fascinated me.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/97507481\" 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 piece, \"Natoma\" features recordings of water, Caruthers' dad reading a children's book, an instrument his friend made, and the New York subway. “For a long time whenever I would take a trip, that recorder was on my hip and always just collecting sounds,\" he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Caruthers calls his compositions audio sculptures, built out of those little bits of sound he gathers from all around him.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Victoria Theatre is packed. It is completely dark except for the glow of emergency exit signs. Vaudeville performers used to fill the stage down in front, but now nothing is there but an array of speakers. Everyone in the audience is facing them, waiting for the sound that will soon erupt into the room.\u003c/p>\n\u003cp>This is the scene in San Francisco at the country's largest, and probably only, tape music festival. The first composition to come out of the speakers: \"La Voz del Fuelle\" by Diana Salazar.\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/22319714&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/22319714'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Tape music” is a term for experimental audio art. Composers record and manipulate sounds with computers and mixers. Then the compositions get projected onto speakers that surround the listeners.\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/146590273&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/146590273'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This piece is \"giraSol~giraNada\" by David Arango Valencia, but listening to it on headphones does not do it justice. When it's performed there are no visual distractions. The audio swirls around you, gliding from speaker to speaker, creating its own dimensions inside the darkened room.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the first set, people sitting near me describe the sensation of listening. The woman to my right says she has been listening to this kind of experimental music for 30 years. She likes it because “you don't know where it is going to go.” The man on my left says it makes you “drift in and out of visual memories.” “You feel like you are being pulled into or away from different things,” the woman next to him says. “There were some volcanoes and things happening for sure. I felt like I was in a river.” The guy adds that “it's cool all these people came out to sit in the dark and trip out on all these sounds.”\u003c/p>\n\u003cp>For the festival organizers, it's cool the music draws such a big crowd -- and it's also kind of a shock.\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/186436279&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/186436279'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I had no thought that so many people would be into this kind of music,\" says festival coordinator Matt Ingalls. He started this show with some friends 15 years ago essentially for their own enjoyment. The core Tape Music group is Ingalls, Thom Blum, Kent Jolly, Cliff Caruthers and Joseph Anderson.\u003c/p>\n\u003cp>\"[For the first year], we just got all our home studio equipment together and did a performance,\" Ingalls explains, “and it sounded really cool and we were like, 'Hey, why don't we turn this into a festival?'”\u003c/p>\n\u003cp>The show has grown ever since, as has interest in the genre. Now places like the \u003ca href=\"http://www.sfsymphony.org/About-Us/Press-Room/Press-Releases/SoundBox-Fact-Sheet-14-15.aspx\">San Francisco Symphony\u003c/a> and the city’s \u003ca href=\"http://www.exploratorium.edu/press-office/press-releases/exploratoriums-experimental-music-series-plays-december\">Exploratorium \u003c/a>have experimental music nights. At the yearly Tape Music Festival you can hear new compositions alongside classics, such as the 1930 recording made by German filmmaker \u003ca href=\"https://www.youtube.com/watch?v=KVZVpAVfZ6M\">Walter Ruttman\u003c/a>.\u003c/p>\n\u003cp>Ingalls considers this the first piece of tape music. It's an audio collage of urban sounds titled \"Weekend.\"\u003c/p>\n\u003cp>The name “tape music” comes from the act of recording sounds onto tape. The genre is also called “acousmatic sound” or “Musique Concrète” in France -- there it gained popularity in the '40s and '50s. By the 1960s, tape music had started to influence American rock-and-roll musicians like Frank Zappa.\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/yDNXsNkX-0c'\n title='//www.youtube.com/embed/yDNXsNkX-0c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In classic Zappa weirdness, this piece from 1968 is titled \"Nasal Retentive Calliope Music.\"\u003c/p>\n\u003cp>Ingalls says in the '60s it seemed like tape music might become more mainstream. “Everyone felt it was moving that way,” he says. “It was a very experimental time for music, but somehow, somehow music lost its way and moved back to more mundane pop.”\u003c/p>\n\u003cp>Instead of becoming popular, experimental music moved into academia and became computerized. Former UC Berkeley Professor David Wessel wrote this piece, \"Antony,\" in 1977. He created the music by using a mainframe computer to layer numerous sine waves of sound on top of each other.\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/9GCZ53HRdH0'\n title='//www.youtube.com/embed/9GCZ53HRdH0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Modern composers like \u003ca href=\"https://soundcloud.com/thom-blum\">Thom Blum\u003c/a> and Cliff Caruthers now depend on computers, but the heart of tape music still lies in the sounds they record. “I've always been interested in sound,” Caruthers says. “Even as a little kid, those things always fascinated me.”\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/97507481&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/97507481'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>His piece, \"Natoma\" features recordings of water, Caruthers' dad reading a children's book, an instrument his friend made, and the New York subway. “For a long time whenever I would take a trip, that recorder was on my hip and always just collecting sounds,\" he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Caruthers calls his compositions audio sculptures, built out of those little bits of sound he gathers from all around him.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "In L.A., Mozart's 'Figaro' Recast as an Immigration Opera",
"title": "In L.A., Mozart's 'Figaro' Recast as an Immigration Opera",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>President Barack Obama’s \u003ca href=\"recent%20executive%20action\">recent executive action\u003c/a> made it more likely that millions of undocumented immigrants in the United States will have a path to citizenship.\u003c/p>\n\u003cp>But Republicans in Congress call the changes “executive overreach” and are \u003ca href=\"http://www.nationaljournal.com/congress/house-gop-centrists-push-back-on-immigration-20150114\">pushing back\u003c/a>. Also this month, for the first time, undocumented immigrants in California will be able to get \u003ca href=\"http://abc7.com/politics/10000-undocumented-immigrants-granted-california-drivers-licenses/474313/\">driver’s licenses\u003c/a>.\u003c/p>\n\u003cp>This weekend, the debate over immigration reform is moving to an unlikely venue -- the opera.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/186434168\" 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>Mozart’s “\u003ca href=\"http://www.britannica.com/EBchecked/topic/366268/The-Marriage-of-Figaro\">The Marriage of Figaro\u003c/a>” is one of the most beloved and widely performed operas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the Italian libretto, written by Lorenzo Da Ponte and based on the stage comedy by Pierre Beaumarchais, Figaro is a heroic everyman, and a personal servant to the count.\u003c/p>\n\u003cp>The count is a sleazy aristocrat pursuing Figaro's bride-to-be, Susana. The couple and the countess team up to expose the count’s efforts to seduce Susana before she marries Figaro.\u003c/p>\n\u003cp>That’s the nutshell of an opera that has delighted audiences for over two centuries. But it didn’t start out as very popular. The storyline, of a servant making a fool of his master, was seen as a challenge to the aristocracy.\u003c/p>\n\u003cfigure id=\"attachment_10408435\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/CountAndSusana.jpg\">\u003cimg class=\"wp-image-10408435 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/CountAndSusana-400x529.jpg\" alt=\"Craig Colclough as Paul Conti and Maria Elena Altana as Susana.\" width=\"400\" height=\"529\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/01/CountAndSusana-400x529.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/01/CountAndSusana-800x1059.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/01/CountAndSusana.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Craig Colclough as Paul Conti and Maria Elena Altana as Susana. \u003ccite>(Ben Gibbs/LA Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The play, when it originally premiered, was actually banned in France for several years because it was considered so subversive,” says Vid Guerrerio, a librettist in Los Angeles. He decided “The Marriage of Figaro” could use a modern take.\u003c/p>\n\u003cp>“My goal was absolutely to kind of brush off some of the dust that’s accumulated over the last, you know, 250 years, and let contemporary audiences really see what a fresh, daring, even dangerous piece of art the original 'Marriage of Figaro' was,” Guerrerio explains.\u003c/p>\n\u003cp>In Guerrerio’s version, \u003ca href=\"http://www.laopera.org/season/1415-Season-at-a-Glance/Figaro90210/\">“¡Figaro! (90210),”\u003c/a> staged by the LA Opera, Figaro is a handyman and his fiancee, Susana, is a housekeeper. They’re undocumented immigrants working in a Beverly Hills mansion.\u003c/p>\n\u003cp>At a recent rehearsal, Craig Colclough plays the role of the count, now a real estate mogul named Paul Conti. He’s conflicted about whether to help Susana avoid deportation.\u003c/p>\n\u003cp>“For just a few thousand dollars I can save her, but does that mean it’s the right thing to do?\" Colclough sings. “She made a contract, and contracts must be respected. Plus, she’s here illegally, it’s all connected. If she pays nothing, no penance, the rule of law in this country goes unprotected!”\u003c/p>\n\u003cp>In the next scene, Susana, played by Maria Elena Altany, hatches a plan with her boss’s wife, who’s caught on to her husband’s wandering eye. They decide to trap him in the act by having Susana seduce him.\u003c/p>\n\u003cp>“So punish me. I will not try to change it. Tonight we shall arrange it,” Altany sings.\u003c/p>\n\u003cp>“Wait! Am I hearing you clearly?,” Colclough replies.\u003c/p>\n\u003cp>She sings: “You must punish me severely!\"\u003c/p>\n\u003cp>“Severely!” He cries out incredulously.\u003c/p>\n\u003cfigure id=\"attachment_10408430\" class=\"wp-caption alignleft\" style=\"max-width: 440px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/Figaro2.jpg\">\u003cimg class=\"wp-image-10408430\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/Figaro2-400x283.jpg\" alt=\"E. Scott Levin as Babayan, with Miki Yamashita (L) as Soon-Yi Nam.\" width=\"440\" height=\"311\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/01/Figaro2-400x283.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/01/Figaro2-800x566.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/01/Figaro2.jpg 1440w\" sizes=\"(max-width: 440px) 100vw, 440px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">E. Scott Levin as Babayan, with Miki Yamashita (L) as Soon-Yi Nam. \u003ccite>(Ben Gibbs/LA Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Figaro” was written as an \u003cem>opera buffa\u003c/em>, a comic opera. The new adaptation received \u003ca href=\"http://www.nytimes.com/2013/06/17/arts/music/call-it-the-green-card-of-figaro-with-thanks-to-mozart.html?_r=3&http://www.nytimes.com/2013/06/17/arts/music/call-it-the-green-card-of-figaro-withhttp://www.nytimes.com/2013/06/17/arts/music/call-it-the-green-card-of-figaro-with-thanks-to-mozart.html?_r=3&thanks-to-mozart.html?_r=3&\">high praise\u003c/a> from the New York Times for its humor as well as its underlying drama.\u003c/p>\n\u003cp>Altany says she relates to the subject matter.\u003c/p>\n\u003cp>Her grandparents emigrated from Mexico to California’s Central Valley, and though she grew up comfortably in San Francisco, she was always conscious of the difficulties facing many immigrants to the U.S.\u003c/p>\n\u003cp>“I can’t imagine the stress of being undocumented, of being afraid to drive or to get your license or to go to school because they might check your papers,\" Altany says. \"You know, it’s really incredible what people go through to be here.\"\u003c/p>\n\u003cp>In \"¡Figaro! (90210)\" Susana crosses the border in exchange for promising to work in a sweatshop, but she manages to escape -- until her old boss comes looking for her.\u003c/p>\n\u003cp>“She gets out of it, but that’s still hanging over her head all the time, and it’s just a constant fear,” explains Altany. “And I think an issue that’s really important to me as a woman, is that she has to deal with sexual harassment and blackmail, which is such a big issue for Latina communities in L.A., especially those who are undocumented. It’s such a vulnerable population, so easily preyed on.”\u003c/p>\n\u003cp>Guerrerio says he wanted to put the issue of illegal immigration into an opera in order to humanize it, and take it out of the realm of political debate. Even the character of the count, the selfish real estate tycoon, is given a back story that helps explain his position.\u003c/p>\n\u003cfigure id=\"attachment_10408493\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/FigaroSusana.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/FigaroSusana-400x564.jpg\" alt=\"Jose Adan Perez as Figaro and Maria Elena Altana as Susana.\" width=\"400\" height=\"564\" class=\"size-thumbnail wp-image-10408493\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/01/FigaroSusana-400x564.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/01/FigaroSusana-800x1129.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/01/FigaroSusana.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jose Adan Perez as Figaro and Maria Elena Altana as Susana. \u003ccite>(Ben Gibbs/LA Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He still starts, saying, you know, ‘the glue of this great nation is true assimilation,’ ” Guerrerio says. Then Conti sheds some light on his own background. “And the lines are, ‘My folks may not have swum here, but living in a slum here, dad said, son, we are scum here. You must speak like you’re from here,’ ” Guerrerio explains.\u003c/p>\n\u003cp>Guerrerio says that history elevates Conti from a stock villain. And it also comes from personal experience. Guerrerio grew up in an Italian-American family, where his grandparents forced his parents to speak English.\u003c/p>\n\u003cp>“And that was because growing up in the ‘50s, it was absolutely crucial that, ‘You are America, you speak American,’ ” says Guerrerio.\u003c/p>\n\u003cp>The whole concept of \"¡Figaro! (90210),\" Guerrerio says, stemmed from a single moment: seeing a family member yell at an ATM machine because the screen asked, “English or Spanish?”\u003c/p>\n\u003cp>“So, for this family member, who had lived through an experience of giving up their family identity, their cultural identity, to become American, this notion that now, America was changing, and you didn’t have to choose, you didn’t have to adapt, you could somehow be multiple things at once, provoked an emotional reaction,” he says. “And I think the emotional reaction was grief.”\u003c/p>\n\u003cp>Figaro and Susana’s boss, Paul Conti, resents it when laws are broken, and perhaps is bitter over forfeiting his culture in the pursuit of assimilation. Guerrerio says this is a real viewpoint that he hopes audiences consider, along with the perspective of the undocumented immigrants.\u003c/p>\n\u003cp>In the end, it’s an opera about people, not policies.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>LA Opera presents the world premiere staging of \"¡Figaro! (90210)\" at the Barnsdall Gallery Theatre in Los Angeles Jan. 16-18.\u003c/em>\u003c/p>\n\n",
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"title": "In L.A., Mozart's 'Figaro' Recast as an Immigration Opera | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>President Barack Obama’s \u003ca href=\"recent%20executive%20action\">recent executive action\u003c/a> made it more likely that millions of undocumented immigrants in the United States will have a path to citizenship.\u003c/p>\n\u003cp>But Republicans in Congress call the changes “executive overreach” and are \u003ca href=\"http://www.nationaljournal.com/congress/house-gop-centrists-push-back-on-immigration-20150114\">pushing back\u003c/a>. Also this month, for the first time, undocumented immigrants in California will be able to get \u003ca href=\"http://abc7.com/politics/10000-undocumented-immigrants-granted-california-drivers-licenses/474313/\">driver’s licenses\u003c/a>.\u003c/p>\n\u003cp>This weekend, the debate over immigration reform is moving to an unlikely venue -- the opera.\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/186434168&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/186434168'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Mozart’s “\u003ca href=\"http://www.britannica.com/EBchecked/topic/366268/The-Marriage-of-Figaro\">The Marriage of Figaro\u003c/a>” is one of the most beloved and widely performed operas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the Italian libretto, written by Lorenzo Da Ponte and based on the stage comedy by Pierre Beaumarchais, Figaro is a heroic everyman, and a personal servant to the count.\u003c/p>\n\u003cp>The count is a sleazy aristocrat pursuing Figaro's bride-to-be, Susana. The couple and the countess team up to expose the count’s efforts to seduce Susana before she marries Figaro.\u003c/p>\n\u003cp>That’s the nutshell of an opera that has delighted audiences for over two centuries. But it didn’t start out as very popular. The storyline, of a servant making a fool of his master, was seen as a challenge to the aristocracy.\u003c/p>\n\u003cfigure id=\"attachment_10408435\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/CountAndSusana.jpg\">\u003cimg class=\"wp-image-10408435 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/CountAndSusana-400x529.jpg\" alt=\"Craig Colclough as Paul Conti and Maria Elena Altana as Susana.\" width=\"400\" height=\"529\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/01/CountAndSusana-400x529.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/01/CountAndSusana-800x1059.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/01/CountAndSusana.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Craig Colclough as Paul Conti and Maria Elena Altana as Susana. \u003ccite>(Ben Gibbs/LA Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The play, when it originally premiered, was actually banned in France for several years because it was considered so subversive,” says Vid Guerrerio, a librettist in Los Angeles. He decided “The Marriage of Figaro” could use a modern take.\u003c/p>\n\u003cp>“My goal was absolutely to kind of brush off some of the dust that’s accumulated over the last, you know, 250 years, and let contemporary audiences really see what a fresh, daring, even dangerous piece of art the original 'Marriage of Figaro' was,” Guerrerio explains.\u003c/p>\n\u003cp>In Guerrerio’s version, \u003ca href=\"http://www.laopera.org/season/1415-Season-at-a-Glance/Figaro90210/\">“¡Figaro! (90210),”\u003c/a> staged by the LA Opera, Figaro is a handyman and his fiancee, Susana, is a housekeeper. They’re undocumented immigrants working in a Beverly Hills mansion.\u003c/p>\n\u003cp>At a recent rehearsal, Craig Colclough plays the role of the count, now a real estate mogul named Paul Conti. He’s conflicted about whether to help Susana avoid deportation.\u003c/p>\n\u003cp>“For just a few thousand dollars I can save her, but does that mean it’s the right thing to do?\" Colclough sings. “She made a contract, and contracts must be respected. Plus, she’s here illegally, it’s all connected. If she pays nothing, no penance, the rule of law in this country goes unprotected!”\u003c/p>\n\u003cp>In the next scene, Susana, played by Maria Elena Altany, hatches a plan with her boss’s wife, who’s caught on to her husband’s wandering eye. They decide to trap him in the act by having Susana seduce him.\u003c/p>\n\u003cp>“So punish me. I will not try to change it. Tonight we shall arrange it,” Altany sings.\u003c/p>\n\u003cp>“Wait! Am I hearing you clearly?,” Colclough replies.\u003c/p>\n\u003cp>She sings: “You must punish me severely!\"\u003c/p>\n\u003cp>“Severely!” He cries out incredulously.\u003c/p>\n\u003cfigure id=\"attachment_10408430\" class=\"wp-caption alignleft\" style=\"max-width: 440px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/Figaro2.jpg\">\u003cimg class=\"wp-image-10408430\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/Figaro2-400x283.jpg\" alt=\"E. Scott Levin as Babayan, with Miki Yamashita (L) as Soon-Yi Nam.\" width=\"440\" height=\"311\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/01/Figaro2-400x283.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/01/Figaro2-800x566.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/01/Figaro2.jpg 1440w\" sizes=\"(max-width: 440px) 100vw, 440px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">E. Scott Levin as Babayan, with Miki Yamashita (L) as Soon-Yi Nam. \u003ccite>(Ben Gibbs/LA Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Figaro” was written as an \u003cem>opera buffa\u003c/em>, a comic opera. The new adaptation received \u003ca href=\"http://www.nytimes.com/2013/06/17/arts/music/call-it-the-green-card-of-figaro-with-thanks-to-mozart.html?_r=3&http://www.nytimes.com/2013/06/17/arts/music/call-it-the-green-card-of-figaro-withhttp://www.nytimes.com/2013/06/17/arts/music/call-it-the-green-card-of-figaro-with-thanks-to-mozart.html?_r=3&thanks-to-mozart.html?_r=3&\">high praise\u003c/a> from the New York Times for its humor as well as its underlying drama.\u003c/p>\n\u003cp>Altany says she relates to the subject matter.\u003c/p>\n\u003cp>Her grandparents emigrated from Mexico to California’s Central Valley, and though she grew up comfortably in San Francisco, she was always conscious of the difficulties facing many immigrants to the U.S.\u003c/p>\n\u003cp>“I can’t imagine the stress of being undocumented, of being afraid to drive or to get your license or to go to school because they might check your papers,\" Altany says. \"You know, it’s really incredible what people go through to be here.\"\u003c/p>\n\u003cp>In \"¡Figaro! (90210)\" Susana crosses the border in exchange for promising to work in a sweatshop, but she manages to escape -- until her old boss comes looking for her.\u003c/p>\n\u003cp>“She gets out of it, but that’s still hanging over her head all the time, and it’s just a constant fear,” explains Altany. “And I think an issue that’s really important to me as a woman, is that she has to deal with sexual harassment and blackmail, which is such a big issue for Latina communities in L.A., especially those who are undocumented. It’s such a vulnerable population, so easily preyed on.”\u003c/p>\n\u003cp>Guerrerio says he wanted to put the issue of illegal immigration into an opera in order to humanize it, and take it out of the realm of political debate. Even the character of the count, the selfish real estate tycoon, is given a back story that helps explain his position.\u003c/p>\n\u003cfigure id=\"attachment_10408493\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/FigaroSusana.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/FigaroSusana-400x564.jpg\" alt=\"Jose Adan Perez as Figaro and Maria Elena Altana as Susana.\" width=\"400\" height=\"564\" class=\"size-thumbnail wp-image-10408493\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/01/FigaroSusana-400x564.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/01/FigaroSusana-800x1129.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/01/FigaroSusana.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jose Adan Perez as Figaro and Maria Elena Altana as Susana. \u003ccite>(Ben Gibbs/LA Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He still starts, saying, you know, ‘the glue of this great nation is true assimilation,’ ” Guerrerio says. Then Conti sheds some light on his own background. “And the lines are, ‘My folks may not have swum here, but living in a slum here, dad said, son, we are scum here. You must speak like you’re from here,’ ” Guerrerio explains.\u003c/p>\n\u003cp>Guerrerio says that history elevates Conti from a stock villain. And it also comes from personal experience. Guerrerio grew up in an Italian-American family, where his grandparents forced his parents to speak English.\u003c/p>\n\u003cp>“And that was because growing up in the ‘50s, it was absolutely crucial that, ‘You are America, you speak American,’ ” says Guerrerio.\u003c/p>\n\u003cp>The whole concept of \"¡Figaro! (90210),\" Guerrerio says, stemmed from a single moment: seeing a family member yell at an ATM machine because the screen asked, “English or Spanish?”\u003c/p>\n\u003cp>“So, for this family member, who had lived through an experience of giving up their family identity, their cultural identity, to become American, this notion that now, America was changing, and you didn’t have to choose, you didn’t have to adapt, you could somehow be multiple things at once, provoked an emotional reaction,” he says. “And I think the emotional reaction was grief.”\u003c/p>\n\u003cp>Figaro and Susana’s boss, Paul Conti, resents it when laws are broken, and perhaps is bitter over forfeiting his culture in the pursuit of assimilation. Guerrerio says this is a real viewpoint that he hopes audiences consider, along with the perspective of the undocumented immigrants.\u003c/p>\n\u003cp>In the end, it’s an opera about people, not policies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_23461\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/01/RS13926_20150105_boomtown_rwc_jt-2-qut.jpg\">\u003cimg class=\"size-large wp-image-23461\" title=\"\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/01/RS13926_20150105_boomtown_rwc_jt-2-qut-640x427.jpg\" alt=\"Dwight Hicks rehearses at the Berkeley Rep for his upcoming show "X's and O's: a Football Love Story in Berkeley, Calif. on Tuesday, Jan. 6, 2015. The play is about concussions and football. (James Tensuan)\" width=\"640\" height=\"427\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Former 49ers player Dwight Hicks (left) rehearses at the Berkeley Repertory Theatre for the upcoming show \u003cem>X's and O's (A Football Love Story)\u003c/em>. The play examines American passion for a dangerous sport. (James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>By April Dembosky\u003c/strong>\u003c/p>\n\u003cp>Football injuries are a badge of honor. A broken sternum, a busted knee, a pierced kidney: each a piece of evidence proving tenacity on the field.\u003c/p>\n\u003caside class=\"pullquote alignleft\">The play delves into a cultural conversation of what it means to be a football fan.\u003c/aside>\n\u003cp>In a scene in \u003ca title=\"http://www.berkeleyrep.org/season/1415/8241.asp\" href=\"http://www.berkeleyrep.org/season/1415/8241.asp\" target=\"_blank\">\u003cem>X's and O's (A Football Love Story)\u003c/em>\u003c/a>, a play having its world premiere at the Berkeley Repertory Theatre this month, a trio of retired players crosses the stage in a round-robin, bragging about the quantity and severity of their injuries.\u003c/p>\n\u003cp>“I had 22 surgeries,” says one man.\u003c/p>\n\u003cp>“Oh, we’re counting? I had 37 surgeries,” counters another, only to have a third trump them both: “Sixty-four surgeries,” he says definitively.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then the trio repeats: “Blew out both Achilles.” “Separated shoulder.” “Broken collarbone: Tape it up and back in the game.”\u003c!--more-->\u003c/p>\n\u003cp>Playwrights KJ Sanchez and Jenny Mercein based the play on interviews with former professional football players, their families and their fans. They took on the brutal culture of football and the growing controversy surrounding concussions –- and tried to square that with their own fandom.\u003c/p>\n\u003cp>“We started to talk about how many conflicted feelings we had about loving the game, now understanding the significance of the damage that the game does,” Sanchez says.\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/186194548&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>In the early 2000s, more and more retired football players began reporting symptoms of early-onset Alzheimer's disease. Others were showing personality changes, rage and depression: signs of a condition called chronic traumatic encephalopathy, or CTE. A diagnosis can be confirmed only post-mortem, by examining the dissected brain.\u003c/p>\n\u003cp>“When this information started coming out, I was like, ‘Wow. This is something I might have to deal with later on,’ ” says Dwight Hicks, who spent six years playing defense for the San Francisco 49ers in the early '80s, and now portrays a retired football pro in the play. “It wasn’t scary. Until some of the prominent players, guys that I knew, some of the guys that I played against, started to have this problem.”\u003c/p>\n\u003cp>The play picks up where investigative journalism and research journals leave off, delving into a cultural conversation of what it means to be a football fan, and what the game says about America, in light of emerging science that reveals lasting brain damage from repeated hits to the head.\u003c/p>\n\u003cp>\u003cstrong>Intense Conversations About Violence of the Game\u003c/strong>\u003c/p>\n\u003cp>Sanchez says this is not the first time football has confronted this identity crisis.\u003c/p>\n\u003cp>“There have been intense conversations about the violence of the game, the brutality of the game, and the safety of the players,” she says. “Through every generation, we knew what the risks were.”\u003c/p>\n\u003cp>Throughout the play, there are breaks in the narrative where the cast recites historic milestones and debates. Sanchez based these on archival documents and news articles.\u003c/p>\n\u003cp>“1869! Rutgers and Princeton play the first college football game!” one actor says, while the chorus marches to John Philip Sousa. “1892! William ‘Pudge’ Heffelfinger gets paid $500 to play and professional football is born!”\u003c/p>\n\u003cp>In 1905, 19 players died playing football. The president of Harvard at the time, Charles Eliot, wanted to banish the game.\u003c/p>\n\u003cp>The Eliot character declares, “Today’s football is a boy-killing, education-prostituting, gladiatorial sport!\"\u003c/p>\n\u003cp>Then, Teddy Roosevelt, president of the United States, steps into the debate.\u003c/p>\n\u003cp>“The bruising nature of football instills manly virtues and builds strong bodies, when with each passing day America risks becoming less rugged and virile,\" says the actor playing Roosevelt. \"Surely we can minimize the danger without having to play the game on too ladylike a basis.\"\u003c/p>\n\u003cp>One American response to saving the game was to improve the protective gear players wore. But Sanchez says making better helmets is part of what led to more serious injuries.\u003c/p>\n\u003cp>“Because the better the helmet, the more invincible the player,” she says. “You are more likely to turn yourself into a human javelin.\"\u003c/p>\n\u003cp>She wrote a team physician into the play to explain how these head injuries happen. CAT scans of brains flash on a video screen behind her.\u003c/p>\n\u003cp>“What happens is, the brain, it’s almost like a yolk inside of an eggshell,” she says. Even with the protection of a helmet, “the yolk is still going to hit on one side of the shell and then the opposite side of the shell.”\u003c/p>\n\u003cp>It’s the buildup of those smaller subconcussive hits that leads to lasting injuries.\u003c/p>\n\u003cp>“So a better helmet does not keep your brain from sloshing around inside of its skull,” Sanchez says.\u003c/p>\n\u003cp>Every holiday, Sanchez and her husband watch highlight reels of the best football plays. At various times in her life, she has rooted for the Green Bay Packers, the New England Patriots and the Dallas Cowboys.\u003c/p>\n\u003cp>“One of my first girlhood crushes was on Tom Landry,” she admits, laughing, “which says way too much about me.”\u003c/p>\n\u003cp>\u003cstrong>Questioning Fans' Responsibility for Players\u003c/strong>\u003c/p>\n\u003cp>After Junior Seau, a beloved San Diego Charger, committed suicide in 2012, Sanchez’s reckoning with the game began in earnest. While writing \u003cem>X's and O's\u003c/em>, she and collaborator Mercein began to ask themselves whether they, as fans, had some responsibility for the players, and for the fate of football.\u003c/p>\n\u003cp>They created a table of fans at a bar who appear in scenes interspersed throughout the play, asking each other what will happen to football.\u003c/p>\n\u003cp>“If football goes away,” ponders one fan.\u003c/p>\n\u003cp>“It’s not going to go away,” her friend interrupts.\u003c/p>\n\u003cp>“My family, we don’t go to church … football is our way of being part of something bigger,” she says. “I have to admit I’d be lonely.”\u003c/p>\n\u003cp>They question the violence of the game. How violent it needs to be in order to be entertaining. And what they really get out of the violence.\u003c/p>\n\u003cp>“I think I watch it for the moment not when the guy gets knocked down. But rather the moment he gets back up,” the fan says. “I think I need to remember we can get back up.”\u003c/p>\n\u003cp>After the play runs in theaters, Sanchez plans to take it to colleges and high schools. She wants to start conversations like these in the community, especially among young people who will decide whether to play or not, and how much of their future they want to bet on football.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Previews for \"\u003ca title=\"http://www.berkeleyrep.org/season/1415/8241.asp\" href=\"http://www.berkeleyrep.org/season/1415/8241.asp\" target=\"_blank\">X's and O's (A Football Love Story)\u003c/a>\" begin Jan. 16 at the Berkeley Repertory Theater. The show officially opens Jan. 23 and runs through March 1. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_23461\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/01/RS13926_20150105_boomtown_rwc_jt-2-qut.jpg\">\u003cimg class=\"size-large wp-image-23461\" title=\"\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/01/RS13926_20150105_boomtown_rwc_jt-2-qut-640x427.jpg\" alt=\"Dwight Hicks rehearses at the Berkeley Rep for his upcoming show "X's and O's: a Football Love Story in Berkeley, Calif. on Tuesday, Jan. 6, 2015. The play is about concussions and football. (James Tensuan)\" width=\"640\" height=\"427\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Former 49ers player Dwight Hicks (left) rehearses at the Berkeley Repertory Theatre for the upcoming show \u003cem>X's and O's (A Football Love Story)\u003c/em>. The play examines American passion for a dangerous sport. (James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>By April Dembosky\u003c/strong>\u003c/p>\n\u003cp>Football injuries are a badge of honor. A broken sternum, a busted knee, a pierced kidney: each a piece of evidence proving tenacity on the field.\u003c/p>\n\u003caside class=\"pullquote alignleft\">The play delves into a cultural conversation of what it means to be a football fan.\u003c/aside>\n\u003cp>In a scene in \u003ca title=\"http://www.berkeleyrep.org/season/1415/8241.asp\" href=\"http://www.berkeleyrep.org/season/1415/8241.asp\" target=\"_blank\">\u003cem>X's and O's (A Football Love Story)\u003c/em>\u003c/a>, a play having its world premiere at the Berkeley Repertory Theatre this month, a trio of retired players crosses the stage in a round-robin, bragging about the quantity and severity of their injuries.\u003c/p>\n\u003cp>“I had 22 surgeries,” says one man.\u003c/p>\n\u003cp>“Oh, we’re counting? I had 37 surgeries,” counters another, only to have a third trump them both: “Sixty-four surgeries,” he says definitively.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then the trio repeats: “Blew out both Achilles.” “Separated shoulder.” “Broken collarbone: Tape it up and back in the game.”\u003c!--more-->\u003c/p>\n\u003cp>Playwrights KJ Sanchez and Jenny Mercein based the play on interviews with former professional football players, their families and their fans. They took on the brutal culture of football and the growing controversy surrounding concussions –- and tried to square that with their own fandom.\u003c/p>\n\u003cp>“We started to talk about how many conflicted feelings we had about loving the game, now understanding the significance of the damage that the game does,” Sanchez says.\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/186194548&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>In the early 2000s, more and more retired football players began reporting symptoms of early-onset Alzheimer's disease. Others were showing personality changes, rage and depression: signs of a condition called chronic traumatic encephalopathy, or CTE. A diagnosis can be confirmed only post-mortem, by examining the dissected brain.\u003c/p>\n\u003cp>“When this information started coming out, I was like, ‘Wow. This is something I might have to deal with later on,’ ” says Dwight Hicks, who spent six years playing defense for the San Francisco 49ers in the early '80s, and now portrays a retired football pro in the play. “It wasn’t scary. Until some of the prominent players, guys that I knew, some of the guys that I played against, started to have this problem.”\u003c/p>\n\u003cp>The play picks up where investigative journalism and research journals leave off, delving into a cultural conversation of what it means to be a football fan, and what the game says about America, in light of emerging science that reveals lasting brain damage from repeated hits to the head.\u003c/p>\n\u003cp>\u003cstrong>Intense Conversations About Violence of the Game\u003c/strong>\u003c/p>\n\u003cp>Sanchez says this is not the first time football has confronted this identity crisis.\u003c/p>\n\u003cp>“There have been intense conversations about the violence of the game, the brutality of the game, and the safety of the players,” she says. “Through every generation, we knew what the risks were.”\u003c/p>\n\u003cp>Throughout the play, there are breaks in the narrative where the cast recites historic milestones and debates. Sanchez based these on archival documents and news articles.\u003c/p>\n\u003cp>“1869! Rutgers and Princeton play the first college football game!” one actor says, while the chorus marches to John Philip Sousa. “1892! William ‘Pudge’ Heffelfinger gets paid $500 to play and professional football is born!”\u003c/p>\n\u003cp>In 1905, 19 players died playing football. The president of Harvard at the time, Charles Eliot, wanted to banish the game.\u003c/p>\n\u003cp>The Eliot character declares, “Today’s football is a boy-killing, education-prostituting, gladiatorial sport!\"\u003c/p>\n\u003cp>Then, Teddy Roosevelt, president of the United States, steps into the debate.\u003c/p>\n\u003cp>“The bruising nature of football instills manly virtues and builds strong bodies, when with each passing day America risks becoming less rugged and virile,\" says the actor playing Roosevelt. \"Surely we can minimize the danger without having to play the game on too ladylike a basis.\"\u003c/p>\n\u003cp>One American response to saving the game was to improve the protective gear players wore. But Sanchez says making better helmets is part of what led to more serious injuries.\u003c/p>\n\u003cp>“Because the better the helmet, the more invincible the player,” she says. “You are more likely to turn yourself into a human javelin.\"\u003c/p>\n\u003cp>She wrote a team physician into the play to explain how these head injuries happen. CAT scans of brains flash on a video screen behind her.\u003c/p>\n\u003cp>“What happens is, the brain, it’s almost like a yolk inside of an eggshell,” she says. Even with the protection of a helmet, “the yolk is still going to hit on one side of the shell and then the opposite side of the shell.”\u003c/p>\n\u003cp>It’s the buildup of those smaller subconcussive hits that leads to lasting injuries.\u003c/p>\n\u003cp>“So a better helmet does not keep your brain from sloshing around inside of its skull,” Sanchez says.\u003c/p>\n\u003cp>Every holiday, Sanchez and her husband watch highlight reels of the best football plays. At various times in her life, she has rooted for the Green Bay Packers, the New England Patriots and the Dallas Cowboys.\u003c/p>\n\u003cp>“One of my first girlhood crushes was on Tom Landry,” she admits, laughing, “which says way too much about me.”\u003c/p>\n\u003cp>\u003cstrong>Questioning Fans' Responsibility for Players\u003c/strong>\u003c/p>\n\u003cp>After Junior Seau, a beloved San Diego Charger, committed suicide in 2012, Sanchez’s reckoning with the game began in earnest. While writing \u003cem>X's and O's\u003c/em>, she and collaborator Mercein began to ask themselves whether they, as fans, had some responsibility for the players, and for the fate of football.\u003c/p>\n\u003cp>They created a table of fans at a bar who appear in scenes interspersed throughout the play, asking each other what will happen to football.\u003c/p>\n\u003cp>“If football goes away,” ponders one fan.\u003c/p>\n\u003cp>“It’s not going to go away,” her friend interrupts.\u003c/p>\n\u003cp>“My family, we don’t go to church … football is our way of being part of something bigger,” she says. “I have to admit I’d be lonely.”\u003c/p>\n\u003cp>They question the violence of the game. How violent it needs to be in order to be entertaining. And what they really get out of the violence.\u003c/p>\n\u003cp>“I think I watch it for the moment not when the guy gets knocked down. But rather the moment he gets back up,” the fan says. “I think I need to remember we can get back up.”\u003c/p>\n\u003cp>After the play runs in theaters, Sanchez plans to take it to colleges and high schools. She wants to start conversations like these in the community, especially among young people who will decide whether to play or not, and how much of their future they want to bet on football.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Previews for \"\u003ca title=\"http://www.berkeleyrep.org/season/1415/8241.asp\" href=\"http://www.berkeleyrep.org/season/1415/8241.asp\" target=\"_blank\">X's and O's (A Football Love Story)\u003c/a>\" begin Jan. 16 at the Berkeley Repertory Theater. The show officially opens Jan. 23 and runs through March 1. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "satire-in-the-muslim-world-a-centuries-long-tradition",
"title": "Satire in the Muslim World: A Centuries-Long Tradition",
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"headTitle": "Satire in the Muslim World: A Centuries-Long Tradition | KQED",
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"content": "\u003cp>“Can’t they take a joke?” That’s the question that came up after the 2005 Danish cartoon controversy and now, again, after the massacre at the French satirical magazine \u003cem>Charlie Hebdo\u003c/em>. The suspected killers obviously reflect a tiny minority of extreme religious fanatics, but the question made us wonder: What is the role of satire in the Muslim world?\u003c/p>\n\u003cp>First let’s establish that saying “the Muslim world” is like saying “the Christian world” or Africa: We’re talking one and a half billion people all over the globe — of different races, ethnicities and languages — who believe different things. That said, Duke University religion professor Bruce Lawrence does have an answer when you ask him about Muslim traditions of satire. He says, “I’ve been studying the Muslim world for I guess now almost half a century, and one of my heroes has always been a ninth-century literary figure called al-Jahiz.”\u003c/p>\n\u003cp>In a golden era for Islamic music, art and science, Jahiz studied everything from zoology to literary theory. He wrote merciless social satires, and he was also famously ugly. “He could satire himself as somebody who was very unattractive,” Lawrence says, “and yet he could make fun of the rock stars of his generation in Baghdad, which was the capital city of the Muslim world in that time.”\u003c/p>\n\u003cp>According to Lawrence, Jahiz remains a beloved figure in Islamic literature, and it’s not because he recorded the glories of Islam. “He poked fun at contemporaries, at his co-religionists, at anybody who seemed to him to have too great a sense of self-importance, whatever their station in life.”\u003c/p>\n\u003cp>\u003cstrong>A 13th-Century Andy Kaufman\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10292831\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Azhar-Usman-400x298.jpg\" alt=\"Chicago comic Azhar Usman’s comedy heroes include George Carlin and a 13th-century Sufi saint named Mullah Nasreddi\" width=\"400\" height=\"298\" class=\"size-thumbnail wp-image-10292831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Azhar-Usman-400x298.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Azhar-Usman.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Chicago comic Azhar Usman’s comedy heroes include George Carlin and a 13th-century Sufi saint named Mullah Nasreddi. CREDIT: Chris Jackson/Getty Images\u003c/figcaption>\u003c/figure>\n\u003cp>That feels relevant to \u003ca href=\"http://www.azhar.com/\">Azhar Usman\u003c/a>, a Sunni stand-up comedian working in Chicago. Usman, whose family comes from India, says his comedy heroes are Richard Pryor, George Carlin and a 13th-century Sufi saint named Mullah Nasreddin. Usman says Nasreddin had “an Andy Kaufman type of personality.” He recalls a famous story about a time Nasreddin led Friday prayers. He asked the congregation, “How many of you know what I’m going to say?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Nobody raised their hand,” Usman says. “So he said, ‘Well, what can I say to a bunch of people who have no idea what I’m going to say?’ And he leaves.” The people coax him back, promising to be more cooperative. So Nasreddin asks again, “How many of you know what I’m going to say?” This time, everybody raises their hand.\u003c/p>\n\u003cp>“And he says, ‘What am I supposed to say to a group of people that already know what I’m going to say?’ And he leaves,” Usman says. “So finally, they finally coax him back. ‘Oh, please don’t leave. We want to hear your wisdom.’ … So he gets up a third time and he says again, ‘How many of you know what I’m going to say?'” Half the crowd raises their hands; the other half doesn’t. “So he says, ‘Well the half that know what I’m going to say should tell the half that don’t know what I’m going to say.’ ”\u003c/p>\n\u003cp>\u003cstrong>‘The Boldest People In The Arab And The Muslim World’\u003c/strong>\u003c/p>\n\u003cp>According to scholar Bruce Lawrence, satirizing yourself and your own community is a tradition in Muslim literature and arts — and so is mocking people in power. “Political satirists are among the boldest people in the Arab and the Muslim world,” he says. Those people include Bassem Youssef, \u003ca href=\"http://www.npr.org/2011/04/15/135444956/egypt-finds-its-own-jon-stewart\">known as Egypt’s Jon Stewart\u003c/a>. Youssef’s satire took aim at politicians and the Muslim Brotherhood, and his show lasted two years before folding under pressure.\u003c/p>\n\u003cp>Lawrence says there’s also a strong tradition of political cartoonists in the Muslim world — cartoonists like Syria’s Ali Farzat, whose hands were broken in retaliation for cartoons that mocked President Bashar Assad. Afterward, according to Lawrence, Farzat “did a cartoon of himself in a hospital bed showing that even with his hands bandaged he could still manage to say some things against the regime.”\u003c/p>\n\u003cp>But Farzat was attacked for his portrayal of politics, not religion. Lawrence says satirizing \u003cem>people\u003c/em> is fine from the perspective of devout Muslims, but not so with religious figures — like God, Muhammad or any other saints or prophets — who are seen as existing on a different plane. And there are many thousands of them, including Adam, Moses and the Virgin Mary.\u003c/p>\n\u003cp>Comic Azhar Usman says sure, maintaining a bright line between what’s holy and what’s profane runs counter to a comedic credo that holds nothing sacred. But is it also fundamentally oppositional to universal values that Westerners hold dear? He says, “I think that that’s the honest discourse that I wish we could have in the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Usman says he greets offensive depictions of saints, prophets and God with forgiveness. And he notes that if you harshly judge what counts as satire from a rigid cultural perspective, you’ve learned almost nothing from the \u003cem>Charlie Hebdo\u003c/em> tragedy. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Satire+In+The+Muslim+World%3A+A+Centuries-Long+Tradition&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Can’t they take a joke?” That’s the question that came up after the 2005 Danish cartoon controversy and now, again, after the massacre at the French satirical magazine \u003cem>Charlie Hebdo\u003c/em>. The suspected killers obviously reflect a tiny minority of extreme religious fanatics, but the question made us wonder: What is the role of satire in the Muslim world?\u003c/p>\n\u003cp>First let’s establish that saying “the Muslim world” is like saying “the Christian world” or Africa: We’re talking one and a half billion people all over the globe — of different races, ethnicities and languages — who believe different things. That said, Duke University religion professor Bruce Lawrence does have an answer when you ask him about Muslim traditions of satire. He says, “I’ve been studying the Muslim world for I guess now almost half a century, and one of my heroes has always been a ninth-century literary figure called al-Jahiz.”\u003c/p>\n\u003cp>In a golden era for Islamic music, art and science, Jahiz studied everything from zoology to literary theory. He wrote merciless social satires, and he was also famously ugly. “He could satire himself as somebody who was very unattractive,” Lawrence says, “and yet he could make fun of the rock stars of his generation in Baghdad, which was the capital city of the Muslim world in that time.”\u003c/p>\n\u003cp>According to Lawrence, Jahiz remains a beloved figure in Islamic literature, and it’s not because he recorded the glories of Islam. “He poked fun at contemporaries, at his co-religionists, at anybody who seemed to him to have too great a sense of self-importance, whatever their station in life.”\u003c/p>\n\u003cp>\u003cstrong>A 13th-Century Andy Kaufman\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10292831\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Azhar-Usman-400x298.jpg\" alt=\"Chicago comic Azhar Usman’s comedy heroes include George Carlin and a 13th-century Sufi saint named Mullah Nasreddi\" width=\"400\" height=\"298\" class=\"size-thumbnail wp-image-10292831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Azhar-Usman-400x298.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Azhar-Usman.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Chicago comic Azhar Usman’s comedy heroes include George Carlin and a 13th-century Sufi saint named Mullah Nasreddi. CREDIT: Chris Jackson/Getty Images\u003c/figcaption>\u003c/figure>\n\u003cp>That feels relevant to \u003ca href=\"http://www.azhar.com/\">Azhar Usman\u003c/a>, a Sunni stand-up comedian working in Chicago. Usman, whose family comes from India, says his comedy heroes are Richard Pryor, George Carlin and a 13th-century Sufi saint named Mullah Nasreddin. Usman says Nasreddin had “an Andy Kaufman type of personality.” He recalls a famous story about a time Nasreddin led Friday prayers. He asked the congregation, “How many of you know what I’m going to say?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Nobody raised their hand,” Usman says. “So he said, ‘Well, what can I say to a bunch of people who have no idea what I’m going to say?’ And he leaves.” The people coax him back, promising to be more cooperative. So Nasreddin asks again, “How many of you know what I’m going to say?” This time, everybody raises their hand.\u003c/p>\n\u003cp>“And he says, ‘What am I supposed to say to a group of people that already know what I’m going to say?’ And he leaves,” Usman says. “So finally, they finally coax him back. ‘Oh, please don’t leave. We want to hear your wisdom.’ … So he gets up a third time and he says again, ‘How many of you know what I’m going to say?'” Half the crowd raises their hands; the other half doesn’t. “So he says, ‘Well the half that know what I’m going to say should tell the half that don’t know what I’m going to say.’ ”\u003c/p>\n\u003cp>\u003cstrong>‘The Boldest People In The Arab And The Muslim World’\u003c/strong>\u003c/p>\n\u003cp>According to scholar Bruce Lawrence, satirizing yourself and your own community is a tradition in Muslim literature and arts — and so is mocking people in power. “Political satirists are among the boldest people in the Arab and the Muslim world,” he says. Those people include Bassem Youssef, \u003ca href=\"http://www.npr.org/2011/04/15/135444956/egypt-finds-its-own-jon-stewart\">known as Egypt’s Jon Stewart\u003c/a>. Youssef’s satire took aim at politicians and the Muslim Brotherhood, and his show lasted two years before folding under pressure.\u003c/p>\n\u003cp>Lawrence says there’s also a strong tradition of political cartoonists in the Muslim world — cartoonists like Syria’s Ali Farzat, whose hands were broken in retaliation for cartoons that mocked President Bashar Assad. Afterward, according to Lawrence, Farzat “did a cartoon of himself in a hospital bed showing that even with his hands bandaged he could still manage to say some things against the regime.”\u003c/p>\n\u003cp>But Farzat was attacked for his portrayal of politics, not religion. Lawrence says satirizing \u003cem>people\u003c/em> is fine from the perspective of devout Muslims, but not so with religious figures — like God, Muhammad or any other saints or prophets — who are seen as existing on a different plane. And there are many thousands of them, including Adam, Moses and the Virgin Mary.\u003c/p>\n\u003cp>Comic Azhar Usman says sure, maintaining a bright line between what’s holy and what’s profane runs counter to a comedic credo that holds nothing sacred. But is it also fundamentally oppositional to universal values that Westerners hold dear? He says, “I think that that’s the honest discourse that I wish we could have in the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Usman says he greets offensive depictions of saints, prophets and God with forgiveness. And he notes that if you harshly judge what counts as satire from a rigid cultural perspective, you’ve learned almost nothing from the \u003cem>Charlie Hebdo\u003c/em> tragedy. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Satire+In+The+Muslim+World%3A+A+Centuries-Long+Tradition&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ten years after the premiere of \"Sideways,\" the region where the film was set continues to feel its impact.\u003c/p>\n\u003cp>The independent movie about two middle-aged men drinking and misbehaving their way through Santa Barbara wine country opened in limited release in October 2004 and went on to became a surprise hit, grossing more than $71 million at the box office. It was also a boon to the then-fledgling winemaking industry in the Santa Ynez Valley and a boost to tourism in the region.\u003c/p>\n\u003cp>“Agriculture and tourism are really two of the big industries that are still important in Santa Barbara and the Central Coast, and wineries live right in the middle of those two,” says Josh Williams, president of Carlsbad-based BW Research, which studies the job market for the Santa Barbara County Workforce Investment Board.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/185299449\" 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>Williams says his research shows the number of jobs in wineries in Santa Barbara County has grown from about 950 in 2005 to nearly 1,400 today. That's huge growth compared with other industry sectors in the county, says Williams, who adds that winery jobs are good jobs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"While tourism and agriculture tend to be low-wage paying industries, wineries pay anywhere from 30 to 50 percent more than the average tourism job pays,\" says Williams.\u003c/p>\n\u003cp>Even though the sector tends to generate lower-wage jobs, there’s no denying the residual effect of increased tourism. It can be the tide that lifts all boats, bringing added customers to nearby retailers, hotels and other enterprises.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://www.scpr.org/blogs/economy/2014/10/24/17437/sideways-ten-years-later-hit-film-still-makes-wave/\">Read the full article at KPCC's website\u003c/a>\u003c/em>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ten years after the premiere of \"Sideways,\" the region where the film was set continues to feel its impact.\u003c/p>\n\u003cp>The independent movie about two middle-aged men drinking and misbehaving their way through Santa Barbara wine country opened in limited release in October 2004 and went on to became a surprise hit, grossing more than $71 million at the box office. It was also a boon to the then-fledgling winemaking industry in the Santa Ynez Valley and a boost to tourism in the region.\u003c/p>\n\u003cp>“Agriculture and tourism are really two of the big industries that are still important in Santa Barbara and the Central Coast, and wineries live right in the middle of those two,” says Josh Williams, president of Carlsbad-based BW Research, which studies the job market for the Santa Barbara County Workforce Investment Board.\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/185299449&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/185299449'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Williams says his research shows the number of jobs in wineries in Santa Barbara County has grown from about 950 in 2005 to nearly 1,400 today. That's huge growth compared with other industry sectors in the county, says Williams, who adds that winery jobs are good jobs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For Ron Turner, waking in the middle of the night early Wednesday was nothing new; he would just watch some news and hopefully go back to sleep again. But the news that morning was about the brutal massacre of 10 journalists and two police officers at \u003cem>Charlie Hebdo\u003c/em>, France’s long-running satirical magazine, by Islamic terrorists, and it was hard to stay calm after seeing something that hit so close to home. For Turner, the shootings struck at the core of his business: comics that (sometimes) offend.\u003c/p>\n\u003cfigure id=\"attachment_10286152\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10286152\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil.jpg\" alt=\"People hold a vigil at the Place de la Republique (Republic Square) for victims of the terrorist attack, on January 8, 2015 in Paris, France. Twelve people were killed yesterday including two police officers as two gunmen opened fire at the offices of the French satirical publication Charlie Hebdo. (Photo by Dan Kitwood/Getty Images)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">People hold a vigil at the Place de la Republique (Republic Square) for victims of the terrorist attack, on January 8, 2015 in Paris, France. Twelve people were killed yesterday including two police officers as two gunmen opened fire at the offices of the French satirical publication \u003ci>Charlie Hebdo\u003c/i>. (Photo by Dan Kitwood/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>Since he started it in 1970, Turner has run \u003ca href=\"http://www.lastgasp.com/\" target=\"_blank\" rel=\"noopener\">Last Gasp Books\u003c/a>, one of the largest publishers of underground books and comics in the world, including \u003ci>Zap,\u003c/i> \u003ci>Weirdo\u003c/i> and \u003ci>Binky Brown Meets the Holy Virgin Mary.\u003c/i> The stable of artists on Last Gasp’s roster reads like a blacklist compiled by the establishment of the art world: R Crumb, Ron English, Winston Smith, Robert Williams, Mark Ryden and S. Clay Wilson are just a few of the rebel kind who Turner has worked with. And it’s not just Last Gasp’s artists that garner attention, as there are plenty of notable Last Gasp publications, including \u003ci>Barefoot Gen,\u003c/i> the controversial graphic novel about the aftermath of the atomic bombing of Japan; several collections of erotic art, including a fetish coloring book and a collection of photographs of female genitalia; and even a book on the “Painter of Light,” Thomas Kinkade.\u003c/p>\n\u003cp>“There’s been a couple of employees that I’ve bought weapons off of over the years because they were nuts and certainly didn’t need a weapon,” Turner says. He stowed the guns in a drawer. “Maybe it’s time to get those things cleaned and set them up by my desk,” the publisher mused. \u003c/p>\n\u003cfigure id=\"attachment_10286080\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10286080\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Scene-from-Legion-of-Charlies.jpg\" alt=\"Two pages from <i>Legion of Charlies</i>\" width=\"640\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Scene-from-Legion-of-Charlies.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Scene-from-Legion-of-Charlies-400x292.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Two pages from \u003ci>Legion of Charlies\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Turner has even received death threats for his work. Back in 1971, Last Gasp published \u003ci>Legion of Charlies,\u003c/i> a graphic novel illustrated by underground cartoonist Greg Irons that told the stories of both the \u003ca href=\"http://en.wikipedia.org/wiki/My_Lai_Massacre\" target=\"_blank\" rel=\"noopener\">My Lai Massacre\u003c/a> (carried out by the Charlie Company) and \u003ca href=\"http://en.wikipedia.org/wiki/Charles_Manson#Tate_murders\" target=\"_blank\" rel=\"noopener\">the Tate Murders\u003c/a> (which were ordered by Charlie Manson). After the book started receiving publicity, Last Gasp started receiving threats from Manson’s followers.\u003c/p>\n\u003cp>“In a fair fight, I don’t think hardly any of Manson followers would’ve been hard to defeat or defend against.” Still, Turner muses, “When you have people you don’t know issuing you threats, you have to take that seriously.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thankfully nothing came of the threats. Yet in France, where comics are a celebrated art form — it’s home to the \u003ca href=\"http://en.wikipedia.org/wiki/Angoul%C3%AAme_International_Comics_Festival\" target=\"_blank\" rel=\"noopener\">third largest comic book festival in the world\u003c/a> — \u003ci>Charlie Hebdo\u003c/i> was the target of attacks over its content even before this week’s brutal massacre, including a \u003ca href=\"http://www.nytimes.com/2011/11/03/world/europe/charlie-hebdo-magazine-in-paris-is-firebombed.html\" target=\"_blank\" rel=\"noopener\">firebombing back in 2011\u003c/a>. That still didn’t stop the paper from publishing more \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2012/09/19/161394146/france-on-alert-closing-embassies-after-magazine-publishes-muhammad-cartoons\" target=\"_blank\" rel=\"noopener\">inflammatory drawings of the prophet Mohammed\u003c/a> in the wake of the terrorist attacks on the U.S. Consulate in Benghazi, Libya back in 2012.\u003c/p>\n\u003cp>And despite the fact that the magazine experienced such a horrible event, critics have continued to take the publication to task for its crude, bigoted portrayals of Mohammed. In response, Turner says that such criticisms are part and parcel of creating satire.\u003c/p>\n\u003cp>“If you’re not offending somebody, you’re not doing your job,” said Turner.\u003c/p>\n\u003cfigure id=\"attachment_10286271\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil2-400x266.jpg\" alt='A journalist holds a placard reading in French\" I am Charlie\" during a gathering on the streets of Pristina on January 8, 2015 in solidarity with the victims of the shooting at the Paris office of the satirical newspaper Charlie Hebdo which left 12 people dead. ARMEND NIMANI/AFP/Getty Images)' width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10286271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil2.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">A journalist holds a placard reading in French “I am Charlie” during a gathering on the streets of Pristina on January 8, 2015 in solidarity with the victims of the shooting at the Paris office of the satirical newspaper Charlie Hebdo which left 12 people dead. ARMEND NIMANI/AFP/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>On Wednesday, while the magazine’s staff and the rest of the world continued to recover from such senseless murders, Turner vocalized why satire is such a necessary component of modern society.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[Satire] is important because it brings out the flaws we all have and throws them up on the screen of another person,” said Turner. “How they react sort of shows how important that really is.” Later, he added, “Charlie took a hit for everybody.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Ron Turner, waking in the middle of the night early Wednesday was nothing new; he would just watch some news and hopefully go back to sleep again. But the news that morning was about the brutal massacre of 10 journalists and two police officers at \u003cem>Charlie Hebdo\u003c/em>, France’s long-running satirical magazine, by Islamic terrorists, and it was hard to stay calm after seeing something that hit so close to home. For Turner, the shootings struck at the core of his business: comics that (sometimes) offend.\u003c/p>\n\u003cfigure id=\"attachment_10286152\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10286152\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil.jpg\" alt=\"People hold a vigil at the Place de la Republique (Republic Square) for victims of the terrorist attack, on January 8, 2015 in Paris, France. Twelve people were killed yesterday including two police officers as two gunmen opened fire at the offices of the French satirical publication Charlie Hebdo. (Photo by Dan Kitwood/Getty Images)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">People hold a vigil at the Place de la Republique (Republic Square) for victims of the terrorist attack, on January 8, 2015 in Paris, France. Twelve people were killed yesterday including two police officers as two gunmen opened fire at the offices of the French satirical publication \u003ci>Charlie Hebdo\u003c/i>. (Photo by Dan Kitwood/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>Since he started it in 1970, Turner has run \u003ca href=\"http://www.lastgasp.com/\" target=\"_blank\" rel=\"noopener\">Last Gasp Books\u003c/a>, one of the largest publishers of underground books and comics in the world, including \u003ci>Zap,\u003c/i> \u003ci>Weirdo\u003c/i> and \u003ci>Binky Brown Meets the Holy Virgin Mary.\u003c/i> The stable of artists on Last Gasp’s roster reads like a blacklist compiled by the establishment of the art world: R Crumb, Ron English, Winston Smith, Robert Williams, Mark Ryden and S. Clay Wilson are just a few of the rebel kind who Turner has worked with. And it’s not just Last Gasp’s artists that garner attention, as there are plenty of notable Last Gasp publications, including \u003ci>Barefoot Gen,\u003c/i> the controversial graphic novel about the aftermath of the atomic bombing of Japan; several collections of erotic art, including a fetish coloring book and a collection of photographs of female genitalia; and even a book on the “Painter of Light,” Thomas Kinkade.\u003c/p>\n\u003cp>“There’s been a couple of employees that I’ve bought weapons off of over the years because they were nuts and certainly didn’t need a weapon,” Turner says. He stowed the guns in a drawer. “Maybe it’s time to get those things cleaned and set them up by my desk,” the publisher mused. \u003c/p>\n\u003cfigure id=\"attachment_10286080\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10286080\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Scene-from-Legion-of-Charlies.jpg\" alt=\"Two pages from <i>Legion of Charlies</i>\" width=\"640\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Scene-from-Legion-of-Charlies.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Scene-from-Legion-of-Charlies-400x292.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Two pages from \u003ci>Legion of Charlies\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Turner has even received death threats for his work. Back in 1971, Last Gasp published \u003ci>Legion of Charlies,\u003c/i> a graphic novel illustrated by underground cartoonist Greg Irons that told the stories of both the \u003ca href=\"http://en.wikipedia.org/wiki/My_Lai_Massacre\" target=\"_blank\" rel=\"noopener\">My Lai Massacre\u003c/a> (carried out by the Charlie Company) and \u003ca href=\"http://en.wikipedia.org/wiki/Charles_Manson#Tate_murders\" target=\"_blank\" rel=\"noopener\">the Tate Murders\u003c/a> (which were ordered by Charlie Manson). After the book started receiving publicity, Last Gasp started receiving threats from Manson’s followers.\u003c/p>\n\u003cp>“In a fair fight, I don’t think hardly any of Manson followers would’ve been hard to defeat or defend against.” Still, Turner muses, “When you have people you don’t know issuing you threats, you have to take that seriously.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thankfully nothing came of the threats. Yet in France, where comics are a celebrated art form — it’s home to the \u003ca href=\"http://en.wikipedia.org/wiki/Angoul%C3%AAme_International_Comics_Festival\" target=\"_blank\" rel=\"noopener\">third largest comic book festival in the world\u003c/a> — \u003ci>Charlie Hebdo\u003c/i> was the target of attacks over its content even before this week’s brutal massacre, including a \u003ca href=\"http://www.nytimes.com/2011/11/03/world/europe/charlie-hebdo-magazine-in-paris-is-firebombed.html\" target=\"_blank\" rel=\"noopener\">firebombing back in 2011\u003c/a>. That still didn’t stop the paper from publishing more \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2012/09/19/161394146/france-on-alert-closing-embassies-after-magazine-publishes-muhammad-cartoons\" target=\"_blank\" rel=\"noopener\">inflammatory drawings of the prophet Mohammed\u003c/a> in the wake of the terrorist attacks on the U.S. Consulate in Benghazi, Libya back in 2012.\u003c/p>\n\u003cp>And despite the fact that the magazine experienced such a horrible event, critics have continued to take the publication to task for its crude, bigoted portrayals of Mohammed. In response, Turner says that such criticisms are part and parcel of creating satire.\u003c/p>\n\u003cp>“If you’re not offending somebody, you’re not doing your job,” said Turner.\u003c/p>\n\u003cfigure id=\"attachment_10286271\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil2-400x266.jpg\" alt='A journalist holds a placard reading in French\" I am Charlie\" during a gathering on the streets of Pristina on January 8, 2015 in solidarity with the victims of the shooting at the Paris office of the satirical newspaper Charlie Hebdo which left 12 people dead. ARMEND NIMANI/AFP/Getty Images)' width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10286271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil2.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">A journalist holds a placard reading in French “I am Charlie” during a gathering on the streets of Pristina on January 8, 2015 in solidarity with the victims of the shooting at the Paris office of the satirical newspaper Charlie Hebdo which left 12 people dead. ARMEND NIMANI/AFP/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>On Wednesday, while the magazine’s staff and the rest of the world continued to recover from such senseless murders, Turner vocalized why satire is such a necessary component of modern society.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[Satire] is important because it brings out the flaws we all have and throws them up on the screen of another person,” said Turner. “How they react sort of shows how important that really is.” Later, he added, “Charlie took a hit for everybody.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "#JeSuisCharlie: Artists Go Viral in Solidarity with Slain French Journalists",
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"content": "\u003cp>Today in Paris armed extremists stormed the office of French satirical publication \u003cem>Charlie Hebdo \u003c/em>and opened fire, reportedly killing 12 people, including two police officers, and injuring some 20 others, several of whom are suffering life-threatening injuries. Among the dead are editor Stéphane Charbonnier and cartoonists Jean Cabut, Bernard Verlhac and Georges Wolinski, as well as columnist Bernard Maris – further names have yet to be released. The three hooded gunmen fled with a stolen car – several witnesses filmed the event with cell phone cameras, including the moment when assailants shouted, in French, “We killed \u003cem>Charlie Hebdo\u003c/em>” and “We have avenged the prophet” in what is widely considered a reference to the publication’s satirical depictions of the prophet Muhammad.\u003c/p>\n\u003cp>In Washington, \u003ca href=\"http://www.washingtonpost.com/world/europe/gunmen-storm-paris-satirical-newspaper-killing-at-least-11/2015/01/07/f358b17a-9660-11e4-aabd-d0b93ff613d5_story.html\">Secretary of State John F. Kerry responded to the attacks\u003c/a> by saying, “The murderers dared proclaim \u003cem>Charlie Hebdo\u003c/em> is dead. But make no mistake, they are wrong. Today, and tomorrow, in Paris, in France and across the world, the freedom of expression this magazine represented is not able to be killed by this kind of act of terror.” It is the deadliest terrorist attack in France since 1995, when an Algerian rebel group killed eight people in a string of bombings over several months. \u003cem>Charlie Hebdo\u003c/em> had come under attack more recently; it’s offices were firebombed in 2011, after the magazine published a cartoon of the prophet Muhammad.\u003c/p>\n\u003cp>People immediately took to the streets in cities around the world to demonstrate solidarity with the slain journalists and artists – many were also swift to respond online with #JeSuisCharlie (I am Charlie), among other hashtags including #CharlieHebdo. Artists all over the world posted cartoons in honor of the cartoonists and the freedom of speech their work represented — this is a mere sampling, with many more anticipated in the days to come, online and in print. This brutal attempt at silence has only amplified the need for freedom of expression, and the Internet has provided a platform for the world to respond. Long live \u003cem>Charlie Hebdo.\u003c/em>\u003c/p>\n\u003cp>https://twitter.com/RobTornoe/status/552884253563039744\u003c/p>\n\u003cp>https://twitter.com/RLOppenheimer/status/552848047089405952\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/TheMagnusShaw/status/552870218545238018\u003c/p>\n\u003cp>https://twitter.com/lalodagach/status/552944024613826560\u003c/p>\n\u003cp>https://twitter.com/MonsieurDream/status/552831150134415360\u003c/p>\n\u003cp>https://twitter.com/AnnTelnaes/status/552853991814492160\u003c/p>\n\u003cp>https://twitter.com/davpope/status/552844593046097920\u003c/p>\n\u003cp>https://twitter.com/jean_jullien/status/552829637215408128\u003c/p>\n\u003cp>https://twitter.com/seattlesketcher/status/552891818791010305\u003c/p>\n\u003cp>https://twitter.com/stephen_strydom/status/552848478196736000\u003c/p>\n\u003cp>https://twitter.com/ZOKO77/status/552919903104434176\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/Independent/status/552877342394433536\u003c/p>\n\n",
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"excerpt": "Today in Paris armed extremists stormed the office of French satirical publication \u003cem>Charlie Hebdo \u003c/em>and opened fire, reportedly killing 12 people, including two police officers, and injuring some 20 others. Artists all over the world posted cartoons in honor of the cartoonists and the freedom of speech their work represented -- this is a sampling.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today in Paris armed extremists stormed the office of French satirical publication \u003cem>Charlie Hebdo \u003c/em>and opened fire, reportedly killing 12 people, including two police officers, and injuring some 20 others, several of whom are suffering life-threatening injuries. Among the dead are editor Stéphane Charbonnier and cartoonists Jean Cabut, Bernard Verlhac and Georges Wolinski, as well as columnist Bernard Maris – further names have yet to be released. The three hooded gunmen fled with a stolen car – several witnesses filmed the event with cell phone cameras, including the moment when assailants shouted, in French, “We killed \u003cem>Charlie Hebdo\u003c/em>” and “We have avenged the prophet” in what is widely considered a reference to the publication’s satirical depictions of the prophet Muhammad.\u003c/p>\n\u003cp>In Washington, \u003ca href=\"http://www.washingtonpost.com/world/europe/gunmen-storm-paris-satirical-newspaper-killing-at-least-11/2015/01/07/f358b17a-9660-11e4-aabd-d0b93ff613d5_story.html\">Secretary of State John F. Kerry responded to the attacks\u003c/a> by saying, “The murderers dared proclaim \u003cem>Charlie Hebdo\u003c/em> is dead. But make no mistake, they are wrong. Today, and tomorrow, in Paris, in France and across the world, the freedom of expression this magazine represented is not able to be killed by this kind of act of terror.” It is the deadliest terrorist attack in France since 1995, when an Algerian rebel group killed eight people in a string of bombings over several months. \u003cem>Charlie Hebdo\u003c/em> had come under attack more recently; it’s offices were firebombed in 2011, after the magazine published a cartoon of the prophet Muhammad.\u003c/p>\n\u003cp>People immediately took to the streets in cities around the world to demonstrate solidarity with the slain journalists and artists – many were also swift to respond online with #JeSuisCharlie (I am Charlie), among other hashtags including #CharlieHebdo. Artists all over the world posted cartoons in honor of the cartoonists and the freedom of speech their work represented — this is a mere sampling, with many more anticipated in the days to come, online and in print. This brutal attempt at silence has only amplified the need for freedom of expression, and the Internet has provided a platform for the world to respond. Long live \u003cem>Charlie Hebdo.\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
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"title": "'Charlie Hebdo,' a Magazine of Satire, Mocks Politics, Religion",
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"content": "\u003cp>\u003cem>Charlie Hebdo\u003c/em>, the satirical French magazine that was \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/07/375561888/10-dead-after-shootout-at-satirical-magazines-office-in-paris\" target=\"_blank\" rel=\"noopener\">the target of a deadly attack today\u003c/a>, is part of \u003ca href=\"http://www.bbc.com/news/world-europe-15551998\" target=\"_blank\" rel=\"noopener\">a long tradition of French satire\u003c/a> dating to the days before the French Revolution.\u003c/p>\n\u003cp>The left-wing magazine is known for its biting takedowns. Its past targets include the political right wing, capitalism, Christianity, Judaism and Islam.\u003c/p>\n\u003cp>It most recently came to the world’s attention when \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2012/09/19/161394146/france-on-alert-closing-embassies-after-magazine-publishes-muhammad-cartoons\" target=\"_blank\" rel=\"noopener\">it published cartoons of Islam’s Prophet Muhammad\u003c/a> soon after the deadly 2012 attack on the U.S. consulate in Benghazi that killed Chris Stevens, the U.S. ambassador to Libya. Initially, it was thought that an anti-Islam film had fanned the violence. The magazine, in its cartoons, referred to that film. At the time, editor Stephane Charbonnier said the cartoons would “shock those who want to be shocked.”\u003c/p>\n\u003cp>Many Muslims consider the depiction of their prophet to be blasphemous.\u003c/p>\n\u003cp>A year earlier, \u003cem>Charlie Hebdo’s \u003c/em>\u003ca href=\"http://www.npr.org/blogs/thetwo-way/2011/11/02/141928567/french-newspaper-firebombed-after-satire-involving-prophet-muhammad\" target=\"_blank\" rel=\"noopener\">offices were firebombed\u003c/a> after it published an issue that invited the Prophet Muhammad to be guest editor; the issue included an article about what a soft version of Sharia might look like. The magazine was renamed \u003cem>Charia Hebdo\u003c/em> for the issue, and its cover included an image of the prophet with the line, “A thousand lashes if you don’t die laughing.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The magazine was also part of the controversy over the publication in 2005 by the Danish newspaper \u003cem>Jyllands-Posten\u003c/em> of cartoons depicting Islam’s prophet. The newspaper said the decision to publish the 12 editorial cartoons would contribute to the debate over Islam and free speech. The move resulted in violent protests worldwide and threats against \u003cem>Jyllands-Posten\u003c/em>. In solidarity, \u003cem>Charlie Hebdo \u003c/em>reprinted the 12 cartoons in 2006. Its headline for the feature was “Muhammad Overwhelmed By Fundamentalists.”\u003c/p>\n\u003cp>Jacques Chirac, then-president of France, condemned what he called the magazine’s “overt provocation.” The magazine and then-editor Philippe Val were accused of insulting Muslims, \u003ca href=\"http://news.bbc.co.uk/2/hi/6479673.stm\" target=\"_blank\" rel=\"noopener\">but a French court ultimately ruled\u003c/a> that the cartoons were covered by France’s laws on freedom of expression.\u003c/p>\n\u003cp>The BBC offers a rundown of what else \u003cem>Charlie Hebdo\u003c/em> printed: “Police would be shown holding the dripping heads of immigrants; there would be masturbating nuns; popes wearing condoms — anything to make a point.”\u003c/p>\n\u003cp>The folks over at the \u003ca href=\"http://www.thedailybeast.com/galleries/2011/11/02/charlie-hebdo-french-satire-magazine-s-shocking-covers-photos.html#78cc5a13-e7f3-4428-b0ff-a53e4d42d8f9\" target=\"_blank\" rel=\"noopener\">Daily Beast\u003c/a> have put together a slideshow of some of the magazine’s most controversial covers. You can find that \u003ca href=\"http://www.thedailybeast.com/galleries/2011/11/02/charlie-hebdo-french-satire-magazine-s-shocking-covers-photos.html#78cc5a13-e7f3-4428-b0ff-a53e4d42d8f9\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>The magazine has its roots in the 1960s, when many of its journalists worked at another satirical magazine, called \u003cem>Hara-Kiri\u003c/em>.\u003c/p>\n\u003cp>That magazine was banned after it published \u003ca href=\"http://www.ladepeche.fr/article/2011/11/03/1207143-de-hara-kiri-a-charlie-plus-de-40-ans-de-provocations.html\" target=\"_blank\" rel=\"noopener\">a mocking headline\u003c/a> in 1970 following two events that dominated the news at the time: the death of French President Charles de Gaulle and a fire at a discotheque that killed more than 100 people. In response, its staff started \u003cem>Charlie Hebdo\u003c/em>, the “Charlie” an apparent reference to the character from the Peanuts comic strip, which the magazine printed in its pages.\u003c/p>\n\u003cp>It’s important to note here that the magazine’s influence has gone far beyond its limited circulation. In fact, it has been in financial trouble. Its website \u003ca href=\"http://www.charliehebdo.fr/news/charlie-est-en-danger-107213.html\">noted today\u003c/a> that it needed to find ways to continue to exist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Financial worries aren’t new. It previously closed in 1981 because it ran out of money. The magazine was revived a decade later and continued publication — with its mixture of polemic wit and satire, offensive or hilarious depending on your point of view — until the attack on its offices today. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Charlie+Hebdo%2C%27+A+Magazine+Of+Satire%2C+Mocks+Politics%2C+Religion&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The magazine was also part of the controversy over the publication in 2005 by the Danish newspaper \u003cem>Jyllands-Posten\u003c/em> of cartoons depicting Islam’s prophet. The newspaper said the decision to publish the 12 editorial cartoons would contribute to the debate over Islam and free speech. The move resulted in violent protests worldwide and threats against \u003cem>Jyllands-Posten\u003c/em>. In solidarity, \u003cem>Charlie Hebdo \u003c/em>reprinted the 12 cartoons in 2006. Its headline for the feature was “Muhammad Overwhelmed By Fundamentalists.”\u003c/p>\n\u003cp>Jacques Chirac, then-president of France, condemned what he called the magazine’s “overt provocation.” The magazine and then-editor Philippe Val were accused of insulting Muslims, \u003ca href=\"http://news.bbc.co.uk/2/hi/6479673.stm\" target=\"_blank\" rel=\"noopener\">but a French court ultimately ruled\u003c/a> that the cartoons were covered by France’s laws on freedom of expression.\u003c/p>\n\u003cp>The BBC offers a rundown of what else \u003cem>Charlie Hebdo\u003c/em> printed: “Police would be shown holding the dripping heads of immigrants; there would be masturbating nuns; popes wearing condoms — anything to make a point.”\u003c/p>\n\u003cp>The folks over at the \u003ca href=\"http://www.thedailybeast.com/galleries/2011/11/02/charlie-hebdo-french-satire-magazine-s-shocking-covers-photos.html#78cc5a13-e7f3-4428-b0ff-a53e4d42d8f9\" target=\"_blank\" rel=\"noopener\">Daily Beast\u003c/a> have put together a slideshow of some of the magazine’s most controversial covers. You can find that \u003ca href=\"http://www.thedailybeast.com/galleries/2011/11/02/charlie-hebdo-french-satire-magazine-s-shocking-covers-photos.html#78cc5a13-e7f3-4428-b0ff-a53e4d42d8f9\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>The magazine has its roots in the 1960s, when many of its journalists worked at another satirical magazine, called \u003cem>Hara-Kiri\u003c/em>.\u003c/p>\n\u003cp>That magazine was banned after it published \u003ca href=\"http://www.ladepeche.fr/article/2011/11/03/1207143-de-hara-kiri-a-charlie-plus-de-40-ans-de-provocations.html\" target=\"_blank\" rel=\"noopener\">a mocking headline\u003c/a> in 1970 following two events that dominated the news at the time: the death of French President Charles de Gaulle and a fire at a discotheque that killed more than 100 people. In response, its staff started \u003cem>Charlie Hebdo\u003c/em>, the “Charlie” an apparent reference to the character from the Peanuts comic strip, which the magazine printed in its pages.\u003c/p>\n\u003cp>It’s important to note here that the magazine’s influence has gone far beyond its limited circulation. In fact, it has been in financial trouble. Its website \u003ca href=\"http://www.charliehebdo.fr/news/charlie-est-en-danger-107213.html\">noted today\u003c/a> that it needed to find ways to continue to exist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Financial worries aren’t new. It previously closed in 1981 because it ran out of money. The magazine was revived a decade later and continued publication — with its mixture of polemic wit and satire, offensive or hilarious depending on your point of view — until the attack on its offices today. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Charlie+Hebdo%2C%27+A+Magazine+Of+Satire%2C+Mocks+Politics%2C+Religion&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "BART Gallery Pt. 1: Take the Train to Oakland's Art Boom",
"headTitle": "BART Gallery Pt. 1: Take the Train to Oakland’s Art Boom | KQED",
"content": "\u003cp>Want to escape the crush of First Fridays and still spend some quality time with the Oakland art scene? Whether you dwell in 94704 or 94110, a web of art spaces, from commercial galleries to nomadic projects, is just a BART ride away. So top up your Clipper card, hop on a train and take a ride to bask in the rich visual culture on the bright side of the Bay.\u003c/p>\n\u003ch2>12th St BART\u003c/h2>\n\u003cfigure id=\"attachment_10280872\" class=\"wp-caption alignright\" style=\"max-width: 483px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/proarts.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/proarts.jpg\" alt=\"Works by Rhonda Holberton, 2014; Courtesy Pro Arts, Oakland \" width=\"483\" height=\"640\" class=\"size-full wp-image-10280872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/proarts.jpg 483w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/proarts-400x530.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/proarts-452x600.jpg 452w\" sizes=\"(max-width: 483px) 100vw, 483px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Works by Rhonda Holberton, 2014; Courtesy Pro Arts, Oakland\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003ch3>Pro Arts\u003c/h3>\n\u003ch5>150 Frank H Ogawa Plaza\u003cbr>\n\u003ca href=\"http://proartsgallery.org\" target=\"_blank\" rel=\"noopener\">proartsgallery.org\u003c/a>\u003c/h5>\n\u003cp>This nonprofit space looking out on Frank H. Ogawa Plaza is an important launching pad for some of the most exciting up-and-coming Bay Area artists, especially via their \u003cb>2 x 2 Solos\u003c/b> series, exhibitions not to be missed. Pro Arts provides not just exposure, but artist services (organized open studios weekends and opportunity listings) and conducts an education program, offering over 700 art classes to local youth each year. In January, Pro Arts hosts \u003cb>2015 Re-Create Art Contest\u003c/b>, Oakland’s annual recycled art competition for grade-school artists.\u003c/p>\n\u003ch3>Shadow Office\u003c/h3>\n\u003ch5>308 15th Street\u003cbr>\n\u003ca href=\"http://shadowoffice.org/\" target=\"_blank\" rel=\"noopener\">shadowoffice.org\u003c/a>\u003c/h5>\n\u003cp>Run by the collaborative group Shipping + Receiving (a quartet of “interdisciplinary artists, writers, designers, food and drink people”), Shadow Office is a hybrid storefront space. In an all-too familiar story, the organizers were evicted from their former live-work warehouse, their building slated for demolition and future condo development. What is now Shadow Office opened up at just the right time, bringing with it the opportunity to put on experimental programming. “There is a lot of good energy on the block and we’re stoked to be part of it,” wrote Torreya Cummings last year. Their eclectic offerings have thus far included a pig roast, a ceramics sale, a free cat petting zoo and an exhibition of nautical-themed embroidery pieces.\u003c/p>\n\u003cfigure id=\"attachment_10280758\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/citylimits.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/citylimits.jpg\" alt=\"Tamra Seal, Bubbles; Courtesy City Limits Gallery, Oakland\" width=\"640\" height=\"480\" class=\"size-full wp-image-10280758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/citylimits.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/citylimits-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tamra Seal, \u003ci>Bubbles\u003c/i>; Courtesy City Limits Gallery, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>City Limits\u003c/h3>\n\u003ch5>300 Jefferson Street\u003cbr>\n\u003ca href=\"http://citylimitsgallery.com/\" target=\"_blank\" rel=\"noopener\">citylimitsgallery.com\u003c/a>\u003c/h5>\n\u003cp>This bright artist-run space perched on the edge of Jack London Square is an energetic and youthful gallery. With a brand-new flat files program and a fluid approach to exhibition making, the community around the gallery is a vibrant and optimistic one. Showcasing sculpture, painting, installations, video and photographic works, each visit to City Limits is a completely different experience. This is one of those outlier spaces most lively on opening nights or First Fridays, but co-directors Evan Reiser and Stephanie Rohlfs maintain regular Saturday hours for the weekend gallery goer.\u003c/p>\n\u003ch2>19th St BART\u003c/h2>\n\u003cfigure id=\"attachment_10280869\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/cringe.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/cringe.jpg\" alt=\"Rachel Yurkovich, Still from Five-Second Rule; Courtesy Aggregate Space\" width=\"640\" height=\"294\" class=\"size-full wp-image-10280869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/cringe.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/cringe-400x183.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rachel Yurkovich, Still from \u003ci>Five-Second Rule\u003c/i>; Courtesy Aggregate Space\u003c/figcaption>\u003c/figure>\n\u003ch3>Aggregate Space\u003c/h3>\n\u003ch5>801 W Grand Avenue\u003cbr>\n\u003ca href=\"http://www.aggregatespace.com/\" target=\"_blank\" rel=\"noopener\">aggregatespace.com\u003c/a>\u003c/h5>\n\u003cp>This sleek warehouse gallery space is run by co-founders Conrad M. Meyers II and S D Willis with a writing residency directed by Steffi Drewes. Its street entrance does little to prepare visitors for what’s inside: 15-foot ceilings, a fabrication shop, darkroom and screening lounge replete with theater seating. Dedicated to showcasing emerging local artists across media, Aggregate Space hosts exhibitions, artist talks, chapbook releases and film screenings, maintaining a full schedule of programming with the help of curatorial interns. They’ll start the year with a juried video show, \u003cb>Cringe\u003c/b>, featuring work by 9 artists selected from over 100 submissions.\u003c/p>\n\u003cfigure id=\"attachment_10280988\" class=\"wp-caption alignright\" style=\"max-width: 512px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/colosky.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/colosky.jpg\" alt=\"Randy Colosky, Slab #3, 2014; Courtesy of Chandra Cerrito Contemporary, Oakland\" width=\"512\" height=\"640\" class=\"size-full wp-image-10280988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/colosky.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/colosky-400x500.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/colosky-480x600.jpg 480w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Randy Colosky, \u003ci>Slab #3\u003c/i>, 2014; Courtesy of Chandra Cerrito Contemporary, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>Chandra Cerrito Contemporary\u003c/h3>\n\u003ch5>480 23rd Street\u003cbr>\n\u003ca href=\"http://chandracerritocontemporary.com/\" target=\"_blank\" rel=\"noopener\">chandracerritocontemporary.com\u003c/a>\u003c/h5>\n\u003cp>Chandra Cerrito Contemporary has come a long way from its humble 2007 beginnings on the mezzanine of Mercury 20 Gallery’s former Grand Avenue space. Actually, only two short blocks, but the current accommodations are a tad roomier. From Randy Colosky’s engineered ceramics to Amy M. Ho’s illusory architectural spaces, the gallery doesn’t shy away from thought-provoking installations. In fact, Chandra Cerrito represents an impressive number of sculptors at a time when 2D works are a safer bet for sales. Stop by for the ambitious shows and to peruse the Collectors Editions, affordable “limited edition and serial small works by gallery artists.”\u003c/p>\n\u003cfigure id=\"attachment_10280749\" class=\"wp-caption alignright\" style=\"max-width: 474px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/judithscott.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/judithscott.jpg\" alt=\"Judith Scott, Untitled, 2003; Photo courtesy of Creative Growth Art Center, Oakland\" width=\"474\" height=\"640\" class=\"size-full wp-image-10280749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/judithscott.jpg 474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/judithscott-400x540.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/judithscott-444x600.jpg 444w\" sizes=\"(max-width: 474px) 100vw, 474px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Judith Scott, \u003ci>Untitled\u003c/i>, 2003; Photo courtesy of Creative Growth Art Center, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>Creative Growth Art Center\u003c/h3>\n\u003ch5>355 24th Street\u003cbr>\n\u003ca href=\"http://creativegrowth.org/\" target=\"_blank\" rel=\"noopener\">creativegrowth.org\u003c/a>\u003c/h5>\n\u003cp>Serving artists with developmental disabilities, Creative Growth provides not only resources and services to their community of talented artists, but a gallery space showcasing seven well-considered exhibitions a year. The art center just celebrated its 40th year as the “oldest and largest” organization of its kind. For anyone seeking a break from the mundane, a visit to Creative Growth provides a refreshing jolt of the unexpected: colliding colors, material experimentation, energy harnessed into exciting mark making. Serving “approximately 150 clients from around the Bay Area,” Creative Growth is a must-stop on any gallery tour.\u003c/p>\n\u003cfigure id=\"attachment_10280502\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/johansson.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/johansson.jpg\" alt=\"Jennie Ottinger, White and Tan Head, 2014; Courtesy J\" width=\"640\" height=\"642\" class=\"size-full wp-image-10280502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-598x600.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennie Ottinger, \u003ci>White and Tan Head\u003c/i>, 2014; Courtesy Johansson Projects\u003c/figcaption>\u003c/figure>\n\u003ch3>Johansson Projects\u003c/h3>\n\u003ch5>2300 Telegraph Avenue\u003cbr>\n\u003ca href=\"http://johanssonprojects.com/\" target=\"_blank\" rel=\"noopener\">johanssonprojects.com\u003c/a>\u003c/h5>\n\u003cp>At the corner of Telegraph and 23rd, Johansson Projects’ elegant archways provide portals for sunlight-suffused exhibitions. Always eminently professional, this commercial space puts on shows of both well-known Bay Area artists (Michael Arcega, Alicia McCarthy) and recent MFA grads whose careers are on the rise (Margo Wolowiec, Jenny Sharaf). The 2015 season opens with an exhibition of paintings and sculptures by Jennie Ottinger on January 10, \u003cb>Letters to the Predator\u003c/b>.\u003c/p>\n\u003cfigure id=\"attachment_10280618\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED.jpg\" alt=\"Sylvia Fein, Together For Ever, 2013; Photo by Nick Pishvanov, courtesy of the artist and Krowswork, Oakland \" width=\"640\" height=\"483\" class=\"size-full wp-image-10280618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED-400x301.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sylvia Fein, \u003ci>Together For Ever\u003c/i>, 2013; Photo by Nick Pishvanov, courtesy of the artist and Krowswork, Oakland\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003ch3>Krowswork\u003c/h3>\n\u003ch5>480 23rd Street (side street entrance)\u003cbr>\n\u003ca href=\"http://www.krowswork.com/\" target=\"_blank\" rel=\"noopener\">krowswork.com\u003c/a>\u003c/h5>\n\u003cp>Krowswork just turned five years old, a remarkable fact alone. Director Jasmine Moorhead originally focused on contemporary video and photographic work, but now brings all media into her expansive gallery space. Krowswork’s programming is especially unique in its retrospectives of under-recognized artists (including Sylvia Fein and Jack Wright) whose lives are richly intertwined with the history of Northern California art. The gallery’s rigorous academic approach produces exhibitions that are neither staid nor didactic, but deeply informative and engaging. Also, it \u003cem>must\u003c/em> be noted that Krowswork is a palindrome.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Editor’s Note:\u003c/b> We corrected this post after being informed that Aggregate Space was actually closer to the 19th Street BART Station.\u003c/p>\n\n",
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"excerpt": "While the climate has become more challenging for local art galleries in San Francisco, the East Bay art scene is booming. This is the first in our handy guide to art close to BART.",
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"description": "While the climate has become more challenging for local art galleries in San Francisco, the East Bay art scene is booming. This is the first in our handy guide to art close to BART.",
"title": "BART Gallery Pt. 1: Take the Train to Oakland's Art Boom | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Want to escape the crush of First Fridays and still spend some quality time with the Oakland art scene? Whether you dwell in 94704 or 94110, a web of art spaces, from commercial galleries to nomadic projects, is just a BART ride away. So top up your Clipper card, hop on a train and take a ride to bask in the rich visual culture on the bright side of the Bay.\u003c/p>\n\u003ch2>12th St BART\u003c/h2>\n\u003cfigure id=\"attachment_10280872\" class=\"wp-caption alignright\" style=\"max-width: 483px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/proarts.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/proarts.jpg\" alt=\"Works by Rhonda Holberton, 2014; Courtesy Pro Arts, Oakland \" width=\"483\" height=\"640\" class=\"size-full wp-image-10280872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/proarts.jpg 483w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/proarts-400x530.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/proarts-452x600.jpg 452w\" sizes=\"(max-width: 483px) 100vw, 483px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Works by Rhonda Holberton, 2014; Courtesy Pro Arts, Oakland\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003ch3>Pro Arts\u003c/h3>\n\u003ch5>150 Frank H Ogawa Plaza\u003cbr>\n\u003ca href=\"http://proartsgallery.org\" target=\"_blank\" rel=\"noopener\">proartsgallery.org\u003c/a>\u003c/h5>\n\u003cp>This nonprofit space looking out on Frank H. Ogawa Plaza is an important launching pad for some of the most exciting up-and-coming Bay Area artists, especially via their \u003cb>2 x 2 Solos\u003c/b> series, exhibitions not to be missed. Pro Arts provides not just exposure, but artist services (organized open studios weekends and opportunity listings) and conducts an education program, offering over 700 art classes to local youth each year. In January, Pro Arts hosts \u003cb>2015 Re-Create Art Contest\u003c/b>, Oakland’s annual recycled art competition for grade-school artists.\u003c/p>\n\u003ch3>Shadow Office\u003c/h3>\n\u003ch5>308 15th Street\u003cbr>\n\u003ca href=\"http://shadowoffice.org/\" target=\"_blank\" rel=\"noopener\">shadowoffice.org\u003c/a>\u003c/h5>\n\u003cp>Run by the collaborative group Shipping + Receiving (a quartet of “interdisciplinary artists, writers, designers, food and drink people”), Shadow Office is a hybrid storefront space. In an all-too familiar story, the organizers were evicted from their former live-work warehouse, their building slated for demolition and future condo development. What is now Shadow Office opened up at just the right time, bringing with it the opportunity to put on experimental programming. “There is a lot of good energy on the block and we’re stoked to be part of it,” wrote Torreya Cummings last year. Their eclectic offerings have thus far included a pig roast, a ceramics sale, a free cat petting zoo and an exhibition of nautical-themed embroidery pieces.\u003c/p>\n\u003cfigure id=\"attachment_10280758\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/citylimits.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/citylimits.jpg\" alt=\"Tamra Seal, Bubbles; Courtesy City Limits Gallery, Oakland\" width=\"640\" height=\"480\" class=\"size-full wp-image-10280758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/citylimits.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/citylimits-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tamra Seal, \u003ci>Bubbles\u003c/i>; Courtesy City Limits Gallery, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>City Limits\u003c/h3>\n\u003ch5>300 Jefferson Street\u003cbr>\n\u003ca href=\"http://citylimitsgallery.com/\" target=\"_blank\" rel=\"noopener\">citylimitsgallery.com\u003c/a>\u003c/h5>\n\u003cp>This bright artist-run space perched on the edge of Jack London Square is an energetic and youthful gallery. With a brand-new flat files program and a fluid approach to exhibition making, the community around the gallery is a vibrant and optimistic one. Showcasing sculpture, painting, installations, video and photographic works, each visit to City Limits is a completely different experience. This is one of those outlier spaces most lively on opening nights or First Fridays, but co-directors Evan Reiser and Stephanie Rohlfs maintain regular Saturday hours for the weekend gallery goer.\u003c/p>\n\u003ch2>19th St BART\u003c/h2>\n\u003cfigure id=\"attachment_10280869\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/cringe.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/cringe.jpg\" alt=\"Rachel Yurkovich, Still from Five-Second Rule; Courtesy Aggregate Space\" width=\"640\" height=\"294\" class=\"size-full wp-image-10280869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/cringe.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/cringe-400x183.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rachel Yurkovich, Still from \u003ci>Five-Second Rule\u003c/i>; Courtesy Aggregate Space\u003c/figcaption>\u003c/figure>\n\u003ch3>Aggregate Space\u003c/h3>\n\u003ch5>801 W Grand Avenue\u003cbr>\n\u003ca href=\"http://www.aggregatespace.com/\" target=\"_blank\" rel=\"noopener\">aggregatespace.com\u003c/a>\u003c/h5>\n\u003cp>This sleek warehouse gallery space is run by co-founders Conrad M. Meyers II and S D Willis with a writing residency directed by Steffi Drewes. Its street entrance does little to prepare visitors for what’s inside: 15-foot ceilings, a fabrication shop, darkroom and screening lounge replete with theater seating. Dedicated to showcasing emerging local artists across media, Aggregate Space hosts exhibitions, artist talks, chapbook releases and film screenings, maintaining a full schedule of programming with the help of curatorial interns. They’ll start the year with a juried video show, \u003cb>Cringe\u003c/b>, featuring work by 9 artists selected from over 100 submissions.\u003c/p>\n\u003cfigure id=\"attachment_10280988\" class=\"wp-caption alignright\" style=\"max-width: 512px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/colosky.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/colosky.jpg\" alt=\"Randy Colosky, Slab #3, 2014; Courtesy of Chandra Cerrito Contemporary, Oakland\" width=\"512\" height=\"640\" class=\"size-full wp-image-10280988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/colosky.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/colosky-400x500.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/colosky-480x600.jpg 480w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Randy Colosky, \u003ci>Slab #3\u003c/i>, 2014; Courtesy of Chandra Cerrito Contemporary, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>Chandra Cerrito Contemporary\u003c/h3>\n\u003ch5>480 23rd Street\u003cbr>\n\u003ca href=\"http://chandracerritocontemporary.com/\" target=\"_blank\" rel=\"noopener\">chandracerritocontemporary.com\u003c/a>\u003c/h5>\n\u003cp>Chandra Cerrito Contemporary has come a long way from its humble 2007 beginnings on the mezzanine of Mercury 20 Gallery’s former Grand Avenue space. Actually, only two short blocks, but the current accommodations are a tad roomier. From Randy Colosky’s engineered ceramics to Amy M. Ho’s illusory architectural spaces, the gallery doesn’t shy away from thought-provoking installations. In fact, Chandra Cerrito represents an impressive number of sculptors at a time when 2D works are a safer bet for sales. Stop by for the ambitious shows and to peruse the Collectors Editions, affordable “limited edition and serial small works by gallery artists.”\u003c/p>\n\u003cfigure id=\"attachment_10280749\" class=\"wp-caption alignright\" style=\"max-width: 474px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/judithscott.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/judithscott.jpg\" alt=\"Judith Scott, Untitled, 2003; Photo courtesy of Creative Growth Art Center, Oakland\" width=\"474\" height=\"640\" class=\"size-full wp-image-10280749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/judithscott.jpg 474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/judithscott-400x540.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/judithscott-444x600.jpg 444w\" sizes=\"(max-width: 474px) 100vw, 474px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Judith Scott, \u003ci>Untitled\u003c/i>, 2003; Photo courtesy of Creative Growth Art Center, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>Creative Growth Art Center\u003c/h3>\n\u003ch5>355 24th Street\u003cbr>\n\u003ca href=\"http://creativegrowth.org/\" target=\"_blank\" rel=\"noopener\">creativegrowth.org\u003c/a>\u003c/h5>\n\u003cp>Serving artists with developmental disabilities, Creative Growth provides not only resources and services to their community of talented artists, but a gallery space showcasing seven well-considered exhibitions a year. The art center just celebrated its 40th year as the “oldest and largest” organization of its kind. For anyone seeking a break from the mundane, a visit to Creative Growth provides a refreshing jolt of the unexpected: colliding colors, material experimentation, energy harnessed into exciting mark making. Serving “approximately 150 clients from around the Bay Area,” Creative Growth is a must-stop on any gallery tour.\u003c/p>\n\u003cfigure id=\"attachment_10280502\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/johansson.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/johansson.jpg\" alt=\"Jennie Ottinger, White and Tan Head, 2014; Courtesy J\" width=\"640\" height=\"642\" class=\"size-full wp-image-10280502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-598x600.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennie Ottinger, \u003ci>White and Tan Head\u003c/i>, 2014; Courtesy Johansson Projects\u003c/figcaption>\u003c/figure>\n\u003ch3>Johansson Projects\u003c/h3>\n\u003ch5>2300 Telegraph Avenue\u003cbr>\n\u003ca href=\"http://johanssonprojects.com/\" target=\"_blank\" rel=\"noopener\">johanssonprojects.com\u003c/a>\u003c/h5>\n\u003cp>At the corner of Telegraph and 23rd, Johansson Projects’ elegant archways provide portals for sunlight-suffused exhibitions. Always eminently professional, this commercial space puts on shows of both well-known Bay Area artists (Michael Arcega, Alicia McCarthy) and recent MFA grads whose careers are on the rise (Margo Wolowiec, Jenny Sharaf). The 2015 season opens with an exhibition of paintings and sculptures by Jennie Ottinger on January 10, \u003cb>Letters to the Predator\u003c/b>.\u003c/p>\n\u003cfigure id=\"attachment_10280618\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED.jpg\" alt=\"Sylvia Fein, Together For Ever, 2013; Photo by Nick Pishvanov, courtesy of the artist and Krowswork, Oakland \" width=\"640\" height=\"483\" class=\"size-full wp-image-10280618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED-400x301.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sylvia Fein, \u003ci>Together For Ever\u003c/i>, 2013; Photo by Nick Pishvanov, courtesy of the artist and Krowswork, Oakland\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003ch3>Krowswork\u003c/h3>\n\u003ch5>480 23rd Street (side street entrance)\u003cbr>\n\u003ca href=\"http://www.krowswork.com/\" target=\"_blank\" rel=\"noopener\">krowswork.com\u003c/a>\u003c/h5>\n\u003cp>Krowswork just turned five years old, a remarkable fact alone. Director Jasmine Moorhead originally focused on contemporary video and photographic work, but now brings all media into her expansive gallery space. Krowswork’s programming is especially unique in its retrospectives of under-recognized artists (including Sylvia Fein and Jack Wright) whose lives are richly intertwined with the history of Northern California art. The gallery’s rigorous academic approach produces exhibitions that are neither staid nor didactic, but deeply informative and engaging. Also, it \u003cem>must\u003c/em> be noted that Krowswork is a palindrome.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Editor’s Note:\u003c/b> We corrected this post after being informed that Aggregate Space was actually closer to the 19th Street BART Station.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The 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.",
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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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"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.",
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"possible": {
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"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.",
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"pri-the-world": {
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"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": {
"id": "rightnowish",
"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": {
"id": "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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