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"content": "\u003cp>\u003cspan>B\u003c/span>y now, the Bay Area has seen the arrival of hundreds of thousands, maybe millions, of young seekers like Richard Henry Dana. \u003c/p>\n\u003cp>Dana was a college undergraduate who left school in a crisis, taking a radical course in his search for answers about who he was and what he might \u003ca href=\"http://ww2.kqed.org/news/2015/01/06/boomtown-history-san-francisco-gold-rush\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/01/06/boomtown-history-san-francisco-gold-rush\" target=\"_self\" title=\"Boomtown History: From Vast Solitude to a World Rushing In\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The Bay Area dance world lost one of its all-time greats this weekend with the sudden passing of Chitresh Das, master of the classical Indian dance form known as Kathak.\u003c/p>\n\u003cp>Das was an ecstatic presence, wild-eyed and haired, still performing his athletically demanding style of dance — with its 10 pounds of bells on each ankle and its rapid-fire foot-stampings — into his 70th year. Over the past decade it had become one of Das’ chief delights to test the physical virtuosity and musical sophistication of Kathak against other dance traditions. Last September, he appeared at the Palace of Fine Arts Theatre, soaked in sweat, in a friendly showdown with flamenco dancer Antonio Hidalgo Paz. His evening-length show with tap dancer Jason Samuels Smith, “India Jazz Suites,” was a critical and popular hit and toured the country. (Their performances together are\u003ca href=\"https://vimeo.com/80965715\"> documented in the film \u003cem>Upaj\u003c/em>\u003c/a>\u003cem>,\u003c/em> which means “improvise” in Hindi and aired on PBS last year.) In my own estimation, Das was always the winner of these cross-cultural contests.\u003c/p>\n\u003cp>[sc:jwspark movie=\"chitreshda\" image_url=\"http://www.kqed.org/assets/img/arts/programs/spark/artists/chitreshda-headshot.jpg\" ]\u003c/p>\n\u003cp>View Spark segment on Pandit Chitresh Das. Original air date: May 2007.\u003c/p>\n\u003cp>He was trained by his parents and his guru, Pandit Ram Narayan Misra, in his native Kolkata, and first came to the US on a fellowship to the University of Maryland. In 1971 he came to San Rafael to teach at the Ali Akbar College of Music, and a few years later created the first college-accredited Kathak course, at San Francisco State University. In Marin and at SFSU, he attracted what he joked was his “rainbow coalition:” women from a range of ethnicities who found a lifelong calling as his disciples, undergoing deep vows of apprenticeship. Many of these disciples, like Chalotte Moraga and Farah Yasmeen Shaikh, have become mesmerizing performers in their own right. In addition to dancing as the Chitresh Das Dance Company, these dancers pass on his example of complete life commitment to students at Das’ \u003ca href=\"http://www.kathak.org/site/kathak/section.php?id=4174\">Chhandam School of Kathak\u003c/a>, which he founded in 1979, opening a branch in India in 2002. Chhandam now has ten branches and 550 students.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kathak, one of India’s eight classical dance forms, derives its name from the \u003cem>kathakas,\u003c/em> who would travel among Mughal Courts in the 16\u003csup>th\u003c/sup> century reenacting tales from the Ramayana and other Hindu texts. Though Das worked most deeply as an innovator of pure musicality — he developed a training method he dubbed “Kathak Yoga,” in which the dancer rises to a higher state of concentration by stamping rhythms, singing and playing the harmonium — I remember him most vividly as a storyteller. To see him transform from the manly guise of the Hindu deity Krishna into a seductive female admirer with just the coy rising of his eyebrow was to experience both Das’ mischievous personality and his deep understanding of human nature.\u003c/p>\n\u003cp>Like the Kathak spectacles in the Mughal Courts, Das’ performances could go on for hours, punctuated by long breaks during which he explained the intricacies of a rhythmic challenge or told the Hindu story he was about to enact, always speaking teasingly and with laughter. In press interviews, too — I was fortunate to interview him several times — he would talk tirelessly about the history of his art and the spiritual dimensions of his practice. In every interview, he would tell me how badly he wanted to stage a performance with the San Francisco Ballet, pitting his dancers’ dervish-like spins against the ballerinas’ pirouettes. He never got to do it, but he didn’t really need to. Over five decades of boundless advocacy, he educated, enchanted, inspired — and proved his art form the equal to any in the world.\u003c/p>\n\u003cp>Chitresh Das leaves behind his wife, Celine Schein, executive director of the school and dance company, and two young daughters. His community is committed to carrying on: the Chitresh Das Dance Company will dance one of Das’ last evening-length dramas, \u003ca href=\"http://events.berkeley.edu/?event_ID=80755&date=2015-03-29&tab=performing_arts\">“Shiva,” at UC Berkeley in March\u003c/a>. A memorial is scheduled for Friday, January 9th at 10 am, at the \u003ca href=\"https://www.google.com/maps/place/2500+5th+Ave,+San+Rafael,+CA+94901/@37.9866711,-122.5552087,17z/data=!3m1!4b1!4m2!3m1!1s0x8085976df1364c07:0x876d3fd0b1d47806\">Mount Tamalpais Mortuary and Cemetery\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"title": "'States of Grace' Documents Roller-Coaster Healing Process",
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"content": "\u003cp>Doctor-turned-patient Grace Damman was grievously injured in a head-on collision on the Golden Gate Bridge in 2008. After being in a coma for a month and a half and enduring nine surgeries, she was sufficiently recovered to leave the hospital. The choice facing documentary filmmakers Helen S. Cohen and Mark Lipman was to jump or miss the boat.\u003c/p>\n\u003cp>“It was kind of the last moment we could start this film and make it work, because Grace was coming home from a year in rehab hospitals,” Lipman recalls. “I’m not sure we knew what we were getting ourselves into. We expected that something fascinating would unfold. We had no idea what it would look like.”\u003c/p>\n\u003cfigure id=\"attachment_10277731\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracemakers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracemakers.jpg\" alt=\"Mark Lipman and Helen S. Cohen \" width=\"640\" height=\"489\" class=\"size-full wp-image-10277731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracemakers.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracemakers-400x305.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mark Lipman and Helen S. Cohen\u003c/figcaption>\u003c/figure>\n\u003cp>That uncertainty, Cohen says, “was both daunting and the most compelling part of making a film like this. Following the story and not knowing what was gong to happen. We were witnessing; we didn’t know where we were going. We expected it to be easier [than it was] because the whole first year after the accident, Grace was in a euphoric place about her life. We didn’t think [her long-term recovery] would be a walk in the park, but filming Grace going through the difficult, dark process was incredibly challenging.”\u003c/p>\n\u003cp>\u003cem>States of Grace\u003c/em> intimately and sensitively portrays Damman’s arduous transition from top-drawer caregiver to dependent care-recipient (with the lingering possibility of regaining her original ability and status). Her partner, Fu Schroeder, and their adopted (and now teenage) daughter, Sabrina, carry the brunt of the weight, which transforms the film into an unflinching study of the bonds and frustrations of human relationships under exceptional stress.\u003c/p>\n\u003cfigure id=\"attachment_10277732\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracelama.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracelama.jpg\" alt=\"Dr. Grace Dammann with the Dalai Lama at the Unsung Heroes of Compassion award ceremony in 2009. Dammann was honored for her work as the co-founder of one of San Francisco’s first HIV/AIDS clinics for poor people during the disease’s deadliest era.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10277732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracelama.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracelama-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dr. Grace Dammann with the Dalai Lama at the Unsung Heroes of Compassion award ceremony in 2009. Dammann was honored for her work as the co-founder of one of San Francisco’s first HIV/AIDS clinics for poor people during the disease’s deadliest era.\u003c/figcaption>\u003c/figure>\n\u003cp>The family lives at the picturesque Green Gulch Farm Zen Center in Muir Beach, and the Buddhist vibe and setting infuses the film with a distinct Northern California flavor. Yet \u003cem>States of Grace\u003c/em>, which screens this week at venues around the Bay Area after premiering at the Mill Valley Film Festival in October, speaks eloquently to viewers whose visceral identification with Grace and Fu’s predicament trumps any geographical, religious, social and sexual differences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“So far our sense is it does transcend those boundaries,” Cohen says. “Fu is this [female] Buddhist priest with a shaved head, yet [audiences] just see them as people they can relate to.” Lipman adds, “People forget how idiosyncratic they are because what comes through is the level of caring. It just looks like a regular family struggling to deal.”\u003c/p>\n\u003cp>Cohen is a friend of Dammann’s, and that connection allowed the filmmakers access to the family. But the process turned out to be especially complicated for Cohen, who had to balance her personal relationship with the camera’s (and editor Kenji Yamamoto’s) unflinching perspective.\u003c/p>\n\u003cp>“We wanted to be as true to the experience as we could be,” says Lipman, who shot the film. “Without showing some of the very dark moments and the struggle that Grace went through, not only wouldn’t it be a good movie, but it wouldn’t be useful in the world because it wouldn’t ring true to people’s experiences with situations like this.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Mina Kim speaks to Grace Damman.\u003c/strong>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/184983355″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The result is that \u003cem>States of Grace\u003c/em> achieves a relevance and a power that not only reaches beyond its subjects, but goes well beyond the initial vague intentions of the filmmakers.\u003c/p>\n\u003cp>“I don’t know that we had an agenda at the beginning,” Lipman muses. “Helen and I have a long history of making social issue documentaries where there have been clear agendas, and we’ve done the research and pre-interviews. Of course, it never quite works out that way. But here, it was being grabbed by the situation itself and running with it.”\u003c/p>\n\u003cp>It’s especially gratifying to Cohen and Lipman that their gutsy gamble to seize this project will have ripple effects they couldn’t have imagined.\u003c/p>\n\u003cp>“\u003cem>States of Grace\u003c/em> is a philosophical film about the meaning of life and people reinventing themselves and coming to terms with who they are after a really horrible, tragic accident,” Cohen says. “What the film also does that we didn’t anticipate at all is [serve as] a real resource for medical education, rehab practitioners, caregivers, social workers and psychologists working with families who go through trauma or illness. So it has some work to do in the world that we didn’t anticipate.”\u003c/p>\n\u003cp>Most moviegoers and TV viewers are interested in documentaries solely for their content, but the filmmaker’s choices and compromises, combined with fortuitous accidents, are equally compelling. Embarking on a cinema verité film is taking a leap without a net, but the risk is offset by the freedom. “This kind of filmmaking allows us to bring more of our artist selves to the filmmaking process, which is really gratifying,” Cohen says. “It’s hard to imagine going back to straight-up documentary filmmaking after an experience like this, where we were able to bring so much more poetry and our creative sensibilities.”\u003c/p>\n\u003cp>“When we were finishing this up, I thought I am never doing another film like this again,” Lipman adds. “We are finishing a historical film now, but Helen and I are scheming on another cinema verité project. There’s something compelling about this kind of filmmaking, once you dust yourself off and pick yourself back up.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>States of Grace\u003c/em> screens Monday and Tuesday, January 5-6, 2015 at the Balboa Theater in San Francisco, Jan. 6 at the New Parkway in Oakland, Jan. 7 at the Vogue in San Francisco, Jan. 8 at the Rafael Film Center in San Rafael (with Grace and Fu on hand) and Jan. 12 at the Shattuck Cinemas in Berkeley. For \u003ca href=\"http://openstudioproductions.com/states-of-grace/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, go to openstudioproductions.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Doctor-turned-patient Grace Damman was grievously injured in a head-on collision on the Golden Gate Bridge in 2008. After being in a coma for a month and a half and enduring nine surgeries, she was sufficiently recovered to leave the hospital. The choice facing documentary filmmakers Helen S. Cohen and Mark Lipman was to jump or miss the boat.\u003c/p>\n\u003cp>“It was kind of the last moment we could start this film and make it work, because Grace was coming home from a year in rehab hospitals,” Lipman recalls. “I’m not sure we knew what we were getting ourselves into. We expected that something fascinating would unfold. We had no idea what it would look like.”\u003c/p>\n\u003cfigure id=\"attachment_10277731\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracemakers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracemakers.jpg\" alt=\"Mark Lipman and Helen S. Cohen \" width=\"640\" height=\"489\" class=\"size-full wp-image-10277731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracemakers.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracemakers-400x305.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mark Lipman and Helen S. Cohen\u003c/figcaption>\u003c/figure>\n\u003cp>That uncertainty, Cohen says, “was both daunting and the most compelling part of making a film like this. Following the story and not knowing what was gong to happen. We were witnessing; we didn’t know where we were going. We expected it to be easier [than it was] because the whole first year after the accident, Grace was in a euphoric place about her life. We didn’t think [her long-term recovery] would be a walk in the park, but filming Grace going through the difficult, dark process was incredibly challenging.”\u003c/p>\n\u003cp>\u003cem>States of Grace\u003c/em> intimately and sensitively portrays Damman’s arduous transition from top-drawer caregiver to dependent care-recipient (with the lingering possibility of regaining her original ability and status). Her partner, Fu Schroeder, and their adopted (and now teenage) daughter, Sabrina, carry the brunt of the weight, which transforms the film into an unflinching study of the bonds and frustrations of human relationships under exceptional stress.\u003c/p>\n\u003cfigure id=\"attachment_10277732\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracelama.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracelama.jpg\" alt=\"Dr. Grace Dammann with the Dalai Lama at the Unsung Heroes of Compassion award ceremony in 2009. Dammann was honored for her work as the co-founder of one of San Francisco’s first HIV/AIDS clinics for poor people during the disease’s deadliest era.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10277732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracelama.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracelama-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dr. Grace Dammann with the Dalai Lama at the Unsung Heroes of Compassion award ceremony in 2009. Dammann was honored for her work as the co-founder of one of San Francisco’s first HIV/AIDS clinics for poor people during the disease’s deadliest era.\u003c/figcaption>\u003c/figure>\n\u003cp>The family lives at the picturesque Green Gulch Farm Zen Center in Muir Beach, and the Buddhist vibe and setting infuses the film with a distinct Northern California flavor. Yet \u003cem>States of Grace\u003c/em>, which screens this week at venues around the Bay Area after premiering at the Mill Valley Film Festival in October, speaks eloquently to viewers whose visceral identification with Grace and Fu’s predicament trumps any geographical, religious, social and sexual differences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“So far our sense is it does transcend those boundaries,” Cohen says. “Fu is this [female] Buddhist priest with a shaved head, yet [audiences] just see them as people they can relate to.” Lipman adds, “People forget how idiosyncratic they are because what comes through is the level of caring. It just looks like a regular family struggling to deal.”\u003c/p>\n\u003cp>Cohen is a friend of Dammann’s, and that connection allowed the filmmakers access to the family. But the process turned out to be especially complicated for Cohen, who had to balance her personal relationship with the camera’s (and editor Kenji Yamamoto’s) unflinching perspective.\u003c/p>\n\u003cp>“We wanted to be as true to the experience as we could be,” says Lipman, who shot the film. “Without showing some of the very dark moments and the struggle that Grace went through, not only wouldn’t it be a good movie, but it wouldn’t be useful in the world because it wouldn’t ring true to people’s experiences with situations like this.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Mina Kim speaks to Grace Damman.\u003c/strong>\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/184983355″&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/184983355″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The result is that \u003cem>States of Grace\u003c/em> achieves a relevance and a power that not only reaches beyond its subjects, but goes well beyond the initial vague intentions of the filmmakers.\u003c/p>\n\u003cp>“I don’t know that we had an agenda at the beginning,” Lipman muses. “Helen and I have a long history of making social issue documentaries where there have been clear agendas, and we’ve done the research and pre-interviews. Of course, it never quite works out that way. But here, it was being grabbed by the situation itself and running with it.”\u003c/p>\n\u003cp>It’s especially gratifying to Cohen and Lipman that their gutsy gamble to seize this project will have ripple effects they couldn’t have imagined.\u003c/p>\n\u003cp>“\u003cem>States of Grace\u003c/em> is a philosophical film about the meaning of life and people reinventing themselves and coming to terms with who they are after a really horrible, tragic accident,” Cohen says. “What the film also does that we didn’t anticipate at all is [serve as] a real resource for medical education, rehab practitioners, caregivers, social workers and psychologists working with families who go through trauma or illness. So it has some work to do in the world that we didn’t anticipate.”\u003c/p>\n\u003cp>Most moviegoers and TV viewers are interested in documentaries solely for their content, but the filmmaker’s choices and compromises, combined with fortuitous accidents, are equally compelling. Embarking on a cinema verité film is taking a leap without a net, but the risk is offset by the freedom. “This kind of filmmaking allows us to bring more of our artist selves to the filmmaking process, which is really gratifying,” Cohen says. “It’s hard to imagine going back to straight-up documentary filmmaking after an experience like this, where we were able to bring so much more poetry and our creative sensibilities.”\u003c/p>\n\u003cp>“When we were finishing this up, I thought I am never doing another film like this again,” Lipman adds. “We are finishing a historical film now, but Helen and I are scheming on another cinema verité project. There’s something compelling about this kind of filmmaking, once you dust yourself off and pick yourself back up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The evening commute on BART is Eric Bassett’s time to shine.\u003c/p>\n\u003cp>Bassett, 20, who performs as Kid Strobe, leads his seven-man crew onto a train at Powell Street Station in San Francisco and carves out a small dance floor by the doors. Weary riders make way — faces flecked with a \u003ca href=\"http://ww2.kqed.org/news/2015/01/05/east-bay-dance-crew-makes-bart-its-turf/\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/01/05/east-bay-dance-crew-makes-bart-its-turf/\" target=\"_self\" title=\"East Bay Dance Crew Makes BART Its TURF (Video)\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>John Jordan’s garage is overflowing with the bodies of unfinished violins. Some look like tapered chunks of maple or redwood. Others are closer to completion: sticklike necks with one swooping curve for a musician's chin.\u003c/p>\n\u003cp>Jordan is a renowned luthier who lives and works in Concord. Over his 30-year career, he has produced more than 500 solid body electric violins, cellos, violas and basses. They are played in recording studios, dorm rooms and on stages around the world.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/186251586\" 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>There is a significant demand for these high-end instruments. Jordan builds close to 50 a year, and they don’t come cheap. That’s because Jordan makes violins that do things normal violins cannot.\u003c/p>\n\u003cp>Acoustic stringed instruments create sound when a string vibrates and excites the air inside a hollow wooden chamber. The size of its body and the thickness of its strings determine an instrument’s range.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More space inside the chamber means longer sound waves can resonate, and lower notes are produced. Smaller bodies and thinner strings make higher notes.\u003c/p>\n\u003cp>Jordan says that with electric solid body instruments, “we're not relying on a vibrating box of wood to produce the sound. We can reproduce that in an amplifier and just convert the vibrating string energy into electricity and let the amplifier do the conversion.”\u003c/p>\n\u003cp>This allows him to create tiny instruments with huge ranges. He has built nine-stringed violins that play higher than a piano and as low as a string bass. For that violin’s highest string, Jordan had to use a wire developed for NASA.\u003c/p>\n\u003cp>“It's the highest tensile-strength steel there is,\" Jordan explains. \"And it'll go a fourth higher than a violin. And then you've got to figure out who really needs that. And the answer is, there are some people who do.\"\u003c/p>\n\u003cp>Jordan says if you wanted to play violin with any of the touring companies of Cirque du Soleil, \"just to audition for it you have to be proficient on a seven-string violin.\"\u003c/p>\n\u003cp>And there are composers now writing pieces specifically for seven-string violin. Some have premiered on Jordan’s instruments.\u003c/p>\n\u003cp>“We're dealing with modern music, modern composers, writing for new technology, instruments that didn't exist 100 years ago. Or even 50 years ago.”\u003c/p>\n\u003cp>Jordan began his career as an assistant to Ervin Somogyi, a guitar maker in Berkeley. He had damaged his sister’s guitar and couldn’t afford the repairs. So he cut a deal with Somogyi.\u003c/p>\n\u003cp>\"I made a bold teenage offer and said, 'Tell you what, I'll pay you half and I'll clean up your shop until you tell me we're even,' \" Jordan recalls. \"So that's how I ended up apprenticing with him. My career found me. I just didn't get in the way of it.\"\u003c/p>\n\u003cp>Since Jordan does virtually all of the construction himself, each instrument is unique and customizable. Most are pretty close analogues to conventional violins. But every once in a while, Jordan is asked to build a double-necked violin, a six-string upright bass or some other outlandish creation.\u003c/p>\n\u003cp>Jordan says a highlight of his career was building a double-necked violin for Neyveli Radhakrishna. \"Radha,\" as he's known, was touring with Ravi Shankar at the time. Jordan recalls meeting Shankar.\u003c/p>\n\u003cp>\"And he goes, 'You made Radha's violin?' and he was looking at me like I was some big deal. I mean, I just make sawdust in my garage. You know, for a guy who's seen that much to still have a sense of wonder about seeing something new, that's really cool,\" Jordan recalls.\u003c/p>\n\u003cp>And he plans to keep the innovations coming. He’s hoping to finish a new bass for himself soon, but the long waiting list for a Jordan violin keeps his pet projects on the back burner most of the time.\u003c/p>\n\u003cp>He hopes to build a 10-string violin in the next few years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I'm in contact with bioengineers that are working on a monofilament based on black widow spider web material, which happens to be stronger than steel per unit of diameter,” he says.\u003c/p>\n\n",
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"content": "\u003caside class=\"aligncenter\">[soundcloud url=”https://api.soundcloud.com/tracks/183791095″ 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/aside>\n\u003cp>With big money coming in and small bands moving out, the popular viewpoint in San Francisco is that nightclubs currently face a precarious future. But on \u003cem>Forum\u003c/em> this morning, a panel of key players in the music scene discussed the current obstacles that nightclubs face, from rising rents and zoning issues to the ever-present danger of neighbor complaints, and found that maybe the situation isn’t as dire as it seems.\u003c/p>\n\u003cp>\u003cem>SF Weekly\u003c/em> music editor Emma Silvers began the conversation by pointing out that the current discussion may be a bit overblown: though the Elbo Room in the Mission District is threatened with conversion into condos, the two other venues most cited as canaries in the club coalmine—Yoshi’s SF and Cafe du Nord—have already or will soon reopen as the Addition and the Swedish American Hall, respectively. Additionally, the Addition is booked by Peter Williams, a veteran of the original Yoshi’s SF, and the Swedish American Hall will be booked by long-running esteemed promoters Noise Pop.\u003c/p>\n\u003cp>Silvers made other key points, including the flowering of venues in Oakland, the under-the-radar venues that have always comprised the city’s musical soul, and the need for BART to run past midnight (who could argue?).\u003c/p>\n\u003cp>Jocelyn Kane, Executive Director of the Entertainment Commission of San Francisco, spoke about zoning issues surrounding nightclubs and the city’s efforts to protect nightclubs from threats, particularly from “complainy-pants” neighbors who move in and immediately deluge the city with noise complaints from a club that’s thrived in the neighborhood for decades. Of particular interest is Supervisor London Breed’s new initiative, recently introduced, to shield nightclubs from such complaints.\u003c/p>\n\u003cp>Bottom of the Hill co-owner Lynn Schwarz clarified that her club was not closing, but does express concern that planned nearby developments could bring problems—not just with complaining neighbors, but with eliminating the club’s longtime allure of copious parking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Terrance Alan, board member for the California Music and Culture Association, brought a veteran’s view of the current environment in the city. Having been involved in rave promotion and other underground events in the ’80s and ’90s, Alan spoke to the once-abundant community of underground venues and the bygone days of cheap warehouse rent. Still, he emphasizes that the times have always changed in San Francisco, and the music scene has always adapted.\u003c/p>\n\n",
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"content": "\u003cp>\u003cem>And now, here’s another in our occasional series called “My Spot,” celebrating personal experiences with special places in California. Meet a\u003cbr>\nwaitress/caregiver who takes us to the studio where she dances flamenco!\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/183268888\" 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>My name is Maria Howard and I live in Santa Rosa, California. And I’ve been taking dance classes at Flamenco Arts Dance Studio in downtown Santa Rosa for 15 years now.\u003c/p>\n\u003cp>Dance has played a very important role ever since I was five, from Chinese folk dancing through ballet through modern dance. And now that the kids are grown and gone, I have more time for myself, and I’ve rediscovered that part of me.\u003c/p>\n\u003cp>I’ve made many friends at the studio and it’s like my second family.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My first flamenco solo, which was in May at the studio, was something that I anticipated -- and I was nervous. But my teacher said that I was ready, and I surprised myself in the end. And it helped to have friends in the audience. And as I got on stage, I thought, 'You know, this is my time.' And it was very moving and powerful for me.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There is a transformation. You put on a persona and you just love it when people afterward say, 'I didn’t know you could dance that way! I didn’t know that part of you.' It’s very rewarding.\u003c/p>\n\n",
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"content": "\u003cp>Famed children’s author \u003ca href=\"http://www.rsansouci.com/\" target=\"_blank\">Robert D. San Souci \u003c/a>has died at the age of 68 after a fall that resulted in a head injury.\u003c/p>\n\u003cp>San Souci wrote more than 100 books, including many about ghosts, and the best-sellers \"\u003ca href=\"http://www.rsansouci.com/framesets/frameset2.htm\" target=\"_blank\">Fa Mulan: The Story of a Woman Warrior,\"\u003c/a> which inspired the Disney movie \"Mulan,\" and \"\u003ca href=\"http://www.rsansouci.com/framesets/frameset2.htm\" target=\"_blank\">Two Bear Cubs: A Miwok Legend from California's Yosemite Valley\u003c/a>,\" a version of an old Miwok Indian tale about Yosemite Valley.\u003c/p>\n\u003caside class=\"pullquote alignright\">'He always felt a lot of people were getting shortchanged, and people should be enlightened, and there was no better way to do this than start off when people were kids.' \u003ccite> Daniel San Souci\u003c/cite>\u003c/aside>\n\u003cp>Friends found the author unresponsive on Dec. 19 at his San Francisco apartment after he missed a lunch date with them.\u003c/p>\n\u003cp>San Souci often worked with his younger brother, \u003ca href=\"http://www.danielsansouci.com/\" target=\"_blank\">Daniel San Souci\u003c/a>, an illustrator. The two were close and shared the same birthday.\u003c/p>\n\u003cp>Daniel said he was shocked at the news of his brother's death. The two had been making plans for Robert to join Daniel and his family in Oakland for Christmas dinner.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Working with Bob,” Daniel said, “it was the most wonderful process. I think he was a fixture at the Bancroft Library in Berkeley researching his books. And anytime he came upon something that would be useful to me, or the other illustrators he worked with, he would send us this whole package to help us with visualizing the characters.”\u003c/p>\n\u003cp>San Souci’s stories often featured strong female Native American and African-American characters. Daniel says he thinks his brother developed that focus when the two were kids growing up in Berkeley.\u003c/p>\n\u003cp>“There would be a whole group of us who would go to the Oaks Theatre (on Solano Avenue) all the time,\" he said. \"And everyone was always cheering when the cavalry came and the bugle was calling, except Bob. Bob was always for the Indians. And it was because he was doing so much reading about Native Americans at the time.\u003c/p>\n\u003cp>“He always felt a lot of people were getting shortchanged, and people should be enlightened, and there was no better way to do this than start off when people were kids. And so I think he just did a lot of good.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Daniel San Souci says he’ll soon announce plans for a memorial to his brother to be held sometime in February or March.\u003c/p>\n\u003cfigure id=\"attachment_10390077\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/photo-2-e1419649825495.jpg\">\u003cimg class=\"size-full wp-image-10390077\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/photo-2-e1419649825495.jpg\" alt=\"Robert San Souci, right, and his brother, Daniel, were photographed together in 1999. (Courtesy of San Souci family).\" width=\"640\" height=\"440\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robert San Souci, right, and his brother, Daniel, were photographed together in 1999. (Courtesy of San Souci family) \u003ccite>((Courtesy of San Souci family))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"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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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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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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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"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": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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