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"disqusTitle": "From the Archive: Maya Angelou Hosts 1968 Series 'Blacks, Blues, Black!'",
"title": "From the Archive: Maya Angelou Hosts 1968 Series 'Blacks, Blues, Black!'",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>\u003cem>To celebrate Black History Month, we will be highlighting clips from the KQED video archive throughout February. All clips have been made available by the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv\" target=\"_blank\">Bay Area TV Archive at San Francisco State University\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.youtube.com/watch?v=0pbL5sR9oiM\" target=\"_blank\">above clip\u003c/a> features three excerpts from the series \"Blacks, Blues, Black!\" The material includes Maya Angelou reciting the poem \"A Letter to an Aspiring Junkie,\" a performance and interview she did with legendary blues guitarist B.B. King, and a visit to Martin Luther King School in San Francisco.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/10287\" target=\"_blank\">Watch \"Blacks, Blues, Black!\"\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/10287/\" target=\"_blank\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/bbb-title.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp>All ten episodes available online at the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv\" target=\"_blank\">S.F. Bay Area Television Archive\u003c/a>.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223548\" target=\"_blank\">Episode one: \"Positive Africanisms\"\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223549\" target=\"_blank\">Episode two: \"Negative Africanisms\"\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223550\" target=\"_blank\">Episode three: African history\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223551\" target=\"_blank\">Episode four: Music\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/10287\" target=\"_blank\">more\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 1968, Maya Angelou wrote and produced a 10-part series for KQED called \"Blacks, Blues, Black!\" The series explored the influence of African-American culture on American society, and featured episodes on African history, art, Africanisms and \"violence in the black American world.\"\u003c/p>\n\u003cp>After airing in the summer of 1968, \"Blacks, Blues, Black!\" was lost and unavailable for decades. Angelou herself had reportedly been searching for the series for years. Her representatives reached out to the Bay Area TV archive as early as 2005 looking for it, but there was no trace of the series there or in any other local archive, including KQED's.\u003c/p>\n\u003cp>In 2009, San Francisco State film archivist Alex Cherian was working on a project for the Corporation for Public Broadcasting, sifting through thousands of cans of film, when he came across one canister with a single handwritten word scribbled on the outside: \"Angelou.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Intrigued, Cherian queued up the film to find the poet touring a neighborhood in Watts, just a few years after the 1965 riots had ripped through that community. In the segment, which Cherian would later learn was part of the ninth episode, Angelou says the conflicts in Watts \"represented a people, a race fighting for survival.\"\u003c/p>\n\u003cp>\"The material was so compelling, I wanted to find the whole series,\" Cherian says. \"I assumed it would be relatively simple. It was not.\"\u003c/p>\n\u003cfigure id=\"attachment_10432277\" class=\"wp-caption alignleft\" style=\"max-width: 445px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/cherian_sf-state.jpg\">\u003cimg class=\" wp-image-10432277\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/cherian_sf-state-1440x800.jpg\" alt=\"SF State film archivist Alex Cherian pictured in a 2011 short film produced by KPIX. (SF Bay Area TV Archive)\" width=\"445\" height=\"247\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/cherian_sf-state.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/cherian_sf-state-400x222.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/cherian_sf-state-800x444.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/cherian_sf-state-672x372.jpg 672w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/cherian_sf-state-1038x576.jpg 1038w\" sizes=\"(max-width: 445px) 100vw, 445px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF State film archivist Alex Cherian pictured in a 2011 short film produced by KPIX. (SF Bay Area TV Archive)\u003c/figcaption>\u003c/figure>\n\u003cp>He spent the next four years looking for any information about the series but found virtually nothing. In early 2013, on a whim, he called the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv\" target=\"_blank\">Library of Congress\u003c/a> and learned that they had the entire 10-hour series preserved on \u003ca href=\"http://upload.wikimedia.org/wikipedia/commons/b/b9/2-inch_Quad_Tape_Reel_with_miniDV_cassette.jpg\" target=\"_blank\">two-inch videotape\u003c/a>.\u003c/p>\n\u003cp>So why did the Library have it? To make a long story short, KQED co-produced many films with \u003ca href=\"http://en.wikipedia.org/wiki/National_Educational_Television\" target=\"_blank\">National Educational Television\u003c/a>, a public broadcasting predecessor to PBS in the sixties. When NET dissolved in 1970, a part of their archive including KQED's \"Blacks, Blues, Black!\" was transferred to WNET, New York City's public media affiliate. At some point after that, WNET deposited a small sampling of this inherited archive at the Library of Congress, where it sat untouched for decades.\u003c/p>\n\u003cp>Until Cherian called in 2013.\u003c/p>\n\u003cfigure id=\"attachment_10432274\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/angelou-and-king.jpg\">\u003cimg class=\"wp-image-10432274 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/angelou-and-king-1440x1076.jpg\" alt='Maya Angelou interviewing B.B. King in an episode about music from \"Blacks, Blues, Black!\"' width=\"640\" height=\"478\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/angelou-and-king.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/angelou-and-king-400x299.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/angelou-and-king-800x598.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maya Angelou interviewing B.B. King in an episode about music from \"Blacks, Blues, Black!\" (KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>After determining that KQED was the copyright holder and securing permission, the Library of Congress agreed to digitize the series, at a cost of close to $5,000. Over the next year, the J. Paul Leonard Library at San Francisco State, where the Bay Area TV Archive is housed, was able to raise the necessary funds, mainly through commercial licensing for Bay Area television stations.\u003c/p>\n\u003cp>At that point, confident that \"Blacks, Blues, Black!\" would finally be made widely available again, Cherian reached out to Maya Angelou's representatives to share the good news. In an email dated May 14, 2014, Angelou's office manager relayed that the poet was \"over the moon\" that the series had been found.\u003c/p>\n\u003cp>Two weeks later, on May 28, Angelou passed away.\u003c/p>\n\u003cp>By that time the hot summer months had set in, and with them another delay. \"It turns out the Library of Congress doesn’t work with old video in the humid season,\" Cherian said. So the restoration process was put on hold until November.\u003c/p>\n\u003cp>Finally, last month, Cherian received the full 10 hours of uncompressed digital masters of \"Blacks, Blues, Black!\" All ten episodes are now freely available \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/10287\" target=\"_blank\">online\u003c/a>.\u003c/p>\n\u003cp>According to Cherian, an American Masters documentary film about Dr. Angelou's life, set to be released in 2016 and endorsed by her family, may use some of the unique footage rediscovered in this series.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you have any information regarding \u003cem>\"Blacks, Blues, Black!\"\u003c/em> contact Alex Cherian at acherian@sfsu.edu. All information will be added to the series record within the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv\" target=\"_blank\">Bay Area TV Archive\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>To celebrate Black History Month, we will be highlighting clips from the KQED video archive throughout February. All clips have been made available by the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv\" target=\"_blank\">Bay Area TV Archive at San Francisco State University\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.youtube.com/watch?v=0pbL5sR9oiM\" target=\"_blank\">above clip\u003c/a> features three excerpts from the series \"Blacks, Blues, Black!\" The material includes Maya Angelou reciting the poem \"A Letter to an Aspiring Junkie,\" a performance and interview she did with legendary blues guitarist B.B. King, and a visit to Martin Luther King School in San Francisco.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/10287\" target=\"_blank\">Watch \"Blacks, Blues, Black!\"\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/10287/\" target=\"_blank\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/bbb-title.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp>All ten episodes available online at the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv\" target=\"_blank\">S.F. Bay Area Television Archive\u003c/a>.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223548\" target=\"_blank\">Episode one: \"Positive Africanisms\"\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223549\" target=\"_blank\">Episode two: \"Negative Africanisms\"\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223550\" target=\"_blank\">Episode three: African history\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223551\" target=\"_blank\">Episode four: Music\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/10287\" target=\"_blank\">more\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 1968, Maya Angelou wrote and produced a 10-part series for KQED called \"Blacks, Blues, Black!\" The series explored the influence of African-American culture on American society, and featured episodes on African history, art, Africanisms and \"violence in the black American world.\"\u003c/p>\n\u003cp>After airing in the summer of 1968, \"Blacks, Blues, Black!\" was lost and unavailable for decades. Angelou herself had reportedly been searching for the series for years. Her representatives reached out to the Bay Area TV archive as early as 2005 looking for it, but there was no trace of the series there or in any other local archive, including KQED's.\u003c/p>\n\u003cp>In 2009, San Francisco State film archivist Alex Cherian was working on a project for the Corporation for Public Broadcasting, sifting through thousands of cans of film, when he came across one canister with a single handwritten word scribbled on the outside: \"Angelou.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Intrigued, Cherian queued up the film to find the poet touring a neighborhood in Watts, just a few years after the 1965 riots had ripped through that community. In the segment, which Cherian would later learn was part of the ninth episode, Angelou says the conflicts in Watts \"represented a people, a race fighting for survival.\"\u003c/p>\n\u003cp>\"The material was so compelling, I wanted to find the whole series,\" Cherian says. \"I assumed it would be relatively simple. It was not.\"\u003c/p>\n\u003cfigure id=\"attachment_10432277\" class=\"wp-caption alignleft\" style=\"max-width: 445px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/cherian_sf-state.jpg\">\u003cimg class=\" wp-image-10432277\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/cherian_sf-state-1440x800.jpg\" alt=\"SF State film archivist Alex Cherian pictured in a 2011 short film produced by KPIX. (SF Bay Area TV Archive)\" width=\"445\" height=\"247\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/cherian_sf-state.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/cherian_sf-state-400x222.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/cherian_sf-state-800x444.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/cherian_sf-state-672x372.jpg 672w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/cherian_sf-state-1038x576.jpg 1038w\" sizes=\"(max-width: 445px) 100vw, 445px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF State film archivist Alex Cherian pictured in a 2011 short film produced by KPIX. (SF Bay Area TV Archive)\u003c/figcaption>\u003c/figure>\n\u003cp>He spent the next four years looking for any information about the series but found virtually nothing. In early 2013, on a whim, he called the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv\" target=\"_blank\">Library of Congress\u003c/a> and learned that they had the entire 10-hour series preserved on \u003ca href=\"http://upload.wikimedia.org/wikipedia/commons/b/b9/2-inch_Quad_Tape_Reel_with_miniDV_cassette.jpg\" target=\"_blank\">two-inch videotape\u003c/a>.\u003c/p>\n\u003cp>So why did the Library have it? To make a long story short, KQED co-produced many films with \u003ca href=\"http://en.wikipedia.org/wiki/National_Educational_Television\" target=\"_blank\">National Educational Television\u003c/a>, a public broadcasting predecessor to PBS in the sixties. When NET dissolved in 1970, a part of their archive including KQED's \"Blacks, Blues, Black!\" was transferred to WNET, New York City's public media affiliate. At some point after that, WNET deposited a small sampling of this inherited archive at the Library of Congress, where it sat untouched for decades.\u003c/p>\n\u003cp>Until Cherian called in 2013.\u003c/p>\n\u003cfigure id=\"attachment_10432274\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/angelou-and-king.jpg\">\u003cimg class=\"wp-image-10432274 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/angelou-and-king-1440x1076.jpg\" alt='Maya Angelou interviewing B.B. King in an episode about music from \"Blacks, Blues, Black!\"' width=\"640\" height=\"478\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/angelou-and-king.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/angelou-and-king-400x299.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/angelou-and-king-800x598.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maya Angelou interviewing B.B. King in an episode about music from \"Blacks, Blues, Black!\" (KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>After determining that KQED was the copyright holder and securing permission, the Library of Congress agreed to digitize the series, at a cost of close to $5,000. Over the next year, the J. Paul Leonard Library at San Francisco State, where the Bay Area TV Archive is housed, was able to raise the necessary funds, mainly through commercial licensing for Bay Area television stations.\u003c/p>\n\u003cp>At that point, confident that \"Blacks, Blues, Black!\" would finally be made widely available again, Cherian reached out to Maya Angelou's representatives to share the good news. In an email dated May 14, 2014, Angelou's office manager relayed that the poet was \"over the moon\" that the series had been found.\u003c/p>\n\u003cp>Two weeks later, on May 28, Angelou passed away.\u003c/p>\n\u003cp>By that time the hot summer months had set in, and with them another delay. \"It turns out the Library of Congress doesn’t work with old video in the humid season,\" Cherian said. So the restoration process was put on hold until November.\u003c/p>\n\u003cp>Finally, last month, Cherian received the full 10 hours of uncompressed digital masters of \"Blacks, Blues, Black!\" All ten episodes are now freely available \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/10287\" target=\"_blank\">online\u003c/a>.\u003c/p>\n\u003cp>According to Cherian, an American Masters documentary film about Dr. Angelou's life, set to be released in 2016 and endorsed by her family, may use some of the unique footage rediscovered in this series.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you have any information regarding \u003cem>\"Blacks, Blues, Black!\"\u003c/em> contact Alex Cherian at acherian@sfsu.edu. All information will be added to the series record within the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv\" target=\"_blank\">Bay Area TV Archive\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Got You Covered: Valentine's Day Cards for the Bay Area",
"headTitle": "Got You Covered: Valentine’s Day Cards for the Bay Area | KQED",
"content": "\u003cp>Last year we decided to help out all of you Valentine’s Day slackers by designing and providing you with some fun, \u003ca href=\"http://ww2.kqed.org/news/2014/02/12/say-i-love-you-with-bay-area-themed-valentines/\" target=\"_blank\" rel=\"noopener\">Bay Area-themed valentine cards.\u003c/a>\u003c/p>\n\u003cp>This year we took it a step further by commissioning six local artists to provide us with the art for this year’s list of Bay Area puns and inside jokes. As you will see below, the artists did not disappoint! Share, copy or print to your heart’s content.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/toteslove.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10383027\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/toteslove.png\" alt=\"toteslove\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-400x400.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-600x600.png 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-75x75.png 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>First is “I Totes Love You” by Jeff Meadows, local artist and sign painter. His work can be seen at \u003ca href=\"http://jeff-meadows.com/\" target=\"_blank\" rel=\"noopener\">jeff-meadows.com.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Coit-Looker-e1423702683137.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382963\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Coit-Looker-e1423702683137.jpg\" alt=\"Coit Looker\" width=\"800\" height=\"800\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Next is “You’re Coit the Looker” by illustrator and graphic designer Brian Standeford, whose work can be seen regularly on \u003ca href=\"http://cargocollective.com/standeforddesign/Bold-Italic-Work\" target=\"_blank\" rel=\"noopener\">The Bold Italic\u003c/a>. But make sure to check out \u003ca href=\"http://cargocollective.com/standeforddesign\" target=\"_blank\" rel=\"noopener\">all of it\u003c/a>, especially his album covers and concert posters.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kqed-val.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382991\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kqed-val.jpg\" alt=\"kqed-val\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>We really lucked out in getting Sirron Norris to contribute “You’re My Bae.” If you haven’t seen his work and murals around the Mission, you \u003ca href=\"http://www.sirronnorris.com/latest\" target=\"_blank\" rel=\"noopener\">must seek it out\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Bill-Zindel.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382949\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Bill-Zindel.jpg\" alt=\"Bill Zindel\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Artist, illustrator, and designer Bill Zindel illustrates “You Had Me at Hella,” which exemplifies his wonderful collage work. You can see more of it on \u003ca href=\"http://billzindel.com/259737/projects\" target=\"_blank\" rel=\"noopener\">his website.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/hayward2-e1423704261382.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382978\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/hayward2-e1423704261382.jpg\" alt=\"hayward\" width=\"800\" height=\"533\">\u003c/a>\u003c/p>\n\u003cp>Next is “You Make My Knees Wobble Like the Hayward Fault,” by comic book and visual artist Thien Pham. Join his fan club at \u003ca href=\"http://thienisawesome.blogspot.com/\" target=\"_blank\" rel=\"noopener\">thienisawesome.blogspot.com\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10383016\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003.jpg\" alt=\"MashaKouznetsova_LikeALightJacket_003\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Finally, we have “Like a Light Jacket” by the multi-talented Masha Kouznetsova. You can check out her wide variety of illustrations, drawings and sculptures on her\u003ca href=\"http://instagram.com/mashakouznetsova\" target=\"_blank\" rel=\"noopener\"> Instagram page\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Want to give your loved one something cute, quirky and Bay Area-themed for Valentine's Day? Take your pick from six new valentines we commissioned just for you.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year we decided to help out all of you Valentine’s Day slackers by designing and providing you with some fun, \u003ca href=\"http://ww2.kqed.org/news/2014/02/12/say-i-love-you-with-bay-area-themed-valentines/\" target=\"_blank\" rel=\"noopener\">Bay Area-themed valentine cards.\u003c/a>\u003c/p>\n\u003cp>This year we took it a step further by commissioning six local artists to provide us with the art for this year’s list of Bay Area puns and inside jokes. As you will see below, the artists did not disappoint! Share, copy or print to your heart’s content.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/toteslove.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10383027\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/toteslove.png\" alt=\"toteslove\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-400x400.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-600x600.png 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-75x75.png 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>First is “I Totes Love You” by Jeff Meadows, local artist and sign painter. His work can be seen at \u003ca href=\"http://jeff-meadows.com/\" target=\"_blank\" rel=\"noopener\">jeff-meadows.com.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Coit-Looker-e1423702683137.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382963\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Coit-Looker-e1423702683137.jpg\" alt=\"Coit Looker\" width=\"800\" height=\"800\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Next is “You’re Coit the Looker” by illustrator and graphic designer Brian Standeford, whose work can be seen regularly on \u003ca href=\"http://cargocollective.com/standeforddesign/Bold-Italic-Work\" target=\"_blank\" rel=\"noopener\">The Bold Italic\u003c/a>. But make sure to check out \u003ca href=\"http://cargocollective.com/standeforddesign\" target=\"_blank\" rel=\"noopener\">all of it\u003c/a>, especially his album covers and concert posters.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kqed-val.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382991\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kqed-val.jpg\" alt=\"kqed-val\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>We really lucked out in getting Sirron Norris to contribute “You’re My Bae.” If you haven’t seen his work and murals around the Mission, you \u003ca href=\"http://www.sirronnorris.com/latest\" target=\"_blank\" rel=\"noopener\">must seek it out\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Bill-Zindel.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382949\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Bill-Zindel.jpg\" alt=\"Bill Zindel\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Artist, illustrator, and designer Bill Zindel illustrates “You Had Me at Hella,” which exemplifies his wonderful collage work. You can see more of it on \u003ca href=\"http://billzindel.com/259737/projects\" target=\"_blank\" rel=\"noopener\">his website.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/hayward2-e1423704261382.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382978\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/hayward2-e1423704261382.jpg\" alt=\"hayward\" width=\"800\" height=\"533\">\u003c/a>\u003c/p>\n\u003cp>Next is “You Make My Knees Wobble Like the Hayward Fault,” by comic book and visual artist Thien Pham. Join his fan club at \u003ca href=\"http://thienisawesome.blogspot.com/\" target=\"_blank\" rel=\"noopener\">thienisawesome.blogspot.com\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10383016\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003.jpg\" alt=\"MashaKouznetsova_LikeALightJacket_003\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Finally, we have “Like a Light Jacket” by the multi-talented Masha Kouznetsova. You can check out her wide variety of illustrations, drawings and sculptures on her\u003ca href=\"http://instagram.com/mashakouznetsova\" target=\"_blank\" rel=\"noopener\"> Instagram page\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>As part of our series, \u003ca target=\"_self\" href=\"http://ww2.kqed.org/news/series/boomtown\" rel=\"noopener\">Boomtown\u003c/a>, we’re \u003ca target=\"_self\" href=\"http://ww2.kqed.org/news/series/questions\" rel=\"noopener\">answering questions\u003c/a> from KQED listeners and readers. Our second one comes from Dave Taylor, who is not impressed by the new buildings going up in San Francisco. He asks:\u003c/em>\u003c/p>\n\u003cp>\u003cfigure>\u003cfigcaption>Dave Taylor.\u003c/figcaption>\u003c/figure>\n\u003c/p>\n\u003cp>\u003cstrong>“Why are the new buildings so ugly?”\u003c/strong>\u003c/p>\n\u003cp>The economic boom has \u003ca href=\"http://ww2.kqed.org/news/2015/02/11/-whats-up-with-sf-bad-architecture/\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/02/11/-whats-up-with-sf-bad-architecture/\" target=\"_self\" title=\"What’s Up With S.F.’s Bad Architecture?\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>\u003cem>As part of our series, \u003ca target=\"_self\" href=\"http://ww2.kqed.org/news/series/boomtown\" rel=\"noopener\">Boomtown\u003c/a>, we're \u003ca target=\"_self\" href=\"http://ww2.kqed.org/news/series/questions\" rel=\"noopener\">answering questions\u003c/a> from KQED listeners and readers. Our second one comes from Dave Taylor, who is not impressed by the new buildings going up in San Francisco. He asks:\u003c/em>\u003c/p>\n\u003cp>\u003cfigure>\u003cfigcaption>Dave Taylor.\u003c/figcaption>\u003c/figure>\u003c/p>\n\u003cp>\u003cstrong>“Why are the new buildings so ugly?”\u003c/strong>\u003c/p>\n\u003cp>The economic boom has \u003ca href=\"http://ww2.kqed.org/news/2015/02/11/-whats-up-with-sf-bad-architecture/\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>As part of our series, \u003ca target=\"_self\" href=\"http://ww2.kqed.org/news/series/boomtown\" rel=\"noopener\">Boomtown\u003c/a>, we’re \u003ca target=\"_self\" href=\"http://ww2.kqed.org/news/series/questions\" rel=\"noopener\">answering questions\u003c/a> from KQED listeners and readers. Our second one comes from Dave Taylor, who is not impressed by the new buildings going up in San Francisco. He asks:\u003c/em>\u003c/p>\n\u003cp>\u003cfigure>\u003cfigcaption>Dave Taylor.\u003c/figcaption>\u003c/figure>\n\u003c/p>\n\u003cp>\u003cstrong>“Why are the new buildings so ugly?”\u003c/strong>\u003c/p>\n\u003cp>The economic boom has \u003ca href=\"http://ww2.kqed.org/news/2015/02/11/-whats-up-with-sf-bad-architecture/\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/02/11/-whats-up-with-sf-bad-architecture/\" target=\"_self\" title=\"What’s Up With S.F.’s Bad Architecture?\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Finding Beauty Along the Edges: Remembering Rex Ray (1956–2015)",
"headTitle": "Finding Beauty Along the Edges: Remembering Rex Ray (1956–2015) | KQED",
"content": "\u003cp>News of San Francisco artist and designer Rex Ray’s death rippled out over the ether Monday afternoon, with many friends and admirers expressing sorrow on social media. Author Rebecca Solnit posted on Facebook about meeting Ray in 1989, and in noting that he designed her first book, wrote, “He made ‘high’ art as well as design and then they merged into something gorgeous and extravagant and joyous and very colorful.” Shortly thereafter \u003ca href=\"http://www.davidbowie.com/news/rex-ray-says-goodbye-and-fu-54141\" target=\"_blank\" rel=\"noopener\">a warm tribute to Ray\u003c/a> went up on David Bowie’s website, coinciding with a heartfelt \u003ca href=\"https://www.facebook.com/griff.williams.5/posts/10206082145677131\" target=\"_blank\" rel=\"noopener\">post\u003c/a> by Griff Williams, owner of Gallery 16 and the artist’s gallerist of nearly 20 years. That Ray’s work so fluidly traverses art and design is a testament to his inestimable talents; that his work is so widely embraced is a testament to him.\u003c/p>\n\u003cp>I didn’t know Ray personally, but I would know his work from across the room. I first encountered his collages in 2002 at ModernBook/Gallery494, a gallery-cum-bookstore then located in Palo Alto that featured small exhibitions of highly crafted artworks and art books with a strong design aesthetic. Small works on panel by Ray lined the walls; their lush resin coated surfaces and exquisite color palettes drew me in off the street like a bee to honey, and I wasn’t the only one. I worked at a gallery two doors down and everyone who walked in asked me if I’d seen Ray’s show. The work held broad appeal in Palo Alto, to be sure, where Joseph Eichler’s mid-century modern homes are symbols of good taste and timeless design. Ray’s intricate cut paper collages have always been simultaneously retro and contemporary.\u003c/p>\n\u003cp>His finely detailed images are often evocative of foliage and often present a bejeweled dreamscape, firmly entrenched in loveliness. Ferris wheels, starbursts and delicate chains make appearances, as do organic forms composed of tear-shaped cut paper petals. Ray’s color combinations are somehow optimistic, or maybe it was his implementation of cutaway shapes, giving practical beauty to the cuttings others might have thrown away. But not Ray — in his work negative space is as essential as positive space, and it speaks volumes about his eye for detail. Coming upon his work now, I look for the “edge events,” small details that give powerful visual impact to the edges of his work. The eye could languish in the center of his compositions quite happily, but Ray also knew to celebrate their boundaries.\u003c/p>\n\u003cfigure id=\"attachment_10379763\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10379763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg\" alt='\"Discolaria\" 2009 Collage on linen 100\" x 300\"' width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/discolariaCrop-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Discolaria,” 2009. \u003ccite>(Gallery 16)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if the work hinged somehow on being “too beautiful” for some people — we all know the type — his rock ‘n’ roll side could engage anyone. By day, of course, Ray was a graphic designer with a penchant for music. He did corporate gigs and commercial projects for the likes of Apple and Levi’s, including a construction barrier that may have one-upped a lot of public art on display at the time. Early on, he designed posters and T-shirts for ACT UP, and later he created concert posters for just about everyone, including Florence and the Machine, Radiohead, Kanye West, Rihanna, The Rolling Stones, Bryan Adams, Beck, R. E. M., and Paul McCartney, among many others.\u003c/p>\n\u003cp>Beyond all of that, he experimented with putting his work on everything from posters to note cards, mugs to iPad covers, jigsaw puzzles to decorative trays, and beyond. He illustrated children’s books and calendars — and once even wrapped a Smartcar in his designs for charity. The beauty of covering all the bases, the so-called high and low, is that the work belongs everywhere, from the museum walls to the gift shop to the street. I vividly recall seeing SFMOMA’s gift shop window tricked out a few years ago with a display of Ray’s wares. He also had many museum shows, of course, and reproductions, as fun as they are, are never as amazing as the work is in person, but frankly it was his ability and his willingness to experiment in so many arenas that was a huge part of his appeal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Purists have debated whether Ray’s art was really design or whether his design was really art, but these boring distinctions hardly mattered — really, who cares? He kept working, prolifically imprinting his legacy everywhere. Gone too soon, at just age 58 after years of battling lymphoma, he left a tremendous array of art and design to populate the void. The work that remains, all of it, reminds us to look for art high and low — and to find beauty along the edges however, wherever we can.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Work by Rex Ray is currently featured in the traveling group exhibition, \u003cem>Beauty Reigns: A Baroque Sensibility in Recent Painting\u003c/em>, which is organized by René Paul Barilleaux, Chief Curator, for San Antonio’s McNay Art Museum. A public memorial for Ray is scheduled for March 12, 6pm, at Gallery 16. For more information, see \u003ca href=\"http://www.gallery16.com/\" target=\"_blank\" rel=\"noopener\">Gallery 16’s site\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>News of San Francisco artist and designer Rex Ray’s death rippled out over the ether Monday afternoon, with many friends and admirers expressing sorrow on social media. Author Rebecca Solnit posted on Facebook about meeting Ray in 1989, and in noting that he designed her first book, wrote, “He made ‘high’ art as well as design and then they merged into something gorgeous and extravagant and joyous and very colorful.” Shortly thereafter \u003ca href=\"http://www.davidbowie.com/news/rex-ray-says-goodbye-and-fu-54141\" target=\"_blank\" rel=\"noopener\">a warm tribute to Ray\u003c/a> went up on David Bowie’s website, coinciding with a heartfelt \u003ca href=\"https://www.facebook.com/griff.williams.5/posts/10206082145677131\" target=\"_blank\" rel=\"noopener\">post\u003c/a> by Griff Williams, owner of Gallery 16 and the artist’s gallerist of nearly 20 years. That Ray’s work so fluidly traverses art and design is a testament to his inestimable talents; that his work is so widely embraced is a testament to him.\u003c/p>\n\u003cp>I didn’t know Ray personally, but I would know his work from across the room. I first encountered his collages in 2002 at ModernBook/Gallery494, a gallery-cum-bookstore then located in Palo Alto that featured small exhibitions of highly crafted artworks and art books with a strong design aesthetic. Small works on panel by Ray lined the walls; their lush resin coated surfaces and exquisite color palettes drew me in off the street like a bee to honey, and I wasn’t the only one. I worked at a gallery two doors down and everyone who walked in asked me if I’d seen Ray’s show. The work held broad appeal in Palo Alto, to be sure, where Joseph Eichler’s mid-century modern homes are symbols of good taste and timeless design. Ray’s intricate cut paper collages have always been simultaneously retro and contemporary.\u003c/p>\n\u003cp>His finely detailed images are often evocative of foliage and often present a bejeweled dreamscape, firmly entrenched in loveliness. Ferris wheels, starbursts and delicate chains make appearances, as do organic forms composed of tear-shaped cut paper petals. Ray’s color combinations are somehow optimistic, or maybe it was his implementation of cutaway shapes, giving practical beauty to the cuttings others might have thrown away. But not Ray — in his work negative space is as essential as positive space, and it speaks volumes about his eye for detail. Coming upon his work now, I look for the “edge events,” small details that give powerful visual impact to the edges of his work. The eye could languish in the center of his compositions quite happily, but Ray also knew to celebrate their boundaries.\u003c/p>\n\u003cfigure id=\"attachment_10379763\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10379763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg\" alt='\"Discolaria\" 2009 Collage on linen 100\" x 300\"' width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/discolariaCrop-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Discolaria,” 2009. \u003ccite>(Gallery 16)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if the work hinged somehow on being “too beautiful” for some people — we all know the type — his rock ‘n’ roll side could engage anyone. By day, of course, Ray was a graphic designer with a penchant for music. He did corporate gigs and commercial projects for the likes of Apple and Levi’s, including a construction barrier that may have one-upped a lot of public art on display at the time. Early on, he designed posters and T-shirts for ACT UP, and later he created concert posters for just about everyone, including Florence and the Machine, Radiohead, Kanye West, Rihanna, The Rolling Stones, Bryan Adams, Beck, R. E. M., and Paul McCartney, among many others.\u003c/p>\n\u003cp>Beyond all of that, he experimented with putting his work on everything from posters to note cards, mugs to iPad covers, jigsaw puzzles to decorative trays, and beyond. He illustrated children’s books and calendars — and once even wrapped a Smartcar in his designs for charity. The beauty of covering all the bases, the so-called high and low, is that the work belongs everywhere, from the museum walls to the gift shop to the street. I vividly recall seeing SFMOMA’s gift shop window tricked out a few years ago with a display of Ray’s wares. He also had many museum shows, of course, and reproductions, as fun as they are, are never as amazing as the work is in person, but frankly it was his ability and his willingness to experiment in so many arenas that was a huge part of his appeal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Purists have debated whether Ray’s art was really design or whether his design was really art, but these boring distinctions hardly mattered — really, who cares? He kept working, prolifically imprinting his legacy everywhere. Gone too soon, at just age 58 after years of battling lymphoma, he left a tremendous array of art and design to populate the void. The work that remains, all of it, reminds us to look for art high and low — and to find beauty along the edges however, wherever we can.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Work by Rex Ray is currently featured in the traveling group exhibition, \u003cem>Beauty Reigns: A Baroque Sensibility in Recent Painting\u003c/em>, which is organized by René Paul Barilleaux, Chief Curator, for San Antonio’s McNay Art Museum. A public memorial for Ray is scheduled for March 12, 6pm, at Gallery 16. For more information, see \u003ca href=\"http://www.gallery16.com/\" target=\"_blank\" rel=\"noopener\">Gallery 16’s site\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Something Very Big Might Be Coming to Burning Man 2015",
"title": "Something Very Big Might Be Coming to Burning Man 2015",
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"content": "\u003cp>RENO, Nev. (AP) — The bigger, the better, when it comes to dreams at \u003ca href=\"http://burningman.org/\" target=\"_blank\">Burning Man\u003c/a>. Usually. But is it possible to dream too big?\u003c/p>\n\u003cp>One California Burner, Ken Feldman, is about to find out this year, as he endeavors to create the biggest \"mutant vehicle,\" or art car, that ever would grace the playa of the Black Rock Desert.\u003c/p>\n\u003cp>The vehicle: a 747 airplane constructed from the remnants of has-been planes abandoned at an aviation \"boneyard\" in the middle of the Mojave Desert in Southern California.\u003c/p>\n\u003cp>\"Our goal for year one is to get it there,\" Feldman said, noting that he hopes to make it a recurring art installation during the annual Burning Man festivities.\u003c/p>\n\u003cp>No, it will not be flying to the site, despite early rumors, of which there have been many about this behemoth project -- though it will be tugged around in the dust by an \"aircraft tug.\"\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>Promotional Video for the 747 Project\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/lVLYJE4_fbc\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>To get to the playa, it will spend nearly a week on the road as it is being transported on a platform trailer by an Orange County-based heavy equipment hauling company.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The plane will be flanked by a handful of police escorts and bucket trucks as it makes its way to its final destination. To go down the road, and to be a safe vehicle on the playa, the producers will remove both its wings and tail.\u003c/p>\n\u003cp>The man tasked with getting the plane there, 72-year-old Roy Hatley, operations manager for Orange Heavy Haul, said the load is \"no biggie\" compared with some of the other items he has driven cross-country. It's only three stories high, four buses wide, half of a football field long and 100-something-thousand pounds heavy, he said.\u003c/p>\n\u003cp>[contextly_sidebar id=\"QZbkFsoXtNDYNw8bVmacengOUGhTlLJz\"]\u003c/p>\n\u003cp>\"I will go to Burning Man one time, when I go and pick it up,\" Hatley said, noting that he is letting some of the other employees drive the plane to the \"Black Hills, or the Black Rock, or whatever it's called,\" so they can get a sneak peek of what the annual, weeklong celebration is about. \"It's not my type of entertainment, let's put it that way.\"\u003c/p>\n\u003cp>The more than 100 volunteers working on the operation had no idea that the plane would receive so much attention, good and bad. \"Who is to say what's too big, what's too small?\" said Feldman, of Venice, Calif. \"I think there is a valid concern from the Burning Man community: 'Oh, jeez, a bunch of billionaires with their toys.' \"\u003c/p>\n\u003cp>On Burning Man's Facebook page, commentators have said that it is an exciting new effort and that they are eager to use it, but just as many are criticizing it. Some are concerned about how it might leave a trace in the desert, and others about whether it is safe to be driven around in the midst of the tens of thousands of people that will be gathering. Others are saying that it is a symbol of hypocrisy and arrogance and misplaced millionaire money.\u003c/p>\n\u003cp>But this is not that, Feldman said. Feldman is no modern, Burner-version of Howard Hughes.\u003c/p>\n\u003cp>He is just an \"average guy,\" he said, who drives a 20-year-old car and has as shallow pockets as any Joe Schmoe. While he considers himself an aviation enthusiast and has some background in aerospace engineering, he has never built a plane.\u003c/p>\n\u003cp>\"I have designed several planes, for the science fair in high school,\" he said, jokingly. Kind of.\u003c/p>\n\u003cp>But in 2009, during his second year at Burning Man, he saw two bicycles, both made from out-of-date plane fuselages, trekking across the barren desert. He imagined what it would be like to make an art car out of a plane's parts.\u003c/p>\n\u003cp>\"I sketched this out in the dust. That's the short version,\" Feldman said.\u003c/p>\n\u003cp>Since then, he worked on iconic art cars, or Burning Man vehicles, including Robot Heart and Charlie the Unicorn.\u003c/p>\n\u003cp>After Charlie the Unicorn, Feldman swore he would not work on another art car unless it was an art plane.\u003c/p>\n\u003cp>Feldman founded a nonprofit, Big Imagination Foundation, to support the plane, but he hopes the foundation will become a routine funder of larger-than-life projects around the world, not just art ones but also humanities and science projects.\u003c/p>\n\u003cp>He does have some big investors already, but the bulk of the foundation's funds will come from smaller donations, he said. Because the Burning Man nonprofit has not yet approved the \"Department of Mutant Vehicle\" permit for the plane, Feldman said that Big Imagination Foundation cannot start crowdfunding yet.\u003c/p>\n\u003cp>One of the staunchest supporters of the project, and a member of the Big Imagination Foundation board, Jonathan Teo, said that the goal is to make this feat by the people and for the people.\u003c/p>\n\u003cp>\"Exclusivity has been creeping into the playa,\" Teo said. \"Our view is, that's silly. We wanted to create a project that the community could fund, could build and could enjoy. We're trying to set an example of radical inclusion.\"\u003c/p>\n\u003cp>No one would be turned away from coming in to enjoy the plane from the inside, assuming it was not filled to capacity at the time. What the inside holds is unknown and will remain so until Burning Man, Feldman said.\u003c/p>\n\u003cp>Though the Burning Man nonprofit will not be expressing any opinion about the project, Burning Man's staff will look at the project carefully.\u003c/p>\n\u003cp>Burning Man Communications Director Megan Miller said last week that the staff would be meeting with Feldman to discuss safety measures that the artists would have to take. Whether the nonprofit will approve the project permit remains to be seen, but Miller said that the staff at least finds the group's aspirations admirable.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I love when our community dreams something this big; I don't know any other event where this would be possible,\" Miller said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>RENO, Nev. (AP) — The bigger, the better, when it comes to dreams at \u003ca href=\"http://burningman.org/\" target=\"_blank\">Burning Man\u003c/a>. Usually. But is it possible to dream too big?\u003c/p>\n\u003cp>One California Burner, Ken Feldman, is about to find out this year, as he endeavors to create the biggest \"mutant vehicle,\" or art car, that ever would grace the playa of the Black Rock Desert.\u003c/p>\n\u003cp>The vehicle: a 747 airplane constructed from the remnants of has-been planes abandoned at an aviation \"boneyard\" in the middle of the Mojave Desert in Southern California.\u003c/p>\n\u003cp>\"Our goal for year one is to get it there,\" Feldman said, noting that he hopes to make it a recurring art installation during the annual Burning Man festivities.\u003c/p>\n\u003cp>No, it will not be flying to the site, despite early rumors, of which there have been many about this behemoth project -- though it will be tugged around in the dust by an \"aircraft tug.\"\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>Promotional Video for the 747 Project\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/lVLYJE4_fbc\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>To get to the playa, it will spend nearly a week on the road as it is being transported on a platform trailer by an Orange County-based heavy equipment hauling company.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The plane will be flanked by a handful of police escorts and bucket trucks as it makes its way to its final destination. To go down the road, and to be a safe vehicle on the playa, the producers will remove both its wings and tail.\u003c/p>\n\u003cp>The man tasked with getting the plane there, 72-year-old Roy Hatley, operations manager for Orange Heavy Haul, said the load is \"no biggie\" compared with some of the other items he has driven cross-country. It's only three stories high, four buses wide, half of a football field long and 100-something-thousand pounds heavy, he said.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"I will go to Burning Man one time, when I go and pick it up,\" Hatley said, noting that he is letting some of the other employees drive the plane to the \"Black Hills, or the Black Rock, or whatever it's called,\" so they can get a sneak peek of what the annual, weeklong celebration is about. \"It's not my type of entertainment, let's put it that way.\"\u003c/p>\n\u003cp>The more than 100 volunteers working on the operation had no idea that the plane would receive so much attention, good and bad. \"Who is to say what's too big, what's too small?\" said Feldman, of Venice, Calif. \"I think there is a valid concern from the Burning Man community: 'Oh, jeez, a bunch of billionaires with their toys.' \"\u003c/p>\n\u003cp>On Burning Man's Facebook page, commentators have said that it is an exciting new effort and that they are eager to use it, but just as many are criticizing it. Some are concerned about how it might leave a trace in the desert, and others about whether it is safe to be driven around in the midst of the tens of thousands of people that will be gathering. Others are saying that it is a symbol of hypocrisy and arrogance and misplaced millionaire money.\u003c/p>\n\u003cp>But this is not that, Feldman said. Feldman is no modern, Burner-version of Howard Hughes.\u003c/p>\n\u003cp>He is just an \"average guy,\" he said, who drives a 20-year-old car and has as shallow pockets as any Joe Schmoe. While he considers himself an aviation enthusiast and has some background in aerospace engineering, he has never built a plane.\u003c/p>\n\u003cp>\"I have designed several planes, for the science fair in high school,\" he said, jokingly. Kind of.\u003c/p>\n\u003cp>But in 2009, during his second year at Burning Man, he saw two bicycles, both made from out-of-date plane fuselages, trekking across the barren desert. He imagined what it would be like to make an art car out of a plane's parts.\u003c/p>\n\u003cp>\"I sketched this out in the dust. That's the short version,\" Feldman said.\u003c/p>\n\u003cp>Since then, he worked on iconic art cars, or Burning Man vehicles, including Robot Heart and Charlie the Unicorn.\u003c/p>\n\u003cp>After Charlie the Unicorn, Feldman swore he would not work on another art car unless it was an art plane.\u003c/p>\n\u003cp>Feldman founded a nonprofit, Big Imagination Foundation, to support the plane, but he hopes the foundation will become a routine funder of larger-than-life projects around the world, not just art ones but also humanities and science projects.\u003c/p>\n\u003cp>He does have some big investors already, but the bulk of the foundation's funds will come from smaller donations, he said. Because the Burning Man nonprofit has not yet approved the \"Department of Mutant Vehicle\" permit for the plane, Feldman said that Big Imagination Foundation cannot start crowdfunding yet.\u003c/p>\n\u003cp>One of the staunchest supporters of the project, and a member of the Big Imagination Foundation board, Jonathan Teo, said that the goal is to make this feat by the people and for the people.\u003c/p>\n\u003cp>\"Exclusivity has been creeping into the playa,\" Teo said. \"Our view is, that's silly. We wanted to create a project that the community could fund, could build and could enjoy. We're trying to set an example of radical inclusion.\"\u003c/p>\n\u003cp>No one would be turned away from coming in to enjoy the plane from the inside, assuming it was not filled to capacity at the time. What the inside holds is unknown and will remain so until Burning Man, Feldman said.\u003c/p>\n\u003cp>Though the Burning Man nonprofit will not be expressing any opinion about the project, Burning Man's staff will look at the project carefully.\u003c/p>\n\u003cp>Burning Man Communications Director Megan Miller said last week that the staff would be meeting with Feldman to discuss safety measures that the artists would have to take. Whether the nonprofit will approve the project permit remains to be seen, but Miller said that the staff at least finds the group's aspirations admirable.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I love when our community dreams something this big; I don't know any other event where this would be possible,\" Miller said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Cult of JT LeRoy: A Conversation with Filmmaker Marjorie Sturm",
"headTitle": "The Cult of JT LeRoy: A Conversation with Filmmaker Marjorie Sturm | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sf-indiefest/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>SF Indiefest\u003c/h2>\n\u003cdiv class=\"event-desc\">Film fest featuring ‘The Cult of JT Leroy.’\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 5-19, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various Venues\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sf-indiefest/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Even if you wanted to write a cautionary tale about the present age’s toxic sanctification of victimhood and celebrity, the rise and fall of JT LeRoy would seem too outlandish and audacious to be true. But it was. \u003c/p>\n\u003cp>San Francisco filmmaker Marjorie Sturm started filming LeRoy in 2002, when he was the darling of the Bay Area literary scene. That was before the story of a drug-addicted, HIV-positive transgender teen prostitute who was encouraged to start writing by his therapist, San Francisco psychologist Dr. Terrence Owens, was revealed as a master con perpetrated by Laura Albert, erstwhile vocalist in the bands Daddy Don’t Go and Thistle. \u003c/p>\n\u003cp>In 2005, it became clear that LeRoy’s ascent as a celebrity—fueled by a parade of famous writers, musicians and actors like Lou Reed, Sandra Bernhard, and Nancy Sinatra (who stepped in to do public readings because LeRoy was supposedly too shy)—was an outlandish deception, and a hoax that left feelings of betrayal among some of the street kids who had idolized LeRoy as a triumphant survivor. \u003c/p>\n\u003cp>What’s harrowing about Sturm’s enthralling new documentary \u003cem>The Cult of JT LeRoy\u003c/em> isn’t the abuse detailed in LeRoy’s bestselling tales of woe, \u003cem>Sarah\u003c/em> and \u003cem>The Heart is Deceitful Above All Things\u003c/em>. Rather it’s the ordeal that Albert inflicted on writers like Joel Rose, Dennis Cooper, and Bruce Benderson, who describes Albert’s “sadistic manipulations,” while she pursued notoriety for her creation. SF IndieFest presents the Bay Area debut of \u003cem>The Cult of JT LeRoy\u003c/em> at the Roxie Theater, screening from Feb. 7-15. The film returns for a regular run at the Roxie March 13-18. \u003c/p>\n\u003cp>Though Sturm doesn’t make a point of it, the documentary amounts to a scathing indictment of the credulousness of the press. In a film bathed in surreality—Albert hired her boyfriend’s half-sister to appear publicly as LeRoy, her face often half obscured by a wig, oversized hat and sunglasses—one of the most biting scenes unfolds in Napa, where Sturm follows LeRoy to a celebrity-strewn photo shoot staged by the \u003cem>New York Times Magazine\u003c/em>. It wasn’t until writer Stephen Beachy published an \u003ca href=\"http://nymag.com/nymetro/news/people/features/14718/\" target=\"_blank\" rel=\"noopener\">article in \u003cem>New York\u003c/em> magazine\u003c/a> in October of 2005 that Albert’s dauntingly complex decade-long hoax was unmasked, which led to a fraud lawsuit from the film company that optioned \u003cem>Sarah\u003c/em>. Part detective story and part postmodern inquiry into the nature of authorship, the film is most interested in the ways that a cold-blooded con artist can prey upon the empathy and good intentions of the unwitting. I spoke with Sturm on the phone from her home in San Francisco. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>You came to the JT LeRoy story in 2002, when you started to make a documentary about him. At that point, had you read the novels and what did you make of them?\u003c/strong>\u003c/p>\n\u003cp>I hadn’t read them. A friend had just moved to Los Angeles and he called me saying the photographer Kate Garner is looking for a documentary filmmaker, and do you want to start working on a project about this poet who lives in the Tenderloin? I jumped on the plane the next day and read \u003cem>The Heart is Deceitful Above All Things\u003c/em>. At that point, John Waters, Tom Waits and Dennis Cooper were completely excited about JT. I jumped in. It was fun, and I had a good time hanging out with him. I felt a kinship. They seemed very San Francisco-in-Los Angeles. That was my superficial take. At that point I worked on the film for 10 months, doing five or six shoots. \u003c/p>\n\u003cp>\u003cstrong>When you started filming, JT was being played by Savannah Knoop, and Laura Albert and her partner Geoffrey Knoop were posing as JT’s confidants and housemates Speedie and Astor. Did you have any inkling about what was going on?\u003c/strong>\u003c/p>\n\u003cp>It all seemed strange, and they acted strange. In hindsight, people said Savannah had no Adam’s apple, but I absolutely thought there was a JT who wrote those books. From that first shoot in L.A. to the shoot in Napa, the question for me was that I didn’t know if I liked where he was going. JT seemed to be turning into this diva asshole. \u003c/p>\n\u003cp>\u003cstrong>As the story came out that LeRoy didn’t exist, what was your reaction?\u003c/strong>\u003c/p>\n\u003cp>Just the audacity to do it, that’s why it’s so astounding. Laura was the only one making the phone calls and emails. Savannah was hired for those occasions. At first I thought that JT definitely existed and Laura ghostwrote the books. Stephen Beachy basically had to deprogram me. I was blown away by his analysis of the situation from the get-go. He’s really brilliant. I just generally try to see the good in people, and this topic has been really challenging.\u003c/p>\n\u003cp>\u003cstrong>The footage from Dr. Terrence Owens’s deposition is the most conspicuous thread running through the film. Can you talk a little bit about what he was being deposed for, and his relationship with JT and Laura?\u003c/strong>\u003c/p>\n\u003cp>That was a deposition from the film company’s fraud lawsuit. Dr. Owens always did phone therapy with JT. He was duped like every other person, and just as shocked. But after that he continues to treat her as Laura. And Laura thinks that her therapeutic needs are so great it justifies everything.\u003c/p>\n\u003cp>\u003cstrong>You don’t get into your relationship with Laura Albert, or your attempts to interview her.\u003c/strong>\u003c/p>\n\u003cp>I decided not to make it about us, because that would be a limitation. It’s a much bigger story. About six months after Stephen Beachy’s story came out, she called me back after my attempt to interview her, and it started friendly enough. “How are you doing? How is your baby?” Then she started screaming and raging at me in this intense way, threatening to sue me if I made the film. “You’re an opportunist,” she said. “You’re going to kiss your kid’s college education goodbye.” I said, “Laura, you’re acting like you and me had this open and honest relationship.” And she said, “Oh, so you’re going to play that card.” This is what she does, and it works. Most people aren’t used to being on the receiving end of so much vitriol. I’ve worked with gang members and felons and the mentally ill, and I’ve never crossed paths with something like this. \u003c/p>\n\u003cp>\u003cstrong>You end the film with a title card saying that Laura Albert hasn’t published any books under her own name, but she’s had a fairly visible post-JT career, working in fashion, serving on the jury for film festivals. What do you make of that?\u003c/strong>\u003c/p>\n\u003cp>I think it really shows the power of a con artist, a cult leader, to twist and warp reality through charisma and lies. I think the story is confusing enough that I give some people the benefit of the doubt that they don’t fully understand the facts about it all. And some people prefer a good story to the facts. I don’t doubt that the people who Laura is ensnaring now are empathetic sorts who think she is a victim somehow. That is who con artists go after. I think we want to believe that we live in some sort of civilization, and it’s quite disconcerting that our world is as predatory as it is. We don’t expect this from artists. We expect this from Wall Street and wars. The other element is the curiosity factor. Laura has branded herself a celebrity by association with JT, who managed to get close to celebrities. Sadly enough, for some that is extremely exciting. \u003c/p>\n\u003cp>\u003cstrong>Often, discussions about the hoax center on Laura Albert’s right to use a pseudonym, but I think your film establishes that’s the least interesting question about this case.\u003c/strong>\u003c/p>\n\u003cp>The pseudonym thing is a weird red herring that she used in the fraud trial. The work was always presented as autobiographical fiction. The first thing Laura Albert wrote as JT was a memoir published under the name “Terminator” in Laurie Stone’s \u003cem>Close to the Bone\u003c/em> anthology. The problem is that everyone interviews her and she just lies and lies. They go to her as a source for the story. The meta story is the relentless spinning and how the media gets it so wrong again and again. Like she keeps saying she never said JT was HIV positive, and she did numerous times. \u003c/p>\n\u003cp>\u003cstrong>Toward the end of the film, several people address whether or not JT LeRoy’s work can stand on its own. What do you think?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s a circular question. It’s so subjective. Do people get value? Is she an outsider artist, writing her experience? I don’t care about the writing. I think it’s obvious the writing was fueled by the marketing. This work will always be caught up in the deception and the scandal. If people enjoy it, great.\u003c/p>\n\n",
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"excerpt": "New documentary examines the strange circumstances of the celebrated author and the eventual unraveling of the JT Leroy hoax.",
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"title": "The Cult of JT LeRoy: A Conversation with Filmmaker Marjorie Sturm | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sf-indiefest/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>SF Indiefest\u003c/h2>\n\u003cdiv class=\"event-desc\">Film fest featuring ‘The Cult of JT Leroy.’\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 5-19, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various Venues\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sf-indiefest/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Even if you wanted to write a cautionary tale about the present age’s toxic sanctification of victimhood and celebrity, the rise and fall of JT LeRoy would seem too outlandish and audacious to be true. But it was. \u003c/p>\n\u003cp>San Francisco filmmaker Marjorie Sturm started filming LeRoy in 2002, when he was the darling of the Bay Area literary scene. That was before the story of a drug-addicted, HIV-positive transgender teen prostitute who was encouraged to start writing by his therapist, San Francisco psychologist Dr. Terrence Owens, was revealed as a master con perpetrated by Laura Albert, erstwhile vocalist in the bands Daddy Don’t Go and Thistle. \u003c/p>\n\u003cp>In 2005, it became clear that LeRoy’s ascent as a celebrity—fueled by a parade of famous writers, musicians and actors like Lou Reed, Sandra Bernhard, and Nancy Sinatra (who stepped in to do public readings because LeRoy was supposedly too shy)—was an outlandish deception, and a hoax that left feelings of betrayal among some of the street kids who had idolized LeRoy as a triumphant survivor. \u003c/p>\n\u003cp>What’s harrowing about Sturm’s enthralling new documentary \u003cem>The Cult of JT LeRoy\u003c/em> isn’t the abuse detailed in LeRoy’s bestselling tales of woe, \u003cem>Sarah\u003c/em> and \u003cem>The Heart is Deceitful Above All Things\u003c/em>. Rather it’s the ordeal that Albert inflicted on writers like Joel Rose, Dennis Cooper, and Bruce Benderson, who describes Albert’s “sadistic manipulations,” while she pursued notoriety for her creation. SF IndieFest presents the Bay Area debut of \u003cem>The Cult of JT LeRoy\u003c/em> at the Roxie Theater, screening from Feb. 7-15. The film returns for a regular run at the Roxie March 13-18. \u003c/p>\n\u003cp>Though Sturm doesn’t make a point of it, the documentary amounts to a scathing indictment of the credulousness of the press. In a film bathed in surreality—Albert hired her boyfriend’s half-sister to appear publicly as LeRoy, her face often half obscured by a wig, oversized hat and sunglasses—one of the most biting scenes unfolds in Napa, where Sturm follows LeRoy to a celebrity-strewn photo shoot staged by the \u003cem>New York Times Magazine\u003c/em>. It wasn’t until writer Stephen Beachy published an \u003ca href=\"http://nymag.com/nymetro/news/people/features/14718/\" target=\"_blank\" rel=\"noopener\">article in \u003cem>New York\u003c/em> magazine\u003c/a> in October of 2005 that Albert’s dauntingly complex decade-long hoax was unmasked, which led to a fraud lawsuit from the film company that optioned \u003cem>Sarah\u003c/em>. Part detective story and part postmodern inquiry into the nature of authorship, the film is most interested in the ways that a cold-blooded con artist can prey upon the empathy and good intentions of the unwitting. I spoke with Sturm on the phone from her home in San Francisco. \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>\u003cstrong>You came to the JT LeRoy story in 2002, when you started to make a documentary about him. At that point, had you read the novels and what did you make of them?\u003c/strong>\u003c/p>\n\u003cp>I hadn’t read them. A friend had just moved to Los Angeles and he called me saying the photographer Kate Garner is looking for a documentary filmmaker, and do you want to start working on a project about this poet who lives in the Tenderloin? I jumped on the plane the next day and read \u003cem>The Heart is Deceitful Above All Things\u003c/em>. At that point, John Waters, Tom Waits and Dennis Cooper were completely excited about JT. I jumped in. It was fun, and I had a good time hanging out with him. I felt a kinship. They seemed very San Francisco-in-Los Angeles. That was my superficial take. At that point I worked on the film for 10 months, doing five or six shoots. \u003c/p>\n\u003cp>\u003cstrong>When you started filming, JT was being played by Savannah Knoop, and Laura Albert and her partner Geoffrey Knoop were posing as JT’s confidants and housemates Speedie and Astor. Did you have any inkling about what was going on?\u003c/strong>\u003c/p>\n\u003cp>It all seemed strange, and they acted strange. In hindsight, people said Savannah had no Adam’s apple, but I absolutely thought there was a JT who wrote those books. From that first shoot in L.A. to the shoot in Napa, the question for me was that I didn’t know if I liked where he was going. JT seemed to be turning into this diva asshole. \u003c/p>\n\u003cp>\u003cstrong>As the story came out that LeRoy didn’t exist, what was your reaction?\u003c/strong>\u003c/p>\n\u003cp>Just the audacity to do it, that’s why it’s so astounding. Laura was the only one making the phone calls and emails. Savannah was hired for those occasions. At first I thought that JT definitely existed and Laura ghostwrote the books. Stephen Beachy basically had to deprogram me. I was blown away by his analysis of the situation from the get-go. He’s really brilliant. I just generally try to see the good in people, and this topic has been really challenging.\u003c/p>\n\u003cp>\u003cstrong>The footage from Dr. Terrence Owens’s deposition is the most conspicuous thread running through the film. Can you talk a little bit about what he was being deposed for, and his relationship with JT and Laura?\u003c/strong>\u003c/p>\n\u003cp>That was a deposition from the film company’s fraud lawsuit. Dr. Owens always did phone therapy with JT. He was duped like every other person, and just as shocked. But after that he continues to treat her as Laura. And Laura thinks that her therapeutic needs are so great it justifies everything.\u003c/p>\n\u003cp>\u003cstrong>You don’t get into your relationship with Laura Albert, or your attempts to interview her.\u003c/strong>\u003c/p>\n\u003cp>I decided not to make it about us, because that would be a limitation. It’s a much bigger story. About six months after Stephen Beachy’s story came out, she called me back after my attempt to interview her, and it started friendly enough. “How are you doing? How is your baby?” Then she started screaming and raging at me in this intense way, threatening to sue me if I made the film. “You’re an opportunist,” she said. “You’re going to kiss your kid’s college education goodbye.” I said, “Laura, you’re acting like you and me had this open and honest relationship.” And she said, “Oh, so you’re going to play that card.” This is what she does, and it works. Most people aren’t used to being on the receiving end of so much vitriol. I’ve worked with gang members and felons and the mentally ill, and I’ve never crossed paths with something like this. \u003c/p>\n\u003cp>\u003cstrong>You end the film with a title card saying that Laura Albert hasn’t published any books under her own name, but she’s had a fairly visible post-JT career, working in fashion, serving on the jury for film festivals. What do you make of that?\u003c/strong>\u003c/p>\n\u003cp>I think it really shows the power of a con artist, a cult leader, to twist and warp reality through charisma and lies. I think the story is confusing enough that I give some people the benefit of the doubt that they don’t fully understand the facts about it all. And some people prefer a good story to the facts. I don’t doubt that the people who Laura is ensnaring now are empathetic sorts who think she is a victim somehow. That is who con artists go after. I think we want to believe that we live in some sort of civilization, and it’s quite disconcerting that our world is as predatory as it is. We don’t expect this from artists. We expect this from Wall Street and wars. The other element is the curiosity factor. Laura has branded herself a celebrity by association with JT, who managed to get close to celebrities. Sadly enough, for some that is extremely exciting. \u003c/p>\n\u003cp>\u003cstrong>Often, discussions about the hoax center on Laura Albert’s right to use a pseudonym, but I think your film establishes that’s the least interesting question about this case.\u003c/strong>\u003c/p>\n\u003cp>The pseudonym thing is a weird red herring that she used in the fraud trial. The work was always presented as autobiographical fiction. The first thing Laura Albert wrote as JT was a memoir published under the name “Terminator” in Laurie Stone’s \u003cem>Close to the Bone\u003c/em> anthology. The problem is that everyone interviews her and she just lies and lies. They go to her as a source for the story. The meta story is the relentless spinning and how the media gets it so wrong again and again. Like she keeps saying she never said JT was HIV positive, and she did numerous times. \u003c/p>\n\u003cp>\u003cstrong>Toward the end of the film, several people address whether or not JT LeRoy’s work can stand on its own. What do you think?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "'We Are 43': Bay Area Artists Honor Missing Mexican Students",
"title": "'We Are 43': Bay Area Artists Honor Missing Mexican Students",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>More than four months have passed since 43 students from a teachers college in Mexico disappeared. The students went missing after the local mayor detained them and reportedly turned them over to a drug cartel. \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/28/382103750/mexico-officially-declares-43-missing-students-dead\">Mexican authorities now say the students were killed\u003c/a>, their bodies burned, and their remains thrown into a river.\u003c/p>\n\u003cp>This Saturday, 43 Bay Area artists are coming together to raise awareness about the missing students, as well as more than \u003ca href=\"http://www.aljazeera.com/news/americas/2014/08/mexico-ups-number-missing-people-22322-201482222627872519.html\">20,000 Mexicans who have disappeared\u003c/a> in recent years and are presumed dead.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/189647657\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>The artists -- a mix of painters, sculptors, musicians and performance artists -- will each represent one of the 43 disappeared students, who attended the Ayotzinapa Normal teachers college.\u003c/p>\n\u003cfigure id=\"attachment_10424444\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14151_10974381_10153249511713296_8421069855816578167_o-qut.jpg\">\u003cimg class=\"wp-image-10424444 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14151_10974381_10153249511713296_8421069855816578167_o-qut-800x814.jpg\" alt='Pancho Pescador will show his painting as part of the art show \"Desde San Francisco a Ayotzinapa, Somos 43.\"' width=\"800\" height=\"814\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14151_10974381_10153249511713296_8421069855816578167_o-qut-800x814.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14151_10974381_10153249511713296_8421069855816578167_o-qut-400x407.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14151_10974381_10153249511713296_8421069855816578167_o-qut.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14151_10974381_10153249511713296_8421069855816578167_o-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14151_10974381_10153249511713296_8421069855816578167_o-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14151_10974381_10153249511713296_8421069855816578167_o-qut-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Pancho Pescador honors the memory of Mexican student Israel Caballero Sánchez. \u003ccite>(Pancho Pescador)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist Dennis Maxwell feels a personal connection to the events in Mexico. He is from Chile and during the 1980s protested the dictatorship of Augusto Pinochet. Thousands of people disappeared during Pinochet’s 17-year reign.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I always felt like it was one of the most cruel things that the dictatorship in Chile did,” Maxwell says. “Because those families are still searching for their missing person. It’s a kind of punishment that never ends.”\u003c/p>\n\u003cp>In November, Maxwell was thrust into the middle of the crisis over the missing students when his brother, \u003ca href=\"http://missionlocal.org/2014/11/more-students-arrested-in-mexico-and-taken-to-maximum-security-prisons-after-protest/\">Laurence Maxwell,\u003c/a> was arrested while protesting the disappearances.\u003c/p>\n\u003caside class=\"event-info alignleft\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/from-ayotzinapa-to-san-francisco-we-are-43/\" target=\"_blank\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>From Ayotzinapa to San Francisco, We are 43 \u003c/h2>\n\u003cdiv class=\"event-desc\">Gallery event raising awareness about 2014 Iguala mass kidnapping \u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 7, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Code and Canvas\u003c/div>\n\u003cul>\n\u003cli>\u003ca>Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The Mexican government charged him and 10 others with terrorism and attempting to murder a police officer. Maxwell went to Mexico to try and win his brother’s release. Only after intense international pressure did the government drop the charges.\u003c/p>\n\u003cp>“After they were released and I came back to San Francisco, I was full of anger and rage against the government in Mexico,” Maxwell says.\u003c/p>\n\u003cp>He isn’t alone. At an event at the Mission Cultural Center in San Francisco last week, \u003ca href=\"http://radiobilingue.org/noticias/mexico/crisis-de-derechos-humanos-en-mexico-repeticion/\">the Mexican consul general was heckled\u003c/a> when he suggested the blame for the disappeared students rests with organized crime -- and not the government.\u003c/p>\n\u003cp>The Mexican government has long been criticized for colluding with the drug cartels, even as top officials wage a war against them. The missing students have become a rallying cry to protest government corruption and drug-fueled violence.\u003c/p>\n\u003cfigure id=\"attachment_10424484\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/10929951_10153558306477598_2456395867900435009_n-21.jpg\">\u003cimg class=\"wp-image-10424484\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/10929951_10153558306477598_2456395867900435009_n-21.jpg\" alt=\"Ricardo Cartagena's painting depicts Julio Cesar Lopez Patolzin, one of 43 missing Mexican students.\" width=\"450\" height=\"340\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ricardo Cartagena's painting depicts Julio Cesar Lopez Patolzin, one of 43 missing Mexican students. \u003ccite>(Ricardo Cartagena )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maxwell and others wanted to channel the rage they felt into an artistic medium.\u003c/p>\n\u003cp>Mexican performance artist Violeta Luna is telling the story of Jose Luis Luna Torres, who shares her last name.\u003c/p>\n\u003cp>“For me to have this symbolic brother, who was disappeared, is something that has inspired my performance,” Luna says.\u003c/p>\n\u003cp>Artist Ricardo Cartagena also feels a personal connection with the students. As an activist during the El Salvadoran civil war, he was arrested and disappeared. For six months, his family didn’t know whether he was alive or dead. He then spent 11 years in prison before moving to San Francisco.\u003c/p>\n\u003cp>“In my time, when I was young, I also dreamed of making changes in my country. And these young people wanted the same,” Cartagena says.\u003c/p>\n\u003cp>“The young always have their dreams – of equality, of liberty. And one doesn’t weigh the consequences that they could be arrested, that they could be disappeared, tortured and assassinated.”\u003c/p>\n\u003cfigure id=\"attachment_10424447\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14149_10940439_10153557871862598_103826006490510979_n-scr.jpg\">\u003cimg class=\"wp-image-10424447 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14149_10940439_10153557871862598_103826006490510979_n-scr-400x533.jpg\" alt=\"This painting from artist Carolina Stankiewich honors the memory of one of the 43 Mexican students who disappeared.\" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14149_10940439_10153557871862598_103826006490510979_n-scr-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14149_10940439_10153557871862598_103826006490510979_n-scr.jpg 720w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist Carolina Stankiewich will show her mosaic as part of the art show \"Desde San Francisco a Ayotzinapa, Somos 43.\" \u003ccite>(Carolina Stankiewich )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Cartagena’s painting depicts student Julio Cesar Lopez Patolzin blindfolded. His face is horizontal, a reference to prisoners having their heads pushed to the ground. In the corner a hand sticks out, holding a lit candle. Cartagena says it represents the faith that Lopez and the other students will appear alive, or at the very least that their bodies will be returned.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than four months have passed since 43 students from a teachers college in Mexico disappeared. The students went missing after the local mayor detained them and reportedly turned them over to a drug cartel. \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/28/382103750/mexico-officially-declares-43-missing-students-dead\">Mexican authorities now say the students were killed\u003c/a>, their bodies burned, and their remains thrown into a river.\u003c/p>\n\u003cp>This Saturday, 43 Bay Area artists are coming together to raise awareness about the missing students, as well as more than \u003ca href=\"http://www.aljazeera.com/news/americas/2014/08/mexico-ups-number-missing-people-22322-201482222627872519.html\">20,000 Mexicans who have disappeared\u003c/a> in recent years and are presumed dead.\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/189647657&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/189647657'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The artists -- a mix of painters, sculptors, musicians and performance artists -- will each represent one of the 43 disappeared students, who attended the Ayotzinapa Normal teachers college.\u003c/p>\n\u003cfigure id=\"attachment_10424444\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14151_10974381_10153249511713296_8421069855816578167_o-qut.jpg\">\u003cimg class=\"wp-image-10424444 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14151_10974381_10153249511713296_8421069855816578167_o-qut-800x814.jpg\" alt='Pancho Pescador will show his painting as part of the art show \"Desde San Francisco a Ayotzinapa, Somos 43.\"' width=\"800\" height=\"814\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14151_10974381_10153249511713296_8421069855816578167_o-qut-800x814.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14151_10974381_10153249511713296_8421069855816578167_o-qut-400x407.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14151_10974381_10153249511713296_8421069855816578167_o-qut.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14151_10974381_10153249511713296_8421069855816578167_o-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14151_10974381_10153249511713296_8421069855816578167_o-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14151_10974381_10153249511713296_8421069855816578167_o-qut-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Pancho Pescador honors the memory of Mexican student Israel Caballero Sánchez. \u003ccite>(Pancho Pescador)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist Dennis Maxwell feels a personal connection to the events in Mexico. He is from Chile and during the 1980s protested the dictatorship of Augusto Pinochet. Thousands of people disappeared during Pinochet’s 17-year reign.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I always felt like it was one of the most cruel things that the dictatorship in Chile did,” Maxwell says. “Because those families are still searching for their missing person. It’s a kind of punishment that never ends.”\u003c/p>\n\u003cp>In November, Maxwell was thrust into the middle of the crisis over the missing students when his brother, \u003ca href=\"http://missionlocal.org/2014/11/more-students-arrested-in-mexico-and-taken-to-maximum-security-prisons-after-protest/\">Laurence Maxwell,\u003c/a> was arrested while protesting the disappearances.\u003c/p>\n\u003caside class=\"event-info alignleft\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/from-ayotzinapa-to-san-francisco-we-are-43/\" target=\"_blank\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>From Ayotzinapa to San Francisco, We are 43 \u003c/h2>\n\u003cdiv class=\"event-desc\">Gallery event raising awareness about 2014 Iguala mass kidnapping \u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 7, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Code and Canvas\u003c/div>\n\u003cul>\n\u003cli>\u003ca>Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The Mexican government charged him and 10 others with terrorism and attempting to murder a police officer. Maxwell went to Mexico to try and win his brother’s release. Only after intense international pressure did the government drop the charges.\u003c/p>\n\u003cp>“After they were released and I came back to San Francisco, I was full of anger and rage against the government in Mexico,” Maxwell says.\u003c/p>\n\u003cp>He isn’t alone. At an event at the Mission Cultural Center in San Francisco last week, \u003ca href=\"http://radiobilingue.org/noticias/mexico/crisis-de-derechos-humanos-en-mexico-repeticion/\">the Mexican consul general was heckled\u003c/a> when he suggested the blame for the disappeared students rests with organized crime -- and not the government.\u003c/p>\n\u003cp>The Mexican government has long been criticized for colluding with the drug cartels, even as top officials wage a war against them. The missing students have become a rallying cry to protest government corruption and drug-fueled violence.\u003c/p>\n\u003cfigure id=\"attachment_10424484\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/10929951_10153558306477598_2456395867900435009_n-21.jpg\">\u003cimg class=\"wp-image-10424484\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/10929951_10153558306477598_2456395867900435009_n-21.jpg\" alt=\"Ricardo Cartagena's painting depicts Julio Cesar Lopez Patolzin, one of 43 missing Mexican students.\" width=\"450\" height=\"340\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ricardo Cartagena's painting depicts Julio Cesar Lopez Patolzin, one of 43 missing Mexican students. \u003ccite>(Ricardo Cartagena )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maxwell and others wanted to channel the rage they felt into an artistic medium.\u003c/p>\n\u003cp>Mexican performance artist Violeta Luna is telling the story of Jose Luis Luna Torres, who shares her last name.\u003c/p>\n\u003cp>“For me to have this symbolic brother, who was disappeared, is something that has inspired my performance,” Luna says.\u003c/p>\n\u003cp>Artist Ricardo Cartagena also feels a personal connection with the students. As an activist during the El Salvadoran civil war, he was arrested and disappeared. For six months, his family didn’t know whether he was alive or dead. He then spent 11 years in prison before moving to San Francisco.\u003c/p>\n\u003cp>“In my time, when I was young, I also dreamed of making changes in my country. And these young people wanted the same,” Cartagena says.\u003c/p>\n\u003cp>“The young always have their dreams – of equality, of liberty. And one doesn’t weigh the consequences that they could be arrested, that they could be disappeared, tortured and assassinated.”\u003c/p>\n\u003cfigure id=\"attachment_10424447\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14149_10940439_10153557871862598_103826006490510979_n-scr.jpg\">\u003cimg class=\"wp-image-10424447 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14149_10940439_10153557871862598_103826006490510979_n-scr-400x533.jpg\" alt=\"This painting from artist Carolina Stankiewich honors the memory of one of the 43 Mexican students who disappeared.\" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14149_10940439_10153557871862598_103826006490510979_n-scr-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14149_10940439_10153557871862598_103826006490510979_n-scr.jpg 720w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist Carolina Stankiewich will show her mosaic as part of the art show \"Desde San Francisco a Ayotzinapa, Somos 43.\" \u003ccite>(Carolina Stankiewich )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Cartagena’s painting depicts student Julio Cesar Lopez Patolzin blindfolded. His face is horizontal, a reference to prisoners having their heads pushed to the ground. In the corner a hand sticks out, holding a lit candle. Cartagena says it represents the faith that Lopez and the other students will appear alive, or at the very least that their bodies will be returned.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Jacka, Local Rap Veteran, Killed in Oakland Shooting",
"headTitle": "The Jacka, Local Rap Veteran, Killed in Oakland Shooting | KQED",
"content": "\u003cp>Bay Area rap veteran the Jacka was killed in an apparent shooting in Oakland on Monday night, \u003ca href=\"http://sanfrancisco.cbslocal.com/2015/02/02/bay-area-rapper-the-jacka-killed-in-oakland-shooting/\" target=\"_blank\" rel=\"noopener\">according to a KPIX report\u003c/a>.\u003c/p>\n\u003cp>The rapper, born Dominic Newton, was 37 years old. His most recent album, \u003cem>What Happened to the World\u003c/em>, was a \u003ca href=\"http://pitchfork.com/reviews/albums/20045-what-happened-to-the-world/\" target=\"_blank\" rel=\"noopener\">critically acclaimed\u003c/a> continuation of a long career in Bay Area hip-hop stretching back to his work with the Mob Figaz in the late 1990s. The Jacka’s list of collaborators reads like a who’s-who of Bay Area rap, including tracks with E-40, Mac Dre, Keak da Sneak, Mistah F.A.B., Andre Nickatina, Messy Marv and many others.\u003c/p>\n\u003cfigure id=\"attachment_10359072\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Jacka.Phoenix.jpg\" alt=\"The Jacka \" width=\"640\" height=\"450\" class=\"size-full wp-image-10359072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Jacka.Phoenix.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Jacka.Phoenix-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka onstage at the Phoenix Theater in Petaluma. (Photo: Eric Molyneaux)\u003c/figcaption>\u003c/figure>\n\u003cp>Recent years saw the hardworking rapper founding his own record label, The Artist, and performing with his trademark confidence at area venues like \u003ca href=\"https://twitter.com/OGpenn/status/562504142753509377\" target=\"_blank\" rel=\"noopener\">the New Parish in Oakland\u003c/a> and the Phoenix Theater in Petaluma, often alongside fellow rapper Husalah. His music also \u003ca href=\"http://www.allmusic.com/album/fruitvale-station-original-motion-picture-soundtrack-mw0002583483\" target=\"_blank\" rel=\"noopener\">featured prominently\u003c/a> in the award-winning film \u003cem>Fruitvale Station\u003c/em>.\u003c/p>\n\u003cp>In his personal life, the Jacka had converted to Islam, taking the Muslim name Shaheed Akbar. \u003c/p>\n\u003cp>The shooting near MacArthur Boulevard and 94th Ave. occurred around 8:15pm, according to witnesses. At press time, police are currently looking for suspects. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reaction from fellow artists on Twitter was swift, expressing shock and tragedy:\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/E40/status/562671845527519233\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/e-40TW.jpg\" alt=\"e-40TW\" width=\"500\" height=\"226\" class=\"alignleft size-full wp-image-10359316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/e-40TW.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/e-40TW-400x181.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp style=\"clear: both\"> \u003c/p>\n\u003cp>https://twitter.com/Raekwon/status/562504282113843200\u003c/p>\n\u003cp>https://twitter.com/REALDJPREMIER/status/562507818738003968\u003c/p>\n\u003cp>https://twitter.com/FreddieGibbs/status/562508754894086144\u003c/p>\n\u003cp>https://twitter.com/LILBTHEBASEDGOD/status/2189502674\u003c/p>\n\u003cp>https://twitter.com/therealrayluv/status/562513820762267648\u003c/p>\n\u003cp>https://twitter.com/TechN9ne/status/562660252529999873\u003c/p>\n\u003cp>https://twitter.com/adamraps/status/562509599484280833\u003c/p>\n\u003cp>https://twitter.com/realcormega/status/562578280281546752\u003c/p>\n\u003cp>https://twitter.com/planetasia/status/562504640583847936\u003c/p>\n\u003cp>https://twitter.com/L1LDebbie/status/562623072499286017\u003c/p>\n\u003cp>https://twitter.com/BabyBash/status/562502436490063873\u003c/p>\n\u003cp>https://twitter.com/THArealVNASTY/status/562507590962122753\u003c/p>\n\u003cp>https://twitter.com/DroopE/status/562495085497950209\u003c/p>\n\u003cp>https://twitter.com/HBKPLO/status/562493788631728128\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/AmoebaBerkeley/status/562651770514862080\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area rap veteran the Jacka was killed in an apparent shooting in Oakland on Monday night, \u003ca href=\"http://sanfrancisco.cbslocal.com/2015/02/02/bay-area-rapper-the-jacka-killed-in-oakland-shooting/\" target=\"_blank\" rel=\"noopener\">according to a KPIX report\u003c/a>.\u003c/p>\n\u003cp>The rapper, born Dominic Newton, was 37 years old. His most recent album, \u003cem>What Happened to the World\u003c/em>, was a \u003ca href=\"http://pitchfork.com/reviews/albums/20045-what-happened-to-the-world/\" target=\"_blank\" rel=\"noopener\">critically acclaimed\u003c/a> continuation of a long career in Bay Area hip-hop stretching back to his work with the Mob Figaz in the late 1990s. The Jacka’s list of collaborators reads like a who’s-who of Bay Area rap, including tracks with E-40, Mac Dre, Keak da Sneak, Mistah F.A.B., Andre Nickatina, Messy Marv and many others.\u003c/p>\n\u003cfigure id=\"attachment_10359072\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Jacka.Phoenix.jpg\" alt=\"The Jacka \" width=\"640\" height=\"450\" class=\"size-full wp-image-10359072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Jacka.Phoenix.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Jacka.Phoenix-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka onstage at the Phoenix Theater in Petaluma. (Photo: Eric Molyneaux)\u003c/figcaption>\u003c/figure>\n\u003cp>Recent years saw the hardworking rapper founding his own record label, The Artist, and performing with his trademark confidence at area venues like \u003ca href=\"https://twitter.com/OGpenn/status/562504142753509377\" target=\"_blank\" rel=\"noopener\">the New Parish in Oakland\u003c/a> and the Phoenix Theater in Petaluma, often alongside fellow rapper Husalah. His music also \u003ca href=\"http://www.allmusic.com/album/fruitvale-station-original-motion-picture-soundtrack-mw0002583483\" target=\"_blank\" rel=\"noopener\">featured prominently\u003c/a> in the award-winning film \u003cem>Fruitvale Station\u003c/em>.\u003c/p>\n\u003cp>In his personal life, the Jacka had converted to Islam, taking the Muslim name Shaheed Akbar. \u003c/p>\n\u003cp>The shooting near MacArthur Boulevard and 94th Ave. occurred around 8:15pm, according to witnesses. At press time, police are currently looking for suspects. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Seismic Music at UC Berkeley's Campanile, Performed by the Earth",
"headTitle": "Seismic Music at UC Berkeley’s Campanile, Performed by the Earth | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/natural-frequencies/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Natural Frequencies\u003c/h2>\n\u003cdiv class=\"event-desc\">A seismic composition of light and sound.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 3, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Sather Tower (View from Doe Library Upper Terrace)\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/natural-frequencies/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>When the bells of Sather Tower on the UC Berkeley campus ring out on the evening of Tuesday, Feb. 3, the sound will amplify the low rumble of the earth that most of us in the Bay Area prefer to forget.\u003c/p>\n\u003cp>In a project called “\u003ca href=\"http://goldberg.berkeley.edu/art/natural-frequencies/\" target=\"_blank\" rel=\"noopener\">Natural Frequencies\u003c/a>,” conceived by composer Edmund Campion, artist and roboticist Ken Goldberg and artist Greg Niemeyer—all UC Berkeley faculty—the bells are programmed to play a score composed in real time by the seismic shifts taking place along the Hayward Fault, directly below the Campanile. Accompanying the bells is a light show, also programmed to respond to the fault’s movements.\u003c/p>\n\u003cp>Seismologists predict the Hayward Fault as the source of a major temblor within the next three decades. If an earthquake were to happen during Tuesday’s performance, Campion says it would be more than apparent in the sound of the bells and fluctuation of the lights.\u003c/p>\n\u003cp>Granted, it’s unlikely that the performance, which marks the 100th anniversary of Sather Tower, will become a cacophonous soundtrack to crumbling buildings in the Bay Area. Most likely, viewers will simply hear the regular oscillations of the fault that occur every day, oscillations which Campion calls “very musical.”\u003c/p>\n\u003cp>As a composer, Campion has long been drawn to mixing acoustic instruments with emerging computer technology, “bringing together the old and the new,” as he says. Among his notable compositions is “Flow, Debris, Fall,” in which a ghostly, playerless digital piano was programmed to randomly generate music while an ensemble of acoustic musicians improvised along with it. The sound was what reviewer \u003ca href=\"http://www.nytimes.com/2012/01/20/us/in-berkeley-eco-ensemble-opens-season-with-campions-flow-debris-fall.html\" target=\"_blank\" rel=\"noopener\">Kevin Berger, in the \u003cem>New York Times\u003c/em>\u003c/a>, called “stunning.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/62111455″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>For “Natural Frequencies,” Campion, with Jeff Lubow at the Center for New Music and Audio Technologies, created a computer program that tells the bells what to play based on the earth’s movements. The program, says Campion, isn’t “reading a score. It’s \u003cem>generating\u003c/em> a score.”\u003c/p>\n\u003cp>Greg Neimeyer, who designed the project’s lighting, has also experimented with the intersection of data and live events; his previous work includes a piece in the 2013 Venice Biennale that translated data from the rising tides threatening the Maldive Islands into a sound and visual composition. Campion also got help from Perin Meyer of Berkeley’s \u003ca href=\"http://www.meyersound.com/index.php\" target=\"_blank\" rel=\"noopener\">Meyer Sound\u003c/a>—the audio firm whose \u003ca href=\"http://www.meyersound.com/product/constellation/\" target=\"_blank\" rel=\"noopener\">Constellation\u003c/a> system, in place locally at Zellerbach Hall and \u003ca href=\"http://ww2.kqed.org/arts/2014/12/15/live-review-soundbox-classical-goes-clubbing/\" target=\"_blank\" rel=\"noopener\">SoundBox\u003c/a>, examines audio data and accordingly makes acoustic adjustments. The seismic data at the core of “Natural Frequencies” is supplied by UC Berkeley’s Seismological Laboratory, which has sensors directly below Sather Tower.\u003c/p>\n\u003cp>In many ways, “Natural Frequencies” taps into a current obsession of the digital age: data visualization. All around the world, as more data is collected by the internet, visualization tools bring it to life. Niemeyer points out that much of the world’s data is used to look back on that which has already happened, but “Natural Frequencies” sees data in “real time,” and that can be exciting or frightening. “It’s a live stream,” he says, “so we don’t know what is going to happen.”\u003c/p>\n\u003cp>Niemeyer notes that the lighting is designed to move up and down Sather Tower within expected parameters of seismic actvity. If the Earth were to move more than predicted, he says he doesn’t know what might happen. “That’s what makes it real,” he says. “That’s what makes it engaging.” Niemeyer also points to the team’s hope for the project to show how a community can interact with data. If we become more aware of the data about the world around us, he reasons, we can work communally toward new solutions to problems.\u003c/p>\n\u003cp>The project also re-imagines the purpose of the 100-year-old tower. As the program’s copy notes, bell towers “have been used for centuries as a medium to effectively convey time, calls to prayer and community events, and warnings about invasions, fires, and floods.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Natural Frequencies” builds upon that history using modern digital tools to remind us of our connection to a powerful, vibrant, and sometimes frightening earth below.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/natural-frequencies/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Natural Frequencies\u003c/h2>\n\u003cdiv class=\"event-desc\">A seismic composition of light and sound.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 3, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Sather Tower (View from Doe Library Upper Terrace)\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/natural-frequencies/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>When the bells of Sather Tower on the UC Berkeley campus ring out on the evening of Tuesday, Feb. 3, the sound will amplify the low rumble of the earth that most of us in the Bay Area prefer to forget.\u003c/p>\n\u003cp>In a project called “\u003ca href=\"http://goldberg.berkeley.edu/art/natural-frequencies/\" target=\"_blank\" rel=\"noopener\">Natural Frequencies\u003c/a>,” conceived by composer Edmund Campion, artist and roboticist Ken Goldberg and artist Greg Niemeyer—all UC Berkeley faculty—the bells are programmed to play a score composed in real time by the seismic shifts taking place along the Hayward Fault, directly below the Campanile. Accompanying the bells is a light show, also programmed to respond to the fault’s movements.\u003c/p>\n\u003cp>Seismologists predict the Hayward Fault as the source of a major temblor within the next three decades. If an earthquake were to happen during Tuesday’s performance, Campion says it would be more than apparent in the sound of the bells and fluctuation of the lights.\u003c/p>\n\u003cp>Granted, it’s unlikely that the performance, which marks the 100th anniversary of Sather Tower, will become a cacophonous soundtrack to crumbling buildings in the Bay Area. Most likely, viewers will simply hear the regular oscillations of the fault that occur every day, oscillations which Campion calls “very musical.”\u003c/p>\n\u003cp>As a composer, Campion has long been drawn to mixing acoustic instruments with emerging computer technology, “bringing together the old and the new,” as he says. Among his notable compositions is “Flow, Debris, Fall,” in which a ghostly, playerless digital piano was programmed to randomly generate music while an ensemble of acoustic musicians improvised along with it. The sound was what reviewer \u003ca href=\"http://www.nytimes.com/2012/01/20/us/in-berkeley-eco-ensemble-opens-season-with-campions-flow-debris-fall.html\" target=\"_blank\" rel=\"noopener\">Kevin Berger, in the \u003cem>New York Times\u003c/em>\u003c/a>, called “stunning.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/62111455″&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/62111455″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>For “Natural Frequencies,” Campion, with Jeff Lubow at the Center for New Music and Audio Technologies, created a computer program that tells the bells what to play based on the earth’s movements. The program, says Campion, isn’t “reading a score. It’s \u003cem>generating\u003c/em> a score.”\u003c/p>\n\u003cp>Greg Neimeyer, who designed the project’s lighting, has also experimented with the intersection of data and live events; his previous work includes a piece in the 2013 Venice Biennale that translated data from the rising tides threatening the Maldive Islands into a sound and visual composition. Campion also got help from Perin Meyer of Berkeley’s \u003ca href=\"http://www.meyersound.com/index.php\" target=\"_blank\" rel=\"noopener\">Meyer Sound\u003c/a>—the audio firm whose \u003ca href=\"http://www.meyersound.com/product/constellation/\" target=\"_blank\" rel=\"noopener\">Constellation\u003c/a> system, in place locally at Zellerbach Hall and \u003ca href=\"http://ww2.kqed.org/arts/2014/12/15/live-review-soundbox-classical-goes-clubbing/\" target=\"_blank\" rel=\"noopener\">SoundBox\u003c/a>, examines audio data and accordingly makes acoustic adjustments. The seismic data at the core of “Natural Frequencies” is supplied by UC Berkeley’s Seismological Laboratory, which has sensors directly below Sather Tower.\u003c/p>\n\u003cp>In many ways, “Natural Frequencies” taps into a current obsession of the digital age: data visualization. All around the world, as more data is collected by the internet, visualization tools bring it to life. Niemeyer points out that much of the world’s data is used to look back on that which has already happened, but “Natural Frequencies” sees data in “real time,” and that can be exciting or frightening. “It’s a live stream,” he says, “so we don’t know what is going to happen.”\u003c/p>\n\u003cp>Niemeyer notes that the lighting is designed to move up and down Sather Tower within expected parameters of seismic actvity. If the Earth were to move more than predicted, he says he doesn’t know what might happen. “That’s what makes it real,” he says. “That’s what makes it engaging.” Niemeyer also points to the team’s hope for the project to show how a community can interact with data. If we become more aware of the data about the world around us, he reasons, we can work communally toward new solutions to problems.\u003c/p>\n\u003cp>The project also re-imagines the purpose of the 100-year-old tower. As the program’s copy notes, bell towers “have been used for centuries as a medium to effectively convey time, calls to prayer and community events, and warnings about invasions, fires, and floods.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Natural Frequencies” builds upon that history using modern digital tools to remind us of our connection to a powerful, vibrant, and sometimes frightening earth below.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>During a lunch break on a recent weekday, dentist Mark Harris gleefully hops onto a makeshift stage in his rehearsal space and plugs in his treasured American Deluxe Stratocaster.\u003c/p>\n\u003cp>“With a maple fret board, plugged into a 1961 Fender Tremolux,” explains Harris as he cuts loose with some jagged, wall-shaking riffs ala Neil Young.\u003c/p>\n\u003cp>“It’s a real clean, chimey sound and it’s kind of the working man’s guitar sound,” Harris says of the \u003ca title=\"Fender\" href=\"http://www.fender.com/\">Fender\u003c/a>.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/188731208″ 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>Most of his vast collection of instruments, all housed in a converted basement beneath his dental practice about an hour east of L.A., was purchased online.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think it’s just the trend in the music business,” says Harris.\u003c/p>\n\u003cp>“Lots of the other shops have just gone by the wayside because everything has gone online now. I’ve bought I’d say 75 percent to 90 percent of this stuff online. Guitars, too.”\u003c/p>\n\u003cp>There was a time when it may have seemed inconceivable to buy certain products online directly from manufacturers, like running shoes or cars — but people do. And they have been for a while. Fender Vice President Richard McDonald says big guitar manufacturers are kind of behind the times.\u003c/p>\n\u003cfigure id=\"attachment_10420092\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/fender-harris.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10420092 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/fender-harris-800x584.jpg\" alt=\"Riverside dentist Mark Harris plays on some treasured Fender gear in his basement rehearsal space.\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/fender-harris-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/fender-harris-400x292.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/fender-harris-1440x1052.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Riverside dentist Mark Harris plays on some treasured Fender gear in his basement rehearsal space. \u003ccite>(Steven Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And today in the age of modern brands and customers’ expectations, this type of evolution through specialty retail — whether it’s sporting goods or clothing apparel — it’s a pretty natural progression,” says McDonald, speaking from the National Association of Music Manufacturers convention in Anaheim, birthplace of \u003ca title=\"Leo Fender biography\" href=\"http://rockhall.com/inductees/leo-fender/bio/\">Leo Fender\u003c/a>.\u003c/p>\n\u003cp>“In some industries, it’s kind of a 10-years-ago conversation.”\u003c/p>\n\u003cp>A lot of people checking out instruments inside the crowed Fender showroom at last week’s NAMM convention had no idea they could also shop online directly from the company.\u003c/p>\n\u003cp>Dozens of musicians and merchants perused hundreds of candy-colored guitars, while ax-shredding demonstrators in black Fender shirts showed off the latest gear.\u003c/p>\n\u003cp>Greg Braught prefers to try before he buys. As he gingerly placed a vintage-looking sunburst-colored Fender guitar back on the rack I asked the Orange County musician if he’d consider buying that same guitar online.\u003c/p>\n\u003cp>“I would. As long as it had a good return policy just in case. But given Fender’s reputation for the quality of their build, I would,” says Braught.\u003c/p>\n\u003cp>“Having said what I just said, there’s no comparison to actually touching an instrument because it should feel like an extension of your fingers,” he adds.\u003c/p>\n\u003cp>“It should feel like extension of what you’re trying to bring out of your mind and heart.”\u003c/p>\n\u003cfigure id=\"attachment_10420095\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10420095\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-800x547.jpg\" alt=\"Musicians and merchants check out Fender products at this month’s National Association of Music Manufactures convention in Anaheim. \" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-1440x984.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musicians and merchants check out Fender products at this month’s National Association of Music Manufacturers convention in Anaheim. \u003ccite>(Steven Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Chris Cuellar, of \u003ca title=\"Music Mikes\" href=\"https://www.facebook.com/musicmikes%20\">Music Mike’s \u003c/a>instrument store in Riverside, says he’s not too thrilled with Fender’s move.\u003c/p>\n\u003cp>“Internet is good for some things, but not for everything,” says Cuellar.\u003c/p>\n\u003cp>“It takes away that wholesome fun of going through your local music store and visiting a retailer that knows you and helps you pick your first, or third, or your fifth instrument.”\u003c/p>\n\u003cp>Cuellar concedes Fender is making an effort to steer customers to reputable dealers via a scroll-down function on its sales site. That listing includes his shop.\u003c/p>\n\u003cp>“But who’s gonna scroll? Let’s be honest, right, everybody’s so quick to click,” says Cuellar.\u003c/p>\n\u003cp>Fender waited until last year to make its wares available online. The rollout was remarkably muted, given the company’s attention to volume.\u003c/p>\n\u003cp>Fender’s McDonald says the company never intended to make a big splash in e-commerce. The move is more about creating a personal connection with customers, giving them purchasing options — especially for musicians who may not have a guitar shop in their area.\u003c/p>\n\u003cp>That said, McDonald insists Fender is not trying to drive guitar shops out of business.\u003c/p>\n\u003cp>“Experiencing Fender electric guitars and amplifiers in a great local store with a knowledgeable sales person and consultant is the richest environment,” says McDonald.\u003c/p>\n\u003cp>“So if you look at the site, we’re constantly pushing people toward local dealers.”\u003c/p>\n\u003cp>But Cuellar worries that Fender’s move will trigger a domino effect that leads other instrument manufacturers to move in the same direction\u003c/p>\n\u003cp>“Once you take away the stores, you might as well take away the venues,” says Cuellar.\u003c/p>\n\u003cp>“I think if you have venues, you got to have stores, and if you have stores, you got to have venues around the corner somewhere,” says Cuellar.\u003c/p>\n\u003cp>“It just goes hand in hand.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fender declined to say just how its online sales are doing so far. But McDonald did say fewer customers seem to be using the site to actually buy guitars than to locate a Fender dealer in their area.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During a lunch break on a recent weekday, dentist Mark Harris gleefully hops onto a makeshift stage in his rehearsal space and plugs in his treasured American Deluxe Stratocaster.\u003c/p>\n\u003cp>“With a maple fret board, plugged into a 1961 Fender Tremolux,” explains Harris as he cuts loose with some jagged, wall-shaking riffs ala Neil Young.\u003c/p>\n\u003cp>“It’s a real clean, chimey sound and it’s kind of the working man’s guitar sound,” Harris says of the \u003ca title=\"Fender\" href=\"http://www.fender.com/\">Fender\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/188731208″&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/188731208″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Most of his vast collection of instruments, all housed in a converted basement beneath his dental practice about an hour east of L.A., was purchased online.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think it’s just the trend in the music business,” says Harris.\u003c/p>\n\u003cp>“Lots of the other shops have just gone by the wayside because everything has gone online now. I’ve bought I’d say 75 percent to 90 percent of this stuff online. Guitars, too.”\u003c/p>\n\u003cp>There was a time when it may have seemed inconceivable to buy certain products online directly from manufacturers, like running shoes or cars — but people do. And they have been for a while. Fender Vice President Richard McDonald says big guitar manufacturers are kind of behind the times.\u003c/p>\n\u003cfigure id=\"attachment_10420092\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/fender-harris.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10420092 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/fender-harris-800x584.jpg\" alt=\"Riverside dentist Mark Harris plays on some treasured Fender gear in his basement rehearsal space.\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/fender-harris-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/fender-harris-400x292.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/fender-harris-1440x1052.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Riverside dentist Mark Harris plays on some treasured Fender gear in his basement rehearsal space. \u003ccite>(Steven Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And today in the age of modern brands and customers’ expectations, this type of evolution through specialty retail — whether it’s sporting goods or clothing apparel — it’s a pretty natural progression,” says McDonald, speaking from the National Association of Music Manufacturers convention in Anaheim, birthplace of \u003ca title=\"Leo Fender biography\" href=\"http://rockhall.com/inductees/leo-fender/bio/\">Leo Fender\u003c/a>.\u003c/p>\n\u003cp>“In some industries, it’s kind of a 10-years-ago conversation.”\u003c/p>\n\u003cp>A lot of people checking out instruments inside the crowed Fender showroom at last week’s NAMM convention had no idea they could also shop online directly from the company.\u003c/p>\n\u003cp>Dozens of musicians and merchants perused hundreds of candy-colored guitars, while ax-shredding demonstrators in black Fender shirts showed off the latest gear.\u003c/p>\n\u003cp>Greg Braught prefers to try before he buys. As he gingerly placed a vintage-looking sunburst-colored Fender guitar back on the rack I asked the Orange County musician if he’d consider buying that same guitar online.\u003c/p>\n\u003cp>“I would. As long as it had a good return policy just in case. But given Fender’s reputation for the quality of their build, I would,” says Braught.\u003c/p>\n\u003cp>“Having said what I just said, there’s no comparison to actually touching an instrument because it should feel like an extension of your fingers,” he adds.\u003c/p>\n\u003cp>“It should feel like extension of what you’re trying to bring out of your mind and heart.”\u003c/p>\n\u003cfigure id=\"attachment_10420095\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10420095\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-800x547.jpg\" alt=\"Musicians and merchants check out Fender products at this month’s National Association of Music Manufactures convention in Anaheim. \" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-1440x984.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musicians and merchants check out Fender products at this month’s National Association of Music Manufacturers convention in Anaheim. \u003ccite>(Steven Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Chris Cuellar, of \u003ca title=\"Music Mikes\" href=\"https://www.facebook.com/musicmikes%20\">Music Mike’s \u003c/a>instrument store in Riverside, says he’s not too thrilled with Fender’s move.\u003c/p>\n\u003cp>“Internet is good for some things, but not for everything,” says Cuellar.\u003c/p>\n\u003cp>“It takes away that wholesome fun of going through your local music store and visiting a retailer that knows you and helps you pick your first, or third, or your fifth instrument.”\u003c/p>\n\u003cp>Cuellar concedes Fender is making an effort to steer customers to reputable dealers via a scroll-down function on its sales site. That listing includes his shop.\u003c/p>\n\u003cp>“But who’s gonna scroll? Let’s be honest, right, everybody’s so quick to click,” says Cuellar.\u003c/p>\n\u003cp>Fender waited until last year to make its wares available online. The rollout was remarkably muted, given the company’s attention to volume.\u003c/p>\n\u003cp>Fender’s McDonald says the company never intended to make a big splash in e-commerce. The move is more about creating a personal connection with customers, giving them purchasing options — especially for musicians who may not have a guitar shop in their area.\u003c/p>\n\u003cp>That said, McDonald insists Fender is not trying to drive guitar shops out of business.\u003c/p>\n\u003cp>“Experiencing Fender electric guitars and amplifiers in a great local store with a knowledgeable sales person and consultant is the richest environment,” says McDonald.\u003c/p>\n\u003cp>“So if you look at the site, we’re constantly pushing people toward local dealers.”\u003c/p>\n\u003cp>But Cuellar worries that Fender’s move will trigger a domino effect that leads other instrument manufacturers to move in the same direction\u003c/p>\n\u003cp>“Once you take away the stores, you might as well take away the venues,” says Cuellar.\u003c/p>\n\u003cp>“I think if you have venues, you got to have stores, and if you have stores, you got to have venues around the corner somewhere,” says Cuellar.\u003c/p>\n\u003cp>“It just goes hand in hand.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fender declined to say just how its online sales are doing so far. But McDonald did say fewer customers seem to be using the site to actually buy guitars than to locate a Fender dealer in their area.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Just Plane Sad: A Show of Support for SkyMall | KQED",
"content": "\u003cp>Whether it was the $85,000 personal submarine craft, the telepathic obstacle course or the yeti yard ornaments we could never quite afford, in-flight catalog \u003cem>SkyMall\u003c/em> — and the kitschy items sold inside its pages — are going to be hard to forget.\u003c/p>\n\u003cp>On Friday, \u003cem>SkyMall\u003c/em>‘s parent company filed for bankruptcy protection and announced that its assets would go up for auction in late March. So in preparation for the catalog’s possible disappearance from our seatback pockets, we asked people how they’d remember \u003cem>SkyMall\u003c/em>. Some of you wrote heartfelt testimonials. A few made it into \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/23/379334220/goodbye-garden-yeti-in-flight-catalog-skymall-files-for-bankruptcy\" target=\"_blank\" rel=\"noopener\">this post\u003c/a>, but there were many more. Here’s a sampling:\u003c/p>\n\u003cp>\u003cem>SkyMall\u003c/em>‘s write-on map inspired an entire math education program in New Mexico, as Martha Riecks explains:\u003c/p>\n\u003cblockquote>\n\u003cp>“While on a flight to an education conference in 2003, Scott Laidlaw, a middle school math teacher, opened up a \u003cem>Skymall\u003c/em> Catalog and saw the ‘World’s Largest Write On Map.’ He immediately envisioned his students trading merchandise while exploring the world in the 1600s.\u003c/p>\n\u003cp>“When the map arrived, it took up his entire classroom when spread out, and was soon covered with over 3,000 sticky notes. Students made small wooden ships, learning ratios and proportions as they enacted the spice trade. For six more years, Laidlaw developed and implemented new semester-long historical fiction math games.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Laurie Harari of Delray Beach, Fla., considers \u003cem>SkyMall\u003c/em> items such as the doggy stairs aspirational:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>SkyMall\u003c/em> has kept me going on my journey to get a real job someday. Since I was a small girl, I envisioned one day graduating from college, making a lot of money at my job, and having a really really tall bed. Beside that tall bed, I would have those doggy stairs that \u003cem>SkyMall\u003c/em> sold in its catalog.”\u003c/p>\n\u003c/blockquote>\n\u003cp>This blogger may be partial to \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/23/379334220/goodbye-garden-yeti-in-flight-catalog-skymall-files-for-bankruptcy\" target=\"_blank\" rel=\"noopener\">the garden yeti,\u003c/a> but a lot of you professed your love for the zombie yard ornament (seen above). Medical school student Mehwish Farooqi wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“I am disappointed that someday after medical school and my eventual pay off of my student loans, I will no longer have the opportunity to purchase a zombie yard ornament such as this. It was something to look forward to.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cem>SkyMall\u003c/em>‘s demise also is a financial hit for those vendors whose wares are featured in the catalog, as Car-Dek President Joe Volpe shares:\u003c/p>\n\u003cblockquote>\n\u003cp>“We are one of the suppliers that is going to take a big financial hit by this bankruptcy. Our product, the Petdek, was sold by [\u003cem>SkyMall\u003c/em>] as the ‘All in one carrier’ for carrying pets and cargo in the back seat of vehicles. It was one of the most successful products they have ever sold and were averaging over 130 a month for retail sales of $165,000 last year. We manufacture in the US so quite a few people are going to be affected by this. Luckily we have many other vendors for our product, but this loss caught us completely off guard as they kept telling me they were financially solvent.”\u003c/p>\n\u003c/blockquote>\n\u003cp>And what happens to all the in-flight guerrilla art projects that \u003cem>SkyMall\u003c/em> inspired? Miles Taylor of Austin, Texas, explains:\u003c/p>\n\u003cfigure id=\"attachment_10339329\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/skymall_custom-4e44304ed62f847b01b5bad474edd50ea16e8dbc.jpg\" alt=\"SkyMall inspired a running guerrilla art project.\" width=\"200\" height=\"243\" class=\"size-full wp-image-10339329\">\u003cfigcaption class=\"wp-caption-text\">\u003cem>SkyMall\u003c/em> inspired a running guerrilla art project.\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\n\u003cp>“We would take \u003cem>SkyMall\u003c/em> magazine (which I remind you is ‘yours to keep’) and we would alter the images using various markers and pens. After filling the magazine with our little gags, we would take pictures on our phones and return the magazines to the seat pockets in front of us. Did any of you every come across our altered \u003cem>SkyMall\u003c/em> magazines on your flights?”\u003c/p>\n\u003c/blockquote>\n\u003cp>Not to by outdone, Paul Madore of St. Paul, Minn., sent in a poem with stanzas full of actual \u003cem>SkyMall\u003c/em> items available for purchase. This is called “Poem #18: Random Crap”:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>A grill cleaning robot\u003c/em>\u003c/p>\n\u003cp>\u003cem>video screen microscopes,\u003c/em>\u003c/p>\n\u003cp>\u003cem>a “Snow Joe” brand snow broom\u003c/em>\u003c/p>\n\u003cp>\u003cem>with handle that telescopes,\u003c/em>\u003c/p>\n\u003cp>\u003cem>An electric blue corkscrew,\u003c/em>\u003c/p>\n\u003cp>\u003cem>personalized wine stopper,\u003c/em>\u003c/p>\n\u003cp>\u003cem>a “Sheng Kwong” metal gong,\u003c/em>\u003c/p>\n\u003cp>\u003cem>an old-time corn popper,\u003c/em>\u003c/p>\n\u003cp>\u003cem>An illuminated zipline,\u003c/em>\u003c/p>\n\u003cp>\u003cem>a poole-themed clock (quartz),\u003c/em>\u003c/p>\n\u003cp>\u003cem>a paper towel rac\u003c/em>\u003c/p>\n\u003cp>\u003cem>housing four USB ports,\u003c/em>\u003c/p>\n\u003cp>\u003cem>talking Smurf toothbrushes\u003c/em>\u003c/p>\n\u003cp>\u003cem>a king crab-shaped chair,\u003c/em>\u003c/p>\n\u003cp>\u003cem>remote-controlled shark balloon\u003c/em>\u003c/p>\n\u003cp>\u003cem>that inflates with air,\u003c/em>\u003c/p>\n\u003cp>\u003cem>All these and more\u003c/em>\u003c/p>\n\u003cp>\u003cem>you can greedily eyeball\u003c/em>\u003c/p>\n\u003cp>\u003cem>while flying in comfort,\u003c/em>\u003c/p>\n\u003cp>\u003cem>please enjoy “SkyMall”\u003c/em>\u003c/p>\n\u003c/blockquote>\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=Just+Plane+Sad%3A+A+Show+Of+Support+For+SkyMall&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whether it was the $85,000 personal submarine craft, the telepathic obstacle course or the yeti yard ornaments we could never quite afford, in-flight catalog \u003cem>SkyMall\u003c/em> — and the kitschy items sold inside its pages — are going to be hard to forget.\u003c/p>\n\u003cp>On Friday, \u003cem>SkyMall\u003c/em>‘s parent company filed for bankruptcy protection and announced that its assets would go up for auction in late March. So in preparation for the catalog’s possible disappearance from our seatback pockets, we asked people how they’d remember \u003cem>SkyMall\u003c/em>. Some of you wrote heartfelt testimonials. A few made it into \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/23/379334220/goodbye-garden-yeti-in-flight-catalog-skymall-files-for-bankruptcy\" target=\"_blank\" rel=\"noopener\">this post\u003c/a>, but there were many more. Here’s a sampling:\u003c/p>\n\u003cp>\u003cem>SkyMall\u003c/em>‘s write-on map inspired an entire math education program in New Mexico, as Martha Riecks explains:\u003c/p>\n\u003cblockquote>\n\u003cp>“While on a flight to an education conference in 2003, Scott Laidlaw, a middle school math teacher, opened up a \u003cem>Skymall\u003c/em> Catalog and saw the ‘World’s Largest Write On Map.’ He immediately envisioned his students trading merchandise while exploring the world in the 1600s.\u003c/p>\n\u003cp>“When the map arrived, it took up his entire classroom when spread out, and was soon covered with over 3,000 sticky notes. Students made small wooden ships, learning ratios and proportions as they enacted the spice trade. For six more years, Laidlaw developed and implemented new semester-long historical fiction math games.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Laurie Harari of Delray Beach, Fla., considers \u003cem>SkyMall\u003c/em> items such as the doggy stairs aspirational:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>SkyMall\u003c/em> has kept me going on my journey to get a real job someday. Since I was a small girl, I envisioned one day graduating from college, making a lot of money at my job, and having a really really tall bed. Beside that tall bed, I would have those doggy stairs that \u003cem>SkyMall\u003c/em> sold in its catalog.”\u003c/p>\n\u003c/blockquote>\n\u003cp>This blogger may be partial to \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/23/379334220/goodbye-garden-yeti-in-flight-catalog-skymall-files-for-bankruptcy\" target=\"_blank\" rel=\"noopener\">the garden yeti,\u003c/a> but a lot of you professed your love for the zombie yard ornament (seen above). Medical school student Mehwish Farooqi wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“I am disappointed that someday after medical school and my eventual pay off of my student loans, I will no longer have the opportunity to purchase a zombie yard ornament such as this. It was something to look forward to.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cem>SkyMall\u003c/em>‘s demise also is a financial hit for those vendors whose wares are featured in the catalog, as Car-Dek President Joe Volpe shares:\u003c/p>\n\u003cblockquote>\n\u003cp>“We are one of the suppliers that is going to take a big financial hit by this bankruptcy. Our product, the Petdek, was sold by [\u003cem>SkyMall\u003c/em>] as the ‘All in one carrier’ for carrying pets and cargo in the back seat of vehicles. It was one of the most successful products they have ever sold and were averaging over 130 a month for retail sales of $165,000 last year. We manufacture in the US so quite a few people are going to be affected by this. Luckily we have many other vendors for our product, but this loss caught us completely off guard as they kept telling me they were financially solvent.”\u003c/p>\n\u003c/blockquote>\n\u003cp>And what happens to all the in-flight guerrilla art projects that \u003cem>SkyMall\u003c/em> inspired? Miles Taylor of Austin, Texas, explains:\u003c/p>\n\u003cfigure id=\"attachment_10339329\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/skymall_custom-4e44304ed62f847b01b5bad474edd50ea16e8dbc.jpg\" alt=\"SkyMall inspired a running guerrilla art project.\" width=\"200\" height=\"243\" class=\"size-full wp-image-10339329\">\u003cfigcaption class=\"wp-caption-text\">\u003cem>SkyMall\u003c/em> inspired a running guerrilla art project.\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\n\u003cp>“We would take \u003cem>SkyMall\u003c/em> magazine (which I remind you is ‘yours to keep’) and we would alter the images using various markers and pens. After filling the magazine with our little gags, we would take pictures on our phones and return the magazines to the seat pockets in front of us. Did any of you every come across our altered \u003cem>SkyMall\u003c/em> magazines on your flights?”\u003c/p>\n\u003c/blockquote>\n\u003cp>Not to by outdone, Paul Madore of St. Paul, Minn., sent in a poem with stanzas full of actual \u003cem>SkyMall\u003c/em> items available for purchase. This is called “Poem #18: Random Crap”:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>A grill cleaning robot\u003c/em>\u003c/p>\n\u003cp>\u003cem>video screen microscopes,\u003c/em>\u003c/p>\n\u003cp>\u003cem>a “Snow Joe” brand snow broom\u003c/em>\u003c/p>\n\u003cp>\u003cem>with handle that telescopes,\u003c/em>\u003c/p>\n\u003cp>\u003cem>An electric blue corkscrew,\u003c/em>\u003c/p>\n\u003cp>\u003cem>personalized wine stopper,\u003c/em>\u003c/p>\n\u003cp>\u003cem>a “Sheng Kwong” metal gong,\u003c/em>\u003c/p>\n\u003cp>\u003cem>an old-time corn popper,\u003c/em>\u003c/p>\n\u003cp>\u003cem>An illuminated zipline,\u003c/em>\u003c/p>\n\u003cp>\u003cem>a poole-themed clock (quartz),\u003c/em>\u003c/p>\n\u003cp>\u003cem>a paper towel rac\u003c/em>\u003c/p>\n\u003cp>\u003cem>housing four USB ports,\u003c/em>\u003c/p>\n\u003cp>\u003cem>talking Smurf toothbrushes\u003c/em>\u003c/p>\n\u003cp>\u003cem>a king crab-shaped chair,\u003c/em>\u003c/p>\n\u003cp>\u003cem>remote-controlled shark balloon\u003c/em>\u003c/p>\n\u003cp>\u003cem>that inflates with air,\u003c/em>\u003c/p>\n\u003cp>\u003cem>All these and more\u003c/em>\u003c/p>\n\u003cp>\u003cem>you can greedily eyeball\u003c/em>\u003c/p>\n\u003cp>\u003cem>while flying in comfort,\u003c/em>\u003c/p>\n\u003cp>\u003cem>please enjoy “SkyMall”\u003c/em>\u003c/p>\n\u003c/blockquote>\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=Just+Plane+Sad%3A+A+Show+Of+Support+For+SkyMall&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Boy Wonder Saves the Day in 'Batkid Begins: The Wish Heard Around the World'",
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"content": "\u003cp>November 15, 2013 started off as an ordinary day in San Francisco, complete with blue skies and a collective sense that all was well in our fair city. That serenity was shattered when SF Police Chief Greg Suhr interrupted ABC7’s morning newscast with a desperate plea for help. San Franciscans were in danger, and only one person could save them.\u003c/p>\n\u003cp>Who answered that call?\u003c/p>\n\u003cp>Batkid, of course.\u003c/p>\n\u003cp>Batkid, a.k.a. Miles Scott, stormed the city and social media that day dressed as a miniature version of DC Comic’s moody icon. With the help of his sidekick Batman, Batkid saved a distressed damsel who’d been tied to the cable car tracks in Russian Hill, defused a bomb that was set to detonate, and captured longtime rival the Riddler in the act of robbing a bank vault in the Financial District. After stopping for lunch in Union Square, the crime-fighting duo apprehended the Penguin, who’d attempted to kidnap the Giants mascot Lou Seal in a brazen getaway. Before thousands of cheering fans gathered at City Hall, Batkid was gratefully given a key to the city by Mayor Ed Lee and watched as a U.S. Department of Justice representative read conspiracy charges against vanquished villains.\u003c/p>\n\u003cp>The whole glorious affair unfurled thanks to the hard work of the Make-A-Wish Foundation’s Greater Bay Area Chapter and its army of volunteers; key partners Clever Girls Collective, Apple, and Twitter; and thousands of cheering fans who helped realize the wish of a child who had fought and defeated leukemia.\u003c/p>\n\u003cfigure id=\"attachment_10336849\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Bat-Kid-Getty.jpg\" alt=\"Leukemia survivor Miles, 5, dressed as BatKid, and Batman release the San Francisco Giants mascot from the Penguin as part of a Make-A-Wish foundation fulfillment at AT&T Park November 15, 2013 in San Francisco. (Photo by Ramin Talaie/Getty Images)\" width=\"640\" height=\"489\" class=\"size-full wp-image-10336849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bat-Kid-Getty.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bat-Kid-Getty-400x306.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Leukemia survivor Miles Scott, 5, dressed as BatKid, and Batman release the San Francisco Giants mascot from the Penguin as part of a Make-A-Wish foundation fulfillment at AT&T Park Nov. 15, 2013 in San Francisco. (Photo by Ramin Talaie/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>Debuting this week at the \u003ca href=\"http://www.slamdance.com/\" target=\"_blank\" rel=\"noopener\">Slamdance Film Festival\u003c/a> in Park City, Utah, the documentary film \u003ci>Batkid Begins: The Wish Heard Around the World\u003c/i> recounts Miles’ triumphant day spent ridding San Francisco of crime, and the potential of social networking to enable our most humane qualities. When filmmaker Dana Nachman and her partners at KTF Films became aware of Miles’ story, they got in touch with the \u003ca href=\"http://sf.wish.org/\" target=\"_blank\" rel=\"noopener\">Make-A-Wish Foundation\u003c/a>, who asked if a film could be produced and released to coincide with the one-year anniversary of the event. In spite of a dauntingly short turnaround schedule, Nachman said yes. KQED Arts caught up with the director as she prepared to leave for the festival and found out more about the film’s production and possible impact on audiences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>How did you hear about Miles Scott and his request to the Make-A-Wish Foundation?\u003c/strong>\u003c/p>\n\u003cp>I overheard some colleagues talking about Miles and wondered why this kid and his story made such a buzz. A fellow journalist also mentioned it in conversation and encouraged me to follow up with Make-A-Wish. We met with the Scott family, and found out that there was more than one production company that was interested in making a film. We got to know the family, and they agreed to work with us in making the film. I was amazed that so many people wanted to help, and we wanted to capture that spirit as well as Miles’ triumph.\u003c/p>\n\u003cp>\u003cstrong>Can you speak about the short turnaround time in producing the film? What was the urgency?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10336855\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Bat-Kid-Getty-2.jpg\" alt=\"Leukemia survivor Miles, 5, dressed as BatKid, and Batman release the San Francisco Giants mascot from the Penguin as part of a Make-A-Wish foundation fulfillment at AT&T Park November 15, 2013 in San Francisco. (Photo by Ramin Talaie/Getty Images)\" width=\"640\" height=\"468\" class=\"size-full wp-image-10336855\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bat-Kid-Getty-2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bat-Kid-Getty-2-400x293.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Leukemia survivor Miles Scott, 5, dressed as BatKid, and Batman release the San Francisco Giants mascot from the Penguin as part of a Make-A-Wish foundation fulfillment at AT&T Park Nov. 15, 2013 in San Francisco. (Photo by Ramin Talaie/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>We met with the Make-A-Wish Foundation, and they were really interested in releasing the film on the one-year anniversary of the day, which was November 15, 2014. I’ve never worked on any project that took less than three years to complete, so this was a huge challenge for us. Maybe without thinking too clearly about what we were committing to, we said yes. It was a very busy 12 months, and what we ended up showing the Foundation was a representative draft cut, but it conveys everything we hoped to capture about Miles, his family, and the event itself.\u003c/p>\n\u003cp>\u003cstrong>Can you speak about the social media component of promoting the event?\u003c/strong>\u003c/p>\n\u003cp>Make-A-Wish Foundation sent out an email to supporters one month before the day with the hope that a few hundred people would show up. The email went viral, and by the evening of November 14, there were 12,00 people signed up to volunteer. Some estimates suggest that as many as 25,000 people showed up to cheer Miles on at different points during the day. After reading about the upcoming event on SFist, \u003ca href=\"http://www.clevergirlscollective.com/\">Clever Girls Collective\u003c/a> reached out to the Foundation and offered their social media services pro bono, and before we knew it, Apple and Twitter were also on board with offers to help. (More information and insight about the impact of responsive social media can be found in the\u003ca href=\"http://www.fastcoexist.com/3022058/inside-the-social-media-strategy-that-made-batkid-go-viral\"> Fast Company article\u003c/a> released shortly after the event.)\u003c/p>\n\u003cp>\u003cstrong>What attracts to you a subject? Do you consider this a departure from other films – \u003ci>Witch Hunt \u003c/i>(2008) and \u003ci>Love Hate Love \u003c/i>(2011) – that KTF Films produces?\u003c/strong>\u003c/p>\n\u003cp>Honestly, Batkid was a departure from other subjects that KTF Films has produced. The subject is lighter, not nearly as heavy or serious, which offered an emotional break. What attracted me to the subject was a desire to work on something new, something that would possibly appeal to my kids and to others.\u003c/p>\n\u003cp>\u003cstrong>Why does Miles’ story resonate with audiences in San Francisco and elsewhere?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10336858\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/batkid_4-e1422316150810.jpg\" alt=\"Scene from <i>Batkid Begins</i> from John Crane Films\" width=\"640\" height=\"427\" class=\"size-full wp-image-10336858\">\u003cfigcaption class=\"wp-caption-text\">Scene from \u003ci>Batkid Begins\u003c/i> courtesy John Crane Films \u003ccite>( John Crane Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s an easy narrative to digest—a cute kid in costume who survived cancer and chemotherapy treatment in the first five years of his life. It celebrates his remission, and those stories are important to share. Eighty percent of the children who are helped by Make-A-Wish go on to lead healthy lives, which isn’t well known. The city of San Francisco seems to attract whimsy and bold action, and I think that audiences appreciate the “higher level” of what happened. We wanted to capture that in the film, and I think we succeeded.\u003c/p>\n\u003cp>\u003cstrong>Can you speak about your Indiegogo experience? Will you use crowd funding platforms as a means of financial support for future projects?\u003c/strong>\u003c/p>\n\u003cp>It was really hard! Raising large-scale sums of money—upwards of $100,000 is what we needed and asked for in the campaign—is much more difficult than tapping friends and family and extended professional network for smaller dollar amounts. Managing the campaign was a job unto itself. Would I do it again? Yes, for both large and small-scale projects.\u003c/p>\n\u003cp>\u003cstrong>Have you kept in touch with Miles and his family? Any updates on his progress and overall health?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10336860\" class=\"wp-caption alignright\" style=\"max-width: 494px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/batkid_9.jpg\" alt=\"Scene from <i>Batkid Begins</i> from John Crane Films\" width=\"494\" height=\"741\" class=\"size-full wp-image-10336860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/batkid_9.jpg 494w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/batkid_9-400x600.jpg 400w\" sizes=\"(max-width: 494px) 100vw, 494px\">\u003cfigcaption class=\"wp-caption-text\">Scene from \u003ci>Batkid Begins\u003c/i> courtesy John Crane Films\u003c/figcaption>\u003c/figure>\n\u003cp>Miles is in remission, and he’s happy and healthy and in school. He’s not a talkative kid, so the “man of action, not words” appeal of Batman makes sense. His mother said that while he was in treatment, Miles was really interested in and talked a lot about superheroes. That they win and always work hard appealed to him, and when the Make-A-Wish Foundation stepped in to support his dream, he said he wanted to be superhero. The family chose San Francisco over other locations, such as their hometown or an amusement park, to make this happen. They’re a private family, not at all interested in exposure, and living in a small town is a reflection of that. The money donated to the Batkid Fund will support five San Francisco-based charities, and the family fully supports that.\u003c/p>\n\u003cp>\u003cstrong>What’s next for you and KTF Films?\u003c/strong>\u003c/p>\n\u003cp>I’m working on a fiction piece, and our next feature film \u003ci>The Human Experiment\u003c/i>, which will debut on Earth Day 2015. At the moment, I’m focusing on representing \u003ci>Batkid Begins\u003c/i> at Slamdance.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Batkid Begins: The Wish Heard Around the World\u003c/i> screens at the Slamdance Film Festival in Park City, Utah on Jan. 24 and 27. The festival runs through Jan. 29.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>November 15, 2013 started off as an ordinary day in San Francisco, complete with blue skies and a collective sense that all was well in our fair city. That serenity was shattered when SF Police Chief Greg Suhr interrupted ABC7’s morning newscast with a desperate plea for help. San Franciscans were in danger, and only one person could save them.\u003c/p>\n\u003cp>Who answered that call?\u003c/p>\n\u003cp>Batkid, of course.\u003c/p>\n\u003cp>Batkid, a.k.a. Miles Scott, stormed the city and social media that day dressed as a miniature version of DC Comic’s moody icon. With the help of his sidekick Batman, Batkid saved a distressed damsel who’d been tied to the cable car tracks in Russian Hill, defused a bomb that was set to detonate, and captured longtime rival the Riddler in the act of robbing a bank vault in the Financial District. After stopping for lunch in Union Square, the crime-fighting duo apprehended the Penguin, who’d attempted to kidnap the Giants mascot Lou Seal in a brazen getaway. Before thousands of cheering fans gathered at City Hall, Batkid was gratefully given a key to the city by Mayor Ed Lee and watched as a U.S. Department of Justice representative read conspiracy charges against vanquished villains.\u003c/p>\n\u003cp>The whole glorious affair unfurled thanks to the hard work of the Make-A-Wish Foundation’s Greater Bay Area Chapter and its army of volunteers; key partners Clever Girls Collective, Apple, and Twitter; and thousands of cheering fans who helped realize the wish of a child who had fought and defeated leukemia.\u003c/p>\n\u003cfigure id=\"attachment_10336849\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Bat-Kid-Getty.jpg\" alt=\"Leukemia survivor Miles, 5, dressed as BatKid, and Batman release the San Francisco Giants mascot from the Penguin as part of a Make-A-Wish foundation fulfillment at AT&T Park November 15, 2013 in San Francisco. (Photo by Ramin Talaie/Getty Images)\" width=\"640\" height=\"489\" class=\"size-full wp-image-10336849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bat-Kid-Getty.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bat-Kid-Getty-400x306.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Leukemia survivor Miles Scott, 5, dressed as BatKid, and Batman release the San Francisco Giants mascot from the Penguin as part of a Make-A-Wish foundation fulfillment at AT&T Park Nov. 15, 2013 in San Francisco. (Photo by Ramin Talaie/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>Debuting this week at the \u003ca href=\"http://www.slamdance.com/\" target=\"_blank\" rel=\"noopener\">Slamdance Film Festival\u003c/a> in Park City, Utah, the documentary film \u003ci>Batkid Begins: The Wish Heard Around the World\u003c/i> recounts Miles’ triumphant day spent ridding San Francisco of crime, and the potential of social networking to enable our most humane qualities. When filmmaker Dana Nachman and her partners at KTF Films became aware of Miles’ story, they got in touch with the \u003ca href=\"http://sf.wish.org/\" target=\"_blank\" rel=\"noopener\">Make-A-Wish Foundation\u003c/a>, who asked if a film could be produced and released to coincide with the one-year anniversary of the event. In spite of a dauntingly short turnaround schedule, Nachman said yes. KQED Arts caught up with the director as she prepared to leave for the festival and found out more about the film’s production and possible impact on audiences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How did you hear about Miles Scott and his request to the Make-A-Wish Foundation?\u003c/strong>\u003c/p>\n\u003cp>I overheard some colleagues talking about Miles and wondered why this kid and his story made such a buzz. A fellow journalist also mentioned it in conversation and encouraged me to follow up with Make-A-Wish. We met with the Scott family, and found out that there was more than one production company that was interested in making a film. We got to know the family, and they agreed to work with us in making the film. I was amazed that so many people wanted to help, and we wanted to capture that spirit as well as Miles’ triumph.\u003c/p>\n\u003cp>\u003cstrong>Can you speak about the short turnaround time in producing the film? What was the urgency?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10336855\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Bat-Kid-Getty-2.jpg\" alt=\"Leukemia survivor Miles, 5, dressed as BatKid, and Batman release the San Francisco Giants mascot from the Penguin as part of a Make-A-Wish foundation fulfillment at AT&T Park November 15, 2013 in San Francisco. (Photo by Ramin Talaie/Getty Images)\" width=\"640\" height=\"468\" class=\"size-full wp-image-10336855\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bat-Kid-Getty-2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bat-Kid-Getty-2-400x293.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Leukemia survivor Miles Scott, 5, dressed as BatKid, and Batman release the San Francisco Giants mascot from the Penguin as part of a Make-A-Wish foundation fulfillment at AT&T Park Nov. 15, 2013 in San Francisco. (Photo by Ramin Talaie/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>We met with the Make-A-Wish Foundation, and they were really interested in releasing the film on the one-year anniversary of the day, which was November 15, 2014. I’ve never worked on any project that took less than three years to complete, so this was a huge challenge for us. Maybe without thinking too clearly about what we were committing to, we said yes. It was a very busy 12 months, and what we ended up showing the Foundation was a representative draft cut, but it conveys everything we hoped to capture about Miles, his family, and the event itself.\u003c/p>\n\u003cp>\u003cstrong>Can you speak about the social media component of promoting the event?\u003c/strong>\u003c/p>\n\u003cp>Make-A-Wish Foundation sent out an email to supporters one month before the day with the hope that a few hundred people would show up. The email went viral, and by the evening of November 14, there were 12,00 people signed up to volunteer. Some estimates suggest that as many as 25,000 people showed up to cheer Miles on at different points during the day. After reading about the upcoming event on SFist, \u003ca href=\"http://www.clevergirlscollective.com/\">Clever Girls Collective\u003c/a> reached out to the Foundation and offered their social media services pro bono, and before we knew it, Apple and Twitter were also on board with offers to help. (More information and insight about the impact of responsive social media can be found in the\u003ca href=\"http://www.fastcoexist.com/3022058/inside-the-social-media-strategy-that-made-batkid-go-viral\"> Fast Company article\u003c/a> released shortly after the event.)\u003c/p>\n\u003cp>\u003cstrong>What attracts to you a subject? Do you consider this a departure from other films – \u003ci>Witch Hunt \u003c/i>(2008) and \u003ci>Love Hate Love \u003c/i>(2011) – that KTF Films produces?\u003c/strong>\u003c/p>\n\u003cp>Honestly, Batkid was a departure from other subjects that KTF Films has produced. The subject is lighter, not nearly as heavy or serious, which offered an emotional break. What attracted me to the subject was a desire to work on something new, something that would possibly appeal to my kids and to others.\u003c/p>\n\u003cp>\u003cstrong>Why does Miles’ story resonate with audiences in San Francisco and elsewhere?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10336858\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/batkid_4-e1422316150810.jpg\" alt=\"Scene from <i>Batkid Begins</i> from John Crane Films\" width=\"640\" height=\"427\" class=\"size-full wp-image-10336858\">\u003cfigcaption class=\"wp-caption-text\">Scene from \u003ci>Batkid Begins\u003c/i> courtesy John Crane Films \u003ccite>( John Crane Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s an easy narrative to digest—a cute kid in costume who survived cancer and chemotherapy treatment in the first five years of his life. It celebrates his remission, and those stories are important to share. Eighty percent of the children who are helped by Make-A-Wish go on to lead healthy lives, which isn’t well known. The city of San Francisco seems to attract whimsy and bold action, and I think that audiences appreciate the “higher level” of what happened. We wanted to capture that in the film, and I think we succeeded.\u003c/p>\n\u003cp>\u003cstrong>Can you speak about your Indiegogo experience? Will you use crowd funding platforms as a means of financial support for future projects?\u003c/strong>\u003c/p>\n\u003cp>It was really hard! Raising large-scale sums of money—upwards of $100,000 is what we needed and asked for in the campaign—is much more difficult than tapping friends and family and extended professional network for smaller dollar amounts. Managing the campaign was a job unto itself. Would I do it again? Yes, for both large and small-scale projects.\u003c/p>\n\u003cp>\u003cstrong>Have you kept in touch with Miles and his family? Any updates on his progress and overall health?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10336860\" class=\"wp-caption alignright\" style=\"max-width: 494px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/batkid_9.jpg\" alt=\"Scene from <i>Batkid Begins</i> from John Crane Films\" width=\"494\" height=\"741\" class=\"size-full wp-image-10336860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/batkid_9.jpg 494w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/batkid_9-400x600.jpg 400w\" sizes=\"(max-width: 494px) 100vw, 494px\">\u003cfigcaption class=\"wp-caption-text\">Scene from \u003ci>Batkid Begins\u003c/i> courtesy John Crane Films\u003c/figcaption>\u003c/figure>\n\u003cp>Miles is in remission, and he’s happy and healthy and in school. He’s not a talkative kid, so the “man of action, not words” appeal of Batman makes sense. His mother said that while he was in treatment, Miles was really interested in and talked a lot about superheroes. That they win and always work hard appealed to him, and when the Make-A-Wish Foundation stepped in to support his dream, he said he wanted to be superhero. The family chose San Francisco over other locations, such as their hometown or an amusement park, to make this happen. They’re a private family, not at all interested in exposure, and living in a small town is a reflection of that. The money donated to the Batkid Fund will support five San Francisco-based charities, and the family fully supports that.\u003c/p>\n\u003cp>\u003cstrong>What’s next for you and KTF Films?\u003c/strong>\u003c/p>\n\u003cp>I’m working on a fiction piece, and our next feature film \u003ci>The Human Experiment\u003c/i>, which will debut on Earth Day 2015. At the moment, I’m focusing on representing \u003ci>Batkid Begins\u003c/i> at Slamdance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
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"source": "Commonwealth Club of California"
},
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"title": "Forum",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
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"source": "WNYC"
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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