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(James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Last year's event raised more than $100,000 for the SPCA, and helped 343 pets find new families.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>SF SPCA Co-President Jennifer Scarlett hopes that the celebrity appeal of Grumpy Cat will encourage people to adopt more than 350 pets this year.\u003c/p>\n\u003cfigure id=\"attachment_10351874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_008.jpg\">\u003cimg class=\"wp-image-10351874 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-800x533.jpg\" alt=\"20141121_grumpycat_jt_008\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-1440x960.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This is the ninth year Macy's has featured adoptable animals in their windows. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Internet's favorite sourpuss, Grumpy Cat, unveiled Macy's holiday windows in Union Square on Friday night.\u003c/p>\n\u003cp>For nearly a decade, the San Francisco Society for the Prevention of Cruelty to Animals has teamed up with the department store to find homes for animals and to raise money for the nonprofit.\u003c/p>\n\u003cp>Grumpy Cat wore the only scowl as fans lined up to get a selfie with this famous feline.\u003c/p>\n\u003cfigure id=\"attachment_10351872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_006.jpg\">\u003cimg class=\"size-medium wp-image-10351872\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_006-800x533.jpg\" alt=\"The line for Grumpy Cat stretches down the street in San Francisco, Calif. on Friday, Nov. 11, 2014. Internet sensation Grumpy Cat was one of the stars of the unveiling of the Holiday Windows at Macy's.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_006-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_006-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_006-1440x960.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The line for Grumpy Cat stretched down the street. (James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Karen Pennington, a self-described Grumpy Cat groupie, took the day off from her job in Livermore just to see the cat. Pennington said she expects to feel \"lots of warmth and love.\"\u003c/p>\n\u003cfigure id=\"attachment_10351873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_007.jpg\">\u003cimg class=\"wp-image-10351873 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_007-800x533.jpg\" alt=\"20141121_grumpycat_jt_007\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_007-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_007-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_007-1440x960.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Some people waited hours to see Grumpy Cat.\u003c/p>\n\u003cfigure id=\"attachment_10351871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_005.jpg\">\u003cimg class=\"wp-image-10351871 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_005-800x533.jpg\" alt=\"Alma Quintero, center, takes a video students from the De Marillac Academy sing at the unveiling of the Holiday Windows at Macy's in San Francisco, Calif. on Friday, Nov. 11, 2014. Internet sensation Grumpy Cat was one of the stars of the unveiling of the Holiday Windows at Macy's.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_005-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_005-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_005-1440x960.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alma Quintero, center, watches as the De Marillac Academy sings holiday songs before the unveiling of the Holiday Windows. (James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Last year's event raised more than $100,000 for the SPCA, and helped 343 pets find new families.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SF SPCA Co-President Jennifer Scarlett hopes that the celebrity appeal of Grumpy Cat will encourage people to adopt more than 350 pets this year.\u003c/p>\n\u003cfigure id=\"attachment_10351874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_008.jpg\">\u003cimg class=\"wp-image-10351874 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-800x533.jpg\" alt=\"20141121_grumpycat_jt_008\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-1440x960.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This is the ninth year Macy's has featured adoptable animals in their windows. (James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Though Grumpy Cat could only take visitors Friday evening, the display will be up through January 4th.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Elbo Room Is Far From Dying but There's Still a Movement to Save It",
"headTitle": "The Elbo Room Is Far From Dying but There’s Still a Movement to Save It | KQED",
"content": "\u003cp>The inside of the Elbo Room is barely lit. Much of the indoor lighting comes from unconventional sources — pinball machines, a photo booth that’s across from the bar, a silent film being projected in the back — making the place conducive to bad habits and good times.\u003c/p>\n\u003cp>Add the soundtrack of unfamiliar soul, garage, surf and proto-metal tracks blasting on the sound system and you’ve set a scene in a Scorsese film about San Francisco Mission District.\u003c/p>\n\u003cp>On Thursday night, strangely, this dark venue was the staging area for community action. Though the second floor of the club is a concert hall, this meeting had nothing to do with a performance. A small group of activists and concerned citizens had come together to begin mapping out a strategy for preventing the closure of one of their favorite haunts: the Elbo Room.\u003c/p>\n\u003cp>Earlier this month the building’s owners (who, before owning the building, also started the Elbo Room back in 1991), Dennis Ring and Susan Rokisky-Ring, went public with their plans to demolish the 79-year-old building and replace it with a five-story, nine-unit condominium.\u003c/p>\n\u003cp>At a Planning Commission meeting on Nov. 6, Rokisky-Ring stated that the couple planned to move into one of the units, where they will “spend the rest of their days,” and that a major motivation for building the condo was mobility — the stairs at their current two-story house are proving to be too much and they need a home with an elevator, according to \u003ca href=\"http://missionlocal.org/2014/11/elbo-rooms-possible-fate-a-retirement-pad-for-bars-past-owners/\" target=\"_blank\" rel=\"noopener\">\u003cem>Mission Local\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10150153\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10150153\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Inside-Elbo.jpg\" alt=\"Inside the Elbo Room\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Inside-Elbo.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Inside-Elbo-400x266.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the Elbo Room \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The couple’s plans were publicly met with scorn by a few dozen attendees and even more online, especially in the comments on blogs like \u003ca href=\"http://www.sfstation.com/2014/11/10/mission-district-venue-elbo-room-to-be-demolished-for-condos/\" target=\"_blank\" rel=\"noopener\">\u003cem>SF Station\u003c/em>,\u003c/a> which has already nailed the Elbo Room’s coffin shut, despite the fact that the bar’s lease runs through Nov. 1, 2015.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But for anyone who loves local music, the backlash is no surprise. Over recent years, there has been a steady stream of smaller venues closing — Cafe Du Nord, the Red Devil Lounge, Kimo’s and 12 Galaxies, just to name a few. Though bigger venues like the Great American Music Hall continue to succeed — its owners recently opened a similar size venue, The Chapel, in the Mission — the spots that max out at around 100-200 attendees, which are the life blood of local music scenes, appear to be a dying breed.\u003c/p>\n\u003cp>Also, as the Bay Area tech boom continues to send San Francisco rents into the stratosphere and developers attempt to pounce on the action, clubs like Bottom of the Hill and The Independent that are located near proposed developments are facing fears that \u003ca href=\"http://www.sfgate.com/bayarea/article/Residential-development-threatens-S-F-s-music-5680418.php\" target=\"_blank\" rel=\"noopener\">they could be forced out\u003c/a>, too.\u003c/p>\n\u003cp>Leading the charge against the Elbo Room’s assumed fate are two local activists, Ryan McCarthy and Catherine Lee, who organized the Thursday evening rendezvouz for motivated opponents of the demolition. Though over a hundred people had signed up on Facebook to attend the meeting, which was why they met at the club and not the San Francisco Public Library (the first suggested location), only a couple dozen people showed up to hear the two organizers’ plans for saving their beloved bar.\u003c/p>\n\u003cfigure id=\"attachment_10150156\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10150156\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/IMG_1663.jpg\" alt=\"Ryan McCarthy and Catherine Lee address the gathered opponents to the Elbo Room's demolition\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IMG_1663.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IMG_1663-400x266.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ryan McCarthy and Catherine Lee address the gathered opponents to the Elbo Room’s demolition\u003c/figcaption>\u003c/figure>\n\u003cp>As meeting agendas and a mailing list are passed around, Lee begins outlining a clear-cut vision for the group.\u003c/p>\n\u003cp>“It’s easy to say that you don’t want condos for rich people, or condos for tech. What you want to say is that you want to save a cultural institution,” she says.\u003c/p>\n\u003cp>With the building being the property of the Rings, how can this be done? The first and most publicized possibility is that if the building is determined to be culturally historic, it could be subject to more intense scrutiny by way of the \u003ca href=\"http://www.sf-planning.org/index.aspx?page=1832#not\" target=\"_blank\" rel=\"noopener\">California Environmental Quality Act (CEQA)\u003c/a>. All buildings over 50 years old are subjected to a review of their historical significance before any alterations to the structure are permitted.\u003c/p>\n\u003cp>In 2006, the Elbo Room was determined to have potential for preservation under CEQA for its previous lives as the Gaslight, a gay disco back in the early ’70s; and even more notably as Amelia’s, which was owned and operated by lesbian activist Rikki Streicher, who co-founded the Gay Olympics and has been described as being \u003ca href=\"http://www.thebolditalic.com/articles/6307-who-really-owns-the-rights-to-the-elbo-room\" target=\"_blank\" rel=\"noopener\">“one of the top three most influential lesbians of all time in San Francisco.” \u003c/a>\u003c/p>\n\u003cp>The other less-known option, noted by architect Brynn McMillan, is the \u003ca href=\"http://www.sf-planning.org/Modules/ShowDocument.aspx?documentid=539\" target=\"_blank\" rel=\"noopener\">shadow analysis portion \u003c/a>of the development’s Environmental Impact Report (EIR). A five-story building is sure to cast a lot of unwanted shadows on nearby properties, and if any them are owned or designated to be bought by the city’s Parks and Recreation department, the planning commission will not approve the project.\u003c/p>\n\u003cfigure id=\"attachment_10150157\" class=\"wp-caption alignright\" style=\"max-width: 798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10150157\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Matt-Shapiro.jpg\" alt=\"Matt Shapiro, co-owner of the Elbo Room\" width=\"798\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Matt-Shapiro.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Matt-Shapiro-400x225.jpg 400w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003cfigcaption class=\"wp-caption-text\">Matt Shapiro, co-owner of the Elbo Room \u003ccite>(Kevin L. Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s around this point when the one attendee who has the most to lose from the club’s demolition, Elbo Room co-owner Matt Shapiro, speaks up. Shapiro and partner Eric Cantu bought the club from Ring back in 2010 and have maintained a working friendship with the Rings since well before the purchase. So, though Shapiro tells the group that he appreciates their efforts, he doesn’t want anything to jeopardize his relationship with them, especially since there is the possibility of the club staying open at that location even after the lease runs out.\u003c/p>\n\u003cp>“We want to stay here as long as possible,” says Shapiro.\u003c/p>\n\u003cp>In talking with Shapiro, it appears he has more problems with blogs like \u003cem>SF Station\u003c/em> and \u003cem>SFist\u003c/em> creating an unnecessary commotion around his bar before its fate is sealed.\u003c/p>\n\u003cp>“The blogs think we’re dead already,” says Shapiro.\u003c/p>\n\u003cp>And though he understands the fear of his club joining the ranks of the recently fallen, Shapiro’s also quick to point out that some of the smaller venues listed earlier — Red Devil Lounge, Kimo’s, 12 Galaxies — all closed for reasons that really can’t be attributed to San Francisco’s property woes.\u003c/p>\n\u003cp>As for his situation, if the Rings do choose to move ahead with the development — he states that they still have a lot to submit for the permitting process — not only does he have a whole year to find a new club, but friends of his have already been reaching out with potential new locations.\u003c/p>\n\u003cp>“I’m not losing any sleep yet,” he says.\u003c/p>\n\u003cp>Still, Shapiro gave his blessing as the meeting wrapped up with promises to reconvene the following year, after necessary research into CEQA and how the public can influence the process of getting a building preserved as a historic site.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It won’t hurt to learn all these things,” said McCarthy as the attendees adjourned.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The inside of the Elbo Room is barely lit. Much of the indoor lighting comes from unconventional sources — pinball machines, a photo booth that’s across from the bar, a silent film being projected in the back — making the place conducive to bad habits and good times.\u003c/p>\n\u003cp>Add the soundtrack of unfamiliar soul, garage, surf and proto-metal tracks blasting on the sound system and you’ve set a scene in a Scorsese film about San Francisco Mission District.\u003c/p>\n\u003cp>On Thursday night, strangely, this dark venue was the staging area for community action. Though the second floor of the club is a concert hall, this meeting had nothing to do with a performance. A small group of activists and concerned citizens had come together to begin mapping out a strategy for preventing the closure of one of their favorite haunts: the Elbo Room.\u003c/p>\n\u003cp>Earlier this month the building’s owners (who, before owning the building, also started the Elbo Room back in 1991), Dennis Ring and Susan Rokisky-Ring, went public with their plans to demolish the 79-year-old building and replace it with a five-story, nine-unit condominium.\u003c/p>\n\u003cp>At a Planning Commission meeting on Nov. 6, Rokisky-Ring stated that the couple planned to move into one of the units, where they will “spend the rest of their days,” and that a major motivation for building the condo was mobility — the stairs at their current two-story house are proving to be too much and they need a home with an elevator, according to \u003ca href=\"http://missionlocal.org/2014/11/elbo-rooms-possible-fate-a-retirement-pad-for-bars-past-owners/\" target=\"_blank\" rel=\"noopener\">\u003cem>Mission Local\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10150153\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10150153\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Inside-Elbo.jpg\" alt=\"Inside the Elbo Room\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Inside-Elbo.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Inside-Elbo-400x266.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the Elbo Room \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The couple’s plans were publicly met with scorn by a few dozen attendees and even more online, especially in the comments on blogs like \u003ca href=\"http://www.sfstation.com/2014/11/10/mission-district-venue-elbo-room-to-be-demolished-for-condos/\" target=\"_blank\" rel=\"noopener\">\u003cem>SF Station\u003c/em>,\u003c/a> which has already nailed the Elbo Room’s coffin shut, despite the fact that the bar’s lease runs through Nov. 1, 2015.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for anyone who loves local music, the backlash is no surprise. Over recent years, there has been a steady stream of smaller venues closing — Cafe Du Nord, the Red Devil Lounge, Kimo’s and 12 Galaxies, just to name a few. Though bigger venues like the Great American Music Hall continue to succeed — its owners recently opened a similar size venue, The Chapel, in the Mission — the spots that max out at around 100-200 attendees, which are the life blood of local music scenes, appear to be a dying breed.\u003c/p>\n\u003cp>Also, as the Bay Area tech boom continues to send San Francisco rents into the stratosphere and developers attempt to pounce on the action, clubs like Bottom of the Hill and The Independent that are located near proposed developments are facing fears that \u003ca href=\"http://www.sfgate.com/bayarea/article/Residential-development-threatens-S-F-s-music-5680418.php\" target=\"_blank\" rel=\"noopener\">they could be forced out\u003c/a>, too.\u003c/p>\n\u003cp>Leading the charge against the Elbo Room’s assumed fate are two local activists, Ryan McCarthy and Catherine Lee, who organized the Thursday evening rendezvouz for motivated opponents of the demolition. Though over a hundred people had signed up on Facebook to attend the meeting, which was why they met at the club and not the San Francisco Public Library (the first suggested location), only a couple dozen people showed up to hear the two organizers’ plans for saving their beloved bar.\u003c/p>\n\u003cfigure id=\"attachment_10150156\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10150156\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/IMG_1663.jpg\" alt=\"Ryan McCarthy and Catherine Lee address the gathered opponents to the Elbo Room's demolition\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IMG_1663.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IMG_1663-400x266.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ryan McCarthy and Catherine Lee address the gathered opponents to the Elbo Room’s demolition\u003c/figcaption>\u003c/figure>\n\u003cp>As meeting agendas and a mailing list are passed around, Lee begins outlining a clear-cut vision for the group.\u003c/p>\n\u003cp>“It’s easy to say that you don’t want condos for rich people, or condos for tech. What you want to say is that you want to save a cultural institution,” she says.\u003c/p>\n\u003cp>With the building being the property of the Rings, how can this be done? The first and most publicized possibility is that if the building is determined to be culturally historic, it could be subject to more intense scrutiny by way of the \u003ca href=\"http://www.sf-planning.org/index.aspx?page=1832#not\" target=\"_blank\" rel=\"noopener\">California Environmental Quality Act (CEQA)\u003c/a>. All buildings over 50 years old are subjected to a review of their historical significance before any alterations to the structure are permitted.\u003c/p>\n\u003cp>In 2006, the Elbo Room was determined to have potential for preservation under CEQA for its previous lives as the Gaslight, a gay disco back in the early ’70s; and even more notably as Amelia’s, which was owned and operated by lesbian activist Rikki Streicher, who co-founded the Gay Olympics and has been described as being \u003ca href=\"http://www.thebolditalic.com/articles/6307-who-really-owns-the-rights-to-the-elbo-room\" target=\"_blank\" rel=\"noopener\">“one of the top three most influential lesbians of all time in San Francisco.” \u003c/a>\u003c/p>\n\u003cp>The other less-known option, noted by architect Brynn McMillan, is the \u003ca href=\"http://www.sf-planning.org/Modules/ShowDocument.aspx?documentid=539\" target=\"_blank\" rel=\"noopener\">shadow analysis portion \u003c/a>of the development’s Environmental Impact Report (EIR). A five-story building is sure to cast a lot of unwanted shadows on nearby properties, and if any them are owned or designated to be bought by the city’s Parks and Recreation department, the planning commission will not approve the project.\u003c/p>\n\u003cfigure id=\"attachment_10150157\" class=\"wp-caption alignright\" style=\"max-width: 798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10150157\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Matt-Shapiro.jpg\" alt=\"Matt Shapiro, co-owner of the Elbo Room\" width=\"798\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Matt-Shapiro.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Matt-Shapiro-400x225.jpg 400w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003cfigcaption class=\"wp-caption-text\">Matt Shapiro, co-owner of the Elbo Room \u003ccite>(Kevin L. Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s around this point when the one attendee who has the most to lose from the club’s demolition, Elbo Room co-owner Matt Shapiro, speaks up. Shapiro and partner Eric Cantu bought the club from Ring back in 2010 and have maintained a working friendship with the Rings since well before the purchase. So, though Shapiro tells the group that he appreciates their efforts, he doesn’t want anything to jeopardize his relationship with them, especially since there is the possibility of the club staying open at that location even after the lease runs out.\u003c/p>\n\u003cp>“We want to stay here as long as possible,” says Shapiro.\u003c/p>\n\u003cp>In talking with Shapiro, it appears he has more problems with blogs like \u003cem>SF Station\u003c/em> and \u003cem>SFist\u003c/em> creating an unnecessary commotion around his bar before its fate is sealed.\u003c/p>\n\u003cp>“The blogs think we’re dead already,” says Shapiro.\u003c/p>\n\u003cp>And though he understands the fear of his club joining the ranks of the recently fallen, Shapiro’s also quick to point out that some of the smaller venues listed earlier — Red Devil Lounge, Kimo’s, 12 Galaxies — all closed for reasons that really can’t be attributed to San Francisco’s property woes.\u003c/p>\n\u003cp>As for his situation, if the Rings do choose to move ahead with the development — he states that they still have a lot to submit for the permitting process — not only does he have a whole year to find a new club, but friends of his have already been reaching out with potential new locations.\u003c/p>\n\u003cp>“I’m not losing any sleep yet,” he says.\u003c/p>\n\u003cp>Still, Shapiro gave his blessing as the meeting wrapped up with promises to reconvene the following year, after necessary research into CEQA and how the public can influence the process of getting a building preserved as a historic site.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It won’t hurt to learn all these things,” said McCarthy as the attendees adjourned.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mike Nichols, Award-Winning Director of 'The Graduate,' 'Silkwood,' Dies",
"headTitle": "Mike Nichols, Award-Winning Director of ‘The Graduate,’ ‘Silkwood,’ Dies | KQED",
"content": "\u003cp>Mike Nichols has a long string of classic films and plays to his credit as a director and producer, including \u003cem>The Odd Couple\u003c/em> on Broadway, \u003cem>The Graduate\u003c/em> on film and\u003cem> Angels in America\u003c/em> on TV.\u003c/p>\n\u003cfigure id=\"attachment_10148472\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-1180x1037.jpg\" alt=\"Nichols and television journalist Diane Sawyer, shown above in November 1997, were married for 26 years.\" width=\"640\" height=\"562\" class=\"size-large wp-image-10148472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-1180x1037.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-400x351.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-682x600.jpg 682w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe.jpg 1950w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nichols and television journalist Diane Sawyer, shown above in November 1997, were married for 26 years.\u003c/figcaption>\u003c/figure>\n\u003cp>He died Wednesday night of a heart attack at age 83, acknowledged as one of the most successful artists in show business. He had earned just about every major award in entertainment, and had an enduring, 26-year marriage to ABC News anchor Diane Sawyer and a family with three children and four grandchildren.\u003c/p>\n\u003cp>But Nichols once said his life as the ultimate showbiz insider came from lessons learned while growing up as an outsider — emigrating from Germany to New York City at age 7 knowing little English and having few friends.\u003c/p>\n\u003cp>One of Nichols’ greatest talents was pulling unforgettable, landmark performances from Hollywood’s acting elite.\u003c/p>\n\u003cp>In 1966, he delivered Elizabeth Taylor as a sharp-tongued wife tearing into Richard Burton in \u003cem>Who’s Afraid of Virginia Woolf? \u003c/em>“You see, George didn’t have much push, he wasn’t particularly aggressive,” Taylor says in the film, playing the hard-drinking wife of a college professor whom she loved to torment with harsh criticism. “In fact, he was sort of a flop — a great, big, fat flop!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XWgIOb_U2Hc\u003c/p>\n\u003cp>In 1986, he showcased Meryl Streep slowly unraveling as she talked about her philandering husband, played by Jack Nicholson, in \u003cem>Heartburn\u003c/em>.\u003c/p>\n\u003cp>Her character, a food writer, sits at a dinner party with her husband and friends when talk about relationships leads her to get real about her own marriage: “You sort of notice that things are not the way they were, but it’s a … a distant bell, and then when things do turn out to have been wrong, it’s not that you knew all along, it was just that you were … uh, uh … somewhere else.” The scene ends with Streep hitting Nicholson in the face with a pie intended for dessert.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iY68ovrzfXc\u003c/p>\n\u003cp>But little compared to Nichols’ most famous scene, featuring Dustin Hoffman in his breakout role, playing a bewildered 20-something about to begin an unwise affair with an older, married woman in 1967’s \u003cem>The Graduate\u003c/em>.\u003c/p>\n\u003cp>“Mrs. Robinson, you’re trying to seduce me,” Hoffman’s Benjamin Braddock tells Anne Bancroft’s Mrs. Robinson, the wife of his father’s law partner, who is stretched out in a seductive pose that became an iconic symbol for a generation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=My1cjR0rjlI\u003c/p>\n\u003cp>Nichols was a master at pushing talents like Hoffman and Streep to unexpected places. Their confused characters often highlighted thorny issues in modern life. In \u003cem>The Graduate\u003c/em>, Hoffman became a symbol of baby boomers’ uncertainty in a changing world, suffering through useless advice from clueless elders.\u003c/p>\n\u003cp>But Nichols shrugged off credit for leading actors to great performances in \u003ca href=\"http://www.movingimagesource.us/files/dialogues/2/18025_programs_transcript_pdf_203.pdf\" target=\"_blank\" rel=\"noopener\">a 1990 interview\u003c/a> for the Museum of the Moving Image.\u003c/p>\n\u003cp>“You can’t direct actors very much in a movie, because if you tell them what to do, they’ll be doing what you told them,” he said. “What’s interesting in a movie is something happening that nobody planned.”\u003c/p>\n\u003cp>Nichols understood American culture as only someone born outside the U.S. really could.\u003c/p>\n\u003cp>He was born Michael Igor Peschkowsky in Germany, the son of a Russian Jew who fled the Nazis in 1939. His physician father died a few years later, leaving a wife and two sons to struggle in New York City.\u003c/p>\n\u003cp>In 2012, Nichols told NPR his early isolation brought a lifelong advantage.\u003c/p>\n\u003cp>“The thing about being an outsider, no matter what, is that there’s a good part, which is that it teaches you to hear what people are thinking,” he said.\u003c/p>\n\u003cp>“Because I learned to hear what people are thinking, quite literally, I think it stood me in good stead,” Nichols added. “It’s probably why I’m in the theater, because I can hear an audience. … I could hear an audience thinking when I was in front of them.”\u003c/p>\n\u003cp>That skill at “reading” audiences was crucial when Nichols turned from medical studies to theater in college. By the late 1950s, he had teamed with actress/writer Elaine May to create the improvisational comedy duo Nichols and May. They were all over the TV shows of the day, including \u003cem>The Jack Paar Show\u003c/em>.\u003c/p>\n\u003cp>But performing lost its luster for Nichols, so in 1963, he agreed to direct a play by a TV joke writer. Neil Simon’s \u003cem>Barefoot in the Park\u003c/em> became a blockbuster success.\u003c/p>\n\u003cfigure id=\"attachment_10148473\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-1180x933.jpg\" alt=\"Nichols (left) and playwright Neil Simon pose together after a show rehearsal in March 1968 in New York City.\" width=\"640\" height=\"506\" class=\"size-large wp-image-10148473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-1180x933.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-758x600.jpg 758w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nichols (left) and playwright Neil Simon pose together after a show rehearsal in March 1968 in New York City.\u003c/figcaption>\u003c/figure>\n\u003cp>Suddenly, as Nichols told NPR, he realized directing was the job he was really meant to do: “To my surprise, where I never quite got how I was gonna be an actor — ’cause I don’t think I’m suited to be an actor — I immediately realized that all this time I thought I was thinking about acting, I was really thinking about directing.”\u003c/p>\n\u003cp>You could spend a long afternoon listing all the classic stage, film and TV projects Nichols touched as a director or producer. \u003cem>The Odd Couple, Plaza Suite, Hurlyburly\u003c/em> and \u003cem>Spamalot\u003c/em> on Broadway; movies like \u003cem>Carnal Knowledge, Silkwood, Working Girl\u003c/em> and \u003cem>Primary Colors\u003c/em>; along with versions of \u003cem>Wit\u003c/em> and \u003cem>Angels in America\u003c/em> for HBO on TV.\u003c/p>\n\u003cp>At times, Nichols could seem like a showbiz version of Zelig. He co-produced Broadway’s original, 1977 version of the hit musical \u003cem>Annie\u003c/em> and gave Whoopi Goldberg a career in the mid ’80s when he brought her one-woman show to Broadway.\u003c/p>\n\u003cp>So it makes sense that Nichols would be one of only 12 artists to become what industry types call an EGOT — someone who has won Emmy, Grammy, Oscar and Tony awards.\u003c/p>\n\u003cp>But when Nichols talked with NPR about why he loved directing, grand honors weren’t a big part of the equation.\u003c/p>\n\u003cp>“It’s a wonderful job,” he said. “It’s exploring and excavating and analyzing all at once. And plays, especially great plays, yield their secrets over a long period of time, and that’s the great excitement.”\u003c/p>\n\u003cp>Despite passion for his work and loads of success, Nichols said, it took his fourth wife, ABC News anchor Diane Sawyer, to rescue him from depression in his mid-50s. By 2012, he was predicting his production of \u003cem>Death of a Salesman\u003c/em>, which won him his sixth Tony award, might be his last play.\u003c/p>\n\u003cp>But a year later, he was back on Broadway, leading a revival of Harold Pinter’s \u003cem>Betrayal\u003c/em>; he had worked on adapting a version of the Tony-winning play \u003cem>Master Class\u003c/em> for HBO with Meryl Streep before his death.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Ultimately, Nichols couldn’t stay away, his passion for the work still driving him after more than five decades at the top of the industry. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Mike+Nichols%2C+Award-Winning+Director+Of+%27The+Graduate%2C%27+%27Silkwood%2C%27+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mike Nichols has a long string of classic films and plays to his credit as a director and producer, including \u003cem>The Odd Couple\u003c/em> on Broadway, \u003cem>The Graduate\u003c/em> on film and\u003cem> Angels in America\u003c/em> on TV.\u003c/p>\n\u003cfigure id=\"attachment_10148472\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-1180x1037.jpg\" alt=\"Nichols and television journalist Diane Sawyer, shown above in November 1997, were married for 26 years.\" width=\"640\" height=\"562\" class=\"size-large wp-image-10148472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-1180x1037.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-400x351.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-682x600.jpg 682w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe.jpg 1950w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nichols and television journalist Diane Sawyer, shown above in November 1997, were married for 26 years.\u003c/figcaption>\u003c/figure>\n\u003cp>He died Wednesday night of a heart attack at age 83, acknowledged as one of the most successful artists in show business. He had earned just about every major award in entertainment, and had an enduring, 26-year marriage to ABC News anchor Diane Sawyer and a family with three children and four grandchildren.\u003c/p>\n\u003cp>But Nichols once said his life as the ultimate showbiz insider came from lessons learned while growing up as an outsider — emigrating from Germany to New York City at age 7 knowing little English and having few friends.\u003c/p>\n\u003cp>One of Nichols’ greatest talents was pulling unforgettable, landmark performances from Hollywood’s acting elite.\u003c/p>\n\u003cp>In 1966, he delivered Elizabeth Taylor as a sharp-tongued wife tearing into Richard Burton in \u003cem>Who’s Afraid of Virginia Woolf? \u003c/em>“You see, George didn’t have much push, he wasn’t particularly aggressive,” Taylor says in the film, playing the hard-drinking wife of a college professor whom she loved to torment with harsh criticism. “In fact, he was sort of a flop — a great, big, fat flop!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XWgIOb_U2Hc'\n title='//www.youtube.com/embed/XWgIOb_U2Hc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1986, he showcased Meryl Streep slowly unraveling as she talked about her philandering husband, played by Jack Nicholson, in \u003cem>Heartburn\u003c/em>.\u003c/p>\n\u003cp>Her character, a food writer, sits at a dinner party with her husband and friends when talk about relationships leads her to get real about her own marriage: “You sort of notice that things are not the way they were, but it’s a … a distant bell, and then when things do turn out to have been wrong, it’s not that you knew all along, it was just that you were … uh, uh … somewhere else.” The scene ends with Streep hitting Nicholson in the face with a pie intended for dessert.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iY68ovrzfXc'\n title='//www.youtube.com/embed/iY68ovrzfXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But little compared to Nichols’ most famous scene, featuring Dustin Hoffman in his breakout role, playing a bewildered 20-something about to begin an unwise affair with an older, married woman in 1967’s \u003cem>The Graduate\u003c/em>.\u003c/p>\n\u003cp>“Mrs. Robinson, you’re trying to seduce me,” Hoffman’s Benjamin Braddock tells Anne Bancroft’s Mrs. Robinson, the wife of his father’s law partner, who is stretched out in a seductive pose that became an iconic symbol for a generation.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/My1cjR0rjlI'\n title='//www.youtube.com/embed/My1cjR0rjlI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nichols was a master at pushing talents like Hoffman and Streep to unexpected places. Their confused characters often highlighted thorny issues in modern life. In \u003cem>The Graduate\u003c/em>, Hoffman became a symbol of baby boomers’ uncertainty in a changing world, suffering through useless advice from clueless elders.\u003c/p>\n\u003cp>But Nichols shrugged off credit for leading actors to great performances in \u003ca href=\"http://www.movingimagesource.us/files/dialogues/2/18025_programs_transcript_pdf_203.pdf\" target=\"_blank\" rel=\"noopener\">a 1990 interview\u003c/a> for the Museum of the Moving Image.\u003c/p>\n\u003cp>“You can’t direct actors very much in a movie, because if you tell them what to do, they’ll be doing what you told them,” he said. “What’s interesting in a movie is something happening that nobody planned.”\u003c/p>\n\u003cp>Nichols understood American culture as only someone born outside the U.S. really could.\u003c/p>\n\u003cp>He was born Michael Igor Peschkowsky in Germany, the son of a Russian Jew who fled the Nazis in 1939. His physician father died a few years later, leaving a wife and two sons to struggle in New York City.\u003c/p>\n\u003cp>In 2012, Nichols told NPR his early isolation brought a lifelong advantage.\u003c/p>\n\u003cp>“The thing about being an outsider, no matter what, is that there’s a good part, which is that it teaches you to hear what people are thinking,” he said.\u003c/p>\n\u003cp>“Because I learned to hear what people are thinking, quite literally, I think it stood me in good stead,” Nichols added. “It’s probably why I’m in the theater, because I can hear an audience. … I could hear an audience thinking when I was in front of them.”\u003c/p>\n\u003cp>That skill at “reading” audiences was crucial when Nichols turned from medical studies to theater in college. By the late 1950s, he had teamed with actress/writer Elaine May to create the improvisational comedy duo Nichols and May. They were all over the TV shows of the day, including \u003cem>The Jack Paar Show\u003c/em>.\u003c/p>\n\u003cp>But performing lost its luster for Nichols, so in 1963, he agreed to direct a play by a TV joke writer. Neil Simon’s \u003cem>Barefoot in the Park\u003c/em> became a blockbuster success.\u003c/p>\n\u003cfigure id=\"attachment_10148473\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-1180x933.jpg\" alt=\"Nichols (left) and playwright Neil Simon pose together after a show rehearsal in March 1968 in New York City.\" width=\"640\" height=\"506\" class=\"size-large wp-image-10148473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-1180x933.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-758x600.jpg 758w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nichols (left) and playwright Neil Simon pose together after a show rehearsal in March 1968 in New York City.\u003c/figcaption>\u003c/figure>\n\u003cp>Suddenly, as Nichols told NPR, he realized directing was the job he was really meant to do: “To my surprise, where I never quite got how I was gonna be an actor — ’cause I don’t think I’m suited to be an actor — I immediately realized that all this time I thought I was thinking about acting, I was really thinking about directing.”\u003c/p>\n\u003cp>You could spend a long afternoon listing all the classic stage, film and TV projects Nichols touched as a director or producer. \u003cem>The Odd Couple, Plaza Suite, Hurlyburly\u003c/em> and \u003cem>Spamalot\u003c/em> on Broadway; movies like \u003cem>Carnal Knowledge, Silkwood, Working Girl\u003c/em> and \u003cem>Primary Colors\u003c/em>; along with versions of \u003cem>Wit\u003c/em> and \u003cem>Angels in America\u003c/em> for HBO on TV.\u003c/p>\n\u003cp>At times, Nichols could seem like a showbiz version of Zelig. He co-produced Broadway’s original, 1977 version of the hit musical \u003cem>Annie\u003c/em> and gave Whoopi Goldberg a career in the mid ’80s when he brought her one-woman show to Broadway.\u003c/p>\n\u003cp>So it makes sense that Nichols would be one of only 12 artists to become what industry types call an EGOT — someone who has won Emmy, Grammy, Oscar and Tony awards.\u003c/p>\n\u003cp>But when Nichols talked with NPR about why he loved directing, grand honors weren’t a big part of the equation.\u003c/p>\n\u003cp>“It’s a wonderful job,” he said. “It’s exploring and excavating and analyzing all at once. And plays, especially great plays, yield their secrets over a long period of time, and that’s the great excitement.”\u003c/p>\n\u003cp>Despite passion for his work and loads of success, Nichols said, it took his fourth wife, ABC News anchor Diane Sawyer, to rescue him from depression in his mid-50s. By 2012, he was predicting his production of \u003cem>Death of a Salesman\u003c/em>, which won him his sixth Tony award, might be his last play.\u003c/p>\n\u003cp>But a year later, he was back on Broadway, leading a revival of Harold Pinter’s \u003cem>Betrayal\u003c/em>; he had worked on adapting a version of the Tony-winning play \u003cem>Master Class\u003c/em> for HBO with Meryl Streep before his death.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Lucas Art Museum: Not Living Happily Ever After in Chicago ",
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"content": "\u003cp>When last we checked on filmmaker George Lucas and his quest to build a museum for his collection of narrative art, he was \u003ca href=\"http://ww2.kqed.org/news/2014/06/24/george-lucas-art-museum-headed-for-chicago\" target=\"_blank\">decamping from San Francisco\u003c/a> and embracing a plan to erect \u003ca href=\"http://www.lucasmuseum.org/\" target=\"_blank\">his dream facility\u003c/a> on Chicago's lakefront.\u003c/p>\n\u003cp>Lucas trudged through a long and, for him, \u003ca href=\"http://ww2.kqed.org/news/2014/06/24/george-lucas-art-museum-headed-for-chicago\" target=\"_blank\">ultimately disappointing process\u003c/a> trying to persuade San Francisco's Presidio Trust to let him build his museum on a highly-sought-after site adjacent to Crissy Field. When that effort failed, Chicago officials, led by Mayor Rahm Emanuel, swooped in to pitch Lucas on bringing the museum there. Lucas agreed after the city offered a piece of real estate on the Lake Michigan waterfront -- near several existing museums, Soldier Field and the massive McCormick Place convention center.\u003c/p>\n\u003cp>So everyone lived happily ever after.\u003c/p>\n\u003cp>Sure. What's actually happened is that the museum proposal has found itself in the midst of a growing controversy.\u003c/p>\n\u003cp>Park groups contend the project violates development controls on lakefront property, and they've \u003ca href=\"http://www.chicagotribune.com/news/local/breaking/chi-lucas-museum-lawsuit-20141112-story.html\" target=\"_blank\">filed a lawsuit\u003c/a> that claims it's illegal to build on the reclaimed lakeshore.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The museum's \u003ca href=\"http://www.chicagotribune.com/news/columnists/ct-lucas-museum-kamin-met-1104-20141103-column.html#page=1\" target=\"_blank\">recently unveiled design proposal\u003c/a> is also drawing fire. The Chicago Tribune's Pulitzer Prize-winning architecture critic, Blair Kamin, has written a series of pieces decrying the design as \u003ca href=\"http://www.chicagotribune.com/news/columnists/ct-lucas-museum-critique-kamin-met-1107-20141106-column.html\" target=\"_blank\">\"needlessly massive\u003c/a>.\" (I'd add, \"And needlessly like an albino cousin of \u003ca href=\"http://www.starwars.com/databank/jabba-the-hutt\" target=\"_blank\">Jabba the Hutt.\"\u003c/a>)\u003c/p>\n\u003cp>On Thursday, Lucas' latest museum-related migraine arrived. The \u003ca href=\"http://www.ibtimes.com/star-wars-museum-rahm-emanuel-got-campaign-cash-disney-george-lucas-wife-pushing-1726849\" target=\"_blank\">International Business Times is reporting\u003c/a> that before offering the lakefront site, Emanuel had gotten nearly $50,000 in campaign donations from Mellody Hobson, Lucas' wife, and from the Disney Corp., which now owns Lucasfilm and the \"Star Wars\u003cem>\"\u003c/em> franchise.\u003c/p>\n\u003cp>From the IBT story:\u003c/p>\n\u003cblockquote>\u003cp>... Windy City preservationists [have sued] to block the construction of a so-called “Star Wars” museum after Mayor Rahm Emanuel offered to let George Lucas build the $400 million project on publicly owned lakefront land. The mayor has defended the proposal to lease the prime real estate to the billionaire Lucas for just $1 a year, insisting the project is on “solid legal ground,” \u003ca href=\"http://politics.suntimes.com/article/chicago/emanuel-confident-hell-win-court-fight-over-lucas-museum/wed-06252014-304pm\" target=\"_blank\">the Sun Times reported\u003c/a>.\u003c/p>\n\u003cp>What he hasn’t mentioned is the almost $50,000 worth of campaign donations he has received from those with vested interests in the project.\u003c/p>\n\u003cp>One of those donors is one of the museum’s key board members, who also happens to be Lucas’ wife. Mellody Hobson, a prominent Chicago businesswoman, is a major Emanuel supporter, contributing $31,500 to his 2011 mayoral race, according to campaign records. In fact, it was Hobson who apparently came up with the idea to build the museum in Chicago. The plan came to fruition after Lucas failed to get the project approved in San Francisco earlier this year.\u003c/p>\n\u003cp>“Don’t worry,” Hobson reportedly told Lucas. “I’ll talk to the mayor.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>So far, neither the mayor nor museum officials have commented on the IBT's story.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When last we checked on filmmaker George Lucas and his quest to build a museum for his collection of narrative art, he was \u003ca href=\"http://ww2.kqed.org/news/2014/06/24/george-lucas-art-museum-headed-for-chicago\" target=\"_blank\">decamping from San Francisco\u003c/a> and embracing a plan to erect \u003ca href=\"http://www.lucasmuseum.org/\" target=\"_blank\">his dream facility\u003c/a> on Chicago's lakefront.\u003c/p>\n\u003cp>Lucas trudged through a long and, for him, \u003ca href=\"http://ww2.kqed.org/news/2014/06/24/george-lucas-art-museum-headed-for-chicago\" target=\"_blank\">ultimately disappointing process\u003c/a> trying to persuade San Francisco's Presidio Trust to let him build his museum on a highly-sought-after site adjacent to Crissy Field. When that effort failed, Chicago officials, led by Mayor Rahm Emanuel, swooped in to pitch Lucas on bringing the museum there. Lucas agreed after the city offered a piece of real estate on the Lake Michigan waterfront -- near several existing museums, Soldier Field and the massive McCormick Place convention center.\u003c/p>\n\u003cp>So everyone lived happily ever after.\u003c/p>\n\u003cp>Sure. What's actually happened is that the museum proposal has found itself in the midst of a growing controversy.\u003c/p>\n\u003cp>Park groups contend the project violates development controls on lakefront property, and they've \u003ca href=\"http://www.chicagotribune.com/news/local/breaking/chi-lucas-museum-lawsuit-20141112-story.html\" target=\"_blank\">filed a lawsuit\u003c/a> that claims it's illegal to build on the reclaimed lakeshore.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The museum's \u003ca href=\"http://www.chicagotribune.com/news/columnists/ct-lucas-museum-kamin-met-1104-20141103-column.html#page=1\" target=\"_blank\">recently unveiled design proposal\u003c/a> is also drawing fire. The Chicago Tribune's Pulitzer Prize-winning architecture critic, Blair Kamin, has written a series of pieces decrying the design as \u003ca href=\"http://www.chicagotribune.com/news/columnists/ct-lucas-museum-critique-kamin-met-1107-20141106-column.html\" target=\"_blank\">\"needlessly massive\u003c/a>.\" (I'd add, \"And needlessly like an albino cousin of \u003ca href=\"http://www.starwars.com/databank/jabba-the-hutt\" target=\"_blank\">Jabba the Hutt.\"\u003c/a>)\u003c/p>\n\u003cp>On Thursday, Lucas' latest museum-related migraine arrived. The \u003ca href=\"http://www.ibtimes.com/star-wars-museum-rahm-emanuel-got-campaign-cash-disney-george-lucas-wife-pushing-1726849\" target=\"_blank\">International Business Times is reporting\u003c/a> that before offering the lakefront site, Emanuel had gotten nearly $50,000 in campaign donations from Mellody Hobson, Lucas' wife, and from the Disney Corp., which now owns Lucasfilm and the \"Star Wars\u003cem>\"\u003c/em> franchise.\u003c/p>\n\u003cp>From the IBT story:\u003c/p>\n\u003cblockquote>\u003cp>... Windy City preservationists [have sued] to block the construction of a so-called “Star Wars” museum after Mayor Rahm Emanuel offered to let George Lucas build the $400 million project on publicly owned lakefront land. The mayor has defended the proposal to lease the prime real estate to the billionaire Lucas for just $1 a year, insisting the project is on “solid legal ground,” \u003ca href=\"http://politics.suntimes.com/article/chicago/emanuel-confident-hell-win-court-fight-over-lucas-museum/wed-06252014-304pm\" target=\"_blank\">the Sun Times reported\u003c/a>.\u003c/p>\n\u003cp>What he hasn’t mentioned is the almost $50,000 worth of campaign donations he has received from those with vested interests in the project.\u003c/p>\n\u003cp>One of those donors is one of the museum’s key board members, who also happens to be Lucas’ wife. Mellody Hobson, a prominent Chicago businesswoman, is a major Emanuel supporter, contributing $31,500 to his 2011 mayoral race, according to campaign records. In fact, it was Hobson who apparently came up with the idea to build the museum in Chicago. The plan came to fruition after Lucas failed to get the project approved in San Francisco earlier this year.\u003c/p>\n\u003cp>“Don’t worry,” Hobson reportedly told Lucas. “I’ll talk to the mayor.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>So far, neither the mayor nor museum officials have commented on the IBT's story.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Have You Ever Heard the Rain? A Stormy Weather Playlist ",
"title": "Have You Ever Heard the Rain? A Stormy Weather Playlist ",
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"content": "\u003cp>\u003cstrong>Update, Dec. 2:\u003c/strong> We've added a few dozen more rain and storm-themed songs to help us make it through the wet week ahead. Enjoy! And keep sharing your suggestions in the comments section below or on our \u003ca href=\"https://www.facebook.com/KQEDnews\" target=\"_blank\">Facebook page. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Original post: \u003c/strong>\u003c/p>\n\u003cp>We know -- this week's rain, as welcome as it is, doesn't spell an end to The Drought. But you know, we want to savor the weather while we can -- each and every drop that falls from the sky onto shrinking reservoirs and too-thirsty fields. And to get in the mood just a little more, here's a playlist of a few favorites -- and a prompt for you to name a few of your own. Enjoy!\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://embed.spotify.com/?uri=spotify:user:hubertallen:playlist:0tIByxVUe93RQCdFxQ8suG\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Adam Grossberg, Amanda Stupi, Dan Brekke, David Marks, Lisa Pickoff-White, Kevin Jones, Issac Silk and Olivia Allen-Price contributed to this post.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Dec. 2:\u003c/strong> We've added a few dozen more rain and storm-themed songs to help us make it through the wet week ahead. Enjoy! And keep sharing your suggestions in the comments section below or on our \u003ca href=\"https://www.facebook.com/KQEDnews\" target=\"_blank\">Facebook page. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Original post: \u003c/strong>\u003c/p>\n\u003cp>We know -- this week's rain, as welcome as it is, doesn't spell an end to The Drought. But you know, we want to savor the weather while we can -- each and every drop that falls from the sky onto shrinking reservoirs and too-thirsty fields. And to get in the mood just a little more, here's a playlist of a few favorites -- and a prompt for you to name a few of your own. Enjoy!\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://embed.spotify.com/?uri=spotify:user:hubertallen:playlist:0tIByxVUe93RQCdFxQ8suG\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Adam Grossberg, Amanda Stupi, Dan Brekke, David Marks, Lisa Pickoff-White, Kevin Jones, Issac Silk and Olivia Allen-Price contributed to this post.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A TV comedy Bill Cosby had been developing for NBC has been canceled, after new allegations of rape have been made against the comedian. Netflix made a similar move late Tuesday, shelving a comedy special that had been slated to premiere the week of Thanksgiving.\u003c/p>\n\u003cp>Cosby, 77, has not publicly addressed the claims against him, which have now been made publicly by at least six women. In an NPR interview that \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/11/15/364297097/in-npr-interview-bill-cosby-declines-to-discuss-assault-allegations\">aired over the weekend\u003c/a>, Cosby refused to discuss the allegations.\u003c/p>\n\u003cp>Marty Singer, Cosby's attorney, has said the comedian did nothing wrong. Responding to former model Janice Dickinson's claim that Cosby drugged and sexually assaulted her, Singer called the story an \"\u003ca href=\"http://www.thewrap.com/bill-cosbys-lawyer-blasts-janice-dickinsons-sexual-assault-claims-as-outrageous-defamatory/\">outrageous defamatory lie\u003c/a>.\" In a letter to website The Wrap, Singer said the version of events Dickinson relayed this week doesn't match what she wrote about the encounter in a memoir.\u003c/p>\n\u003cp>Dickinson spoke to \u003ca href=\"http://news-briefs.ew.com/2014/11/19/janice-dickinson-bill-cosby-sexual-assault/\">Entertainment Weekly\u003c/a> several days after former actress Barbara Bowman wrote in last Friday's \u003ca href=\"http://www.washingtonpost.com/posteverything/wp/2014/11/13/bill-cosby-raped-me-why-did-it-take-30-years-for-people-to-believe-my-story/\">Washington Post\u003c/a>, \"Cosby had drugged and raped me, too.\"\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/2014/11/17/364736453/bill-cosbys-silence-on-rape-allegations-makes-huge-media-noise\">NPR's Eric Deggans wrote\u003c/a> this week, \"Several recent events, including the 30th anniversary of \u003cem>The Cosby Show\u003c/em> and the publication of the biography, have pushed media to reconsider Cosby's legacy.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Discussing the comedian's \"huge, complicated\" legacy, \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/09/19/349922912/bill-cosbys-huge-complicated-post-cosby-show-legacy\">NPR's Gene Demby wrote\u003c/a> in September:\u003c/p>\n\u003cblockquote>\u003cp>\"Cosby's renown has become less neat in the years since the show went off the air, his squeaky-clean family image tarnished by confessions of infidelity and allegations of sexual assault. His politics have become polarizing, and his name is invoked as a shorthand for a specific strain of black conservatism.\"\u003c/p>\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NBC+And+Netflix+Shelve+Bill+Cosby+Projects+As+New+Rape+Claim+Emerges&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A TV comedy Bill Cosby had been developing for NBC has been canceled, after new allegations of rape have been made against the comedian. Netflix made a similar move late Tuesday, shelving a comedy special that had been slated to premiere the week of Thanksgiving.\u003c/p>\n\u003cp>Cosby, 77, has not publicly addressed the claims against him, which have now been made publicly by at least six women. In an NPR interview that \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/11/15/364297097/in-npr-interview-bill-cosby-declines-to-discuss-assault-allegations\">aired over the weekend\u003c/a>, Cosby refused to discuss the allegations.\u003c/p>\n\u003cp>Marty Singer, Cosby's attorney, has said the comedian did nothing wrong. Responding to former model Janice Dickinson's claim that Cosby drugged and sexually assaulted her, Singer called the story an \"\u003ca href=\"http://www.thewrap.com/bill-cosbys-lawyer-blasts-janice-dickinsons-sexual-assault-claims-as-outrageous-defamatory/\">outrageous defamatory lie\u003c/a>.\" In a letter to website The Wrap, Singer said the version of events Dickinson relayed this week doesn't match what she wrote about the encounter in a memoir.\u003c/p>\n\u003cp>Dickinson spoke to \u003ca href=\"http://news-briefs.ew.com/2014/11/19/janice-dickinson-bill-cosby-sexual-assault/\">Entertainment Weekly\u003c/a> several days after former actress Barbara Bowman wrote in last Friday's \u003ca href=\"http://www.washingtonpost.com/posteverything/wp/2014/11/13/bill-cosby-raped-me-why-did-it-take-30-years-for-people-to-believe-my-story/\">Washington Post\u003c/a>, \"Cosby had drugged and raped me, too.\"\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/2014/11/17/364736453/bill-cosbys-silence-on-rape-allegations-makes-huge-media-noise\">NPR's Eric Deggans wrote\u003c/a> this week, \"Several recent events, including the 30th anniversary of \u003cem>The Cosby Show\u003c/em> and the publication of the biography, have pushed media to reconsider Cosby's legacy.\"\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>Discussing the comedian's \"huge, complicated\" legacy, \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/09/19/349922912/bill-cosbys-huge-complicated-post-cosby-show-legacy\">NPR's Gene Demby wrote\u003c/a> in September:\u003c/p>\n\u003cblockquote>\u003cp>\"Cosby's renown has become less neat in the years since the show went off the air, his squeaky-clean family image tarnished by confessions of infidelity and allegations of sexual assault. His politics have become polarizing, and his name is invoked as a shorthand for a specific strain of black conservatism.\"\u003c/p>\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NBC+And+Netflix+Shelve+Bill+Cosby+Projects+As+New+Rape+Claim+Emerges&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "With ‘War Project’ SF World Music Moves in a Radical New Direction (and That’s a Good Thing)",
"headTitle": "With ‘War Project’ SF World Music Moves in a Radical New Direction (and That’s a Good Thing) | 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/the-war-project-music-unplugged/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>The War Project: Music UnPlugged\u003c/h4>\n\u003cdiv class=\"event-desc\">Recasting a festival for social justice\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>November 21st, 8pm\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">St. Mark’s Lutheran Church\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-war-project-music-unplugged/\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Over the course of almost two decades, the San Francisco World Music Festival has developed a reputation as a risk-taker. This year it’s making its biggest leap yet. Gone is the focus on concerts in music venues. Gone is the San Francisco-centric programming. And gone, even, is the word “festival.” Now called “SF World Music,” the organization has remade itself into a global entity that uses live-stream technology to work with singers and musicians in some of the world’s most neglected areas – while connecting these communities with resources that help them in the long term.\u003c/p>\n\u003cp>It’s music as bona fide activism that will play itself out over the next year with three war-themed events. \u003ca href=\"http://www.sfworldmusic.org\" target=\"_blank\" rel=\"noopener\">\u003cb>The War Project\u003c/b>\u003c/a> begins on Friday, November 21, at San Francisco’s \u003ca href=\"http://www.stmarks-sf.org/\" target=\"_blank\" rel=\"noopener\">St. Mark’s Lutheran Church\u003c/a> with a concert featuring musicians with roots in China, Iran, Azerbaijan, South India, Zimbabwe, and Ireland. Their songs will explore the way music can be used for cross-purposes in war – to propagandize causes, to protest injustice, and to offer solace to those under severe stress.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-2.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-10145756\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-2-800x445.jpeg\" alt=\"SF World Music 2\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/SF-World-Music-2-800x445.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/SF-World-Music-2-400x222.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/SF-World-Music-2.jpeg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>On April 17-19, \u003cstrong>The War Project\u003c/strong> will set up at Fort Mason’s \u003ca href=\"http://www.fortmason.org/venuerental/herbst-pavilion?id=1\" target=\"_blank\" rel=\"noopener\">Herbst Pavilion\u003c/a>, where musicians will perform in different tents – in collaboration with live-streamed musicians in other countries – to mirror the refugee conditions that millions face around the world.\u003c/p>\n\u003cp>And then in the autumn of 2015, at a date to be announced, from regions yet to be determined – it might include Pakistan, the Palestinian territories, and India – musicians from refugee camps will perform a benefit concert that reaches audiences in San Francisco — and anyone else — watching online. With its mix of live performance, live-streaming and integrated video footage, \u003cstrong>The War Project\u003c/strong> will let audiences experience the cultures they see in ways that diverge dramatically from traditional concerts, including those of previous performances by SF World Music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We don’t want to be a festival; we don’t want to be a concert,” says SF World Music founder and executive producer Michael Santoro. “This is a social justice shift. We feel an obligation out of all the years we’ve been doing this.”\u003c/p>\n\u003cp>The shift has been gradual. In previous years, SF World Music has done video collaborations across time zones. And in previous years, it has worked with children’s groups around the world. But in this new phase of the organization’s life, the collaborations and the activist work are taking a more central role – and it’s coinciding with a much greater emphasis on technological advances. Next April, staff will employ multiple hand-held cameras to film musicians during the concerts. As online concert-goers watch the performances at \u003ca href=\"http://www.sfworldmusic.org\" target=\"_blank\" rel=\"noopener\">SF World Music’s website\u003c/a> and see, say, a musician from Zimbabwe, the live-stream visual feed will cut to a recorded interview with the musician, then cut to footage of Zimbabwe – as the concert still steams live on the audio feed. To deepen the experience for online viewers, the festival will attach small cameras to the musicians’ instruments, providing a unique view of the performances. The possibilities for deepening the audience experience are endless, Santoro says.\u003c/p>\n\u003cfigure id=\"attachment_10145757\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-Youth-Orchestra-e1416336063310.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-Youth-Orchestra-e1416336063310.jpeg\" alt=\"SF World Music's Youth Orchestra\" width=\"640\" height=\"426\" class=\"size-full wp-image-10145757\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF World Music’s Youth Orchestra \u003ccite>(By Jim Block, courtesy of SF World Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Santoro and SF World Music are still figuring out some logistics for \u003cstrong>The War Project\u003c/strong>. In other words, it’s a work-in-progress partly, Santoro says, because nothing of this scale has really been tried before. “There’s no model that integrates all of this together in one space,” he says. “What we’ve been doing these years is putting parts of the pieces in place, experimenting in a festival format. Now, audiences and performers in the physical and virtual worlds can interact like never before.”\u003c/p>\n\u003cp>Among the performers at the November 21 concert: SF World Music’s youth orchestra; South Indian \u003ca href=\"http://en.wikipedia.org/wiki/Carnatic_music\" target=\"_blank\" rel=\"noopener\">Carnatic music \u003c/a>master \u003ca href=\"http://www.anuradhasridhar.com/\" target=\"_blank\" rel=\"noopener\">Anuradha Sridhar\u003c/a>; Azeri \u003ca href=\"http://en.wikipedia.org/wiki/Kamancheh\" target=\"_blank\" rel=\"noopener\">\u003cem>kamancha\u003c/em>\u003c/a> master, \u003ca href=\"http://www.kamancha.com/\" target=\"_blank\" rel=\"noopener\">Imamyar Hasanov\u003c/a>; Chinese \u003ca href=\"http://en.wikipedia.org/wiki/Erhu\" target=\"_blank\" rel=\"noopener\">\u003cem>erhu\u003c/em>\u003c/a> master, \u003ca href=\"http://www.jumpingbuddha.com/musicians/zhang.html\" target=\"_blank\" rel=\"noopener\">Zhang Xiaofeng\u003c/a>; Indian \u003ca href=\"http://en.wikipedia.org/wiki/Mridangam\" target=\"_blank\" rel=\"noopener\">\u003cem>mridangam \u003c/em>\u003c/a>master, \u003ca href=\"http://www.anuradhasridhar.com/shrirambrahmanandam.shtml\" target=\"_blank\" rel=\"noopener\">Shriram Brahmanandam\u003c/a>; Chinese percussion master, \u003ca href=\"http://www.guzheng.org/Text/wei_wang.html\" target=\"_blank\" rel=\"noopener\">Wang Wei\u003c/a>; Iranian percussion master, \u003ca href=\"http://www.pezhham.com/\" target=\"_blank\" rel=\"noopener\">Pezhham Akhavass\u003c/a>; Vietnamese \u003ca href=\"http://en.wikipedia.org/wiki/%C4%90%C3%A0n_tranh\" target=\"_blank\" rel=\"noopener\">\u003cem>dan tranh\u003c/em>\u003c/a> master, \u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Van-Anh Vanessa Vo\u003c/a>; Irish Celtic harp master, \u003ca href=\"http://www.dianarowan.com/\" target=\"_blank\" rel=\"noopener\">Diana Rowan\u003c/a>; and Zimbabwean percussion master, \u003ca href=\"http://ronniedaliyo.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Ronnie Daliyo\u003c/a>.\u003c/p>\n\u003cp>Last year, Hasanov traveled with Santoro and other SF World Music personnel to China, where they worked with children attending a school for migrants on the outskirts of Beijing. These children are considered “illegal immigrants.” Even their school is considered “illegal.” Santoro, who plays the Chinese \u003ca href=\"http://en.wikipedia.org/wiki/Xiao_%28flute%29\" target=\"_blank\" rel=\"noopener\">\u003cem>dong xiao\u003c/em>\u003c/a> (vertical bamboo flute), Hasanov (who grew up in Azerbaijan, but now lives in the Bay Area), and the other music staff taught both students and teachers at the school. Then they performed with a well-known migrant band at an evening concert in the community, which was live-streamed to other migrant communities in China.\u003c/p>\n\u003cp>Besides the concert, SF World Music gave the community unique software that lets students – regardless of their language – learn traditional music from around the world through a step-by-step method that emphasizes video instruction. SF World Music also gave the community unique hardware that lets them share seamless live-stream music with distant communities.\u003c/p>\n\u003cp>“It was,” says Santoro, “the most significant thing I’ve done in my entire life. That community has an opportunity to have access to the world in a way they never could because of politics, the economy, education, lack of access to global resources. We got as much out of it as performers as did the immigrant community.”\u003c/p>\n\u003cp>When a similar SF World Music team travels next year to refugee camps, they will bring the same software and hardware, and teach the communities how to use it. “We’ll begin to wire these places,” Santoro says. “We’ll bring interactive tools. So that it’s not a ‘one-off.’”\u003c/p>\n\u003cp>This sort of outreach will also be applied locally enabling SF World Music staff to connect – via live-streaming – music students from under-funded Bay Area schools with students from wealthier schools. With the video technology that SF World Music is perfecting through \u003cstrong>The War Project\u003c/strong>, they can develop collaborations between students around the Bay Area. What’s local is global. What’s global is local. That’s what SF World Music has always been about. That’s what it continues to represent, even as its vision has morphed into something much, much bigger.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The first part of \u003cstrong>The War Project\u003c/strong>, \u003ci>Music UnPlugged\u003c/i> is Friday, November 21, 2014, 8pm, at St. Mark’s Lutheran Church in San Francisco. Tickets are $15-$25. For \u003ca href=\"http://www.sfworldmusic.org/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit sfworldmusic.org.\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/the-war-project-music-unplugged/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>The War Project: Music UnPlugged\u003c/h4>\n\u003cdiv class=\"event-desc\">Recasting a festival for social justice\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>November 21st, 8pm\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">St. Mark’s Lutheran Church\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-war-project-music-unplugged/\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Over the course of almost two decades, the San Francisco World Music Festival has developed a reputation as a risk-taker. This year it’s making its biggest leap yet. Gone is the focus on concerts in music venues. Gone is the San Francisco-centric programming. And gone, even, is the word “festival.” Now called “SF World Music,” the organization has remade itself into a global entity that uses live-stream technology to work with singers and musicians in some of the world’s most neglected areas – while connecting these communities with resources that help them in the long term.\u003c/p>\n\u003cp>It’s music as bona fide activism that will play itself out over the next year with three war-themed events. \u003ca href=\"http://www.sfworldmusic.org\" target=\"_blank\" rel=\"noopener\">\u003cb>The War Project\u003c/b>\u003c/a> begins on Friday, November 21, at San Francisco’s \u003ca href=\"http://www.stmarks-sf.org/\" target=\"_blank\" rel=\"noopener\">St. Mark’s Lutheran Church\u003c/a> with a concert featuring musicians with roots in China, Iran, Azerbaijan, South India, Zimbabwe, and Ireland. Their songs will explore the way music can be used for cross-purposes in war – to propagandize causes, to protest injustice, and to offer solace to those under severe stress.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-2.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-10145756\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-2-800x445.jpeg\" alt=\"SF World Music 2\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/SF-World-Music-2-800x445.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/SF-World-Music-2-400x222.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/SF-World-Music-2.jpeg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>On April 17-19, \u003cstrong>The War Project\u003c/strong> will set up at Fort Mason’s \u003ca href=\"http://www.fortmason.org/venuerental/herbst-pavilion?id=1\" target=\"_blank\" rel=\"noopener\">Herbst Pavilion\u003c/a>, where musicians will perform in different tents – in collaboration with live-streamed musicians in other countries – to mirror the refugee conditions that millions face around the world.\u003c/p>\n\u003cp>And then in the autumn of 2015, at a date to be announced, from regions yet to be determined – it might include Pakistan, the Palestinian territories, and India – musicians from refugee camps will perform a benefit concert that reaches audiences in San Francisco — and anyone else — watching online. With its mix of live performance, live-streaming and integrated video footage, \u003cstrong>The War Project\u003c/strong> will let audiences experience the cultures they see in ways that diverge dramatically from traditional concerts, including those of previous performances by SF World Music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We don’t want to be a festival; we don’t want to be a concert,” says SF World Music founder and executive producer Michael Santoro. “This is a social justice shift. We feel an obligation out of all the years we’ve been doing this.”\u003c/p>\n\u003cp>The shift has been gradual. In previous years, SF World Music has done video collaborations across time zones. And in previous years, it has worked with children’s groups around the world. But in this new phase of the organization’s life, the collaborations and the activist work are taking a more central role – and it’s coinciding with a much greater emphasis on technological advances. Next April, staff will employ multiple hand-held cameras to film musicians during the concerts. As online concert-goers watch the performances at \u003ca href=\"http://www.sfworldmusic.org\" target=\"_blank\" rel=\"noopener\">SF World Music’s website\u003c/a> and see, say, a musician from Zimbabwe, the live-stream visual feed will cut to a recorded interview with the musician, then cut to footage of Zimbabwe – as the concert still steams live on the audio feed. To deepen the experience for online viewers, the festival will attach small cameras to the musicians’ instruments, providing a unique view of the performances. The possibilities for deepening the audience experience are endless, Santoro says.\u003c/p>\n\u003cfigure id=\"attachment_10145757\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-Youth-Orchestra-e1416336063310.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-Youth-Orchestra-e1416336063310.jpeg\" alt=\"SF World Music's Youth Orchestra\" width=\"640\" height=\"426\" class=\"size-full wp-image-10145757\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF World Music’s Youth Orchestra \u003ccite>(By Jim Block, courtesy of SF World Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Santoro and SF World Music are still figuring out some logistics for \u003cstrong>The War Project\u003c/strong>. In other words, it’s a work-in-progress partly, Santoro says, because nothing of this scale has really been tried before. “There’s no model that integrates all of this together in one space,” he says. “What we’ve been doing these years is putting parts of the pieces in place, experimenting in a festival format. Now, audiences and performers in the physical and virtual worlds can interact like never before.”\u003c/p>\n\u003cp>Among the performers at the November 21 concert: SF World Music’s youth orchestra; South Indian \u003ca href=\"http://en.wikipedia.org/wiki/Carnatic_music\" target=\"_blank\" rel=\"noopener\">Carnatic music \u003c/a>master \u003ca href=\"http://www.anuradhasridhar.com/\" target=\"_blank\" rel=\"noopener\">Anuradha Sridhar\u003c/a>; Azeri \u003ca href=\"http://en.wikipedia.org/wiki/Kamancheh\" target=\"_blank\" rel=\"noopener\">\u003cem>kamancha\u003c/em>\u003c/a> master, \u003ca href=\"http://www.kamancha.com/\" target=\"_blank\" rel=\"noopener\">Imamyar Hasanov\u003c/a>; Chinese \u003ca href=\"http://en.wikipedia.org/wiki/Erhu\" target=\"_blank\" rel=\"noopener\">\u003cem>erhu\u003c/em>\u003c/a> master, \u003ca href=\"http://www.jumpingbuddha.com/musicians/zhang.html\" target=\"_blank\" rel=\"noopener\">Zhang Xiaofeng\u003c/a>; Indian \u003ca href=\"http://en.wikipedia.org/wiki/Mridangam\" target=\"_blank\" rel=\"noopener\">\u003cem>mridangam \u003c/em>\u003c/a>master, \u003ca href=\"http://www.anuradhasridhar.com/shrirambrahmanandam.shtml\" target=\"_blank\" rel=\"noopener\">Shriram Brahmanandam\u003c/a>; Chinese percussion master, \u003ca href=\"http://www.guzheng.org/Text/wei_wang.html\" target=\"_blank\" rel=\"noopener\">Wang Wei\u003c/a>; Iranian percussion master, \u003ca href=\"http://www.pezhham.com/\" target=\"_blank\" rel=\"noopener\">Pezhham Akhavass\u003c/a>; Vietnamese \u003ca href=\"http://en.wikipedia.org/wiki/%C4%90%C3%A0n_tranh\" target=\"_blank\" rel=\"noopener\">\u003cem>dan tranh\u003c/em>\u003c/a> master, \u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Van-Anh Vanessa Vo\u003c/a>; Irish Celtic harp master, \u003ca href=\"http://www.dianarowan.com/\" target=\"_blank\" rel=\"noopener\">Diana Rowan\u003c/a>; and Zimbabwean percussion master, \u003ca href=\"http://ronniedaliyo.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Ronnie Daliyo\u003c/a>.\u003c/p>\n\u003cp>Last year, Hasanov traveled with Santoro and other SF World Music personnel to China, where they worked with children attending a school for migrants on the outskirts of Beijing. These children are considered “illegal immigrants.” Even their school is considered “illegal.” Santoro, who plays the Chinese \u003ca href=\"http://en.wikipedia.org/wiki/Xiao_%28flute%29\" target=\"_blank\" rel=\"noopener\">\u003cem>dong xiao\u003c/em>\u003c/a> (vertical bamboo flute), Hasanov (who grew up in Azerbaijan, but now lives in the Bay Area), and the other music staff taught both students and teachers at the school. Then they performed with a well-known migrant band at an evening concert in the community, which was live-streamed to other migrant communities in China.\u003c/p>\n\u003cp>Besides the concert, SF World Music gave the community unique software that lets students – regardless of their language – learn traditional music from around the world through a step-by-step method that emphasizes video instruction. SF World Music also gave the community unique hardware that lets them share seamless live-stream music with distant communities.\u003c/p>\n\u003cp>“It was,” says Santoro, “the most significant thing I’ve done in my entire life. That community has an opportunity to have access to the world in a way they never could because of politics, the economy, education, lack of access to global resources. We got as much out of it as performers as did the immigrant community.”\u003c/p>\n\u003cp>When a similar SF World Music team travels next year to refugee camps, they will bring the same software and hardware, and teach the communities how to use it. “We’ll begin to wire these places,” Santoro says. “We’ll bring interactive tools. So that it’s not a ‘one-off.’”\u003c/p>\n\u003cp>This sort of outreach will also be applied locally enabling SF World Music staff to connect – via live-streaming – music students from under-funded Bay Area schools with students from wealthier schools. With the video technology that SF World Music is perfecting through \u003cstrong>The War Project\u003c/strong>, they can develop collaborations between students around the Bay Area. What’s local is global. What’s global is local. That’s what SF World Music has always been about. That’s what it continues to represent, even as its vision has morphed into something much, much bigger.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first part of \u003cstrong>The War Project\u003c/strong>, \u003ci>Music UnPlugged\u003c/i> is Friday, November 21, 2014, 8pm, at St. Mark’s Lutheran Church in San Francisco. Tickets are $15-$25. For \u003ca href=\"http://www.sfworldmusic.org/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit sfworldmusic.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jazz Review: The Tommy Igoe Groove Conspiracy",
"headTitle": "Jazz Review: The Tommy Igoe Groove Conspiracy | KQED",
"content": "\u003cp>Tommy Igoe had a good thing going in New York City. The widely respected jazz drummer and his powerhouse big band regularly attracted a full house of devoted fans to Friday nights at Birdland, one of Manhattan’s highest-profile jazz clubs.\u003c/p>\n\u003cp>Since moving to the Bay Area about three years ago he’s \u003ca href=\"http://ww2.kqed.org/news/2014/11/16/jazz-review-tommy-igoe-groove-conspiracy/\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/11/16/jazz-review-tommy-igoe-groove-conspiracy/\" target=\"_self\" title=\"Jazz Review: The Tommy Igoe Groove Conspiracy\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>Tommy Igoe had a good thing going in New York City. The widely respected jazz drummer and his powerhouse big band regularly attracted a full house of devoted fans to Friday nights at Birdland, one of Manhattan's highest-profile jazz clubs.\u003c/p>\n\u003cp>Since moving to the Bay Area about three years ago he's \u003ca href=\"http://ww2.kqed.org/news/2014/11/16/jazz-review-tommy-igoe-groove-conspiracy/\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cp>Nov. 9, 2014, marks \u003ca target=\"_self\" href=\"http://www.visitberlin.de/en/event/11-09-2014/25-years-fall-of-the-berlin-wall\" rel=\"noopener\">25 years since the fall of the Berlin Wall\u003c/a> — what Germans call the “Wende,” or turning point. It was the end of the Cold War, the end of an era and, in a practical sense, the end of a country, East Germany. The <a target=_self \u003ca href=\"http://ww2.kqed.org/news/2014/11/09/wende-museum-preserving-cold-war-in-culver-city/\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/11/09/wende-museum-preserving-cold-war-in-culver-city/\" target=\"_self\" title=\"The Wende Museum: Preserving the Cold War in Culver City\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>\u003c/p>\n\u003cp>Nov. 9, 2014, marks \u003ca target=\"_self\" href=\"http://www.visitberlin.de/en/event/11-09-2014/25-years-fall-of-the-berlin-wall\" rel=\"noopener\">25 years since the fall of the Berlin Wall\u003c/a> — what Germans call the “Wende,” or turning point. It was the end of the Cold War, the end of an era and, in a practical sense, the end of a country, East Germany. The <a target=_self \u003ca href=\"http://ww2.kqed.org/news/2014/11/09/wende-museum-preserving-cold-war-in-culver-city/\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nov. 9, 2014, marks \u003ca target=\"_self\" href=\"http://www.visitberlin.de/en/event/11-09-2014/25-years-fall-of-the-berlin-wall\" rel=\"noopener\">25 years since the fall of the Berlin Wall\u003c/a> — what Germans call the “Wende,” or turning point. It was the end of the Cold War, the end of an era and, in a practical sense, the end of a country, East Germany. The <a target=_self \u003ca href=\"http://ww2.kqed.org/news/2014/11/09/wende-museum-preserving-cold-war-in-culver-city/\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/11/09/wende-museum-preserving-cold-war-in-culver-city/\" target=\"_self\" title=\"The Wende Museum: Preserving the Cold War in Culver City\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>At a \u003cem>Gurdwara\u003c/em> or Sikh temple in Modesto, writer Meeta Kaur is warmly welcomed by all the women preparing \u003cem>langar\u003c/em>, the communal meal. She’s never met them before but she calls them her aunties.\u003c/p>\n\u003cp>“If I look at auntie and auntie looks at me and we identify as 'Kaur,' then we automatically know there’s a bond,” she says. “And we’re equal. And she’s here to guide me.”\u003c/p>\n\u003cp>\"Kaur\" is the traditional last name Sikh women take. It’s one way they can immediately recognize each other.\u003c/p>\n\u003cp>Kaur then shows her aunties a copy of a new anthology she’s edited. It’s called \"\u003ca href=\"http://sikhlovestories.com/2014/06/17/her-name-is-kaur-has-now-been-released/\">Her Name is Kaur: Sikh American Women Write About Love, Courage, and Faith\u003c/a>.\"\u003c/p>\n\u003cp>Gurpreet Kaur Sandhu stops flattening the dough for \u003cem>chapatis\u003c/em> long enough to ask a few questions and set up a future book discussion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’ll give you the copy,” says Kaur .\u003c/p>\n\u003cp>“Yes, give me the copy and then you can come back,” Kaur Sandhu replies.\u003c/p>\n\u003caside class=\"pullquote alignright\">“We may be distinct in our outward appearance... But on the inside we experience heartbreak, we get jealous, we ache when our children are hurt.\"\u003cbr>\n\u003ccite>Meeta Kaur\u003c/cite>\u003c/aside>\n\u003cp>Followers of the Sikh faith have lived in California for a century. They’re originally from India’s Punjab region, and settled mostly in the Bay Area and the Central Valley. Although they’ve been in the United States a long time, Kaur says, they’ve recently become victims of hate crimes across the country. Her anthology is in response to these acts of violence, an effort to show who Sikhs really are.\u003c/p>\n\u003cp>Of the 25 women writers in the anthology, 10 are from California, including Kaur. The stories address love and the resulting joys, complications, even disappointments – love for a place, a man, a woman, a career. When we share our stories, Kaur says, we break down walls of prejudice.\u003c/p>\n\u003cp>“We may be distinct in our outward appearance spiritually,\" she says. \"But on the inside we experience heartbreak, we get jealous, we ache when our children are hurt.\"\u003c/p>\n\u003cp>That outward appearance has made them a target of violent prejudice. At a Gurdwara in Oak Creek, Wisconsin two years ago, a 40-year-old white supremacist named Wade Michael Page killed five men and one woman. The men all wore turbans as part of their faith.\u003c/p>\n\u003cp>And just this August, New Yorker Sandeep Singh was run over by a pickup truck driver for wearing a turban. He tells his story in a \u003ca href=\"https://www.youtube.com/watch?v=_DX-ShjFRqs\">YouTube video\u003c/a> filmed by the Sikh Coalition.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/175877968\" 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>“Two weeks ago I nearly lost my life when a man in a pickup truck called me a terrorist, told me to go back to my country, and then dragged me over 60 feet,” he says in a weak voice.\u003c/p>\n\u003cp>“There’s been a lot the community has been enduring, especially in a post-9/11 country,” says Kaur.\u003c/p>\n\u003cp>One goal of the anthology is to show how universally similar Sikhs are to other Americans -- like the chapter that illustrates the classic tension between married women and their mothers-in-law.\u003c/p>\n\u003cp>“And then as the story goes, both characters grow out of these roles that are pitted against one another at the start, into human beings that genuinely care for each other,” says Kaur. “And I think the lynchpin there was both women let go of judgment.”\u003c/p>\n\u003cp>At a discussion of the anthology in Fresno, Guddi Kaur Ranu says she understands this dynamic. She tells the group she had trouble watching her married son do his wife’s laundry.\u003c/p>\n\u003cp>“I’m really giving you the feelings of my double standards, I’m talking very frankly here,” she says. Kaur Ranu grew up in a traditional household in India, and her own marriage was arranged.\u003c/p>\n\u003cfigure id=\"attachment_10347606\" class=\"wp-caption alignleft\" style=\"max-width: 335px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/MeetaRollingVertical.jpg\">\u003cimg class=\" wp-image-10347606\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/MeetaRollingVertical-400x490.jpg\" alt=\"Editor Meeta Kaur rolls out a few chapatis at the Modesto Gurdwara Sahib. (Alice Daniel/KQED)\" width=\"335\" height=\"410\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/MeetaRollingVertical-400x490.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/MeetaRollingVertical-800x981.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/MeetaRollingVertical.jpg 1440w\" sizes=\"(max-width: 335px) 100vw, 335px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Editor Meeta Kaur rolls out a few chapatis at the Modesto Gurdwara Sahib. (Alice Daniel/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Other housework was OK, she says, “but it was going through my mind, 'Why can’t she do the laundry?' ” At this point, all the women start laughing. “But then I thought, ‘No, I should be happy if she’s working right now, he’s home,’” she says. “I corrected myself. It’s so hard to change the thinking, but with the process you can change over time.”\u003c/p>\n\u003cp>Simran Kaur works for the Sikh Coalition, a group that fights discrimination. She contributed to the anthology and reads to the group from her chapter about her mother’s activism after the 1984 Sikh massacre in Delhi.\u003c/p>\n\u003cp>“My mother never spoke to me about her actions because for her it wasn’t activism. It was her identity inspired by faith. It was only when I went on a school trip to a museum many years later and came across a picture of my mother with her fist in the air surrounded by her children and other Sikh women that I really felt the importance of her role in formulating what activism looked like for me.”\u003c/p>\n\u003cp>Lawyer and activist Harjit Kaur says she couldn’t put the book down. The name Kaur inspires her, she says, especially now after an abusive marriage.\u003c/p>\n\u003cp>“My relationship was very, very physically and emotionally abusive,” she tells the group. It took strength and courage to leave it, but when she was in the midst of this horrible time, a friend reminded her that the name 'Kaur' really means empowerment.\u003c/p>\n\u003cp>“And getting myself out of that, he was like, 'You know, that’s your Kaur, that’s your heritage, the resilience that’s in that Kaur name is within you,' ” she says. “A light bulb went off, like you know I can do this.\"\u003c/p>\n\u003cp>At the end of the evening Harjit tells the other women, “This book is a starting point for a conversation. And what we hope is when we all go away tonight, we recognize we all have a story to tell.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Stories that, if heard often enough, can help people see how alike we all are, says editor Meeta Kaur. She also has another anthology in the works -- this time of Sikh-American men writing about love.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At a \u003cem>Gurdwara\u003c/em> or Sikh temple in Modesto, writer Meeta Kaur is warmly welcomed by all the women preparing \u003cem>langar\u003c/em>, the communal meal. She’s never met them before but she calls them her aunties.\u003c/p>\n\u003cp>“If I look at auntie and auntie looks at me and we identify as 'Kaur,' then we automatically know there’s a bond,” she says. “And we’re equal. And she’s here to guide me.”\u003c/p>\n\u003cp>\"Kaur\" is the traditional last name Sikh women take. It’s one way they can immediately recognize each other.\u003c/p>\n\u003cp>Kaur then shows her aunties a copy of a new anthology she’s edited. It’s called \"\u003ca href=\"http://sikhlovestories.com/2014/06/17/her-name-is-kaur-has-now-been-released/\">Her Name is Kaur: Sikh American Women Write About Love, Courage, and Faith\u003c/a>.\"\u003c/p>\n\u003cp>Gurpreet Kaur Sandhu stops flattening the dough for \u003cem>chapatis\u003c/em> long enough to ask a few questions and set up a future book discussion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ll give you the copy,” says Kaur .\u003c/p>\n\u003cp>“Yes, give me the copy and then you can come back,” Kaur Sandhu replies.\u003c/p>\n\u003caside class=\"pullquote alignright\">“We may be distinct in our outward appearance... But on the inside we experience heartbreak, we get jealous, we ache when our children are hurt.\"\u003cbr>\n\u003ccite>Meeta Kaur\u003c/cite>\u003c/aside>\n\u003cp>Followers of the Sikh faith have lived in California for a century. They’re originally from India’s Punjab region, and settled mostly in the Bay Area and the Central Valley. Although they’ve been in the United States a long time, Kaur says, they’ve recently become victims of hate crimes across the country. Her anthology is in response to these acts of violence, an effort to show who Sikhs really are.\u003c/p>\n\u003cp>Of the 25 women writers in the anthology, 10 are from California, including Kaur. The stories address love and the resulting joys, complications, even disappointments – love for a place, a man, a woman, a career. When we share our stories, Kaur says, we break down walls of prejudice.\u003c/p>\n\u003cp>“We may be distinct in our outward appearance spiritually,\" she says. \"But on the inside we experience heartbreak, we get jealous, we ache when our children are hurt.\"\u003c/p>\n\u003cp>That outward appearance has made them a target of violent prejudice. At a Gurdwara in Oak Creek, Wisconsin two years ago, a 40-year-old white supremacist named Wade Michael Page killed five men and one woman. The men all wore turbans as part of their faith.\u003c/p>\n\u003cp>And just this August, New Yorker Sandeep Singh was run over by a pickup truck driver for wearing a turban. He tells his story in a \u003ca href=\"https://www.youtube.com/watch?v=_DX-ShjFRqs\">YouTube video\u003c/a> filmed by the Sikh Coalition.\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/175877968&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/175877968'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Two weeks ago I nearly lost my life when a man in a pickup truck called me a terrorist, told me to go back to my country, and then dragged me over 60 feet,” he says in a weak voice.\u003c/p>\n\u003cp>“There’s been a lot the community has been enduring, especially in a post-9/11 country,” says Kaur.\u003c/p>\n\u003cp>One goal of the anthology is to show how universally similar Sikhs are to other Americans -- like the chapter that illustrates the classic tension between married women and their mothers-in-law.\u003c/p>\n\u003cp>“And then as the story goes, both characters grow out of these roles that are pitted against one another at the start, into human beings that genuinely care for each other,” says Kaur. “And I think the lynchpin there was both women let go of judgment.”\u003c/p>\n\u003cp>At a discussion of the anthology in Fresno, Guddi Kaur Ranu says she understands this dynamic. She tells the group she had trouble watching her married son do his wife’s laundry.\u003c/p>\n\u003cp>“I’m really giving you the feelings of my double standards, I’m talking very frankly here,” she says. Kaur Ranu grew up in a traditional household in India, and her own marriage was arranged.\u003c/p>\n\u003cfigure id=\"attachment_10347606\" class=\"wp-caption alignleft\" style=\"max-width: 335px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/MeetaRollingVertical.jpg\">\u003cimg class=\" wp-image-10347606\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/MeetaRollingVertical-400x490.jpg\" alt=\"Editor Meeta Kaur rolls out a few chapatis at the Modesto Gurdwara Sahib. (Alice Daniel/KQED)\" width=\"335\" height=\"410\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/MeetaRollingVertical-400x490.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/MeetaRollingVertical-800x981.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/MeetaRollingVertical.jpg 1440w\" sizes=\"(max-width: 335px) 100vw, 335px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Editor Meeta Kaur rolls out a few chapatis at the Modesto Gurdwara Sahib. (Alice Daniel/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Other housework was OK, she says, “but it was going through my mind, 'Why can’t she do the laundry?' ” At this point, all the women start laughing. “But then I thought, ‘No, I should be happy if she’s working right now, he’s home,’” she says. “I corrected myself. It’s so hard to change the thinking, but with the process you can change over time.”\u003c/p>\n\u003cp>Simran Kaur works for the Sikh Coalition, a group that fights discrimination. 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It took strength and courage to leave it, but when she was in the midst of this horrible time, a friend reminded her that the name 'Kaur' really means empowerment.\u003c/p>\n\u003cp>“And getting myself out of that, he was like, 'You know, that’s your Kaur, that’s your heritage, the resilience that’s in that Kaur name is within you,' ” she says. “A light bulb went off, like you know I can do this.\"\u003c/p>\n\u003cp>At the end of the evening Harjit tells the other women, “This book is a starting point for a conversation. And what we hope is when we all go away tonight, we recognize we all have a story to tell.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/175196372\" params=\"color=ff5500&inverse=false&auto_play=false&show_user=true\" width=\"100%\" height=\"20\" iframe=\"true\" /]\u003c/p>\n\u003cp>Deerhoof called its new album “La Isla Bonita”—the beautiful island —and included a song called “Tiny Bubbles.” No, it’s not the song made famous by Hawaiian lounge lord Don Ho. It sounds more like an Ennio Morricone spaghetti Western theme. But 20 years into a career, with a dozen albums and scores of side projects, is Deerhoof trying to show it has a sense of humor?\u003c/p>\n\u003cp>Whatever is going on, it’s a winning turn. Deerhoof has previously made music often associated with the sounds of the German Krautrock movement of the ‘70s, or of early Sonic Youth —a bit cold, perhaps, and certainly very art-conscious. It’s been cited by such innovators as St. Vincent, Tune-Yards and even Flaming Lips as an influence, but has not gained the kind of renown of those followers.\u003c/p>\n\u003cp>The spark behind “La Isla Bonita,” though, was a whole other aesthetic: That of the Ramones. Deerhoof has covered “Pinhead” in concert regularly over the years. This time it really took hold, at least in approach.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/prc286.jpg\">\u003cimg class=\"alignright size-thumbnail wp-image-10345600\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/prc286-400x400.jpg\" alt=\"Deerhoof's 'La Isla Bonita'\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286.jpg 1425w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The song “Exit Only” was the first recorded for this album and stands as its centerpiece, all about being in, of and for the moment. With the Ramones in mind, recording was all done live in guitarist Ed Rodriguez’s basement -- during what drummer and co-founder Greg Saunier has described as “a weeklong sleepover arguing over whether to try and sound like Joan Jett or Janet Jackson.”\u003c/p>\n\u003cp>And if that doesn’t sound like fun, what does? They even sound like they’re enjoying a song they’ve titled “Doom.”\u003c/p>\n\u003cp>For all that, this is still very recognizable as Deerhoof. The combination of Satomi Matsuzaki’s voice and bass, the jabbing and poking guitars of Rodriguez and John Dieterich, and Saunier’s sharp drumming still carry the precision of classic Krautrock, that arty cool. But the urgency of the recording has ensured that the feelings, even emotions in these songs, are not sublimated, not hidden in the artiness.\u003c/p>\n\u003cp>And yes, there is a darkness to it. Serious matters are afoot in these songs: Society is crumbling, the future is uncertain, communication is frustrating. But there’s also a self-awareness, with more than a wink. The closing song, a real tour de force of downcast disco bumping up against Radiohead, is given the purposefully eye-rolling title “Oh Bummer.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Throughout, these little jokes abound, such as putting the title “God 2” on a churning new wave surf-rock instrumental. It’s the perfect soundtrack for a sunset on the beach of “La Isla Bonita.”\u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"source": "Possible"
},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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