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"content": "\u003cp>Ten years after the premiere of \"Sideways,\" the region where the film was set continues to feel its impact.\u003c/p>\n\u003cp>The independent movie about two middle-aged men drinking and misbehaving their way through Santa Barbara wine country opened in limited release in October 2004 and went on to became a surprise hit, grossing more than $71 million at the box office. It was also a boon to the then-fledgling winemaking industry in the Santa Ynez Valley and a boost to tourism in the region.\u003c/p>\n\u003cp>“Agriculture and tourism are really two of the big industries that are still important in Santa Barbara and the Central Coast, and wineries live right in the middle of those two,” says Josh Williams, president of Carlsbad-based BW Research, which studies the job market for the Santa Barbara County Workforce Investment Board.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/185299449\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Williams says his research shows the number of jobs in wineries in Santa Barbara County has grown from about 950 in 2005 to nearly 1,400 today. That's huge growth compared with other industry sectors in the county, says Williams, who adds that winery jobs are good jobs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"While tourism and agriculture tend to be low-wage paying industries, wineries pay anywhere from 30 to 50 percent more than the average tourism job pays,\" says Williams.\u003c/p>\n\u003cp>Even though the sector tends to generate lower-wage jobs, there’s no denying the residual effect of increased tourism. It can be the tide that lifts all boats, bringing added customers to nearby retailers, hotels and other enterprises.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://www.scpr.org/blogs/economy/2014/10/24/17437/sideways-ten-years-later-hit-film-still-makes-wave/\">Read the full article at KPCC's website\u003c/a>\u003c/em>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ten years after the premiere of \"Sideways,\" the region where the film was set continues to feel its impact.\u003c/p>\n\u003cp>The independent movie about two middle-aged men drinking and misbehaving their way through Santa Barbara wine country opened in limited release in October 2004 and went on to became a surprise hit, grossing more than $71 million at the box office. It was also a boon to the then-fledgling winemaking industry in the Santa Ynez Valley and a boost to tourism in the region.\u003c/p>\n\u003cp>“Agriculture and tourism are really two of the big industries that are still important in Santa Barbara and the Central Coast, and wineries live right in the middle of those two,” says Josh Williams, president of Carlsbad-based BW Research, which studies the job market for the Santa Barbara County Workforce Investment Board.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/185299449&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/185299449'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Williams says his research shows the number of jobs in wineries in Santa Barbara County has grown from about 950 in 2005 to nearly 1,400 today. That's huge growth compared with other industry sectors in the county, says Williams, who adds that winery jobs are good jobs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For Ron Turner, waking in the middle of the night early Wednesday was nothing new; he would just watch some news and hopefully go back to sleep again. But the news that morning was about the brutal massacre of 10 journalists and two police officers at \u003cem>Charlie Hebdo\u003c/em>, France’s long-running satirical magazine, by Islamic terrorists, and it was hard to stay calm after seeing something that hit so close to home. For Turner, the shootings struck at the core of his business: comics that (sometimes) offend.\u003c/p>\n\u003cfigure id=\"attachment_10286152\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10286152\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil.jpg\" alt=\"People hold a vigil at the Place de la Republique (Republic Square) for victims of the terrorist attack, on January 8, 2015 in Paris, France. Twelve people were killed yesterday including two police officers as two gunmen opened fire at the offices of the French satirical publication Charlie Hebdo. (Photo by Dan Kitwood/Getty Images)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">People hold a vigil at the Place de la Republique (Republic Square) for victims of the terrorist attack, on January 8, 2015 in Paris, France. Twelve people were killed yesterday including two police officers as two gunmen opened fire at the offices of the French satirical publication \u003ci>Charlie Hebdo\u003c/i>. (Photo by Dan Kitwood/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>Since he started it in 1970, Turner has run \u003ca href=\"http://www.lastgasp.com/\" target=\"_blank\" rel=\"noopener\">Last Gasp Books\u003c/a>, one of the largest publishers of underground books and comics in the world, including \u003ci>Zap,\u003c/i> \u003ci>Weirdo\u003c/i> and \u003ci>Binky Brown Meets the Holy Virgin Mary.\u003c/i> The stable of artists on Last Gasp’s roster reads like a blacklist compiled by the establishment of the art world: R Crumb, Ron English, Winston Smith, Robert Williams, Mark Ryden and S. Clay Wilson are just a few of the rebel kind who Turner has worked with. And it’s not just Last Gasp’s artists that garner attention, as there are plenty of notable Last Gasp publications, including \u003ci>Barefoot Gen,\u003c/i> the controversial graphic novel about the aftermath of the atomic bombing of Japan; several collections of erotic art, including a fetish coloring book and a collection of photographs of female genitalia; and even a book on the “Painter of Light,” Thomas Kinkade.\u003c/p>\n\u003cp>“There’s been a couple of employees that I’ve bought weapons off of over the years because they were nuts and certainly didn’t need a weapon,” Turner says. He stowed the guns in a drawer. “Maybe it’s time to get those things cleaned and set them up by my desk,” the publisher mused. \u003c/p>\n\u003cfigure id=\"attachment_10286080\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10286080\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Scene-from-Legion-of-Charlies.jpg\" alt=\"Two pages from <i>Legion of Charlies</i>\" width=\"640\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Scene-from-Legion-of-Charlies.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Scene-from-Legion-of-Charlies-400x292.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Two pages from \u003ci>Legion of Charlies\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Turner has even received death threats for his work. Back in 1971, Last Gasp published \u003ci>Legion of Charlies,\u003c/i> a graphic novel illustrated by underground cartoonist Greg Irons that told the stories of both the \u003ca href=\"http://en.wikipedia.org/wiki/My_Lai_Massacre\" target=\"_blank\" rel=\"noopener\">My Lai Massacre\u003c/a> (carried out by the Charlie Company) and \u003ca href=\"http://en.wikipedia.org/wiki/Charles_Manson#Tate_murders\" target=\"_blank\" rel=\"noopener\">the Tate Murders\u003c/a> (which were ordered by Charlie Manson). After the book started receiving publicity, Last Gasp started receiving threats from Manson’s followers.\u003c/p>\n\u003cp>“In a fair fight, I don’t think hardly any of Manson followers would’ve been hard to defeat or defend against.” Still, Turner muses, “When you have people you don’t know issuing you threats, you have to take that seriously.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thankfully nothing came of the threats. Yet in France, where comics are a celebrated art form — it’s home to the \u003ca href=\"http://en.wikipedia.org/wiki/Angoul%C3%AAme_International_Comics_Festival\" target=\"_blank\" rel=\"noopener\">third largest comic book festival in the world\u003c/a> — \u003ci>Charlie Hebdo\u003c/i> was the target of attacks over its content even before this week’s brutal massacre, including a \u003ca href=\"http://www.nytimes.com/2011/11/03/world/europe/charlie-hebdo-magazine-in-paris-is-firebombed.html\" target=\"_blank\" rel=\"noopener\">firebombing back in 2011\u003c/a>. That still didn’t stop the paper from publishing more \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2012/09/19/161394146/france-on-alert-closing-embassies-after-magazine-publishes-muhammad-cartoons\" target=\"_blank\" rel=\"noopener\">inflammatory drawings of the prophet Mohammed\u003c/a> in the wake of the terrorist attacks on the U.S. Consulate in Benghazi, Libya back in 2012.\u003c/p>\n\u003cp>And despite the fact that the magazine experienced such a horrible event, critics have continued to take the publication to task for its crude, bigoted portrayals of Mohammed. In response, Turner says that such criticisms are part and parcel of creating satire.\u003c/p>\n\u003cp>“If you’re not offending somebody, you’re not doing your job,” said Turner.\u003c/p>\n\u003cfigure id=\"attachment_10286271\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil2-400x266.jpg\" alt='A journalist holds a placard reading in French\" I am Charlie\" during a gathering on the streets of Pristina on January 8, 2015 in solidarity with the victims of the shooting at the Paris office of the satirical newspaper Charlie Hebdo which left 12 people dead. ARMEND NIMANI/AFP/Getty Images)' width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10286271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil2.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">A journalist holds a placard reading in French “I am Charlie” during a gathering on the streets of Pristina on January 8, 2015 in solidarity with the victims of the shooting at the Paris office of the satirical newspaper Charlie Hebdo which left 12 people dead. ARMEND NIMANI/AFP/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>On Wednesday, while the magazine’s staff and the rest of the world continued to recover from such senseless murders, Turner vocalized why satire is such a necessary component of modern society.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[Satire] is important because it brings out the flaws we all have and throws them up on the screen of another person,” said Turner. “How they react sort of shows how important that really is.” Later, he added, “Charlie took a hit for everybody.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Ron Turner, waking in the middle of the night early Wednesday was nothing new; he would just watch some news and hopefully go back to sleep again. But the news that morning was about the brutal massacre of 10 journalists and two police officers at \u003cem>Charlie Hebdo\u003c/em>, France’s long-running satirical magazine, by Islamic terrorists, and it was hard to stay calm after seeing something that hit so close to home. For Turner, the shootings struck at the core of his business: comics that (sometimes) offend.\u003c/p>\n\u003cfigure id=\"attachment_10286152\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10286152\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil.jpg\" alt=\"People hold a vigil at the Place de la Republique (Republic Square) for victims of the terrorist attack, on January 8, 2015 in Paris, France. Twelve people were killed yesterday including two police officers as two gunmen opened fire at the offices of the French satirical publication Charlie Hebdo. (Photo by Dan Kitwood/Getty Images)\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">People hold a vigil at the Place de la Republique (Republic Square) for victims of the terrorist attack, on January 8, 2015 in Paris, France. Twelve people were killed yesterday including two police officers as two gunmen opened fire at the offices of the French satirical publication \u003ci>Charlie Hebdo\u003c/i>. (Photo by Dan Kitwood/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>Since he started it in 1970, Turner has run \u003ca href=\"http://www.lastgasp.com/\" target=\"_blank\" rel=\"noopener\">Last Gasp Books\u003c/a>, one of the largest publishers of underground books and comics in the world, including \u003ci>Zap,\u003c/i> \u003ci>Weirdo\u003c/i> and \u003ci>Binky Brown Meets the Holy Virgin Mary.\u003c/i> The stable of artists on Last Gasp’s roster reads like a blacklist compiled by the establishment of the art world: R Crumb, Ron English, Winston Smith, Robert Williams, Mark Ryden and S. Clay Wilson are just a few of the rebel kind who Turner has worked with. And it’s not just Last Gasp’s artists that garner attention, as there are plenty of notable Last Gasp publications, including \u003ci>Barefoot Gen,\u003c/i> the controversial graphic novel about the aftermath of the atomic bombing of Japan; several collections of erotic art, including a fetish coloring book and a collection of photographs of female genitalia; and even a book on the “Painter of Light,” Thomas Kinkade.\u003c/p>\n\u003cp>“There’s been a couple of employees that I’ve bought weapons off of over the years because they were nuts and certainly didn’t need a weapon,” Turner says. He stowed the guns in a drawer. “Maybe it’s time to get those things cleaned and set them up by my desk,” the publisher mused. \u003c/p>\n\u003cfigure id=\"attachment_10286080\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10286080\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Scene-from-Legion-of-Charlies.jpg\" alt=\"Two pages from <i>Legion of Charlies</i>\" width=\"640\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Scene-from-Legion-of-Charlies.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Scene-from-Legion-of-Charlies-400x292.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Two pages from \u003ci>Legion of Charlies\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Turner has even received death threats for his work. Back in 1971, Last Gasp published \u003ci>Legion of Charlies,\u003c/i> a graphic novel illustrated by underground cartoonist Greg Irons that told the stories of both the \u003ca href=\"http://en.wikipedia.org/wiki/My_Lai_Massacre\" target=\"_blank\" rel=\"noopener\">My Lai Massacre\u003c/a> (carried out by the Charlie Company) and \u003ca href=\"http://en.wikipedia.org/wiki/Charles_Manson#Tate_murders\" target=\"_blank\" rel=\"noopener\">the Tate Murders\u003c/a> (which were ordered by Charlie Manson). After the book started receiving publicity, Last Gasp started receiving threats from Manson’s followers.\u003c/p>\n\u003cp>“In a fair fight, I don’t think hardly any of Manson followers would’ve been hard to defeat or defend against.” Still, Turner muses, “When you have people you don’t know issuing you threats, you have to take that seriously.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thankfully nothing came of the threats. Yet in France, where comics are a celebrated art form — it’s home to the \u003ca href=\"http://en.wikipedia.org/wiki/Angoul%C3%AAme_International_Comics_Festival\" target=\"_blank\" rel=\"noopener\">third largest comic book festival in the world\u003c/a> — \u003ci>Charlie Hebdo\u003c/i> was the target of attacks over its content even before this week’s brutal massacre, including a \u003ca href=\"http://www.nytimes.com/2011/11/03/world/europe/charlie-hebdo-magazine-in-paris-is-firebombed.html\" target=\"_blank\" rel=\"noopener\">firebombing back in 2011\u003c/a>. That still didn’t stop the paper from publishing more \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2012/09/19/161394146/france-on-alert-closing-embassies-after-magazine-publishes-muhammad-cartoons\" target=\"_blank\" rel=\"noopener\">inflammatory drawings of the prophet Mohammed\u003c/a> in the wake of the terrorist attacks on the U.S. Consulate in Benghazi, Libya back in 2012.\u003c/p>\n\u003cp>And despite the fact that the magazine experienced such a horrible event, critics have continued to take the publication to task for its crude, bigoted portrayals of Mohammed. In response, Turner says that such criticisms are part and parcel of creating satire.\u003c/p>\n\u003cp>“If you’re not offending somebody, you’re not doing your job,” said Turner.\u003c/p>\n\u003cfigure id=\"attachment_10286271\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil2-400x266.jpg\" alt='A journalist holds a placard reading in French\" I am Charlie\" during a gathering on the streets of Pristina on January 8, 2015 in solidarity with the victims of the shooting at the Paris office of the satirical newspaper Charlie Hebdo which left 12 people dead. ARMEND NIMANI/AFP/Getty Images)' width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10286271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Charlie-Hebdo-vigil2.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">A journalist holds a placard reading in French “I am Charlie” during a gathering on the streets of Pristina on January 8, 2015 in solidarity with the victims of the shooting at the Paris office of the satirical newspaper Charlie Hebdo which left 12 people dead. ARMEND NIMANI/AFP/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>On Wednesday, while the magazine’s staff and the rest of the world continued to recover from such senseless murders, Turner vocalized why satire is such a necessary component of modern society.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[Satire] is important because it brings out the flaws we all have and throws them up on the screen of another person,” said Turner. “How they react sort of shows how important that really is.” Later, he added, “Charlie took a hit for everybody.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Today in Paris armed extremists stormed the office of French satirical publication \u003cem>Charlie Hebdo \u003c/em>and opened fire, reportedly killing 12 people, including two police officers, and injuring some 20 others, several of whom are suffering life-threatening injuries. Among the dead are editor Stéphane Charbonnier and cartoonists Jean Cabut, Bernard Verlhac and Georges Wolinski, as well as columnist Bernard Maris – further names have yet to be released. The three hooded gunmen fled with a stolen car – several witnesses filmed the event with cell phone cameras, including the moment when assailants shouted, in French, “We killed \u003cem>Charlie Hebdo\u003c/em>” and “We have avenged the prophet” in what is widely considered a reference to the publication’s satirical depictions of the prophet Muhammad.\u003c/p>\n\u003cp>In Washington, \u003ca href=\"http://www.washingtonpost.com/world/europe/gunmen-storm-paris-satirical-newspaper-killing-at-least-11/2015/01/07/f358b17a-9660-11e4-aabd-d0b93ff613d5_story.html\">Secretary of State John F. Kerry responded to the attacks\u003c/a> by saying, “The murderers dared proclaim \u003cem>Charlie Hebdo\u003c/em> is dead. But make no mistake, they are wrong. Today, and tomorrow, in Paris, in France and across the world, the freedom of expression this magazine represented is not able to be killed by this kind of act of terror.” It is the deadliest terrorist attack in France since 1995, when an Algerian rebel group killed eight people in a string of bombings over several months. \u003cem>Charlie Hebdo\u003c/em> had come under attack more recently; it’s offices were firebombed in 2011, after the magazine published a cartoon of the prophet Muhammad.\u003c/p>\n\u003cp>People immediately took to the streets in cities around the world to demonstrate solidarity with the slain journalists and artists – many were also swift to respond online with #JeSuisCharlie (I am Charlie), among other hashtags including #CharlieHebdo. Artists all over the world posted cartoons in honor of the cartoonists and the freedom of speech their work represented — this is a mere sampling, with many more anticipated in the days to come, online and in print. This brutal attempt at silence has only amplified the need for freedom of expression, and the Internet has provided a platform for the world to respond. Long live \u003cem>Charlie Hebdo.\u003c/em>\u003c/p>\n\u003cp>https://twitter.com/RobTornoe/status/552884253563039744\u003c/p>\n\u003cp>https://twitter.com/RLOppenheimer/status/552848047089405952\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/TheMagnusShaw/status/552870218545238018\u003c/p>\n\u003cp>https://twitter.com/lalodagach/status/552944024613826560\u003c/p>\n\u003cp>https://twitter.com/MonsieurDream/status/552831150134415360\u003c/p>\n\u003cp>https://twitter.com/AnnTelnaes/status/552853991814492160\u003c/p>\n\u003cp>https://twitter.com/davpope/status/552844593046097920\u003c/p>\n\u003cp>https://twitter.com/jean_jullien/status/552829637215408128\u003c/p>\n\u003cp>https://twitter.com/seattlesketcher/status/552891818791010305\u003c/p>\n\u003cp>https://twitter.com/stephen_strydom/status/552848478196736000\u003c/p>\n\u003cp>https://twitter.com/ZOKO77/status/552919903104434176\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/Independent/status/552877342394433536\u003c/p>\n\n",
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"title": "'Charlie Hebdo,' a Magazine of Satire, Mocks Politics, Religion",
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"content": "\u003cp>\u003cem>Charlie Hebdo\u003c/em>, the satirical French magazine that was \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/07/375561888/10-dead-after-shootout-at-satirical-magazines-office-in-paris\" target=\"_blank\" rel=\"noopener\">the target of a deadly attack today\u003c/a>, is part of \u003ca href=\"http://www.bbc.com/news/world-europe-15551998\" target=\"_blank\" rel=\"noopener\">a long tradition of French satire\u003c/a> dating to the days before the French Revolution.\u003c/p>\n\u003cp>The left-wing magazine is known for its biting takedowns. Its past targets include the political right wing, capitalism, Christianity, Judaism and Islam.\u003c/p>\n\u003cp>It most recently came to the world’s attention when \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2012/09/19/161394146/france-on-alert-closing-embassies-after-magazine-publishes-muhammad-cartoons\" target=\"_blank\" rel=\"noopener\">it published cartoons of Islam’s Prophet Muhammad\u003c/a> soon after the deadly 2012 attack on the U.S. consulate in Benghazi that killed Chris Stevens, the U.S. ambassador to Libya. Initially, it was thought that an anti-Islam film had fanned the violence. The magazine, in its cartoons, referred to that film. At the time, editor Stephane Charbonnier said the cartoons would “shock those who want to be shocked.”\u003c/p>\n\u003cp>Many Muslims consider the depiction of their prophet to be blasphemous.\u003c/p>\n\u003cp>A year earlier, \u003cem>Charlie Hebdo’s \u003c/em>\u003ca href=\"http://www.npr.org/blogs/thetwo-way/2011/11/02/141928567/french-newspaper-firebombed-after-satire-involving-prophet-muhammad\" target=\"_blank\" rel=\"noopener\">offices were firebombed\u003c/a> after it published an issue that invited the Prophet Muhammad to be guest editor; the issue included an article about what a soft version of Sharia might look like. The magazine was renamed \u003cem>Charia Hebdo\u003c/em> for the issue, and its cover included an image of the prophet with the line, “A thousand lashes if you don’t die laughing.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The magazine was also part of the controversy over the publication in 2005 by the Danish newspaper \u003cem>Jyllands-Posten\u003c/em> of cartoons depicting Islam’s prophet. The newspaper said the decision to publish the 12 editorial cartoons would contribute to the debate over Islam and free speech. The move resulted in violent protests worldwide and threats against \u003cem>Jyllands-Posten\u003c/em>. In solidarity, \u003cem>Charlie Hebdo \u003c/em>reprinted the 12 cartoons in 2006. Its headline for the feature was “Muhammad Overwhelmed By Fundamentalists.”\u003c/p>\n\u003cp>Jacques Chirac, then-president of France, condemned what he called the magazine’s “overt provocation.” The magazine and then-editor Philippe Val were accused of insulting Muslims, \u003ca href=\"http://news.bbc.co.uk/2/hi/6479673.stm\" target=\"_blank\" rel=\"noopener\">but a French court ultimately ruled\u003c/a> that the cartoons were covered by France’s laws on freedom of expression.\u003c/p>\n\u003cp>The BBC offers a rundown of what else \u003cem>Charlie Hebdo\u003c/em> printed: “Police would be shown holding the dripping heads of immigrants; there would be masturbating nuns; popes wearing condoms — anything to make a point.”\u003c/p>\n\u003cp>The folks over at the \u003ca href=\"http://www.thedailybeast.com/galleries/2011/11/02/charlie-hebdo-french-satire-magazine-s-shocking-covers-photos.html#78cc5a13-e7f3-4428-b0ff-a53e4d42d8f9\" target=\"_blank\" rel=\"noopener\">Daily Beast\u003c/a> have put together a slideshow of some of the magazine’s most controversial covers. You can find that \u003ca href=\"http://www.thedailybeast.com/galleries/2011/11/02/charlie-hebdo-french-satire-magazine-s-shocking-covers-photos.html#78cc5a13-e7f3-4428-b0ff-a53e4d42d8f9\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>The magazine has its roots in the 1960s, when many of its journalists worked at another satirical magazine, called \u003cem>Hara-Kiri\u003c/em>.\u003c/p>\n\u003cp>That magazine was banned after it published \u003ca href=\"http://www.ladepeche.fr/article/2011/11/03/1207143-de-hara-kiri-a-charlie-plus-de-40-ans-de-provocations.html\" target=\"_blank\" rel=\"noopener\">a mocking headline\u003c/a> in 1970 following two events that dominated the news at the time: the death of French President Charles de Gaulle and a fire at a discotheque that killed more than 100 people. In response, its staff started \u003cem>Charlie Hebdo\u003c/em>, the “Charlie” an apparent reference to the character from the Peanuts comic strip, which the magazine printed in its pages.\u003c/p>\n\u003cp>It’s important to note here that the magazine’s influence has gone far beyond its limited circulation. In fact, it has been in financial trouble. Its website \u003ca href=\"http://www.charliehebdo.fr/news/charlie-est-en-danger-107213.html\">noted today\u003c/a> that it needed to find ways to continue to exist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Financial worries aren’t new. It previously closed in 1981 because it ran out of money. The magazine was revived a decade later and continued publication — with its mixture of polemic wit and satire, offensive or hilarious depending on your point of view — until the attack on its offices today. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Charlie+Hebdo%2C%27+A+Magazine+Of+Satire%2C+Mocks+Politics%2C+Religion&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Charlie Hebdo\u003c/em>, the satirical French magazine that was \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/07/375561888/10-dead-after-shootout-at-satirical-magazines-office-in-paris\" target=\"_blank\" rel=\"noopener\">the target of a deadly attack today\u003c/a>, is part of \u003ca href=\"http://www.bbc.com/news/world-europe-15551998\" target=\"_blank\" rel=\"noopener\">a long tradition of French satire\u003c/a> dating to the days before the French Revolution.\u003c/p>\n\u003cp>The left-wing magazine is known for its biting takedowns. Its past targets include the political right wing, capitalism, Christianity, Judaism and Islam.\u003c/p>\n\u003cp>It most recently came to the world’s attention when \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2012/09/19/161394146/france-on-alert-closing-embassies-after-magazine-publishes-muhammad-cartoons\" target=\"_blank\" rel=\"noopener\">it published cartoons of Islam’s Prophet Muhammad\u003c/a> soon after the deadly 2012 attack on the U.S. consulate in Benghazi that killed Chris Stevens, the U.S. ambassador to Libya. Initially, it was thought that an anti-Islam film had fanned the violence. The magazine, in its cartoons, referred to that film. At the time, editor Stephane Charbonnier said the cartoons would “shock those who want to be shocked.”\u003c/p>\n\u003cp>Many Muslims consider the depiction of their prophet to be blasphemous.\u003c/p>\n\u003cp>A year earlier, \u003cem>Charlie Hebdo’s \u003c/em>\u003ca href=\"http://www.npr.org/blogs/thetwo-way/2011/11/02/141928567/french-newspaper-firebombed-after-satire-involving-prophet-muhammad\" target=\"_blank\" rel=\"noopener\">offices were firebombed\u003c/a> after it published an issue that invited the Prophet Muhammad to be guest editor; the issue included an article about what a soft version of Sharia might look like. The magazine was renamed \u003cem>Charia Hebdo\u003c/em> for the issue, and its cover included an image of the prophet with the line, “A thousand lashes if you don’t die laughing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The magazine was also part of the controversy over the publication in 2005 by the Danish newspaper \u003cem>Jyllands-Posten\u003c/em> of cartoons depicting Islam’s prophet. The newspaper said the decision to publish the 12 editorial cartoons would contribute to the debate over Islam and free speech. The move resulted in violent protests worldwide and threats against \u003cem>Jyllands-Posten\u003c/em>. In solidarity, \u003cem>Charlie Hebdo \u003c/em>reprinted the 12 cartoons in 2006. Its headline for the feature was “Muhammad Overwhelmed By Fundamentalists.”\u003c/p>\n\u003cp>Jacques Chirac, then-president of France, condemned what he called the magazine’s “overt provocation.” The magazine and then-editor Philippe Val were accused of insulting Muslims, \u003ca href=\"http://news.bbc.co.uk/2/hi/6479673.stm\" target=\"_blank\" rel=\"noopener\">but a French court ultimately ruled\u003c/a> that the cartoons were covered by France’s laws on freedom of expression.\u003c/p>\n\u003cp>The BBC offers a rundown of what else \u003cem>Charlie Hebdo\u003c/em> printed: “Police would be shown holding the dripping heads of immigrants; there would be masturbating nuns; popes wearing condoms — anything to make a point.”\u003c/p>\n\u003cp>The folks over at the \u003ca href=\"http://www.thedailybeast.com/galleries/2011/11/02/charlie-hebdo-french-satire-magazine-s-shocking-covers-photos.html#78cc5a13-e7f3-4428-b0ff-a53e4d42d8f9\" target=\"_blank\" rel=\"noopener\">Daily Beast\u003c/a> have put together a slideshow of some of the magazine’s most controversial covers. You can find that \u003ca href=\"http://www.thedailybeast.com/galleries/2011/11/02/charlie-hebdo-french-satire-magazine-s-shocking-covers-photos.html#78cc5a13-e7f3-4428-b0ff-a53e4d42d8f9\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>The magazine has its roots in the 1960s, when many of its journalists worked at another satirical magazine, called \u003cem>Hara-Kiri\u003c/em>.\u003c/p>\n\u003cp>That magazine was banned after it published \u003ca href=\"http://www.ladepeche.fr/article/2011/11/03/1207143-de-hara-kiri-a-charlie-plus-de-40-ans-de-provocations.html\" target=\"_blank\" rel=\"noopener\">a mocking headline\u003c/a> in 1970 following two events that dominated the news at the time: the death of French President Charles de Gaulle and a fire at a discotheque that killed more than 100 people. In response, its staff started \u003cem>Charlie Hebdo\u003c/em>, the “Charlie” an apparent reference to the character from the Peanuts comic strip, which the magazine printed in its pages.\u003c/p>\n\u003cp>It’s important to note here that the magazine’s influence has gone far beyond its limited circulation. In fact, it has been in financial trouble. Its website \u003ca href=\"http://www.charliehebdo.fr/news/charlie-est-en-danger-107213.html\">noted today\u003c/a> that it needed to find ways to continue to exist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Financial worries aren’t new. It previously closed in 1981 because it ran out of money. The magazine was revived a decade later and continued publication — with its mixture of polemic wit and satire, offensive or hilarious depending on your point of view — until the attack on its offices today. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Charlie+Hebdo%2C%27+A+Magazine+Of+Satire%2C+Mocks+Politics%2C+Religion&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "BART Gallery Pt. 1: Take the Train to Oakland's Art Boom",
"headTitle": "BART Gallery Pt. 1: Take the Train to Oakland’s Art Boom | KQED",
"content": "\u003cp>Want to escape the crush of First Fridays and still spend some quality time with the Oakland art scene? Whether you dwell in 94704 or 94110, a web of art spaces, from commercial galleries to nomadic projects, is just a BART ride away. So top up your Clipper card, hop on a train and take a ride to bask in the rich visual culture on the bright side of the Bay.\u003c/p>\n\u003ch2>12th St BART\u003c/h2>\n\u003cfigure id=\"attachment_10280872\" class=\"wp-caption alignright\" style=\"max-width: 483px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/proarts.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/proarts.jpg\" alt=\"Works by Rhonda Holberton, 2014; Courtesy Pro Arts, Oakland \" width=\"483\" height=\"640\" class=\"size-full wp-image-10280872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/proarts.jpg 483w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/proarts-400x530.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/proarts-452x600.jpg 452w\" sizes=\"(max-width: 483px) 100vw, 483px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Works by Rhonda Holberton, 2014; Courtesy Pro Arts, Oakland\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003ch3>Pro Arts\u003c/h3>\n\u003ch5>150 Frank H Ogawa Plaza\u003cbr>\n\u003ca href=\"http://proartsgallery.org\" target=\"_blank\" rel=\"noopener\">proartsgallery.org\u003c/a>\u003c/h5>\n\u003cp>This nonprofit space looking out on Frank H. Ogawa Plaza is an important launching pad for some of the most exciting up-and-coming Bay Area artists, especially via their \u003cb>2 x 2 Solos\u003c/b> series, exhibitions not to be missed. Pro Arts provides not just exposure, but artist services (organized open studios weekends and opportunity listings) and conducts an education program, offering over 700 art classes to local youth each year. In January, Pro Arts hosts \u003cb>2015 Re-Create Art Contest\u003c/b>, Oakland’s annual recycled art competition for grade-school artists.\u003c/p>\n\u003ch3>Shadow Office\u003c/h3>\n\u003ch5>308 15th Street\u003cbr>\n\u003ca href=\"http://shadowoffice.org/\" target=\"_blank\" rel=\"noopener\">shadowoffice.org\u003c/a>\u003c/h5>\n\u003cp>Run by the collaborative group Shipping + Receiving (a quartet of “interdisciplinary artists, writers, designers, food and drink people”), Shadow Office is a hybrid storefront space. In an all-too familiar story, the organizers were evicted from their former live-work warehouse, their building slated for demolition and future condo development. What is now Shadow Office opened up at just the right time, bringing with it the opportunity to put on experimental programming. “There is a lot of good energy on the block and we’re stoked to be part of it,” wrote Torreya Cummings last year. Their eclectic offerings have thus far included a pig roast, a ceramics sale, a free cat petting zoo and an exhibition of nautical-themed embroidery pieces.\u003c/p>\n\u003cfigure id=\"attachment_10280758\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/citylimits.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/citylimits.jpg\" alt=\"Tamra Seal, Bubbles; Courtesy City Limits Gallery, Oakland\" width=\"640\" height=\"480\" class=\"size-full wp-image-10280758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/citylimits.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/citylimits-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tamra Seal, \u003ci>Bubbles\u003c/i>; Courtesy City Limits Gallery, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>City Limits\u003c/h3>\n\u003ch5>300 Jefferson Street\u003cbr>\n\u003ca href=\"http://citylimitsgallery.com/\" target=\"_blank\" rel=\"noopener\">citylimitsgallery.com\u003c/a>\u003c/h5>\n\u003cp>This bright artist-run space perched on the edge of Jack London Square is an energetic and youthful gallery. With a brand-new flat files program and a fluid approach to exhibition making, the community around the gallery is a vibrant and optimistic one. Showcasing sculpture, painting, installations, video and photographic works, each visit to City Limits is a completely different experience. This is one of those outlier spaces most lively on opening nights or First Fridays, but co-directors Evan Reiser and Stephanie Rohlfs maintain regular Saturday hours for the weekend gallery goer.\u003c/p>\n\u003ch2>19th St BART\u003c/h2>\n\u003cfigure id=\"attachment_10280869\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/cringe.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/cringe.jpg\" alt=\"Rachel Yurkovich, Still from Five-Second Rule; Courtesy Aggregate Space\" width=\"640\" height=\"294\" class=\"size-full wp-image-10280869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/cringe.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/cringe-400x183.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rachel Yurkovich, Still from \u003ci>Five-Second Rule\u003c/i>; Courtesy Aggregate Space\u003c/figcaption>\u003c/figure>\n\u003ch3>Aggregate Space\u003c/h3>\n\u003ch5>801 W Grand Avenue\u003cbr>\n\u003ca href=\"http://www.aggregatespace.com/\" target=\"_blank\" rel=\"noopener\">aggregatespace.com\u003c/a>\u003c/h5>\n\u003cp>This sleek warehouse gallery space is run by co-founders Conrad M. Meyers II and S D Willis with a writing residency directed by Steffi Drewes. Its street entrance does little to prepare visitors for what’s inside: 15-foot ceilings, a fabrication shop, darkroom and screening lounge replete with theater seating. Dedicated to showcasing emerging local artists across media, Aggregate Space hosts exhibitions, artist talks, chapbook releases and film screenings, maintaining a full schedule of programming with the help of curatorial interns. They’ll start the year with a juried video show, \u003cb>Cringe\u003c/b>, featuring work by 9 artists selected from over 100 submissions.\u003c/p>\n\u003cfigure id=\"attachment_10280988\" class=\"wp-caption alignright\" style=\"max-width: 512px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/colosky.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/colosky.jpg\" alt=\"Randy Colosky, Slab #3, 2014; Courtesy of Chandra Cerrito Contemporary, Oakland\" width=\"512\" height=\"640\" class=\"size-full wp-image-10280988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/colosky.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/colosky-400x500.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/colosky-480x600.jpg 480w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Randy Colosky, \u003ci>Slab #3\u003c/i>, 2014; Courtesy of Chandra Cerrito Contemporary, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>Chandra Cerrito Contemporary\u003c/h3>\n\u003ch5>480 23rd Street\u003cbr>\n\u003ca href=\"http://chandracerritocontemporary.com/\" target=\"_blank\" rel=\"noopener\">chandracerritocontemporary.com\u003c/a>\u003c/h5>\n\u003cp>Chandra Cerrito Contemporary has come a long way from its humble 2007 beginnings on the mezzanine of Mercury 20 Gallery’s former Grand Avenue space. Actually, only two short blocks, but the current accommodations are a tad roomier. From Randy Colosky’s engineered ceramics to Amy M. Ho’s illusory architectural spaces, the gallery doesn’t shy away from thought-provoking installations. In fact, Chandra Cerrito represents an impressive number of sculptors at a time when 2D works are a safer bet for sales. Stop by for the ambitious shows and to peruse the Collectors Editions, affordable “limited edition and serial small works by gallery artists.”\u003c/p>\n\u003cfigure id=\"attachment_10280749\" class=\"wp-caption alignright\" style=\"max-width: 474px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/judithscott.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/judithscott.jpg\" alt=\"Judith Scott, Untitled, 2003; Photo courtesy of Creative Growth Art Center, Oakland\" width=\"474\" height=\"640\" class=\"size-full wp-image-10280749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/judithscott.jpg 474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/judithscott-400x540.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/judithscott-444x600.jpg 444w\" sizes=\"(max-width: 474px) 100vw, 474px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Judith Scott, \u003ci>Untitled\u003c/i>, 2003; Photo courtesy of Creative Growth Art Center, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>Creative Growth Art Center\u003c/h3>\n\u003ch5>355 24th Street\u003cbr>\n\u003ca href=\"http://creativegrowth.org/\" target=\"_blank\" rel=\"noopener\">creativegrowth.org\u003c/a>\u003c/h5>\n\u003cp>Serving artists with developmental disabilities, Creative Growth provides not only resources and services to their community of talented artists, but a gallery space showcasing seven well-considered exhibitions a year. The art center just celebrated its 40th year as the “oldest and largest” organization of its kind. For anyone seeking a break from the mundane, a visit to Creative Growth provides a refreshing jolt of the unexpected: colliding colors, material experimentation, energy harnessed into exciting mark making. Serving “approximately 150 clients from around the Bay Area,” Creative Growth is a must-stop on any gallery tour.\u003c/p>\n\u003cfigure id=\"attachment_10280502\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/johansson.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/johansson.jpg\" alt=\"Jennie Ottinger, White and Tan Head, 2014; Courtesy J\" width=\"640\" height=\"642\" class=\"size-full wp-image-10280502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-598x600.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennie Ottinger, \u003ci>White and Tan Head\u003c/i>, 2014; Courtesy Johansson Projects\u003c/figcaption>\u003c/figure>\n\u003ch3>Johansson Projects\u003c/h3>\n\u003ch5>2300 Telegraph Avenue\u003cbr>\n\u003ca href=\"http://johanssonprojects.com/\" target=\"_blank\" rel=\"noopener\">johanssonprojects.com\u003c/a>\u003c/h5>\n\u003cp>At the corner of Telegraph and 23rd, Johansson Projects’ elegant archways provide portals for sunlight-suffused exhibitions. Always eminently professional, this commercial space puts on shows of both well-known Bay Area artists (Michael Arcega, Alicia McCarthy) and recent MFA grads whose careers are on the rise (Margo Wolowiec, Jenny Sharaf). The 2015 season opens with an exhibition of paintings and sculptures by Jennie Ottinger on January 10, \u003cb>Letters to the Predator\u003c/b>.\u003c/p>\n\u003cfigure id=\"attachment_10280618\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED.jpg\" alt=\"Sylvia Fein, Together For Ever, 2013; Photo by Nick Pishvanov, courtesy of the artist and Krowswork, Oakland \" width=\"640\" height=\"483\" class=\"size-full wp-image-10280618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED-400x301.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sylvia Fein, \u003ci>Together For Ever\u003c/i>, 2013; Photo by Nick Pishvanov, courtesy of the artist and Krowswork, Oakland\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003ch3>Krowswork\u003c/h3>\n\u003ch5>480 23rd Street (side street entrance)\u003cbr>\n\u003ca href=\"http://www.krowswork.com/\" target=\"_blank\" rel=\"noopener\">krowswork.com\u003c/a>\u003c/h5>\n\u003cp>Krowswork just turned five years old, a remarkable fact alone. Director Jasmine Moorhead originally focused on contemporary video and photographic work, but now brings all media into her expansive gallery space. Krowswork’s programming is especially unique in its retrospectives of under-recognized artists (including Sylvia Fein and Jack Wright) whose lives are richly intertwined with the history of Northern California art. The gallery’s rigorous academic approach produces exhibitions that are neither staid nor didactic, but deeply informative and engaging. Also, it \u003cem>must\u003c/em> be noted that Krowswork is a palindrome.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Editor’s Note:\u003c/b> We corrected this post after being informed that Aggregate Space was actually closer to the 19th Street BART Station.\u003c/p>\n\n",
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"excerpt": "While the climate has become more challenging for local art galleries in San Francisco, the East Bay art scene is booming. This is the first in our handy guide to art close to BART.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Want to escape the crush of First Fridays and still spend some quality time with the Oakland art scene? Whether you dwell in 94704 or 94110, a web of art spaces, from commercial galleries to nomadic projects, is just a BART ride away. So top up your Clipper card, hop on a train and take a ride to bask in the rich visual culture on the bright side of the Bay.\u003c/p>\n\u003ch2>12th St BART\u003c/h2>\n\u003cfigure id=\"attachment_10280872\" class=\"wp-caption alignright\" style=\"max-width: 483px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/proarts.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/proarts.jpg\" alt=\"Works by Rhonda Holberton, 2014; Courtesy Pro Arts, Oakland \" width=\"483\" height=\"640\" class=\"size-full wp-image-10280872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/proarts.jpg 483w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/proarts-400x530.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/proarts-452x600.jpg 452w\" sizes=\"(max-width: 483px) 100vw, 483px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Works by Rhonda Holberton, 2014; Courtesy Pro Arts, Oakland\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003ch3>Pro Arts\u003c/h3>\n\u003ch5>150 Frank H Ogawa Plaza\u003cbr>\n\u003ca href=\"http://proartsgallery.org\" target=\"_blank\" rel=\"noopener\">proartsgallery.org\u003c/a>\u003c/h5>\n\u003cp>This nonprofit space looking out on Frank H. Ogawa Plaza is an important launching pad for some of the most exciting up-and-coming Bay Area artists, especially via their \u003cb>2 x 2 Solos\u003c/b> series, exhibitions not to be missed. Pro Arts provides not just exposure, but artist services (organized open studios weekends and opportunity listings) and conducts an education program, offering over 700 art classes to local youth each year. In January, Pro Arts hosts \u003cb>2015 Re-Create Art Contest\u003c/b>, Oakland’s annual recycled art competition for grade-school artists.\u003c/p>\n\u003ch3>Shadow Office\u003c/h3>\n\u003ch5>308 15th Street\u003cbr>\n\u003ca href=\"http://shadowoffice.org/\" target=\"_blank\" rel=\"noopener\">shadowoffice.org\u003c/a>\u003c/h5>\n\u003cp>Run by the collaborative group Shipping + Receiving (a quartet of “interdisciplinary artists, writers, designers, food and drink people”), Shadow Office is a hybrid storefront space. In an all-too familiar story, the organizers were evicted from their former live-work warehouse, their building slated for demolition and future condo development. What is now Shadow Office opened up at just the right time, bringing with it the opportunity to put on experimental programming. “There is a lot of good energy on the block and we’re stoked to be part of it,” wrote Torreya Cummings last year. Their eclectic offerings have thus far included a pig roast, a ceramics sale, a free cat petting zoo and an exhibition of nautical-themed embroidery pieces.\u003c/p>\n\u003cfigure id=\"attachment_10280758\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/citylimits.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/citylimits.jpg\" alt=\"Tamra Seal, Bubbles; Courtesy City Limits Gallery, Oakland\" width=\"640\" height=\"480\" class=\"size-full wp-image-10280758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/citylimits.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/citylimits-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tamra Seal, \u003ci>Bubbles\u003c/i>; Courtesy City Limits Gallery, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>City Limits\u003c/h3>\n\u003ch5>300 Jefferson Street\u003cbr>\n\u003ca href=\"http://citylimitsgallery.com/\" target=\"_blank\" rel=\"noopener\">citylimitsgallery.com\u003c/a>\u003c/h5>\n\u003cp>This bright artist-run space perched on the edge of Jack London Square is an energetic and youthful gallery. With a brand-new flat files program and a fluid approach to exhibition making, the community around the gallery is a vibrant and optimistic one. Showcasing sculpture, painting, installations, video and photographic works, each visit to City Limits is a completely different experience. This is one of those outlier spaces most lively on opening nights or First Fridays, but co-directors Evan Reiser and Stephanie Rohlfs maintain regular Saturday hours for the weekend gallery goer.\u003c/p>\n\u003ch2>19th St BART\u003c/h2>\n\u003cfigure id=\"attachment_10280869\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/cringe.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/cringe.jpg\" alt=\"Rachel Yurkovich, Still from Five-Second Rule; Courtesy Aggregate Space\" width=\"640\" height=\"294\" class=\"size-full wp-image-10280869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/cringe.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/cringe-400x183.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rachel Yurkovich, Still from \u003ci>Five-Second Rule\u003c/i>; Courtesy Aggregate Space\u003c/figcaption>\u003c/figure>\n\u003ch3>Aggregate Space\u003c/h3>\n\u003ch5>801 W Grand Avenue\u003cbr>\n\u003ca href=\"http://www.aggregatespace.com/\" target=\"_blank\" rel=\"noopener\">aggregatespace.com\u003c/a>\u003c/h5>\n\u003cp>This sleek warehouse gallery space is run by co-founders Conrad M. Meyers II and S D Willis with a writing residency directed by Steffi Drewes. Its street entrance does little to prepare visitors for what’s inside: 15-foot ceilings, a fabrication shop, darkroom and screening lounge replete with theater seating. Dedicated to showcasing emerging local artists across media, Aggregate Space hosts exhibitions, artist talks, chapbook releases and film screenings, maintaining a full schedule of programming with the help of curatorial interns. They’ll start the year with a juried video show, \u003cb>Cringe\u003c/b>, featuring work by 9 artists selected from over 100 submissions.\u003c/p>\n\u003cfigure id=\"attachment_10280988\" class=\"wp-caption alignright\" style=\"max-width: 512px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/colosky.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/colosky.jpg\" alt=\"Randy Colosky, Slab #3, 2014; Courtesy of Chandra Cerrito Contemporary, Oakland\" width=\"512\" height=\"640\" class=\"size-full wp-image-10280988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/colosky.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/colosky-400x500.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/colosky-480x600.jpg 480w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Randy Colosky, \u003ci>Slab #3\u003c/i>, 2014; Courtesy of Chandra Cerrito Contemporary, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>Chandra Cerrito Contemporary\u003c/h3>\n\u003ch5>480 23rd Street\u003cbr>\n\u003ca href=\"http://chandracerritocontemporary.com/\" target=\"_blank\" rel=\"noopener\">chandracerritocontemporary.com\u003c/a>\u003c/h5>\n\u003cp>Chandra Cerrito Contemporary has come a long way from its humble 2007 beginnings on the mezzanine of Mercury 20 Gallery’s former Grand Avenue space. Actually, only two short blocks, but the current accommodations are a tad roomier. From Randy Colosky’s engineered ceramics to Amy M. Ho’s illusory architectural spaces, the gallery doesn’t shy away from thought-provoking installations. In fact, Chandra Cerrito represents an impressive number of sculptors at a time when 2D works are a safer bet for sales. Stop by for the ambitious shows and to peruse the Collectors Editions, affordable “limited edition and serial small works by gallery artists.”\u003c/p>\n\u003cfigure id=\"attachment_10280749\" class=\"wp-caption alignright\" style=\"max-width: 474px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/judithscott.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/judithscott.jpg\" alt=\"Judith Scott, Untitled, 2003; Photo courtesy of Creative Growth Art Center, Oakland\" width=\"474\" height=\"640\" class=\"size-full wp-image-10280749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/judithscott.jpg 474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/judithscott-400x540.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/judithscott-444x600.jpg 444w\" sizes=\"(max-width: 474px) 100vw, 474px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Judith Scott, \u003ci>Untitled\u003c/i>, 2003; Photo courtesy of Creative Growth Art Center, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>Creative Growth Art Center\u003c/h3>\n\u003ch5>355 24th Street\u003cbr>\n\u003ca href=\"http://creativegrowth.org/\" target=\"_blank\" rel=\"noopener\">creativegrowth.org\u003c/a>\u003c/h5>\n\u003cp>Serving artists with developmental disabilities, Creative Growth provides not only resources and services to their community of talented artists, but a gallery space showcasing seven well-considered exhibitions a year. The art center just celebrated its 40th year as the “oldest and largest” organization of its kind. For anyone seeking a break from the mundane, a visit to Creative Growth provides a refreshing jolt of the unexpected: colliding colors, material experimentation, energy harnessed into exciting mark making. Serving “approximately 150 clients from around the Bay Area,” Creative Growth is a must-stop on any gallery tour.\u003c/p>\n\u003cfigure id=\"attachment_10280502\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/johansson.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/johansson.jpg\" alt=\"Jennie Ottinger, White and Tan Head, 2014; Courtesy J\" width=\"640\" height=\"642\" class=\"size-full wp-image-10280502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-598x600.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennie Ottinger, \u003ci>White and Tan Head\u003c/i>, 2014; Courtesy Johansson Projects\u003c/figcaption>\u003c/figure>\n\u003ch3>Johansson Projects\u003c/h3>\n\u003ch5>2300 Telegraph Avenue\u003cbr>\n\u003ca href=\"http://johanssonprojects.com/\" target=\"_blank\" rel=\"noopener\">johanssonprojects.com\u003c/a>\u003c/h5>\n\u003cp>At the corner of Telegraph and 23rd, Johansson Projects’ elegant archways provide portals for sunlight-suffused exhibitions. Always eminently professional, this commercial space puts on shows of both well-known Bay Area artists (Michael Arcega, Alicia McCarthy) and recent MFA grads whose careers are on the rise (Margo Wolowiec, Jenny Sharaf). The 2015 season opens with an exhibition of paintings and sculptures by Jennie Ottinger on January 10, \u003cb>Letters to the Predator\u003c/b>.\u003c/p>\n\u003cfigure id=\"attachment_10280618\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED.jpg\" alt=\"Sylvia Fein, Together For Ever, 2013; Photo by Nick Pishvanov, courtesy of the artist and Krowswork, Oakland \" width=\"640\" height=\"483\" class=\"size-full wp-image-10280618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED-400x301.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sylvia Fein, \u003ci>Together For Ever\u003c/i>, 2013; Photo by Nick Pishvanov, courtesy of the artist and Krowswork, Oakland\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003ch3>Krowswork\u003c/h3>\n\u003ch5>480 23rd Street (side street entrance)\u003cbr>\n\u003ca href=\"http://www.krowswork.com/\" target=\"_blank\" rel=\"noopener\">krowswork.com\u003c/a>\u003c/h5>\n\u003cp>Krowswork just turned five years old, a remarkable fact alone. Director Jasmine Moorhead originally focused on contemporary video and photographic work, but now brings all media into her expansive gallery space. Krowswork’s programming is especially unique in its retrospectives of under-recognized artists (including Sylvia Fein and Jack Wright) whose lives are richly intertwined with the history of Northern California art. The gallery’s rigorous academic approach produces exhibitions that are neither staid nor didactic, but deeply informative and engaging. Also, it \u003cem>must\u003c/em> be noted that Krowswork is a palindrome.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Editor’s Note:\u003c/b> We corrected this post after being informed that Aggregate Space was actually closer to the 19th Street BART Station.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Picturing the First Boom: Images of Gold Rush San Francisco",
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"content": "\u003cp>\u003cspan>B\u003c/span>etween 1848 and 1852, San Francisco exploded from a town of just over 800 people to a port city of about 35,000 people. Among those who flocked to the city, which served as immigrants’ main gateway to newly discovered gold fields in the Sierra Nevada foothills. Illustrators, photographers and mapmakers \u003ca href=\"http://ww2.kqed.org/news/2015/01/06/pictures-of-gold-rush-san-francisco\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/01/06/pictures-of-gold-rush-san-francisco\" target=\"_self\" title=\"Picturing the First Boom: Images of Gold Rush San Francisco\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cspan>B\u003c/span>y now, the Bay Area has seen the arrival of hundreds of thousands, maybe millions, of young seekers like Richard Henry Dana. \u003c/p>\n\u003cp>Dana was a college undergraduate who left school in a crisis, taking a radical course in his search for answers about who he was and what he might \u003ca href=\"http://ww2.kqed.org/news/2015/01/06/boomtown-history-san-francisco-gold-rush\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/01/06/boomtown-history-san-francisco-gold-rush\" target=\"_self\" title=\"Boomtown History: From Vast Solitude to a World Rushing In\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan>B\u003c/span>y now, the Bay Area has seen the arrival of hundreds of thousands, maybe millions, of young seekers like Richard Henry Dana. \u003c/p>\n\u003cp>Dana was a college undergraduate who left school in a crisis, taking a radical course in his search for answers about who he was and what he might \u003ca href=\"http://ww2.kqed.org/news/2015/01/06/boomtown-history-san-francisco-gold-rush\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/01/06/boomtown-history-san-francisco-gold-rush\" target=\"_self\" title=\"Boomtown History: From Vast Solitude to a World Rushing In\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Bay Area dance world lost one of its all-time greats this weekend with the sudden passing of Chitresh Das, master of the classical Indian dance form known as Kathak.\u003c/p>\n\u003cp>Das was an ecstatic presence, wild-eyed and haired, still performing his athletically demanding style of dance — with its 10 pounds of bells on each ankle and its rapid-fire foot-stampings — into his 70th year. Over the past decade it had become one of Das’ chief delights to test the physical virtuosity and musical sophistication of Kathak against other dance traditions. Last September, he appeared at the Palace of Fine Arts Theatre, soaked in sweat, in a friendly showdown with flamenco dancer Antonio Hidalgo Paz. His evening-length show with tap dancer Jason Samuels Smith, “India Jazz Suites,” was a critical and popular hit and toured the country. (Their performances together are\u003ca href=\"https://vimeo.com/80965715\"> documented in the film \u003cem>Upaj\u003c/em>\u003c/a>\u003cem>,\u003c/em> which means “improvise” in Hindi and aired on PBS last year.) In my own estimation, Das was always the winner of these cross-cultural contests.\u003c/p>\n\u003cp>[sc:jwspark movie=\"chitreshda\" image_url=\"http://www.kqed.org/assets/img/arts/programs/spark/artists/chitreshda-headshot.jpg\" ]\u003c/p>\n\u003cp>View Spark segment on Pandit Chitresh Das. Original air date: May 2007.\u003c/p>\n\u003cp>He was trained by his parents and his guru, Pandit Ram Narayan Misra, in his native Kolkata, and first came to the US on a fellowship to the University of Maryland. In 1971 he came to San Rafael to teach at the Ali Akbar College of Music, and a few years later created the first college-accredited Kathak course, at San Francisco State University. In Marin and at SFSU, he attracted what he joked was his “rainbow coalition:” women from a range of ethnicities who found a lifelong calling as his disciples, undergoing deep vows of apprenticeship. Many of these disciples, like Chalotte Moraga and Farah Yasmeen Shaikh, have become mesmerizing performers in their own right. In addition to dancing as the Chitresh Das Dance Company, these dancers pass on his example of complete life commitment to students at Das’ \u003ca href=\"http://www.kathak.org/site/kathak/section.php?id=4174\">Chhandam School of Kathak\u003c/a>, which he founded in 1979, opening a branch in India in 2002. Chhandam now has ten branches and 550 students.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kathak, one of India’s eight classical dance forms, derives its name from the \u003cem>kathakas,\u003c/em> who would travel among Mughal Courts in the 16\u003csup>th\u003c/sup> century reenacting tales from the Ramayana and other Hindu texts. Though Das worked most deeply as an innovator of pure musicality — he developed a training method he dubbed “Kathak Yoga,” in which the dancer rises to a higher state of concentration by stamping rhythms, singing and playing the harmonium — I remember him most vividly as a storyteller. To see him transform from the manly guise of the Hindu deity Krishna into a seductive female admirer with just the coy rising of his eyebrow was to experience both Das’ mischievous personality and his deep understanding of human nature.\u003c/p>\n\u003cp>Like the Kathak spectacles in the Mughal Courts, Das’ performances could go on for hours, punctuated by long breaks during which he explained the intricacies of a rhythmic challenge or told the Hindu story he was about to enact, always speaking teasingly and with laughter. In press interviews, too — I was fortunate to interview him several times — he would talk tirelessly about the history of his art and the spiritual dimensions of his practice. In every interview, he would tell me how badly he wanted to stage a performance with the San Francisco Ballet, pitting his dancers’ dervish-like spins against the ballerinas’ pirouettes. He never got to do it, but he didn’t really need to. Over five decades of boundless advocacy, he educated, enchanted, inspired — and proved his art form the equal to any in the world.\u003c/p>\n\u003cp>Chitresh Das leaves behind his wife, Celine Schein, executive director of the school and dance company, and two young daughters. His community is committed to carrying on: the Chitresh Das Dance Company will dance one of Das’ last evening-length dramas, \u003ca href=\"http://events.berkeley.edu/?event_ID=80755&date=2015-03-29&tab=performing_arts\">“Shiva,” at UC Berkeley in March\u003c/a>. A memorial is scheduled for Friday, January 9th at 10 am, at the \u003ca href=\"https://www.google.com/maps/place/2500+5th+Ave,+San+Rafael,+CA+94901/@37.9866711,-122.5552087,17z/data=!3m1!4b1!4m2!3m1!1s0x8085976df1364c07:0x876d3fd0b1d47806\">Mount Tamalpais Mortuary and Cemetery\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area dance world lost one of its all-time greats this weekend with the sudden passing of Chitresh Das, master of the classical Indian dance form known as Kathak.\u003c/p>\n\u003cp>Das was an ecstatic presence, wild-eyed and haired, still performing his athletically demanding style of dance — with its 10 pounds of bells on each ankle and its rapid-fire foot-stampings — into his 70th year. Over the past decade it had become one of Das’ chief delights to test the physical virtuosity and musical sophistication of Kathak against other dance traditions. Last September, he appeared at the Palace of Fine Arts Theatre, soaked in sweat, in a friendly showdown with flamenco dancer Antonio Hidalgo Paz. His evening-length show with tap dancer Jason Samuels Smith, “India Jazz Suites,” was a critical and popular hit and toured the country. (Their performances together are\u003ca href=\"https://vimeo.com/80965715\"> documented in the film \u003cem>Upaj\u003c/em>\u003c/a>\u003cem>,\u003c/em> which means “improvise” in Hindi and aired on PBS last year.) In my own estimation, Das was always the winner of these cross-cultural contests.\u003c/p>\n\u003cp>[sc:jwspark movie=\"chitreshda\" image_url=\"http://www.kqed.org/assets/img/arts/programs/spark/artists/chitreshda-headshot.jpg\" ]\u003c/p>\n\u003cp>View Spark segment on Pandit Chitresh Das. Original air date: May 2007.\u003c/p>\n\u003cp>He was trained by his parents and his guru, Pandit Ram Narayan Misra, in his native Kolkata, and first came to the US on a fellowship to the University of Maryland. In 1971 he came to San Rafael to teach at the Ali Akbar College of Music, and a few years later created the first college-accredited Kathak course, at San Francisco State University. In Marin and at SFSU, he attracted what he joked was his “rainbow coalition:” women from a range of ethnicities who found a lifelong calling as his disciples, undergoing deep vows of apprenticeship. Many of these disciples, like Chalotte Moraga and Farah Yasmeen Shaikh, have become mesmerizing performers in their own right. In addition to dancing as the Chitresh Das Dance Company, these dancers pass on his example of complete life commitment to students at Das’ \u003ca href=\"http://www.kathak.org/site/kathak/section.php?id=4174\">Chhandam School of Kathak\u003c/a>, which he founded in 1979, opening a branch in India in 2002. Chhandam now has ten branches and 550 students.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kathak, one of India’s eight classical dance forms, derives its name from the \u003cem>kathakas,\u003c/em> who would travel among Mughal Courts in the 16\u003csup>th\u003c/sup> century reenacting tales from the Ramayana and other Hindu texts. Though Das worked most deeply as an innovator of pure musicality — he developed a training method he dubbed “Kathak Yoga,” in which the dancer rises to a higher state of concentration by stamping rhythms, singing and playing the harmonium — I remember him most vividly as a storyteller. To see him transform from the manly guise of the Hindu deity Krishna into a seductive female admirer with just the coy rising of his eyebrow was to experience both Das’ mischievous personality and his deep understanding of human nature.\u003c/p>\n\u003cp>Like the Kathak spectacles in the Mughal Courts, Das’ performances could go on for hours, punctuated by long breaks during which he explained the intricacies of a rhythmic challenge or told the Hindu story he was about to enact, always speaking teasingly and with laughter. In press interviews, too — I was fortunate to interview him several times — he would talk tirelessly about the history of his art and the spiritual dimensions of his practice. In every interview, he would tell me how badly he wanted to stage a performance with the San Francisco Ballet, pitting his dancers’ dervish-like spins against the ballerinas’ pirouettes. He never got to do it, but he didn’t really need to. Over five decades of boundless advocacy, he educated, enchanted, inspired — and proved his art form the equal to any in the world.\u003c/p>\n\u003cp>Chitresh Das leaves behind his wife, Celine Schein, executive director of the school and dance company, and two young daughters. His community is committed to carrying on: the Chitresh Das Dance Company will dance one of Das’ last evening-length dramas, \u003ca href=\"http://events.berkeley.edu/?event_ID=80755&date=2015-03-29&tab=performing_arts\">“Shiva,” at UC Berkeley in March\u003c/a>. A memorial is scheduled for Friday, January 9th at 10 am, at the \u003ca href=\"https://www.google.com/maps/place/2500+5th+Ave,+San+Rafael,+CA+94901/@37.9866711,-122.5552087,17z/data=!3m1!4b1!4m2!3m1!1s0x8085976df1364c07:0x876d3fd0b1d47806\">Mount Tamalpais Mortuary and Cemetery\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'States of Grace' Documents Roller-Coaster Healing Process",
"headTitle": "‘States of Grace’ Documents Roller-Coaster Healing Process | KQED",
"content": "\u003cp>Doctor-turned-patient Grace Damman was grievously injured in a head-on collision on the Golden Gate Bridge in 2008. After being in a coma for a month and a half and enduring nine surgeries, she was sufficiently recovered to leave the hospital. The choice facing documentary filmmakers Helen S. Cohen and Mark Lipman was to jump or miss the boat.\u003c/p>\n\u003cp>“It was kind of the last moment we could start this film and make it work, because Grace was coming home from a year in rehab hospitals,” Lipman recalls. “I’m not sure we knew what we were getting ourselves into. We expected that something fascinating would unfold. We had no idea what it would look like.”\u003c/p>\n\u003cfigure id=\"attachment_10277731\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracemakers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracemakers.jpg\" alt=\"Mark Lipman and Helen S. Cohen \" width=\"640\" height=\"489\" class=\"size-full wp-image-10277731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracemakers.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracemakers-400x305.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mark Lipman and Helen S. Cohen\u003c/figcaption>\u003c/figure>\n\u003cp>That uncertainty, Cohen says, “was both daunting and the most compelling part of making a film like this. Following the story and not knowing what was gong to happen. We were witnessing; we didn’t know where we were going. We expected it to be easier [than it was] because the whole first year after the accident, Grace was in a euphoric place about her life. We didn’t think [her long-term recovery] would be a walk in the park, but filming Grace going through the difficult, dark process was incredibly challenging.”\u003c/p>\n\u003cp>\u003cem>States of Grace\u003c/em> intimately and sensitively portrays Damman’s arduous transition from top-drawer caregiver to dependent care-recipient (with the lingering possibility of regaining her original ability and status). Her partner, Fu Schroeder, and their adopted (and now teenage) daughter, Sabrina, carry the brunt of the weight, which transforms the film into an unflinching study of the bonds and frustrations of human relationships under exceptional stress.\u003c/p>\n\u003cfigure id=\"attachment_10277732\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracelama.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracelama.jpg\" alt=\"Dr. Grace Dammann with the Dalai Lama at the Unsung Heroes of Compassion award ceremony in 2009. Dammann was honored for her work as the co-founder of one of San Francisco’s first HIV/AIDS clinics for poor people during the disease’s deadliest era.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10277732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracelama.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracelama-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dr. Grace Dammann with the Dalai Lama at the Unsung Heroes of Compassion award ceremony in 2009. Dammann was honored for her work as the co-founder of one of San Francisco’s first HIV/AIDS clinics for poor people during the disease’s deadliest era.\u003c/figcaption>\u003c/figure>\n\u003cp>The family lives at the picturesque Green Gulch Farm Zen Center in Muir Beach, and the Buddhist vibe and setting infuses the film with a distinct Northern California flavor. Yet \u003cem>States of Grace\u003c/em>, which screens this week at venues around the Bay Area after premiering at the Mill Valley Film Festival in October, speaks eloquently to viewers whose visceral identification with Grace and Fu’s predicament trumps any geographical, religious, social and sexual differences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“So far our sense is it does transcend those boundaries,” Cohen says. “Fu is this [female] Buddhist priest with a shaved head, yet [audiences] just see them as people they can relate to.” Lipman adds, “People forget how idiosyncratic they are because what comes through is the level of caring. It just looks like a regular family struggling to deal.”\u003c/p>\n\u003cp>Cohen is a friend of Dammann’s, and that connection allowed the filmmakers access to the family. But the process turned out to be especially complicated for Cohen, who had to balance her personal relationship with the camera’s (and editor Kenji Yamamoto’s) unflinching perspective.\u003c/p>\n\u003cp>“We wanted to be as true to the experience as we could be,” says Lipman, who shot the film. “Without showing some of the very dark moments and the struggle that Grace went through, not only wouldn’t it be a good movie, but it wouldn’t be useful in the world because it wouldn’t ring true to people’s experiences with situations like this.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Mina Kim speaks to Grace Damman.\u003c/strong>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/184983355″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The result is that \u003cem>States of Grace\u003c/em> achieves a relevance and a power that not only reaches beyond its subjects, but goes well beyond the initial vague intentions of the filmmakers.\u003c/p>\n\u003cp>“I don’t know that we had an agenda at the beginning,” Lipman muses. “Helen and I have a long history of making social issue documentaries where there have been clear agendas, and we’ve done the research and pre-interviews. Of course, it never quite works out that way. But here, it was being grabbed by the situation itself and running with it.”\u003c/p>\n\u003cp>It’s especially gratifying to Cohen and Lipman that their gutsy gamble to seize this project will have ripple effects they couldn’t have imagined.\u003c/p>\n\u003cp>“\u003cem>States of Grace\u003c/em> is a philosophical film about the meaning of life and people reinventing themselves and coming to terms with who they are after a really horrible, tragic accident,” Cohen says. “What the film also does that we didn’t anticipate at all is [serve as] a real resource for medical education, rehab practitioners, caregivers, social workers and psychologists working with families who go through trauma or illness. So it has some work to do in the world that we didn’t anticipate.”\u003c/p>\n\u003cp>Most moviegoers and TV viewers are interested in documentaries solely for their content, but the filmmaker’s choices and compromises, combined with fortuitous accidents, are equally compelling. Embarking on a cinema verité film is taking a leap without a net, but the risk is offset by the freedom. “This kind of filmmaking allows us to bring more of our artist selves to the filmmaking process, which is really gratifying,” Cohen says. “It’s hard to imagine going back to straight-up documentary filmmaking after an experience like this, where we were able to bring so much more poetry and our creative sensibilities.”\u003c/p>\n\u003cp>“When we were finishing this up, I thought I am never doing another film like this again,” Lipman adds. “We are finishing a historical film now, but Helen and I are scheming on another cinema verité project. There’s something compelling about this kind of filmmaking, once you dust yourself off and pick yourself back up.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>States of Grace\u003c/em> screens Monday and Tuesday, January 5-6, 2015 at the Balboa Theater in San Francisco, Jan. 6 at the New Parkway in Oakland, Jan. 7 at the Vogue in San Francisco, Jan. 8 at the Rafael Film Center in San Rafael (with Grace and Fu on hand) and Jan. 12 at the Shattuck Cinemas in Berkeley. For \u003ca href=\"http://openstudioproductions.com/states-of-grace/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, go to openstudioproductions.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Doctor-turned-patient Grace Damman was grievously injured in a head-on collision on the Golden Gate Bridge in 2008. After being in a coma for a month and a half and enduring nine surgeries, she was sufficiently recovered to leave the hospital. The choice facing documentary filmmakers Helen S. Cohen and Mark Lipman was to jump or miss the boat.\u003c/p>\n\u003cp>“It was kind of the last moment we could start this film and make it work, because Grace was coming home from a year in rehab hospitals,” Lipman recalls. “I’m not sure we knew what we were getting ourselves into. We expected that something fascinating would unfold. We had no idea what it would look like.”\u003c/p>\n\u003cfigure id=\"attachment_10277731\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracemakers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracemakers.jpg\" alt=\"Mark Lipman and Helen S. Cohen \" width=\"640\" height=\"489\" class=\"size-full wp-image-10277731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracemakers.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracemakers-400x305.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mark Lipman and Helen S. Cohen\u003c/figcaption>\u003c/figure>\n\u003cp>That uncertainty, Cohen says, “was both daunting and the most compelling part of making a film like this. Following the story and not knowing what was gong to happen. We were witnessing; we didn’t know where we were going. We expected it to be easier [than it was] because the whole first year after the accident, Grace was in a euphoric place about her life. We didn’t think [her long-term recovery] would be a walk in the park, but filming Grace going through the difficult, dark process was incredibly challenging.”\u003c/p>\n\u003cp>\u003cem>States of Grace\u003c/em> intimately and sensitively portrays Damman’s arduous transition from top-drawer caregiver to dependent care-recipient (with the lingering possibility of regaining her original ability and status). Her partner, Fu Schroeder, and their adopted (and now teenage) daughter, Sabrina, carry the brunt of the weight, which transforms the film into an unflinching study of the bonds and frustrations of human relationships under exceptional stress.\u003c/p>\n\u003cfigure id=\"attachment_10277732\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracelama.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/gracelama.jpg\" alt=\"Dr. Grace Dammann with the Dalai Lama at the Unsung Heroes of Compassion award ceremony in 2009. Dammann was honored for her work as the co-founder of one of San Francisco’s first HIV/AIDS clinics for poor people during the disease’s deadliest era.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10277732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracelama.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/gracelama-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dr. Grace Dammann with the Dalai Lama at the Unsung Heroes of Compassion award ceremony in 2009. Dammann was honored for her work as the co-founder of one of San Francisco’s first HIV/AIDS clinics for poor people during the disease’s deadliest era.\u003c/figcaption>\u003c/figure>\n\u003cp>The family lives at the picturesque Green Gulch Farm Zen Center in Muir Beach, and the Buddhist vibe and setting infuses the film with a distinct Northern California flavor. Yet \u003cem>States of Grace\u003c/em>, which screens this week at venues around the Bay Area after premiering at the Mill Valley Film Festival in October, speaks eloquently to viewers whose visceral identification with Grace and Fu’s predicament trumps any geographical, religious, social and sexual differences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“So far our sense is it does transcend those boundaries,” Cohen says. “Fu is this [female] Buddhist priest with a shaved head, yet [audiences] just see them as people they can relate to.” Lipman adds, “People forget how idiosyncratic they are because what comes through is the level of caring. It just looks like a regular family struggling to deal.”\u003c/p>\n\u003cp>Cohen is a friend of Dammann’s, and that connection allowed the filmmakers access to the family. But the process turned out to be especially complicated for Cohen, who had to balance her personal relationship with the camera’s (and editor Kenji Yamamoto’s) unflinching perspective.\u003c/p>\n\u003cp>“We wanted to be as true to the experience as we could be,” says Lipman, who shot the film. “Without showing some of the very dark moments and the struggle that Grace went through, not only wouldn’t it be a good movie, but it wouldn’t be useful in the world because it wouldn’t ring true to people’s experiences with situations like this.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Mina Kim speaks to Grace Damman.\u003c/strong>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/184983355″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/184983355″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The result is that \u003cem>States of Grace\u003c/em> achieves a relevance and a power that not only reaches beyond its subjects, but goes well beyond the initial vague intentions of the filmmakers.\u003c/p>\n\u003cp>“I don’t know that we had an agenda at the beginning,” Lipman muses. “Helen and I have a long history of making social issue documentaries where there have been clear agendas, and we’ve done the research and pre-interviews. Of course, it never quite works out that way. But here, it was being grabbed by the situation itself and running with it.”\u003c/p>\n\u003cp>It’s especially gratifying to Cohen and Lipman that their gutsy gamble to seize this project will have ripple effects they couldn’t have imagined.\u003c/p>\n\u003cp>“\u003cem>States of Grace\u003c/em> is a philosophical film about the meaning of life and people reinventing themselves and coming to terms with who they are after a really horrible, tragic accident,” Cohen says. “What the film also does that we didn’t anticipate at all is [serve as] a real resource for medical education, rehab practitioners, caregivers, social workers and psychologists working with families who go through trauma or illness. So it has some work to do in the world that we didn’t anticipate.”\u003c/p>\n\u003cp>Most moviegoers and TV viewers are interested in documentaries solely for their content, but the filmmaker’s choices and compromises, combined with fortuitous accidents, are equally compelling. Embarking on a cinema verité film is taking a leap without a net, but the risk is offset by the freedom. “This kind of filmmaking allows us to bring more of our artist selves to the filmmaking process, which is really gratifying,” Cohen says. “It’s hard to imagine going back to straight-up documentary filmmaking after an experience like this, where we were able to bring so much more poetry and our creative sensibilities.”\u003c/p>\n\u003cp>“When we were finishing this up, I thought I am never doing another film like this again,” Lipman adds. “We are finishing a historical film now, but Helen and I are scheming on another cinema verité project. There’s something compelling about this kind of filmmaking, once you dust yourself off and pick yourself back up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>States of Grace\u003c/em> screens Monday and Tuesday, January 5-6, 2015 at the Balboa Theater in San Francisco, Jan. 6 at the New Parkway in Oakland, Jan. 7 at the Vogue in San Francisco, Jan. 8 at the Rafael Film Center in San Rafael (with Grace and Fu on hand) and Jan. 12 at the Shattuck Cinemas in Berkeley. For \u003ca href=\"http://openstudioproductions.com/states-of-grace/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, go to openstudioproductions.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The evening commute on BART is Eric Bassett’s time to shine.\u003c/p>\n\u003cp>Bassett, 20, who performs as Kid Strobe, leads his seven-man crew onto a train at Powell Street Station in San Francisco and carves out a small dance floor by the doors. Weary riders make way — faces flecked with a \u003ca href=\"http://ww2.kqed.org/news/2015/01/05/east-bay-dance-crew-makes-bart-its-turf/\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/01/05/east-bay-dance-crew-makes-bart-its-turf/\" target=\"_self\" title=\"East Bay Dance Crew Makes BART Its TURF (Video)\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>John Jordan’s garage is overflowing with the bodies of unfinished violins. Some look like tapered chunks of maple or redwood. Others are closer to completion: sticklike necks with one swooping curve for a musician's chin.\u003c/p>\n\u003cp>Jordan is a renowned luthier who lives and works in Concord. Over his 30-year career, he has produced more than 500 solid body electric violins, cellos, violas and basses. They are played in recording studios, dorm rooms and on stages around the world.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/186251586\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>There is a significant demand for these high-end instruments. Jordan builds close to 50 a year, and they don’t come cheap. That’s because Jordan makes violins that do things normal violins cannot.\u003c/p>\n\u003cp>Acoustic stringed instruments create sound when a string vibrates and excites the air inside a hollow wooden chamber. The size of its body and the thickness of its strings determine an instrument’s range.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More space inside the chamber means longer sound waves can resonate, and lower notes are produced. Smaller bodies and thinner strings make higher notes.\u003c/p>\n\u003cp>Jordan says that with electric solid body instruments, “we're not relying on a vibrating box of wood to produce the sound. We can reproduce that in an amplifier and just convert the vibrating string energy into electricity and let the amplifier do the conversion.”\u003c/p>\n\u003cp>This allows him to create tiny instruments with huge ranges. He has built nine-stringed violins that play higher than a piano and as low as a string bass. For that violin’s highest string, Jordan had to use a wire developed for NASA.\u003c/p>\n\u003cp>“It's the highest tensile-strength steel there is,\" Jordan explains. \"And it'll go a fourth higher than a violin. And then you've got to figure out who really needs that. And the answer is, there are some people who do.\"\u003c/p>\n\u003cp>Jordan says if you wanted to play violin with any of the touring companies of Cirque du Soleil, \"just to audition for it you have to be proficient on a seven-string violin.\"\u003c/p>\n\u003cp>And there are composers now writing pieces specifically for seven-string violin. Some have premiered on Jordan’s instruments.\u003c/p>\n\u003cp>“We're dealing with modern music, modern composers, writing for new technology, instruments that didn't exist 100 years ago. Or even 50 years ago.”\u003c/p>\n\u003cp>Jordan began his career as an assistant to Ervin Somogyi, a guitar maker in Berkeley. He had damaged his sister’s guitar and couldn’t afford the repairs. So he cut a deal with Somogyi.\u003c/p>\n\u003cp>\"I made a bold teenage offer and said, 'Tell you what, I'll pay you half and I'll clean up your shop until you tell me we're even,' \" Jordan recalls. \"So that's how I ended up apprenticing with him. My career found me. I just didn't get in the way of it.\"\u003c/p>\n\u003cp>Since Jordan does virtually all of the construction himself, each instrument is unique and customizable. Most are pretty close analogues to conventional violins. But every once in a while, Jordan is asked to build a double-necked violin, a six-string upright bass or some other outlandish creation.\u003c/p>\n\u003cp>Jordan says a highlight of his career was building a double-necked violin for Neyveli Radhakrishna. \"Radha,\" as he's known, was touring with Ravi Shankar at the time. Jordan recalls meeting Shankar.\u003c/p>\n\u003cp>\"And he goes, 'You made Radha's violin?' and he was looking at me like I was some big deal. I mean, I just make sawdust in my garage. You know, for a guy who's seen that much to still have a sense of wonder about seeing something new, that's really cool,\" Jordan recalls.\u003c/p>\n\u003cp>And he plans to keep the innovations coming. He’s hoping to finish a new bass for himself soon, but the long waiting list for a Jordan violin keeps his pet projects on the back burner most of the time.\u003c/p>\n\u003cp>He hopes to build a 10-string violin in the next few years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I'm in contact with bioengineers that are working on a monofilament based on black widow spider web material, which happens to be stronger than steel per unit of diameter,” he says.\u003c/p>\n\n",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"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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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"science-friday": {
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