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"content": "\u003cp>[audio mp3=\"http://www.kqed.org/.stream/anon/radio/tcrmag/2014/10/2014-10-03c-tcrmag.mp3\"][/audio]\u003c/p>\n\u003cp>This weekend marks the culmination of the Days of Awe, a time of intense soul-searching that began with Rosh Hashanah, the Jewish new year. Jewish communities gather to listen to the trumpetlike blast of the shofar, a ram’s horn, to wake themselves up to the hopes and possibilities of a new year.\u003c/p>\n\u003cp>It’s one of Judaism’s most powerful traditions. But what happens if you can’t hear the shofar? Is the spiritual in the sound?\u003c/p>\n\u003cp>Temple Beth Solomon of the Deaf in Northridge spends a lot of time pondering these questions. The synagogue rents a chapel from a hearing synagogue, Temple Ahavat Shalom. Like any hearing community, Beth Solomon plans retreats, organizes weekly card games and has an active sisterhood. 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Slotnick lost his hearing to meningitis when he was 3. His parents used every means possible to keep him from feeling isolated in the world. Looking back, he’s still astonished at everything he has accomplished.\u003c/p>\n\u003cp>“I’m amazed that I went to Harvard,” he says. “I’m amazed. I don’t know how I did it.”\u003c/p>\n\u003cp>After Harvard, he worked for decades in computer programming. It’s almost as if no one ever told him that he’s deaf. But then this time of year comes around. The Jewish scholar Maimonides said that Jews are obligated to hear the sound of the shofar -- which is something that’s not part of his world at all.\u003c/p>\n\u003cp>“I know some people love it and they’re very moved by it, but for me, no,” he explains. “I have no concept of sound at all.”\u003c/p>\n\u003cfigure id=\"attachment_10342409\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/12553_transform.jpg\">\u003cimg class=\"size-medium wp-image-10342409\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/12553_transform-800x600.jpg\" alt=\"Joe Slotnick and Florence Haberman, congregants at Temple Beth Solomon of the Deaf in Northridge. (Jen Rice/KQED\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/12553_transform-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/12553_transform-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/12553_transform.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Slotnick and Florence Haberman, congregants at Temple Beth Solomon of the Deaf in Northridge. (Jen Rice/KQED\u003c/figcaption>\u003c/figure>\n\u003cp>He can feel the shofar’s vibrations, but that doesn’t make it meaningful for him. Instead, Slotnick’s spiritual wake-up call has to be seen. When he remembers moments of awe in his life, what comes to mind is a beautiful snowfall during his childhood in Massachusetts.\u003c/p>\n\u003cp>Other deaf congregants find the shofar deeply moving. Florence Haberman lost her hearing after two traumatic falls when she was a child. Even though she’s deaf, she can hear loud sounds with the help of her hearing aids. Growing up in a family that regularly attended a hearing synagogue, Florence found her religion isolating and confusing. It wasn’t until she heard the ear-splitting shofar blast that something finally reached her.\u003c/p>\n\u003cp>“When I was a child during the High Holiday, I would sit and just fidget and cry,” Haberman explains. “And they kept telling me to be quiet and sit still. ‘Be quiet!’ And then they would blow the shofar and I immediately would hear that sound. Like it was coming right to me and pulling me. It’s almost like the vibrations paint a picture. So it’s chilling.”\u003c/p>\n\u003cp>The Days of Awe are about what Jews call teshuvah, or return. It means returning to yourself, apologizing for missteps and remembering what really matters. Haberman experiences the Days of Awe as an incredibly personal feeling of return.\u003c/p>\n\u003cp>“You know, even before my accident, I remember the music. And when I come to temple, or any time there’s music, I do remember it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whether it’s a haunting sound, a deep vibration or the memory of snowfall, the congregants at Beth Solomon find a way to return to themselves while looking forward to the year ahead.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The sound of the shofar creates a mysterious, ineffable feeling in the hearing world. But at a synagogue for the deaf, that sound may be entirely lost in translation. That’s why Goldmann asks her congregants to focus on the shofar’s vibrations instead. In order to experience the haunting blast, she encourages everyone to hold on to balloons, the wooden podium, or even the shofar itself.\u003c/p>\n\u003cp>The effects are polarizing because there’s a whole spectrum of deafness at the synagogue. Some congregants are completely deaf, others are hard of hearing, and some have cochlear implants.\u003c/p>\n\u003cp>“I’m stone deaf,” says Joe Slotnick, president of Beth Solomon. Slotnick lost his hearing to meningitis when he was 3. His parents used every means possible to keep him from feeling isolated in the world. Looking back, he’s still astonished at everything he has accomplished.\u003c/p>\n\u003cp>“I’m amazed that I went to Harvard,” he says. “I’m amazed. I don’t know how I did it.”\u003c/p>\n\u003cp>After Harvard, he worked for decades in computer programming. It’s almost as if no one ever told him that he’s deaf. But then this time of year comes around. The Jewish scholar Maimonides said that Jews are obligated to hear the sound of the shofar -- which is something that’s not part of his world at all.\u003c/p>\n\u003cp>“I know some people love it and they’re very moved by it, but for me, no,” he explains. “I have no concept of sound at all.”\u003c/p>\n\u003cfigure id=\"attachment_10342409\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/12553_transform.jpg\">\u003cimg class=\"size-medium wp-image-10342409\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/12553_transform-800x600.jpg\" alt=\"Joe Slotnick and Florence Haberman, congregants at Temple Beth Solomon of the Deaf in Northridge. (Jen Rice/KQED\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/12553_transform-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/12553_transform-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/12553_transform.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Slotnick and Florence Haberman, congregants at Temple Beth Solomon of the Deaf in Northridge. (Jen Rice/KQED\u003c/figcaption>\u003c/figure>\n\u003cp>He can feel the shofar’s vibrations, but that doesn’t make it meaningful for him. Instead, Slotnick’s spiritual wake-up call has to be seen. When he remembers moments of awe in his life, what comes to mind is a beautiful snowfall during his childhood in Massachusetts.\u003c/p>\n\u003cp>Other deaf congregants find the shofar deeply moving. Florence Haberman lost her hearing after two traumatic falls when she was a child. Even though she’s deaf, she can hear loud sounds with the help of her hearing aids. Growing up in a family that regularly attended a hearing synagogue, Florence found her religion isolating and confusing. It wasn’t until she heard the ear-splitting shofar blast that something finally reached her.\u003c/p>\n\u003cp>“When I was a child during the High Holiday, I would sit and just fidget and cry,” Haberman explains. “And they kept telling me to be quiet and sit still. ‘Be quiet!’ And then they would blow the shofar and I immediately would hear that sound. Like it was coming right to me and pulling me. It’s almost like the vibrations paint a picture. So it’s chilling.”\u003c/p>\n\u003cp>The Days of Awe are about what Jews call teshuvah, or return. It means returning to yourself, apologizing for missteps and remembering what really matters. Haberman experiences the Days of Awe as an incredibly personal feeling of return.\u003c/p>\n\u003cp>“You know, even before my accident, I remember the music. And when I come to temple, or any time there’s music, I do remember it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whether it’s a haunting sound, a deep vibration or the memory of snowfall, the congregants at Beth Solomon find a way to return to themselves while looking forward to the year ahead.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Artist and activist Ai Weiwei’s exhibition on Alcatraz Island opens to the public Saturday. The Chinese dissident has been a relentless critic of his own government, especially after shoddy construction of schools killed thousands of children in the Sichuan earthquake of 2008. Because Chinese authorities confiscated his passport after imprisoning him in 2011, Ai himself has never been to Alcatraz. He designed and directed the installation – which features the voices and visages of prisoners of conscience around the world — from his compound in Beijing.\u003c/p>\n\u003cp>Some in the art world are calling this latest show unprecedented, the hottest ticket of the year. KQED’s Mina Kim tours the exhibit and examines the issues raised by this unusual combination of artist and setting.\u003c/p>\n\u003cp>\u003cem>Correction: Howard Levitt is director of communications and partnerships for the National Park Service. In the video he was incorrectly identified as vice president of special projects.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>\u003ci>Funding for coverage of arts that explore social issues is provided by the California Arts Council.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/09/2014-09-26c-tcrmag.mp3\u003c/p>\n\u003cp>Throughout Lucinda Williams’ recording career, some 35 years now, she has sought out songwriting advice and criticism from one man, a noted poet who has served as her mentor. \u003ca href=\"http://www.poetryfoundation.org/bio/miller-williams\" target=\"_blank\">Miller Williams\u003c/a> also happens to be her dad, still going strong at age 84. But for the first time, with the song, “Compassion,” she sets one of his poems to music.\u003c/p>\n\u003cp>It’s an intimate, moving tribute that both opens and provides the title for her new album, “Down Where the Spirit Meets the Bone.”\u003c/p>\n\u003cp>Miller Williams is a strong proponent of economy of language. Over the years, Lucinda has embraced this paring of things down to the bone as her most immediately recognizable artistic trait — alongside her laconic, Southern-bred drawl. Often in the course of a song, she’ll craft one short phrase and repeat it over and over until it’s the very essence of emotion, as she does with the “spirit meets the bone” line.\u003c/p>\n\u003cp>It’s what ties this album together, across a sprawling span of 20 songs. It’s a vast sweep of emotions, from the tenderness of “Compassion” to the tart anger of “Foolishness.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Down Where the Spirit Meets the Bone” is an ambitious statement, arguably the most so of Williams’ already considerable career. And in another first for her, there’s an array of guests helping out, which for some artists would seem a sign of insecurity but here comes off as underscoring a sense of confidence.\u003c/p>\n\u003cp>Jakob Dylan joins her singing “It’s Gonna Rain,” at once hopeful and somber, the rain both a promise and a threat. The mixed emotions are further illustrated by the snaky lines of guest guitarist Bill Frisell darting around those of longtime Williams cohort Greg Leisz, who also served as co-producer for the album.\u003c/p>\n\u003cp>Other guests include Faces keyboardist Ian McLagan and drummer Pete Thomas of Elvis Costello’s Attractions. And Williams enlists Tony Joe White to thread his distinctively swampy guitar through “West Memphis,” the real-life tale of a famously disputed murder case from the ‘90s. In her hands it becomes an epic, backwoods gothic song-story in the mode of Bobbie Gentry or Tony Joe White.\u003c/p>\n\u003cp>That Southern, swampy feel is also found in the gospel-soul chorus of “Protection” and the Stax-like horns on “One More Day,” while “Burning Bridges” would make a solid cover candidate for Tom Petty (a fan who has done Williams \"I Changed the Locks” in the past). And there’s the sultry menace of “Something Wicked This Way Comes.” And she concludes with another homage to a master of economy, covering “Magnolia” by JJ Cale, who died last year.\u003c/p>\n\u003cp>When it’s all done, Williams has brought out the full range of country-folk-rock shadings she’s used in the past. And there’s at least one specific allusion to her catalog, as in the stern “Everything But the Truth” she tells a troubled friend to take charge of life — “you gotta settle up with this sweet old world” — citing her 1992 song “Sweet Old World,” a too-late note to a friend who’d committed suicide.\u003c/p>\n\u003cp>The difference is key. Where “Sweet Old World” was a tender, sorrowful scolding of a lost spirit, this is a get-it-together admonishment meant to have impact before it’s too late. Similarly, “Bone” is not a passive look back, not a career summation. This is a career-\u003ci>defining\u003c/i> album in its scope and sweep.\u003c/p>\n\u003cp>At the center of “Bone” is that thin line between hope and dread. Several songs catalog complaints, troubles, heartaches — a “Big Mess,” as one song title puts it, explicitly. Ultimately, though, it’s hope that tips the scale, no more profoundly than in “When I Look at the World.”\u003c/p>\n\u003cp>“I’ve been unwelcome, I’ve been unloved,” she sings — but then she sees the world “in all its glory,” in a different way every time she looks at it.\u003c/p>\n\u003cp>Simply putting out a 20-song double album is a risky move, and for someone known for artistic economy, it's something that might seem an indulgent disconnect. Is every song a treasure? Of course not. But with her spirited reach, Lucinda Williams at 61 has made an album that stands with her best, a series of songs that ask \u003ci>us\u003c/i> to join her in looking at the world anew.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://lucindawilliams.com/splash-page/\" target=\"_blank\">Lucinda WIlliams' Website\u003c/a>\u003c/p>\n\n",
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"content": "\u003cp>\u003ca target=\"_self\" href=\"http://www.kqed.org/.stream/anon/radio/tcrmag/2014/09/2014-09-19d-tcrmag.mp3\" rel=\"noopener\">http://www.kqed.org/.stream/anon/radio/tcrmag/2014/09/2014-09-19d-tcrmag.mp3\u003c/a>\u003c/p>\n\u003cp>\u003cfigure>\u003cfigcaption>Ensemble director Eva Scow teaches seventh-, eighth- and ninth-graders how to improvise and play jazz. She’s one of several musicians teaching for the Milestones Youth Jazz Workshop. (Alice Daniel/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/p>\n\u003cp>Jim Page feels the anxiety in the beat of his heart, but he tells himself that all \u003ca href=\"http://ww2.kqed.org/news/2014/09/19/milestones-youth-jazz-workshop-teaches-american-art-form/\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/09/19/milestones-youth-jazz-workshop-teaches-american-art-form/\" target=\"_self\" title=\"Channeling Youthful Energy Into an American Art Form\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Mina Kim’s KQED News report on the installation.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/RDnews/2014/09/530NewsAiWeiWei.mp3\u003c/p>\n\u003c/aside>\n\u003cfigure id=\"attachment_10142558\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/lego_snowden_e.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10142558 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/lego_snowden_e.jpg\" alt=\"A detail from “Trace” shows a portrait of Edward Snowden, the former N.S.A contractor who stole secret documents relating to U.S. government spying. Snowden now lives as an exile in Russia. Photo, Adam Grossberg for KQED.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/lego_snowden_e.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/lego_snowden_e-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/lego_snowden_e-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A detail from “Trace” shows a portrait of Edward Snowden, the former N.S.A contractor who stole secret documents relating to U.S. government spying. Snowden now lives as an exile in Russia; Photo by Adam Grossberg/KQED\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10142581\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing_install1-e.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10142581 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing_install1-e.jpg\" alt=\"The monumental “Refraction,” modeled on a bird’s wing, is mounted in the New Industries building, where prisoners worked. Photo, Jan Stürmann\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing_install1-e.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing_install1-e-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing_install1-e-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The monumental “Refraction,” modeled on a bird’s wing, is mounted in the New Industries building, where prisoners worked; Photo by Jan Stürmann\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10142583\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing_teapots1-e.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142583\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/wing_teapots1-e.jpg\" alt=\"A detail from “Refraction” shows the reflective panels and heating pots of the Tibetan solar cookers used in the work’s construction. Photo, Jan Stürmann\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing_teapots1-e.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing_teapots1-e-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/wing_teapots1-e-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A detail from “Refraction” shows the reflective panels and heating pots of the Tibetan solar cookers used in the work’s construction; Photo by Jan Stürmann\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10142584\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Ai_Cheryl2-e.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142584\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Ai_Cheryl2-e.jpg\" alt=\"Curator of “@Large” Cheryl Haines worked closely with Ai Weiwei, traveling back and forth to Beijing with maps and photos of Alcatraz that helped the artist visualize the space. Here she consults on designs with Ai in his Beijing studio. Photo, Jan Stürmann\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Ai_Cheryl2-e.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Ai_Cheryl2-e-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Ai_Cheryl2-e-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Curator of “@Large” Cheryl Haines worked closely with Ai Weiwei, traveling back and forth to Beijing with maps and photos of Alcatraz that helped the artist visualize the space. Here she consults on designs with Ai in his Beijing studio; Photo by Jan Stürmann\u003c/figcaption>\u003c/figure>\n\u003cp>Next week, organizers will unveil an unusual public art exhibit on Alcatraz. The installation is expected to draw a record number of visitors to the island during a seven-month run, but the international art-star behind it won’t be attending.\u003c/p>\n\u003cp>That’s because Chinese dissident-artist Ai Weiwei is unable to leave the country, his passport confiscated by authorities following an 81-day detainment for alleged tax evasion.\u003c/p>\n\u003cp>Ai Weiwei is perhaps best known for his work on the elaborate Birds Nest stadium created for the 2008 Beijing Olympics, but his work – often conceptual in nature and political in theme – spans all media, from video to woodworking (for a crash-course on his career, see this “\u003ca href=\"http://ww2.kqed.org/arts/2014/09/18/i-was-born-to-give-out-my-opinions-an-ai-weiwei-top-ten/\" target=\"_blank\" rel=\"noopener\">Ai Weiwei Top Ten\u003c/a>”).\u003c/p>\n\u003cp>The seven major new sculptural and mixed-media works now being installed in the former military fortress and penitentiary employ everything from Legos to teapots and bamboo to explore themes of freedom and confinement. Installation by a team of Ai’s assistants and local installers and volunteers has been a dizzyingly complex process. In addition to the fact that the artist can’t leave China, Alcatraz is both a bird sanctuary and a national historic site. That means, for example, that none of the walls can be disturbed.\u003c/p>\n\u003cp>“It’s actually the opposite of a museum,” said Greg Moore, head of the Golden Gate National Parks Conservancy. “The lack of water on-site, the generated electrical power, no climate control — but it will be an amazing museum for this art work.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To check on the progress of this unusual artwork, KQED visited the island recently. The photos here are a first-look at the exclusive coverage KQED will unveil in the coming weeks.\u003c/p>\n\n",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/09/2014-09-12d-tcrmag.mp3\u003c/p>\n\u003cp>As an artist rooted in jazz, pianist and arranger \u003ca href=\"http://www.billychilds.com/\" target=\"_blank\">Billy Childs\u003c/a> knows that the best way to honor another musician is not to try to recreate their sound. On his new concept album exploring the music of \u003ca href=\"http://www.lauranyro.com/\" target=\"_blank\">Laura Nyro\u003c/a>, he takes a deeply personal journey on which many paths converge.\u003c/p>\n\u003cp>Working with producer Larry Klein -- who’s known for his collaborations with A-list singer-songwriters like Joni Mitchell, Shawn Colvin, Melody Gardot, and Luciana Souza -- Childs arranges 10 poetically charged tunes by Nyro, whose death from cancer in 1997 still feels raw.\u003c/p>\n\u003cp>From the blockbuster opening track featuring the great soprano Renée Fleming tearing through “New York Tendaberry” with Yo-Yo Ma’s unmistakably lyrical cello, it’s clear this is an opulent project overstuffed with talent, emotion and musical ideas.\u003c/p>\n\u003cp>Superficially, “Map to the Treasure” resembles Herbie Hancock’s Grammy-winning 2007 album “River: The Joni Letters,” which was also produced by Klein. But Hancock was essentially discovering Joni Mitchell’s music. For Childs, a faithful Nyro fan who turned Klein onto her music when they were teenagers in the early ‘70s, the project cuts deeply, like only the music of your adolescence can. Their mutual love of Nyro’s songs provides a perfect meeting ground, like the dreamy dance between Esperanza Spalding’s vocals and Wayne Shorter’s soprano sax on “Upstairs by a Chinese Lamp.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Childs and Klein, a top-shelf jazz bassist, first gained national recognition in trumpet star Freddie Hubbard’s blazing band in the early 1980s. Their career paths diverged after that, with Klein eventually making a name for himself as a producer, while Childs recorded a series of acclaimed albums showcasing his improvisation prowess and passionately lyrical compositions.\u003c/p>\n\u003cp>http://youtu.be/S1b1MDl6Kc8\u003c/p>\n\u003cp>In recent years, Childs has concentrated on writing richly textured chamber jazz, and he brings a similar instrumental palette to Nyro’s songs, with a string quartet, jazz rhythm section, electric guitar, and Carol Robbins’ rhythmically assured harp on every track.\u003c/p>\n\u003cp>More than anything, this is an album that succeeds due to brilliant casting, as each song pairs a singular vocalist with a song that Childs cherishes.\u003c/p>\n\u003cp>Soul diva Ledisi infuses “Stoned Soul Picnic” with sweetness and light, while jazz queen Dianne Reeves, a longtime Childs’ confederate, gives “To a Child” a tenderly majestic reading.\u003c/p>\n\u003cp>Childs and Klein coaxed rhythm and blues great Lisa Fischer out of her comfort zone as a backup singer to give a tour-de-force interpretation of the title track, and they expertly deploy Ricki Lee Jones on “Been on a Train,” a shadowy nightmare ride into addiction. At the moment, my favorite track features folk and jazz singer Becca Stevens waxing Dionysian on “The Confession.”\u003c/p>\n\u003cp>If there’s one thing the album’s missing, it’s a little space to take in all of the roiling emotion and sonic information. A piece or two featuring Childs alone at the piano with a singer could have provided more room to absorb Nyro’s richly allusive lyrics. But that’s a quibble, as there’s not a track I would trade. A true act of devotion, “Map to the Treasure” delivers exactly what it promises, as Childs honors Nyro by revealing his own musical riches.\u003c/p>\n\u003cp>Childs premieres the project on Saturday, Sept. 20, at the Monterey Jazz Festival with violinist Jeremy Cohen’s Quartet San Francisco and special guests Lisa Fischer, Becca Stevens, and Shawn Colvin (whose version of “Save the Children” with trumpeter Chris Botti is yet another highpoint).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://www.billychilds.com/\" target=\"_blank\">About Billy Childs (official website)\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Childs and Klein, a top-shelf jazz bassist, first gained national recognition in trumpet star Freddie Hubbard’s blazing band in the early 1980s. Their career paths diverged after that, with Klein eventually making a name for himself as a producer, while Childs recorded a series of acclaimed albums showcasing his improvisation prowess and passionately lyrical compositions.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/S1b1MDl6Kc8'\n title='//www.youtube.com/embed/S1b1MDl6Kc8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In recent years, Childs has concentrated on writing richly textured chamber jazz, and he brings a similar instrumental palette to Nyro’s songs, with a string quartet, jazz rhythm section, electric guitar, and Carol Robbins’ rhythmically assured harp on every track.\u003c/p>\n\u003cp>More than anything, this is an album that succeeds due to brilliant casting, as each song pairs a singular vocalist with a song that Childs cherishes.\u003c/p>\n\u003cp>Soul diva Ledisi infuses “Stoned Soul Picnic” with sweetness and light, while jazz queen Dianne Reeves, a longtime Childs’ confederate, gives “To a Child” a tenderly majestic reading.\u003c/p>\n\u003cp>Childs and Klein coaxed rhythm and blues great Lisa Fischer out of her comfort zone as a backup singer to give a tour-de-force interpretation of the title track, and they expertly deploy Ricki Lee Jones on “Been on a Train,” a shadowy nightmare ride into addiction. At the moment, my favorite track features folk and jazz singer Becca Stevens waxing Dionysian on “The Confession.”\u003c/p>\n\u003cp>If there’s one thing the album’s missing, it’s a little space to take in all of the roiling emotion and sonic information. A piece or two featuring Childs alone at the piano with a singer could have provided more room to absorb Nyro’s richly allusive lyrics. But that’s a quibble, as there’s not a track I would trade. A true act of devotion, “Map to the Treasure” delivers exactly what it promises, as Childs honors Nyro by revealing his own musical riches.\u003c/p>\n\u003cp>Childs premieres the project on Saturday, Sept. 20, at the Monterey Jazz Festival with violinist Jeremy Cohen’s Quartet San Francisco and special guests Lisa Fischer, Becca Stevens, and Shawn Colvin (whose version of “Save the Children” with trumpeter Chris Botti is yet another highpoint).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://www.billychilds.com/\" target=\"_blank\">About Billy Childs (official website)\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>By Tom Dalzell, \u003ca target=\"_self\" href=\"http://www.berkeleyside.com/2014/09/04/how-quirky-is-berkeley-mark-oliviers-colusa-avenue-beach-trash-sculpture/\" rel=\"noopener\">Berkeleyside\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>\u003cfigure>\u003cfigcaption>Third Buddha and other sculpture at 1118 Colusa Ave. (Catherine MacNeal/Berkeleyside)\u003c/figcaption>\u003c/figure>\n\u003c/p>\u003cp>Colusa Avenue between Marin and Hopkins is not well-traveled, but people who have heard about Mark Olivier’s incredible — as in unbelievable — front yard at 1118 Colusa often make a point to go there.\u003c/p>\n\u003cp>Olivier, \u003ca href=\"http://ww2.kqed.org/news/2014/09/07/Berkeley-Sculpture-Garden-Beach-Trash-Front-Yard-Colusa/\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/09/07/Berkeley-Sculpture-Garden-Beach-Trash-Front-Yard-Colusa/\" target=\"_self\" title=\"Salvaged Beach Trash Becomes Art in Berkeley Resident’s Front Yard\" 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>\u003cstrong>By Tom Dalzell, \u003ca target=\"_self\" href=\"http://www.berkeleyside.com/2014/09/04/how-quirky-is-berkeley-mark-oliviers-colusa-avenue-beach-trash-sculpture/\" rel=\"noopener\">Berkeleyside\u003c/a>\u003c/strong>\u003c/p>\n\n\u003cdiv>\n\u003cp>Third Buddha and other sculpture at 1118 Colusa Ave. (Catherine MacNeal/Berkeleyside)\u003c/p>\n\u003c/div>\n\u003cp>\nColusa Avenue between Marin and Hopkins is not well-traveled, but people who have heard about Mark Olivier’s incredible — as in unbelievable — front yard at 1118 Colusa often make a point to go there.\u003c/p>\n\u003cp>Olivier, \u003ca href=\"http://ww2.kqed.org/news/2014/09/07/Berkeley-Sculpture-Garden-Beach-Trash-Front-Yard-Colusa/\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/09/07/Berkeley-Sculpture-Garden-Beach-Trash-Front-Yard-Colusa/\" target=\"_self\" title=\"Salvaged Beach Trash Becomes Art in Berkeley Resident’s Front Yard\" rel=\"noopener\">News Fix Arts\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Joan Rivers, an Enduring Comic Who Turned Tragedy Into Success, Dies",
"headTitle": "Joan Rivers, an Enduring Comic Who Turned Tragedy Into Success, Dies | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Joan Rivers being interviewed on Forum back in 2010\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/forum/2010/05/2010-05-06b-forum.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"http://blogs.kqed.org/pop/2014/09/04/joan-rivers-dead-at-81-watch-some-of-her-best-televised-moments/\" target=\"_blank\" rel=\"noopener\">Joan Rivers Dead at 81: Watch Some of Her Best Televised Moments\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"http://blogs.kqed.org/pop/2014/09/04/joan-rivers-dead-at-81-watch-some-of-her-best-televised-moments/\" target=\"_blank\" rel=\"noopener\">\u003cimg decoding=\"async\" src=\"http://blogs.kqed.org/pop/files/2014/09/joan-rivers.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp> Comedian Joan Rivers died today and KQED Pop has collected several of her TV appearances that exemplify her amazingly fast, acerbic wit.\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>No one transformed bad times into sidesplitting comedy like Joan Rivers, who kept audiences laughing through a 50-year career that included bankruptcy, getting banned from \u003cem>The Tonight Show\u003c/em> and seeing a husband commit suicide.\u003c/p>\n\u003cp>She even built a standup routine around caring for a handicapped boyfriend.\u003c/p>\n\u003cp>“I lived for nine years with a man with one leg,” she told audiences in her 2012 standup special, \u003cem>Don’t Start With Me\u003c/em>. “One leg! He lost it in World War II. … He didn’t lose it, he knew \u003cem>exactly \u003c/em>where he left it. … [And] in my mind, that’s littering.”\u003c/p>\n\u003cfigure id=\"attachment_10141883\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-1431x1440.jpg\" alt=\"Joan Rivers in 1965. She began appearing on television variety programs like <em>The Ed Sullivan Show</em>.\" width=\"640\" height=\"644\" class=\"size-large wp-image-10141883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-1431x1440.jpg 1431w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-400x402.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-298x300.jpg 298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joan Rivers in 1965. She began appearing on television variety programs like \u003cem>The Ed Sullivan Show\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>But Rivers’ talent for rapid-fire jokes and edgy humor was stilled Thursday, when the comic died after complications following throat surgery. She was 81.\u003c/p>\n\u003cp>Born Joan Alexandra Molinsky in 1933, she ignored her family’s objections to become an actress and comic. She performed in the same New York clubs as Woody Allen and Barbra Streisand, writing lines for more established acts like Phyllis Diller and the puppet Topo Gigio.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Asked whether she felt bad writing for a puppet while starting out, \u003ca href=\"http://www.npr.org/2012/06/11/154753767/joan-rivers-hates-you-and-everyone-else\" target=\"_blank\" rel=\"noopener\">Rivers told WHYY’s \u003cem>Fresh Air\u003c/em> in 2012\u003c/a>, “I’ll write for Hitler [for] $500. … When you’re starving and got a car payment due? You go through any door that opens and you don’t know which is gonna be the one.”\u003c/p>\n\u003cp>By the mid-1960s, she was appearing in front of the camera for variety programs like \u003cem>The Ed Sullivan Show\u003c/em>, where she talked frankly about women at a time when you couldn’t even say the word “pregnant” on TV.\u003c/p>\n\u003cp>“A girl, you’re 30 years old, you’re not married, you’re an old maid,” she said in one 1967 \u003cem>Ed Sullivan Show\u003c/em> routine. “A man, he’s 90 years old, he’s not married, he’s a catch. It’s a whole different thing!”\u003c/p>\n\u003cfigure id=\"attachment_10141886\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap139147978964-7704ce2dcd6de2a9a665b224fe7b690f44d30e13.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap139147978964-7704ce2dcd6de2a9a665b224fe7b690f44d30e13-1440x956.jpg\" alt=\"Rivers became permanent guest host for <em>The Tonight Show</em> in 1983, a gig that ended when she left to host her own late-night show on Fox. Here she interviews Miss America Suzette Charles in 1984.\" width=\"640\" height=\"424\" class=\"size-large wp-image-10141886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap139147978964-7704ce2dcd6de2a9a665b224fe7b690f44d30e13-1440x956.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap139147978964-7704ce2dcd6de2a9a665b224fe7b690f44d30e13-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap139147978964-7704ce2dcd6de2a9a665b224fe7b690f44d30e13-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rivers became permanent guest host for \u003cem>The Tonight Show\u003c/em> in 1983, a gig that ended when she left to host her own late-night show on Fox. Here she interviews Miss America Suzette Charles in 1984.\u003c/figcaption>\u003c/figure>\n\u003cp>But even though Sullivan and his wife were godparents to her daughter, Melissa, it was late-night host Johnny Carson who would become something of a mentor for Rivers, featuring her regularly on his \u003cem>Tonight Show\u003c/em>.\u003c/p>\n\u003cp>In one infamous exchange, Carson asked Rivers if men really liked smart women more.\u003c/p>\n\u003cp>Rivers shot back: “No man has ever put his hands up a woman’s dress looking for a library card.”\u003c/p>\n\u003cp>Carson made her the show’s permanent guest host in 1983. But their friendship would end a few years later after Rivers called to let him know she would host a rival late-night show on the Fox network.\u003c/p>\n\u003cp>“He hung up on me,” she told the Archive of American Television in an interview. “[I called] and said, ‘Johnny, it’s Joan, and I think I’m leaving the show. I have my own show at Fox,’ and then click. So then I called him back and I said, ‘Johnny!’ And he clicked down again. He would not hear me out.”\u003c/p>\n\u003cp>Carson would never speak to her again; he died in 2005.\u003c/p>\n\u003cfigure id=\"attachment_10141884\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap8605061335-6f43fd308168b3f4b8ca18bce361a4aaf19634b4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap8605061335-6f43fd308168b3f4b8ca18bce361a4aaf19634b4-1440x945.jpg\" alt=\"Rivers and Fox Chairman Barry Diller arrive for a news conference in Los Angeles to announce her late-night talk show on Fox.\" width=\"640\" height=\"420\" class=\"size-large wp-image-10141884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap8605061335-6f43fd308168b3f4b8ca18bce361a4aaf19634b4-1440x945.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap8605061335-6f43fd308168b3f4b8ca18bce361a4aaf19634b4-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap8605061335-6f43fd308168b3f4b8ca18bce361a4aaf19634b4-300x196.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rivers and Fox Chairman Barry Diller arrive for a news conference in Los Angeles to announce her late-night talk show on Fox.\u003c/figcaption>\u003c/figure>\n\u003cp>Rivers’\u003cem> Late Show\u003c/em> struggled from its start in 1986. Rivers and her executive producer husband, Edgar Rosenberg, clashed with Fox while she struggled to compete with Carson.\u003c/p>\n\u003cp>A year later, Fox canceled the program, leaving Rivers banned from the \u003cem>Tonight Show\u003c/em> and looking like a showbiz pariah. Rosenberg killed himself soon after; Rivers said her daughter Melissa was the one who authorities told first, leaving the then-teenager to tell her mother.\u003c/p>\n\u003cp>But she used humor to break the ice with audiences even then, remembering during the standup special \u003cem>An Audience With Joan Rivers\u003c/em> the first joke she told at her first performance after his death.\u003c/p>\n\u003cp>“I told the audience, ‘My husband killed himself and it was my fault,’ ” she said. ” ‘We were making love and I took the bag off my head.’ ”\u003c/p>\n\u003cp>Rivers told \u003cem>Fresh Air\u003c/em> the toughest thing about old age was seeing loved ones die.\u003c/p>\n\u003cp>“The loss is horrific,” she said. “When I go upstairs at night — it sounds so stupid — I always turn to my living room and I say, ‘Good night, Orin’ — he was a man I lived with for nine years — and ‘Good night, Edgar.’ … It’s terribly sad.”\u003c/p>\n\u003cp>But Rivers kept going through the ’90s, hosting a daytime talk show, developing a line of jewelry for the home shopping channel QVC and teaming with her daughter Melissa to offer biting commentary from the red carpet for Oscar pre-shows on the E! and TV Guide channels.\u003c/p>\n\u003cfigure id=\"attachment_10141885\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap110114040006-a3b816877147533e7a1c5d279d995596080f710d.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap110114040006-a3b816877147533e7a1c5d279d995596080f710d-1440x1050.jpg\" alt=\"At the 16th Annual Critics' Choice Movie Awards on Friday, Jan. 14, 2011, in Los Angeles. (AP Photo/Chris Pizzello)\" width=\"640\" height=\"466\" class=\"size-large wp-image-10141885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap110114040006-a3b816877147533e7a1c5d279d995596080f710d-1440x1050.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap110114040006-a3b816877147533e7a1c5d279d995596080f710d-400x291.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap110114040006-a3b816877147533e7a1c5d279d995596080f710d-300x218.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">At the 16th Annual Critics’ Choice Movie Awards on Friday, Jan. 14, 2011, in Los Angeles. (AP Photo/Chris Pizzello)\u003c/figcaption>\u003c/figure>\n\u003cp>A recent documentary on her life, \u003cem>A Piece of Work\u003c/em>, highlighted her drive to stay relevant and youthful — working at a pace that would tire comics half her age. Its opening featured close-up shots of her face without makeup, revealing the nips and tucks of the countless plastic surgeries she joked about onstage.\u003c/p>\n\u003cp>The film also showed how tough she could be, taking on a heckler during a performance who objected to a joke that included a reference to deaf icon Helen Keller.\u003c/p>\n\u003cp>“Comedy is to make everybody laugh at everything and deal with things, you idiot,” she shouted from the stage.\u003c/p>\n\u003cp>And the controversies kept coming. Rivers was criticized for calling Michelle Obama transgender and saying Palestinian civilians deserved to die in the Gaza conflict.\u003c/p>\n\u003cp>But the fuss didn’t stop her from working. In her 80s, Rivers still juggled concert performances, a TV show on fashion, an Internet show and promotion for her 12th book, \u003cem>Diary of a Mad Diva\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10141882\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/2756090-06b42d947a49aaefffbe61fc315334b8a09d80e5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/2756090-06b42d947a49aaefffbe61fc315334b8a09d80e5-1440x1166.jpg\" alt=\"Rivers and mascot Ben arrive at the 10th annual Race to Deliver AIDS Benefit in 2003 in New York City.\" width=\"640\" height=\"518\" class=\"size-large wp-image-10141882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/2756090-06b42d947a49aaefffbe61fc315334b8a09d80e5-1440x1166.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/2756090-06b42d947a49aaefffbe61fc315334b8a09d80e5-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/2756090-06b42d947a49aaefffbe61fc315334b8a09d80e5-300x243.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rivers and mascot Ben arrive at the 10th annual Race to Deliver AIDS Benefit in 2003 in New York City.\u003c/figcaption>\u003c/figure>\n\u003cp>True to form, she had been talking up the book in New York the day before she stopped breathing during a minor procedure in a clinic Aug. 28. She was rushed to Mount Sinai Hospital, where doctors placed her in a medically induced coma, and she breathed with assistance from machines.\u003c/p>\n\u003cp>In a statement announcing her mother’s death, Melissa Rivers said she died peacefully “surrounded by family and close friends.”\u003c/p>\n\u003cp>“My mother’s greatest joy in life was to make people laugh,” the statement continued. “Although that is difficult to do right now, I know her final wish would be that we return to laughing soon.”\u003c/p>\n\u003cp>Joan Rivers’ attitude about show business was summed up in an appearance on comic Louis C.K.’s FX show \u003cem>Louie\u003c/em>, where she gave him a pep talk after a tough show.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Think it’s been easy?” she said. “I have gone up, I’ve gone down; I’ve been bankrupt, I’ve been broke. But you do it. And you do it because … because we love it more than anything else.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Joan+Rivers%2C+An+Enduring+Comic+Who+Turned+Tragedy+Into+Showbiz+Success%2C+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Joan Rivers being interviewed on Forum back in 2010\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/forum/2010/05/2010-05-06b-forum.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"http://blogs.kqed.org/pop/2014/09/04/joan-rivers-dead-at-81-watch-some-of-her-best-televised-moments/\" target=\"_blank\" rel=\"noopener\">Joan Rivers Dead at 81: Watch Some of Her Best Televised Moments\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"http://blogs.kqed.org/pop/2014/09/04/joan-rivers-dead-at-81-watch-some-of-her-best-televised-moments/\" target=\"_blank\" rel=\"noopener\">\u003cimg decoding=\"async\" src=\"http://blogs.kqed.org/pop/files/2014/09/joan-rivers.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp> Comedian Joan Rivers died today and KQED Pop has collected several of her TV appearances that exemplify her amazingly fast, acerbic wit.\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>No one transformed bad times into sidesplitting comedy like Joan Rivers, who kept audiences laughing through a 50-year career that included bankruptcy, getting banned from \u003cem>The Tonight Show\u003c/em> and seeing a husband commit suicide.\u003c/p>\n\u003cp>She even built a standup routine around caring for a handicapped boyfriend.\u003c/p>\n\u003cp>“I lived for nine years with a man with one leg,” she told audiences in her 2012 standup special, \u003cem>Don’t Start With Me\u003c/em>. “One leg! He lost it in World War II. … He didn’t lose it, he knew \u003cem>exactly \u003c/em>where he left it. … [And] in my mind, that’s littering.”\u003c/p>\n\u003cfigure id=\"attachment_10141883\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-1431x1440.jpg\" alt=\"Joan Rivers in 1965. She began appearing on television variety programs like <em>The Ed Sullivan Show</em>.\" width=\"640\" height=\"644\" class=\"size-large wp-image-10141883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-1431x1440.jpg 1431w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-400x402.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-298x300.jpg 298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joan Rivers in 1965. She began appearing on television variety programs like \u003cem>The Ed Sullivan Show\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>But Rivers’ talent for rapid-fire jokes and edgy humor was stilled Thursday, when the comic died after complications following throat surgery. She was 81.\u003c/p>\n\u003cp>Born Joan Alexandra Molinsky in 1933, she ignored her family’s objections to become an actress and comic. She performed in the same New York clubs as Woody Allen and Barbra Streisand, writing lines for more established acts like Phyllis Diller and the puppet Topo Gigio.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Asked whether she felt bad writing for a puppet while starting out, \u003ca href=\"http://www.npr.org/2012/06/11/154753767/joan-rivers-hates-you-and-everyone-else\" target=\"_blank\" rel=\"noopener\">Rivers told WHYY’s \u003cem>Fresh Air\u003c/em> in 2012\u003c/a>, “I’ll write for Hitler [for] $500. … When you’re starving and got a car payment due? You go through any door that opens and you don’t know which is gonna be the one.”\u003c/p>\n\u003cp>By the mid-1960s, she was appearing in front of the camera for variety programs like \u003cem>The Ed Sullivan Show\u003c/em>, where she talked frankly about women at a time when you couldn’t even say the word “pregnant” on TV.\u003c/p>\n\u003cp>“A girl, you’re 30 years old, you’re not married, you’re an old maid,” she said in one 1967 \u003cem>Ed Sullivan Show\u003c/em> routine. “A man, he’s 90 years old, he’s not married, he’s a catch. It’s a whole different thing!”\u003c/p>\n\u003cfigure id=\"attachment_10141886\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap139147978964-7704ce2dcd6de2a9a665b224fe7b690f44d30e13.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap139147978964-7704ce2dcd6de2a9a665b224fe7b690f44d30e13-1440x956.jpg\" alt=\"Rivers became permanent guest host for <em>The Tonight Show</em> in 1983, a gig that ended when she left to host her own late-night show on Fox. Here she interviews Miss America Suzette Charles in 1984.\" width=\"640\" height=\"424\" class=\"size-large wp-image-10141886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap139147978964-7704ce2dcd6de2a9a665b224fe7b690f44d30e13-1440x956.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap139147978964-7704ce2dcd6de2a9a665b224fe7b690f44d30e13-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap139147978964-7704ce2dcd6de2a9a665b224fe7b690f44d30e13-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rivers became permanent guest host for \u003cem>The Tonight Show\u003c/em> in 1983, a gig that ended when she left to host her own late-night show on Fox. Here she interviews Miss America Suzette Charles in 1984.\u003c/figcaption>\u003c/figure>\n\u003cp>But even though Sullivan and his wife were godparents to her daughter, Melissa, it was late-night host Johnny Carson who would become something of a mentor for Rivers, featuring her regularly on his \u003cem>Tonight Show\u003c/em>.\u003c/p>\n\u003cp>In one infamous exchange, Carson asked Rivers if men really liked smart women more.\u003c/p>\n\u003cp>Rivers shot back: “No man has ever put his hands up a woman’s dress looking for a library card.”\u003c/p>\n\u003cp>Carson made her the show’s permanent guest host in 1983. But their friendship would end a few years later after Rivers called to let him know she would host a rival late-night show on the Fox network.\u003c/p>\n\u003cp>“He hung up on me,” she told the Archive of American Television in an interview. “[I called] and said, ‘Johnny, it’s Joan, and I think I’m leaving the show. I have my own show at Fox,’ and then click. So then I called him back and I said, ‘Johnny!’ And he clicked down again. He would not hear me out.”\u003c/p>\n\u003cp>Carson would never speak to her again; he died in 2005.\u003c/p>\n\u003cfigure id=\"attachment_10141884\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap8605061335-6f43fd308168b3f4b8ca18bce361a4aaf19634b4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap8605061335-6f43fd308168b3f4b8ca18bce361a4aaf19634b4-1440x945.jpg\" alt=\"Rivers and Fox Chairman Barry Diller arrive for a news conference in Los Angeles to announce her late-night talk show on Fox.\" width=\"640\" height=\"420\" class=\"size-large wp-image-10141884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap8605061335-6f43fd308168b3f4b8ca18bce361a4aaf19634b4-1440x945.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap8605061335-6f43fd308168b3f4b8ca18bce361a4aaf19634b4-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap8605061335-6f43fd308168b3f4b8ca18bce361a4aaf19634b4-300x196.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rivers and Fox Chairman Barry Diller arrive for a news conference in Los Angeles to announce her late-night talk show on Fox.\u003c/figcaption>\u003c/figure>\n\u003cp>Rivers’\u003cem> Late Show\u003c/em> struggled from its start in 1986. Rivers and her executive producer husband, Edgar Rosenberg, clashed with Fox while she struggled to compete with Carson.\u003c/p>\n\u003cp>A year later, Fox canceled the program, leaving Rivers banned from the \u003cem>Tonight Show\u003c/em> and looking like a showbiz pariah. Rosenberg killed himself soon after; Rivers said her daughter Melissa was the one who authorities told first, leaving the then-teenager to tell her mother.\u003c/p>\n\u003cp>But she used humor to break the ice with audiences even then, remembering during the standup special \u003cem>An Audience With Joan Rivers\u003c/em> the first joke she told at her first performance after his death.\u003c/p>\n\u003cp>“I told the audience, ‘My husband killed himself and it was my fault,’ ” she said. ” ‘We were making love and I took the bag off my head.’ ”\u003c/p>\n\u003cp>Rivers told \u003cem>Fresh Air\u003c/em> the toughest thing about old age was seeing loved ones die.\u003c/p>\n\u003cp>“The loss is horrific,” she said. “When I go upstairs at night — it sounds so stupid — I always turn to my living room and I say, ‘Good night, Orin’ — he was a man I lived with for nine years — and ‘Good night, Edgar.’ … It’s terribly sad.”\u003c/p>\n\u003cp>But Rivers kept going through the ’90s, hosting a daytime talk show, developing a line of jewelry for the home shopping channel QVC and teaming with her daughter Melissa to offer biting commentary from the red carpet for Oscar pre-shows on the E! and TV Guide channels.\u003c/p>\n\u003cfigure id=\"attachment_10141885\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap110114040006-a3b816877147533e7a1c5d279d995596080f710d.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap110114040006-a3b816877147533e7a1c5d279d995596080f710d-1440x1050.jpg\" alt=\"At the 16th Annual Critics' Choice Movie Awards on Friday, Jan. 14, 2011, in Los Angeles. (AP Photo/Chris Pizzello)\" width=\"640\" height=\"466\" class=\"size-large wp-image-10141885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap110114040006-a3b816877147533e7a1c5d279d995596080f710d-1440x1050.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap110114040006-a3b816877147533e7a1c5d279d995596080f710d-400x291.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap110114040006-a3b816877147533e7a1c5d279d995596080f710d-300x218.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">At the 16th Annual Critics’ Choice Movie Awards on Friday, Jan. 14, 2011, in Los Angeles. (AP Photo/Chris Pizzello)\u003c/figcaption>\u003c/figure>\n\u003cp>A recent documentary on her life, \u003cem>A Piece of Work\u003c/em>, highlighted her drive to stay relevant and youthful — working at a pace that would tire comics half her age. Its opening featured close-up shots of her face without makeup, revealing the nips and tucks of the countless plastic surgeries she joked about onstage.\u003c/p>\n\u003cp>The film also showed how tough she could be, taking on a heckler during a performance who objected to a joke that included a reference to deaf icon Helen Keller.\u003c/p>\n\u003cp>“Comedy is to make everybody laugh at everything and deal with things, you idiot,” she shouted from the stage.\u003c/p>\n\u003cp>And the controversies kept coming. Rivers was criticized for calling Michelle Obama transgender and saying Palestinian civilians deserved to die in the Gaza conflict.\u003c/p>\n\u003cp>But the fuss didn’t stop her from working. In her 80s, Rivers still juggled concert performances, a TV show on fashion, an Internet show and promotion for her 12th book, \u003cem>Diary of a Mad Diva\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10141882\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/2756090-06b42d947a49aaefffbe61fc315334b8a09d80e5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/2756090-06b42d947a49aaefffbe61fc315334b8a09d80e5-1440x1166.jpg\" alt=\"Rivers and mascot Ben arrive at the 10th annual Race to Deliver AIDS Benefit in 2003 in New York City.\" width=\"640\" height=\"518\" class=\"size-large wp-image-10141882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/2756090-06b42d947a49aaefffbe61fc315334b8a09d80e5-1440x1166.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/2756090-06b42d947a49aaefffbe61fc315334b8a09d80e5-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/2756090-06b42d947a49aaefffbe61fc315334b8a09d80e5-300x243.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rivers and mascot Ben arrive at the 10th annual Race to Deliver AIDS Benefit in 2003 in New York City.\u003c/figcaption>\u003c/figure>\n\u003cp>True to form, she had been talking up the book in New York the day before she stopped breathing during a minor procedure in a clinic Aug. 28. She was rushed to Mount Sinai Hospital, where doctors placed her in a medically induced coma, and she breathed with assistance from machines.\u003c/p>\n\u003cp>In a statement announcing her mother’s death, Melissa Rivers said she died peacefully “surrounded by family and close friends.”\u003c/p>\n\u003cp>“My mother’s greatest joy in life was to make people laugh,” the statement continued. “Although that is difficult to do right now, I know her final wish would be that we return to laughing soon.”\u003c/p>\n\u003cp>Joan Rivers’ attitude about show business was summed up in an appearance on comic Louis C.K.’s FX show \u003cem>Louie\u003c/em>, where she gave him a pep talk after a tough show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Think it’s been easy?” she said. “I have gone up, I’ve gone down; I’ve been bankrupt, I’ve been broke. But you do it. And you do it because … because we love it more than anything else.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Joan+Rivers%2C+An+Enduring+Comic+Who+Turned+Tragedy+Into+Showbiz+Success%2C+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Art, Architecture and Wine take a Seismic Hit in Napa",
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"content": "\u003cp>Napa’s charming, historic downtown buildings suffered heartbreaking damage from the Aug. 24 earthquake, and the same is true for the area’s arts organizations, who are now in need of some serious financial support.\u003c/p>\n\u003cp>“Napa is open for business,” said Jim Caudill of The Hess art collection and winery. “Harvest is a great time to visit, and we’ll have a little more to talk about was we swirl, sip and spit.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.hesscollection.com/art/index.html\" target=\"_blank\" rel=\"noopener\">The Hess Collection\u003c/a> has vineyards and a museum-sized art exhibition space that holds works by Andy Goldsworthy, Robert Motherwell, Anselm Kiefer and many more blue chip artists. Due to the earthquake, all of their sculptures tumbled off their pedestals. And they lost $4 million-worth of wine when two 10,000 gallon tanks in their storage facility ruptured. \u003c/p>\n\u003cfigure id=\"attachment_10141288\" class=\"wp-caption alignright\" style=\"max-width: 560px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/diRosa_2014earthquake_WileyRepair.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/diRosa_2014earthquake_WileyRepair.jpg\" alt=\"Re-installing a 3-D element of William T. Wiley's "The Cold Plan Notes," >1985, in di Rosa's Main Gallery. Image courtesy of di Rosa, Napa.\" width=\"560\" height=\"750\" class=\"size-full wp-image-10141288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/diRosa_2014earthquake_WileyRepair.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/diRosa_2014earthquake_WileyRepair-400x535.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/diRosa_2014earthquake_WileyRepair-224x300.jpg 224w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Re-installing a 3-D element of William T. Wiley’s “The Cold Plan Notes,”\u003cbr>>1985, in di Rosa’s Main Gallery. Image courtesy of di Rosa, Napa.\u003c/figcaption>\u003c/figure>\n\u003cp>“The Cabernet Sauvignon ran out of the winery and into our inner courtyard, putting a new hue to our mountain meadow garden,” said Caudill.\u003c/p>\n\u003cp>In regards to the artwork besides the toppled sculptures, he said, “Most of the major paintings and other artwork came through just fine.” The full scope of the damage is still being assessed, but the venue will be open in a slightly limited capacity starting today.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The art and nature preserve, \u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">di Rosa\u003c/a>, which houses the largest collection of Bay Area art, has three large buildings full of art. While the Gatehouse, Main Gallery, and Sculpture Meadow were scheduled to reopen Wednesday, Director Kathryn Reasoner explained that the Historic Residence, which is chock full of artwork (there are even paintings on the ceiling and a sculpture in the bathtub), will take longer to clean up.\u003c/p>\n\u003cp>Miraculously, only one bottle of wine broke at this vineyard-lined location, but there are several damaged artworks.\u003c/p>\n\u003cp>“The majority of the damaged works require only minor repairs. A few may have more serious damage. Ultimately we were relieved to see how well our newer installation methods held up and how much work remained in place,” said Reasoner. “We have nearly 200 outdoor sculptures and so far have identified two—one stone and one ceramic—both with horizontal elements that broke due to stresses under the ground.” \u003c/p>\n\u003cp>After detailed inspections, the facilities staff at di Rosa found no structural damages, and overall, Reasoner feels fortunate that more damages weren’t sustained. \u003c/p>\n\u003cp>“Although di Rosa is very near the epicenter of the quake, our buildings are on the rocky slope of Milliken Peak, the highest point at the southern end of Napa County, so the geologic foundation was an advantage,” she said.\u003c/p>\n\u003cp>What can you do to help support di Rosa? Visit, become a member, and if your pockets are deep, make a donation. The organization is no longer owned by the late Rene and Veronica di Rosa, it is a non-profit public trust that preserves 200 acres of beautiful California landscape, as well as an historically significant collection of art from over 800 artists the Bay Area community.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Napa Valley Opera House and the Uptown Theater, among other organizations, have also sustained earthquake damages. Keep an eye on the \u003ca href=\"https://www.facebook.com/artscouncilnapavalley\" target=\"_blank\" rel=\"noopener\">Arts Council of Napa Valley’s Facebook page\u003c/a> to stay updated on more organizations that need support, and find resources if you or your business are in need, including the \u003ca href=\"http://www.craftemergency.org/\" target=\"_blank\" rel=\"noopener\">Craft Emergency Relief Fund\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Napa’s charming, historic downtown buildings suffered heartbreaking damage from the Aug. 24 earthquake, and the same is true for the area's arts organizations, who are now in need of some serious financial support.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Napa’s charming, historic downtown buildings suffered heartbreaking damage from the Aug. 24 earthquake, and the same is true for the area’s arts organizations, who are now in need of some serious financial support.\u003c/p>\n\u003cp>“Napa is open for business,” said Jim Caudill of The Hess art collection and winery. “Harvest is a great time to visit, and we’ll have a little more to talk about was we swirl, sip and spit.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.hesscollection.com/art/index.html\" target=\"_blank\" rel=\"noopener\">The Hess Collection\u003c/a> has vineyards and a museum-sized art exhibition space that holds works by Andy Goldsworthy, Robert Motherwell, Anselm Kiefer and many more blue chip artists. Due to the earthquake, all of their sculptures tumbled off their pedestals. And they lost $4 million-worth of wine when two 10,000 gallon tanks in their storage facility ruptured. \u003c/p>\n\u003cfigure id=\"attachment_10141288\" class=\"wp-caption alignright\" style=\"max-width: 560px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/diRosa_2014earthquake_WileyRepair.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/diRosa_2014earthquake_WileyRepair.jpg\" alt=\"Re-installing a 3-D element of William T. Wiley's "The Cold Plan Notes," >1985, in di Rosa's Main Gallery. Image courtesy of di Rosa, Napa.\" width=\"560\" height=\"750\" class=\"size-full wp-image-10141288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/diRosa_2014earthquake_WileyRepair.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/diRosa_2014earthquake_WileyRepair-400x535.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/diRosa_2014earthquake_WileyRepair-224x300.jpg 224w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Re-installing a 3-D element of William T. Wiley’s “The Cold Plan Notes,”\u003cbr>>1985, in di Rosa’s Main Gallery. Image courtesy of di Rosa, Napa.\u003c/figcaption>\u003c/figure>\n\u003cp>“The Cabernet Sauvignon ran out of the winery and into our inner courtyard, putting a new hue to our mountain meadow garden,” said Caudill.\u003c/p>\n\u003cp>In regards to the artwork besides the toppled sculptures, he said, “Most of the major paintings and other artwork came through just fine.” The full scope of the damage is still being assessed, but the venue will be open in a slightly limited capacity starting today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The art and nature preserve, \u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">di Rosa\u003c/a>, which houses the largest collection of Bay Area art, has three large buildings full of art. While the Gatehouse, Main Gallery, and Sculpture Meadow were scheduled to reopen Wednesday, Director Kathryn Reasoner explained that the Historic Residence, which is chock full of artwork (there are even paintings on the ceiling and a sculpture in the bathtub), will take longer to clean up.\u003c/p>\n\u003cp>Miraculously, only one bottle of wine broke at this vineyard-lined location, but there are several damaged artworks.\u003c/p>\n\u003cp>“The majority of the damaged works require only minor repairs. A few may have more serious damage. Ultimately we were relieved to see how well our newer installation methods held up and how much work remained in place,” said Reasoner. “We have nearly 200 outdoor sculptures and so far have identified two—one stone and one ceramic—both with horizontal elements that broke due to stresses under the ground.” \u003c/p>\n\u003cp>After detailed inspections, the facilities staff at di Rosa found no structural damages, and overall, Reasoner feels fortunate that more damages weren’t sustained. \u003c/p>\n\u003cp>“Although di Rosa is very near the epicenter of the quake, our buildings are on the rocky slope of Milliken Peak, the highest point at the southern end of Napa County, so the geologic foundation was an advantage,” she said.\u003c/p>\n\u003cp>What can you do to help support di Rosa? Visit, become a member, and if your pockets are deep, make a donation. The organization is no longer owned by the late Rene and Veronica di Rosa, it is a non-profit public trust that preserves 200 acres of beautiful California landscape, as well as an historically significant collection of art from over 800 artists the Bay Area community.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Napa Valley Opera House and the Uptown Theater, among other organizations, have also sustained earthquake damages. Keep an eye on the \u003ca href=\"https://www.facebook.com/artscouncilnapavalley\" target=\"_blank\" rel=\"noopener\">Arts Council of Napa Valley’s Facebook page\u003c/a> to stay updated on more organizations that need support, and find resources if you or your business are in need, including the \u003ca href=\"http://www.craftemergency.org/\" target=\"_blank\" rel=\"noopener\">Craft Emergency Relief Fund\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"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": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"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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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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