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"content": "\u003cp>When you think of opera, you probably think lavish productions, performed in major metropolitan areas. But in the city of Visalia, in rural Tulare County, a small opera company is taking on a big task. It’s brought opera and mariachi music together, to create an original work that explores the lives of the farm workers who came to the US as part of the bracero program.\u003c/p>\n\u003cp>Mariachi in many ways is the soundtrack to people’s lives in Central California, documenting stories of love, heartache and struggle. It’s played at celebrations of all sorts. But rarely is it heard in the world of opera, until now.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/181264900″ 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>“When I hear mariachis, I feel very connected and rooted all of a sudden,” says Rosalinda Verde, a classically trained opera singer who runs the Visalia Opera Company.\u003c/p>\n\u003cp>She decided to fuse the two art forms into one production: a mariachi opera called \u003cem>El Bracero\u003c/em>. It’s thought to be the second of its kind in the world.\u003c/p>\n\u003cfigure id=\"attachment_10209435\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Noelvia.jpg\" alt=\"<i>El Bracero</i> is a story of love and struggle told through opera and mariachi.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10209435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Noelvia.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Noelvia-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>El Bracero\u003c/i> is a story of love and struggle told through opera and mariachi. Noelvia Prado, right, plays herself in the opera inspired by her father’s participation in the bracero program.\u003c/figcaption>\u003c/figure>\n\u003cp>“Opera is to tell a story through song and that’s what we’re doing,” Verde says. “We’re using traditional mariachi songs that people will know and recognize and that will bring them into the story.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Verde grew up in Visalia and saw a rendition of the first mariachi opera earlier this year by Mexico City’s Mariachi Vargas called \u003cem>Cruzar La Cara de la Luna\u003c/em>.\u003c/p>\n\u003cp>“I saw it in San Diego,” Verde recalls. “It was also an immigrant story, and at the end of it you could hear people bawling, crying so I thought ‘Wow, I want to do that actual opera but they are still performing it so I can’t get the rights to that.’”\u003cbr>\nSo she says she had to write her own. \u003c/p>\n\u003cp>Set in the 1940s, \u003cem>El Bracero\u003c/em> explores life in the bracero program, which opened the door for Mexican nationals to work temporarily in the U.S. The program started in 1942, during World War II, and ended in 1964.\u003c/p>\n\u003cp>Rosalinda’s father Francisco Verde narrates the opera, weaving storytelling through acting, folkloric dance and song.\u003c/p>\n\u003cfigure id=\"attachment_10209436\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Verde.jpg\" alt=\"Rosalinda Verde, right, wrote the mariachi opera in about a week this summer.\" width=\"640\" height=\"360\" class=\"size-full wp-image-10209436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Verde.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Verde-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rosalinda Verde, right, wrote the mariachi opera in about a week this summer.\u003c/figcaption>\u003c/figure>\n\u003cp>“How many times have you heard opera being shared in the Mexican Heritage? Never,” Verde says. “The ballet folklorico has always been in existence but it’s going to come in with the mariachis and opera and acting.”\u003c/p>\n\u003cp>The opera is inspired by the story of Francisco Verde’s parents and also centers around the story of Noe Prado, who came to California as a bracero. The opera recounts how Prado struggles to make a living so he can support the love of his life in Mexico.\u003c/p>\n\u003cp>Prado’s daughter Noelvia plays herself in the production. She was pulled in last minute when the actor playing her got sick.\u003c/p>\n\u003cp>“Growing up, my dad always made it a very important part of our life to know our roots and what he came from,” Prado says.\u003c/p>\n\u003cp>Life wasn’t easy for the braceros. Many claim they were unfairly compensated, racially discriminated against, and that there was little federal enforcement of the rights they were promised.\u003c/p>\n\u003cp>“This is their story, including just the true hard labor of working in the fields,” Rosalinda Verde says. “All the promises that the U.S. had made did not turn out to be in a lot of the instances.”\u003c/p>\n\u003cfigure id=\"attachment_10209437\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Working.jpg\" alt=\"<i>El Bracero </i> depicts life in the bracero program, which allowed temporary contract laborers from Mexico to the United States.\" width=\"640\" height=\"360\" class=\"size-full wp-image-10209437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Working.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Working-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>El Bracero\u003c/i> depicts life in the bracero program, which allowed temporary contract laborers from Mexico to the United States.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>El Bracero\u003c/em> is funded through a grant from the Fresno Regional Foundation, and part of the requirements mandate the opera be performed in a nontraditional setting. The first opera was held last month in a park in Visalia. It’s a neighborhood known for homelessness and gang activity. Still, more than 300 people attended.\u003c/p>\n\u003cp>Retired Visalia Teacher Richard Rodriguez says the mariachi opera reminded him of his family history.\u003c/p>\n\u003cp>“All of a sudden it engulfs you,” said Rodriguez. “You don’t even know you’re experiencing this but you’re feeling something until you go back home. Oh my God, I just saw my momma and poppa’s story. I just saw an orchestra that happened to be a mariachi group and they were excellent.”\u003c/p>\n\u003cp>It’s responses like this that Rosalinda Verde is looking for. It’s her desire to link the medium of opera to the community she lives in.\u003c/p>\n\u003cp>“I feel like it’s a very good marriage, simply because we can,” she says. “We live in the Valley and we are open to creating new things here.”\u003c/p>\n\u003cp>Verde says \u003cem>El Bracero\u003c/em> will be performed again in 2015, possibly in the Central California Community of Lindsay.\u003c/p>\n\u003cp>\u003cem>Featured image courtesy of the \u003ca href=\"http://www.visaliatimesdelta.com/\" target=\"_blank\" rel=\"noopener\">Visalia Times Delta.\u003c/a> View more photos of the opera at Times-Delta’s \u003ca href=\"http://www.visaliatimesdelta.com/media/cinematic/gallery/19182945/el-bracero/\" target=\"_blank\" rel=\"noopener\">gallery page\u003c/a>. \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>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you think of opera, you probably think lavish productions, performed in major metropolitan areas. But in the city of Visalia, in rural Tulare County, a small opera company is taking on a big task. It’s brought opera and mariachi music together, to create an original work that explores the lives of the farm workers who came to the US as part of the bracero program.\u003c/p>\n\u003cp>Mariachi in many ways is the soundtrack to people’s lives in Central California, documenting stories of love, heartache and struggle. It’s played at celebrations of all sorts. But rarely is it heard in the world of opera, until now.\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/181264900″&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/181264900″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“When I hear mariachis, I feel very connected and rooted all of a sudden,” says Rosalinda Verde, a classically trained opera singer who runs the Visalia Opera Company.\u003c/p>\n\u003cp>She decided to fuse the two art forms into one production: a mariachi opera called \u003cem>El Bracero\u003c/em>. It’s thought to be the second of its kind in the world.\u003c/p>\n\u003cfigure id=\"attachment_10209435\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Noelvia.jpg\" alt=\"<i>El Bracero</i> is a story of love and struggle told through opera and mariachi.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10209435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Noelvia.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Noelvia-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>El Bracero\u003c/i> is a story of love and struggle told through opera and mariachi. Noelvia Prado, right, plays herself in the opera inspired by her father’s participation in the bracero program.\u003c/figcaption>\u003c/figure>\n\u003cp>“Opera is to tell a story through song and that’s what we’re doing,” Verde says. “We’re using traditional mariachi songs that people will know and recognize and that will bring them into the story.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Verde grew up in Visalia and saw a rendition of the first mariachi opera earlier this year by Mexico City’s Mariachi Vargas called \u003cem>Cruzar La Cara de la Luna\u003c/em>.\u003c/p>\n\u003cp>“I saw it in San Diego,” Verde recalls. “It was also an immigrant story, and at the end of it you could hear people bawling, crying so I thought ‘Wow, I want to do that actual opera but they are still performing it so I can’t get the rights to that.’”\u003cbr>\nSo she says she had to write her own. \u003c/p>\n\u003cp>Set in the 1940s, \u003cem>El Bracero\u003c/em> explores life in the bracero program, which opened the door for Mexican nationals to work temporarily in the U.S. The program started in 1942, during World War II, and ended in 1964.\u003c/p>\n\u003cp>Rosalinda’s father Francisco Verde narrates the opera, weaving storytelling through acting, folkloric dance and song.\u003c/p>\n\u003cfigure id=\"attachment_10209436\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Verde.jpg\" alt=\"Rosalinda Verde, right, wrote the mariachi opera in about a week this summer.\" width=\"640\" height=\"360\" class=\"size-full wp-image-10209436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Verde.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Verde-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rosalinda Verde, right, wrote the mariachi opera in about a week this summer.\u003c/figcaption>\u003c/figure>\n\u003cp>“How many times have you heard opera being shared in the Mexican Heritage? Never,” Verde says. “The ballet folklorico has always been in existence but it’s going to come in with the mariachis and opera and acting.”\u003c/p>\n\u003cp>The opera is inspired by the story of Francisco Verde’s parents and also centers around the story of Noe Prado, who came to California as a bracero. The opera recounts how Prado struggles to make a living so he can support the love of his life in Mexico.\u003c/p>\n\u003cp>Prado’s daughter Noelvia plays herself in the production. She was pulled in last minute when the actor playing her got sick.\u003c/p>\n\u003cp>“Growing up, my dad always made it a very important part of our life to know our roots and what he came from,” Prado says.\u003c/p>\n\u003cp>Life wasn’t easy for the braceros. Many claim they were unfairly compensated, racially discriminated against, and that there was little federal enforcement of the rights they were promised.\u003c/p>\n\u003cp>“This is their story, including just the true hard labor of working in the fields,” Rosalinda Verde says. “All the promises that the U.S. had made did not turn out to be in a lot of the instances.”\u003c/p>\n\u003cfigure id=\"attachment_10209437\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Working.jpg\" alt=\"<i>El Bracero </i> depicts life in the bracero program, which allowed temporary contract laborers from Mexico to the United States.\" width=\"640\" height=\"360\" class=\"size-full wp-image-10209437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Working.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Working-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>El Bracero\u003c/i> depicts life in the bracero program, which allowed temporary contract laborers from Mexico to the United States.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>El Bracero\u003c/em> is funded through a grant from the Fresno Regional Foundation, and part of the requirements mandate the opera be performed in a nontraditional setting. The first opera was held last month in a park in Visalia. It’s a neighborhood known for homelessness and gang activity. Still, more than 300 people attended.\u003c/p>\n\u003cp>Retired Visalia Teacher Richard Rodriguez says the mariachi opera reminded him of his family history.\u003c/p>\n\u003cp>“All of a sudden it engulfs you,” said Rodriguez. “You don’t even know you’re experiencing this but you’re feeling something until you go back home. Oh my God, I just saw my momma and poppa’s story. I just saw an orchestra that happened to be a mariachi group and they were excellent.”\u003c/p>\n\u003cp>It’s responses like this that Rosalinda Verde is looking for. It’s her desire to link the medium of opera to the community she lives in.\u003c/p>\n\u003cp>“I feel like it’s a very good marriage, simply because we can,” she says. “We live in the Valley and we are open to creating new things here.”\u003c/p>\n\u003cp>Verde says \u003cem>El Bracero\u003c/em> will be performed again in 2015, possibly in the Central California Community of Lindsay.\u003c/p>\n\u003cp>\u003cem>Featured image courtesy of the \u003ca href=\"http://www.visaliatimesdelta.com/\" target=\"_blank\" rel=\"noopener\">Visalia Times Delta.\u003c/a> View more photos of the opera at Times-Delta’s \u003ca href=\"http://www.visaliatimesdelta.com/media/cinematic/gallery/19182945/el-bracero/\" target=\"_blank\" rel=\"noopener\">gallery page\u003c/a>. \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>\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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The group's name is a giveaway. Silk, as in smooth, and Rhodes, as in \u003ca title=\"Fender Rhodes Electric Piano- Smithsonian\" href=\"http://americanhistory.si.edu/collections/search/object/nmah_606755\">Fender Rhodes\u003c/a>, the electric piano that gave a signature sound to a lot of ‘70s funk and soul. By and large, that’s the spiritual model for what we have here on \u003ca title=\"Stones Throw Records-Silk Rhodes\" href=\"http://www.stonesthrow.com/silkrhodes\">Silk Rhodes\u003c/a>’ self-titled debut album.\u003c/p>\n\u003cp>It’s there from the first notes of the first track, simply titled “Intro” — smooth funk going back a few decades, but stripped down to the bone by a couple of mad sonic scientists.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/180182206\" 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>And the album cover, too. It’s a photo of a miniature Silk Rhodes logo on a young woman’s tongue, like a pill. Well, the album is made up of pieces that are basically miniatures -- concise, minimalist sketches. “Pains,” for example, is like a distant dream of a soul song, alluringly so.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art.jpg\">\u003cimg class=\"alignleft wp-image-10367635\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-400x400.jpg\" alt=\"Silk Rhodes\" width=\"362\" height=\"362\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art.jpg 1500w\" sizes=\"(max-width: 362px) 100vw, 362px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So who are the guys behind this? Producer Michael Collins and singer Sasha Desree came to California from Baltimore and New York, respectively, via rather circuitous routes, becoming friends and collaborators along the way.\u003c/p>\n\u003cp>The story goes, and we may as well believe it, that the two turned their 1997 Honda CR-V into a mobile recording studio, incorporating its vintage sound system, so they could record whatever crazy ideas might strike them in the moment, often with whoever was around at the moment. Sometimes they’d even give the music test runs for random folks on the street.\u003c/p>\n\u003cp>Much of this is pretty weird -- oddball experiments and goofs. One interlude, “Laurie’s Machine,” is apparently just that, messages left on someone’s answering machine.\u003c/p>\n\u003cp>So who do we hear in this? Maybe the Spinners or Delfonics? \u003ca title=\"Gamble-Huff Music\" href=\"http://www.gamble-huffmusic.com/home2/\">Gamble and Huff\u003c/a>’s classic Sound of Philadelphia productions for sure. Maybe some of the era’s jazz-soul crossovers, the Crusaders and George Benson?\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/SoxbvE1Doog?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp style=\"text-align: justify\">More than any of those, this brings to mind the little experiments that knitted together Prince’s brilliant, still hard-to-get-a-handle-on “\u003ca title=\"Rolling Stone's 500 Greatest Albums of All Time; #93\" href=\"http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531/prince-sign-o-the-times-20120524\">Sign 'o' the Times\u003c/a>.” There’s even a track on this called “Group 1987,\" the year when the Prince album was released. Coincidence? Maybe, but.…\u003c/p>\n\u003cp>But then it also fits nicely in the current run of California oddballs making distinctively weird, and weirdly engaging, music — \u003ca title=\"Tumblr- Flying Lotus\" href=\"http://officialflylo.tumblr.com/\">Flying Lotus\u003c/a> and \u003ca title=\"4AD Records-Ariel Pink\" href=\"http://www.4ad.com/artists/arielpink\">Ariel Pink\u003c/a> among them. As with them, Silk Rhodes’ weirdness can coalesce into some wondrous, coherently creative music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s exactly where it all leads when we get to the album’s closer, “The System.” It’s a real song. It still evokes some of the vintage acts, but has its own shape, its own character. It even has something to say, and points to promising directions for the future. Sounds like after poking around the past, Collins and Desree are ready to explore some new roads.\u003c/p>\n\n",
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"content": "\u003cp>\u003cstrong>Update, Dec. 2:\u003c/strong> We've added a few dozen more rain and storm-themed songs to help us make it through the wet week ahead. Enjoy! And keep sharing your suggestions in the comments section below or on our \u003ca href=\"https://www.facebook.com/KQEDnews\" target=\"_blank\">Facebook page. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Original post: \u003c/strong>\u003c/p>\n\u003cp>We know -- this week's rain, as welcome as it is, doesn't spell an end to The Drought. But you know, we want to savor the weather while we can -- each and every drop that falls from the sky onto shrinking reservoirs and too-thirsty fields. And to get in the mood just a little more, here's a playlist of a few favorites -- and a prompt for you to name a few of your own. Enjoy!\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://embed.spotify.com/?uri=spotify:user:hubertallen:playlist:0tIByxVUe93RQCdFxQ8suG\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Adam Grossberg, Amanda Stupi, Dan Brekke, David Marks, Lisa Pickoff-White, Kevin Jones, Issac Silk and Olivia Allen-Price contributed to this post.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Dec. 2:\u003c/strong> We've added a few dozen more rain and storm-themed songs to help us make it through the wet week ahead. Enjoy! And keep sharing your suggestions in the comments section below or on our \u003ca href=\"https://www.facebook.com/KQEDnews\" target=\"_blank\">Facebook page. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Original post: \u003c/strong>\u003c/p>\n\u003cp>We know -- this week's rain, as welcome as it is, doesn't spell an end to The Drought. But you know, we want to savor the weather while we can -- each and every drop that falls from the sky onto shrinking reservoirs and too-thirsty fields. And to get in the mood just a little more, here's a playlist of a few favorites -- and a prompt for you to name a few of your own. Enjoy!\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://embed.spotify.com/?uri=spotify:user:hubertallen:playlist:0tIByxVUe93RQCdFxQ8suG\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Adam Grossberg, Amanda Stupi, Dan Brekke, David Marks, Lisa Pickoff-White, Kevin Jones, Issac Silk and Olivia Allen-Price contributed to this post.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "East Bay Dragons Motorcycle Club: On the Road for 55 Years",
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"content": "\u003cp>California and motorcycles go way back: from Marlon Brando’s star turn as an outlaw biker in 1953’s \"The Wild One\" to the current TV hit \"Sons of Anarchy,\" set in the fictional town of Charming, California. Real-life California is packed with motorcycle clubs, from the notorious Hells Angels (founded in Fontana, with its best-known chapter in Oakland) to the hundreds of clubs that crisscross the state on bikes today. That includes dozens of African-American groups, like Oakland’s \u003ca href=\"http://www.eastbaydragons.com\" target=\"_blank\">East Bay Dragons\u003c/a>.\u003c/p>\n\u003cp>This year marks the Dragons’ 55th year as a motorcycle club, and they enjoy elder statesman status among the black motorcycle set.\u003cbr>\nCalifornia’s black clubs descend on Fresno each October, convening to celebrate motorcycles. The weekend is known as the Halfway Run -- because of Fresno’s location roughly halfway between Los Angeles and the Bay Area.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/179081945\" 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>In Fresno, the Dragons team up with two L.A. clubs to rent out a Days Inn. The motel is just off Highway 99, and the low din of car traffic from the road is regularly punctuated by roaring motorcycles. On Saturday afternoon, hundreds of people pack into the parking lot. The clubs are grilling food, lounging by the swimming pool and checking out each other’s rides. There’s gridlock, with motorcycles of every color glistening in the sun and blasting music.\u003c/p>\n\u003cfigure id=\"attachment_10356446\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/TobieGeneLevingston.jpg\">\u003cimg class=\"wp-image-10356446 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/TobieGeneLevingston-400x291.jpg\" alt=\"East Bay Dragons President Tobie Gene Levingston at the group’s clubhouse in East Oakland. (Aaron Mendelson/KQED)\" width=\"400\" height=\"291\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/TobieGeneLevingston-400x291.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/TobieGeneLevingston-800x582.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/TobieGeneLevingston.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">East Bay Dragons President Tobie Gene Levingston at the group’s clubhouse in East Oakland. (Aaron Mendelson/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>In front of his hotel room, Ali Ar Rasheed takes in the scene. Rasheed is a member of the East Bay Dragons. A consultant by day, he helps manage the club’s finances. “Riding is sort of like an active form of meditation,” Rasheed says, smoke rising off the cigar in his hand. “If you ride -- and you’re serious about riding -- you’re not worried about bills. You know, that’s not your focus, mentally. It’s the traffic, it’s the people you’re riding with.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Dragons' other business manager goes by the name \"Tug Boat.\" He’s a solidly built man with a shaved head. Like Rasheed, he stresses that the image of bikers as outlaws doesn’t apply to the laid-back gathering in Fresno, which crosses generational lines. Not that the police get the message. “I don’t think any cop has a day off when we’re in town,\" Tug Boat says. For Tug Boat, the gathering represents unity. We all enjoy one thing, and that’s riding motorcycles,\" he says.\u003c/p>\n\u003cp>Bikers at the Halfway Run all give their own reasons for riding motorcycles. MC Raw, a Fresno-based rapper, calls a motorcycle “a missile with handlebars.” Watts-based construction worker Blackie says “being on a Harley is like having sex.” And G-14 Classified, who rode his Suzuki Boulevard 1500 from Sacramento, calls riding a bike “almost like a low-level flying. I enjoy the feeling of the wind, the music and sometimes even solitude.”\u003c/p>\n\u003cp>Many of the riders here are affiliated with clubs, like Los Angeles’ Divided Time and Chosen Few, Sacramento’s Aftermath and Fresno’s Unknown Riders. A handful of all-female clubs, like Compton’s Red Pearls, also make the trip to Fresno.\u003c/p>\n\u003cfigure id=\"attachment_10356452\" class=\"wp-caption alignleft\" style=\"max-width: 427px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/FresnoHalfwayRide1.jpg\">\u003cimg class=\"wp-image-10356452 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/FresnoHalfwayRide1-400x347.jpg\" alt=\"Motorcycles glisten in the sun at the halfway run in Fresno. (Aaron Mendelson/KQED)\" width=\"427\" height=\"370\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/FresnoHalfwayRide1-400x347.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/FresnoHalfwayRide1-800x695.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/FresnoHalfwayRide1.jpg 1440w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Motorcycles glisten in the sun at the halfway run in Fresno. (Aaron Mendelson/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The motorcycles they fly around the state on are bigger and brighter than the ones the Dragons rode through Oakland in the 1950s. But through all the changes, the Dragons stuck with the same man as president: \u003ca href=\"https://www.facebook.com/pages/Soul-on-Bikes-The-East-Bay-Dragons-MC-and-the-Black-Biker-Set/411720312256104?rf=408110289271195\" target=\"_blank\">Tobie Gene Levingston.\u003c/a> He goes by “Prez” to club members.\u003c/p>\n\u003cp>Levingston grew up in rural Louisiana, the son of a sharecropper. After World War II, his family moved to Oakland. “I had some brothers, and they was all behind me. And they was kind of crazy!” he remembers. “So I started a car club to work on old cars and get their mind occupied working on cars.”\u003c/p>\n\u003cp>It worked, and the club began attracting other kids from the neighborhood. Levingston and the Dragons made the switch from cars to bikes in 1959. He says bikes were cheaper, and they didn’t get hassled by cops as much on two wheels.\u003c/p>\n\u003cp>The Dragons adopted their own uniform. They wore black, grease-stained Levi’s and vests with their signature patch: a green dragon against a gold background. The club’s name and hometown are in bright red stitching: \"East Bay Dragons OAKLAND CALIFORNIA”.\u003c/p>\n\u003cp>The Dragons are an all-male, all-black club. And they ride only \u003ca href=\"http://www.harley-davidson.com/content/h-d/en_US/home.html\" target=\"_blank\">Harley-Davidsons.\u003c/a> “Because it’s made in America and they keep jobs here,” Levingston explains. “That’s the reason I ride the Harley Davidson.”\u003c/p>\n\u003cp>He looks back fondly on the early days of the Dragons: going to dances in the '50s, and partying with hippies, \u003ca href=\"http://affa.hells-angels.com\" target=\"_blank\">Hells Angels\u003c/a> and Black Panthers in the '60s. At the group’s clubhouse in Oakland, pictures of old dances, parties and motorcycle “runs” cover the walls.\u003c/p>\n\u003cfigure id=\"attachment_10356449\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/MelvinDragonsPatch.jpg\">\u003cimg class=\"size-thumbnail wp-image-10356449\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/MelvinDragonsPatch-400x390.jpg\" alt=\"Melvin, 71, of the East Bay Dragons displays the group’s patch in Fresno. (Aaron Mendelson/KQED)\" width=\"400\" height=\"390\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/MelvinDragonsPatch-400x390.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/MelvinDragonsPatch-800x781.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/MelvinDragonsPatch-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/MelvinDragonsPatch.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Melvin, 71, of the East Bay Dragons displays the group’s patch in Fresno. (Aaron Mendelson/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The toughest moments for Levingston and the Dragons came in the 1980s, as crack ripped through East Oakland. “I seen a lot of good men, I mean a whole bunch of them, get hooked on that s---\" Levingston recalls. \"I lost a lot of good friends behind that s---.”\u003c/p>\n\u003cp>But the club survived, and continues to attract new members. More than 50 made the trip to Fresno, including Levingston. He’s had health problems in recent years, including a bout with cancer, so he wasn’t able to ride his own Harley to the Halfway Run. “You know it’s like an old car,” he says. “You wear out man!” But he’s still there. “I ain’t never gonna get rid of my bike, man.”\u003c/p>\n\u003cp>Many Dragons are decades younger than Levingston -- a few are in their 20s -- and he gives them all the same message: “I want ya’ll to keep it going on when I’m gone. All I say: Don’t you get your butt outta here and get in and get out and jump and run off. Carry it on.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For now, though, Levingston’s going strong at 80, and looking to buy his next Harley: a three-wheeler.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California and motorcycles go way back: from Marlon Brando’s star turn as an outlaw biker in 1953’s \"The Wild One\" to the current TV hit \"Sons of Anarchy,\" set in the fictional town of Charming, California. Real-life California is packed with motorcycle clubs, from the notorious Hells Angels (founded in Fontana, with its best-known chapter in Oakland) to the hundreds of clubs that crisscross the state on bikes today. That includes dozens of African-American groups, like Oakland’s \u003ca href=\"http://www.eastbaydragons.com\" target=\"_blank\">East Bay Dragons\u003c/a>.\u003c/p>\n\u003cp>This year marks the Dragons’ 55th year as a motorcycle club, and they enjoy elder statesman status among the black motorcycle set.\u003cbr>\nCalifornia’s black clubs descend on Fresno each October, convening to celebrate motorcycles. The weekend is known as the Halfway Run -- because of Fresno’s location roughly halfway between Los Angeles and the Bay Area.\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/179081945&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/179081945'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In Fresno, the Dragons team up with two L.A. clubs to rent out a Days Inn. The motel is just off Highway 99, and the low din of car traffic from the road is regularly punctuated by roaring motorcycles. On Saturday afternoon, hundreds of people pack into the parking lot. The clubs are grilling food, lounging by the swimming pool and checking out each other’s rides. There’s gridlock, with motorcycles of every color glistening in the sun and blasting music.\u003c/p>\n\u003cfigure id=\"attachment_10356446\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/TobieGeneLevingston.jpg\">\u003cimg class=\"wp-image-10356446 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/TobieGeneLevingston-400x291.jpg\" alt=\"East Bay Dragons President Tobie Gene Levingston at the group’s clubhouse in East Oakland. (Aaron Mendelson/KQED)\" width=\"400\" height=\"291\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/TobieGeneLevingston-400x291.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/TobieGeneLevingston-800x582.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/TobieGeneLevingston.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">East Bay Dragons President Tobie Gene Levingston at the group’s clubhouse in East Oakland. (Aaron Mendelson/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>In front of his hotel room, Ali Ar Rasheed takes in the scene. Rasheed is a member of the East Bay Dragons. A consultant by day, he helps manage the club’s finances. “Riding is sort of like an active form of meditation,” Rasheed says, smoke rising off the cigar in his hand. “If you ride -- and you’re serious about riding -- you’re not worried about bills. You know, that’s not your focus, mentally. It’s the traffic, it’s the people you’re riding with.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Dragons' other business manager goes by the name \"Tug Boat.\" He’s a solidly built man with a shaved head. Like Rasheed, he stresses that the image of bikers as outlaws doesn’t apply to the laid-back gathering in Fresno, which crosses generational lines. Not that the police get the message. “I don’t think any cop has a day off when we’re in town,\" Tug Boat says. For Tug Boat, the gathering represents unity. We all enjoy one thing, and that’s riding motorcycles,\" he says.\u003c/p>\n\u003cp>Bikers at the Halfway Run all give their own reasons for riding motorcycles. MC Raw, a Fresno-based rapper, calls a motorcycle “a missile with handlebars.” Watts-based construction worker Blackie says “being on a Harley is like having sex.” And G-14 Classified, who rode his Suzuki Boulevard 1500 from Sacramento, calls riding a bike “almost like a low-level flying. I enjoy the feeling of the wind, the music and sometimes even solitude.”\u003c/p>\n\u003cp>Many of the riders here are affiliated with clubs, like Los Angeles’ Divided Time and Chosen Few, Sacramento’s Aftermath and Fresno’s Unknown Riders. A handful of all-female clubs, like Compton’s Red Pearls, also make the trip to Fresno.\u003c/p>\n\u003cfigure id=\"attachment_10356452\" class=\"wp-caption alignleft\" style=\"max-width: 427px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/FresnoHalfwayRide1.jpg\">\u003cimg class=\"wp-image-10356452 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/FresnoHalfwayRide1-400x347.jpg\" alt=\"Motorcycles glisten in the sun at the halfway run in Fresno. (Aaron Mendelson/KQED)\" width=\"427\" height=\"370\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/FresnoHalfwayRide1-400x347.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/FresnoHalfwayRide1-800x695.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/FresnoHalfwayRide1.jpg 1440w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Motorcycles glisten in the sun at the halfway run in Fresno. (Aaron Mendelson/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The motorcycles they fly around the state on are bigger and brighter than the ones the Dragons rode through Oakland in the 1950s. But through all the changes, the Dragons stuck with the same man as president: \u003ca href=\"https://www.facebook.com/pages/Soul-on-Bikes-The-East-Bay-Dragons-MC-and-the-Black-Biker-Set/411720312256104?rf=408110289271195\" target=\"_blank\">Tobie Gene Levingston.\u003c/a> He goes by “Prez” to club members.\u003c/p>\n\u003cp>Levingston grew up in rural Louisiana, the son of a sharecropper. After World War II, his family moved to Oakland. “I had some brothers, and they was all behind me. And they was kind of crazy!” he remembers. “So I started a car club to work on old cars and get their mind occupied working on cars.”\u003c/p>\n\u003cp>It worked, and the club began attracting other kids from the neighborhood. Levingston and the Dragons made the switch from cars to bikes in 1959. He says bikes were cheaper, and they didn’t get hassled by cops as much on two wheels.\u003c/p>\n\u003cp>The Dragons adopted their own uniform. They wore black, grease-stained Levi’s and vests with their signature patch: a green dragon against a gold background. The club’s name and hometown are in bright red stitching: \"East Bay Dragons OAKLAND CALIFORNIA”.\u003c/p>\n\u003cp>The Dragons are an all-male, all-black club. And they ride only \u003ca href=\"http://www.harley-davidson.com/content/h-d/en_US/home.html\" target=\"_blank\">Harley-Davidsons.\u003c/a> “Because it’s made in America and they keep jobs here,” Levingston explains. “That’s the reason I ride the Harley Davidson.”\u003c/p>\n\u003cp>He looks back fondly on the early days of the Dragons: going to dances in the '50s, and partying with hippies, \u003ca href=\"http://affa.hells-angels.com\" target=\"_blank\">Hells Angels\u003c/a> and Black Panthers in the '60s. At the group’s clubhouse in Oakland, pictures of old dances, parties and motorcycle “runs” cover the walls.\u003c/p>\n\u003cfigure id=\"attachment_10356449\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/MelvinDragonsPatch.jpg\">\u003cimg class=\"size-thumbnail wp-image-10356449\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/MelvinDragonsPatch-400x390.jpg\" alt=\"Melvin, 71, of the East Bay Dragons displays the group’s patch in Fresno. (Aaron Mendelson/KQED)\" width=\"400\" height=\"390\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/MelvinDragonsPatch-400x390.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/MelvinDragonsPatch-800x781.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/MelvinDragonsPatch-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/MelvinDragonsPatch.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Melvin, 71, of the East Bay Dragons displays the group’s patch in Fresno. (Aaron Mendelson/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The toughest moments for Levingston and the Dragons came in the 1980s, as crack ripped through East Oakland. “I seen a lot of good men, I mean a whole bunch of them, get hooked on that s---\" Levingston recalls. \"I lost a lot of good friends behind that s---.”\u003c/p>\n\u003cp>But the club survived, and continues to attract new members. More than 50 made the trip to Fresno, including Levingston. He’s had health problems in recent years, including a bout with cancer, so he wasn’t able to ride his own Harley to the Halfway Run. “You know it’s like an old car,” he says. “You wear out man!” But he’s still there. “I ain’t never gonna get rid of my bike, man.”\u003c/p>\n\u003cp>Many Dragons are decades younger than Levingston -- a few are in their 20s -- and he gives them all the same message: “I want ya’ll to keep it going on when I’m gone. All I say: Don’t you get your butt outta here and get in and get out and jump and run off. Carry it on.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For now, though, Levingston’s going strong at 80, and looking to buy his next Harley: a three-wheeler.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Los Straitjackets' Founder Finds Musical Kinship South of the Border",
"title": "Los Straitjackets' Founder Finds Musical Kinship South of the Border",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>To see Danny Amis waiting to cross the street, to see him in line at the market, to see him pumping gas or petting his small dog, Seymour, are not particularly memorable sights. He is a soft-spoken, middle-aged guy, a regular joe, a man who walks among his fellow Californians unnoticed.\u003c/p>\n\u003cp>But to see him wearing a Mexican wrestling mask and a tuxedo, slinging a sparkling \u003ca href=\"http://www.dipintoguitars.com/category.php?id=1\">DiPinto guitar\u003c/a> onstage south of the border in front of tens of raging thousands is to see a transformation not soon forgotten. For this is no longer Danny Amis, this is the legendary Daddy-O Grande of the instrumental band \u003ca href=\"http://www.yeproc.com/artists/los-straitjackets\">Los Straitjackets\u003c/a>, a longtime cult favorite in the states that’s inspired a massive music scene in Mexico, where this simple chap has become an icon.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/178827643\" 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>“Danny Amis is considered the godfather of the surf music sound here in Mexico,” says Gabriel Lopez, guitarist for Twin Tones, a wildly popular Mexican group that has collaborated with Amis on the aptly named new album \"Super Spy Western Tones.\" “He's very respected and his songs have been covered by an enormous number of bands here.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/superspysleeve350.jpg\">\u003cimg class=\"alignright size-full wp-image-10344301\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/superspysleeve350.jpg\" alt=\"LPJ1200S PSD\" width=\"350\" height=\"350\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350.jpg 350w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-75x75.jpg 75w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The beautifully produced instrumental collection is a bold soundtrack of primal twang, moody reverb and the six-string sound of the spaghetti West, songs written mostly by Amis that are as evocative of time and place as they are catchy.\u003c/p>\n\u003cp>“For a whole generation, mine and the one after, the guitar-playing style of Danny Amis was a huge influence,” continues Lopez. “I think it's a sound that a lot of Mexican bands consciously and unconsciously adopted.”\u003c/p>\n\u003cp>Born in Memphis, Amis grew up in Minneapolis, where he got his first exposure to the music that would pattern his life. “When I was a little kid my older brother had all the Ventures records and Link Wray and Duane Eddy records,” he says. “I just grew up with that as my definition of what an electric guitar should sound like.”\u003c/p>\n\u003cp>By the late ‘70s, Amis was leading his first instrumental band, The Overtones, before heading to New York in 1980 to join the seminal surf combo \u003ca href=\"http://www.bar-none.com/bios/raybio.html\">The Raybeats\u003c/a>. His next move was to Nashville, where he worked for the Grand Ole Opry as an audio engineer and, briefly, for a late incarnation of “Hee Haw.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=5FjpHTiImBk&w=640&h=350]\u003c/p>\n\u003cp>“It was excruciating,” Amis recalls. “Fourteen takes of the same joke.”\u003c/p>\n\u003cp>In 1989 he took a fateful trip south of the border, one that would spark an ongoing passion for Mexico. “First time I went down I was just looking for some sort of an adventure,” Amis says. “I took a bus down to Chihuahua. I had heard some Mexican rock and roll stuff, and I wanted to look for some of that, so I went to a record store. I not only found that, but I found a lot of new bands from Mexico City that were just dynamite. I felt at home right away and I knew I wouldn’t be able to stay away, so I’ve been going back pretty regularly ever since.”\u003c/p>\n\u003cp>In 1994 Amis co-founded Los Straitjackets, and it wasn’t long before bootleg copies of the group’s music began filtering into Mexico. The ingredients were ripe for popularity. The band all wore Lucha Libre masks, the music was fun, festive and powerful, and translation was not an issue. There were no lyrics.\u003c/p>\n\u003cp>Initially, however, Amis admits concern that the masks might have been viewed as culturally insensitive. “We had that fear a little but it was the opposite,” he says. “They were flattered that an American band would find elements of their culture really cool and really hip, which we do, and they just didn’t expect that. It touched a nerve down there, and then a whole music scene.”\u003c/p>\n\u003cp>Amis befriended one of the first groups in that scene,\u003ca href=\"http://www.lostacapulco.com/\"> Lost Acapulco\u003c/a>, and produced its hit debut album in 1998.\u003c/p>\n\u003cp>“When you have a chemical music thing it’s very easy to play and to do music, and that’s what happened with Danny and Lost Acapulco,” says Caleb Franco, aka Senor Ramirez, the band’s bassist. “We are big fans of Los Straitjackets as well. There’s so much influence for us. Of course, they wear wrestling masks, which is really good for Mexicans, but I think the crowd in Mexico likes their music so much [because] it’s so clear, so clean and super fantastic.”\u003c/p>\n\u003cp>The popularity of the Lost Acapulco album paved the way for Los Straitjackets to cross the border. “Because it was such a huge hit everybody wanted to know more about me and Los Straitjackets, so we finally went down and did a couple of shows in Mexico City and Guadalajara,” Amis says. “It was amazing the response we got.”\u003c/p>\n\u003cp>Bear in mind, we’re talking about a group that draws on the average “a couple hundred” folks to gigs in America. Last fall, Amis and his masked men attracted a frenzied audience of 50,000 to Mexico City’s Foro Sol arena -- two nights in a row.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=SKgidw7glcw&w=640&h=350]\u003c/p>\n\u003cp>“It’s huge! What he’s got going on down there is huge and really unbelievable,” says musician Ben Vaughn. He produced Los Straitjackets’ first three albums and has known Amis since 1983. “It’s a mystery to me, but it also makes sense, mainly because it’s Danny Amis. He’s a visionary and he doesn’t question his motives. He just follows whatever he’s excited about.”\u003c/p>\n\u003cp>Amis also takes Daddy-O Grande very seriously.\u003c/p>\n\u003cp>“He never takes the mask off when he’s down there,” Vaughn reveals. “He goes out to dinner, after sound check, keeps it on. He’s very dedicated to Daddy-O Grande, and they love him down there. He’s the right guy, and Los Straitjackets are the right band. It’s a really interesting phenomenon.”\u003c/p>\n\u003cp>While Amis was in Mexico City last year, he joined forces with the Twin Tones, spending a week in the band’s studio recording, Super Spy Western Tones. A successful Kickstarter campaign helped fund the project.\u003c/p>\n\u003cp>“This album is more than a collaboration between Danny and Los Twin Tones,” offers Vaughn. “It’s actually more cinematic almost, because of the orchestration and the horns and the strings, and the elements of film music dramatics and melodies. It has a sweeping larger feel than a standard instrumental record.”\u003c/p>\n\u003cp>The international project was hatched years ago, but was shelved when Amis hit a major, and very unexpected, road bump.\u003c/p>\n\u003cp>“We had talked about doing some recording together, but of course everything got put on hold when I got cancer,” Amis says. “I had a stem cell transplant to treat multiple myeloma. It got everything under control. I’m not technically in remission, but I’m doing OK, so last year we finally got together and made it happen.”\u003c/p>\n\u003cp>While he still records with Los Straitjackets, he no longer tours with the band, leaving him free to leave California for the land that he loves where his music is king, and he is the godfather.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It dawned on me, you know my favorite place in the world is Mexico City. The more I thought about it, I thought that’s where I really want to be,” says Amis. “I’ll probably play and record a lot more music down there because I don’t have to travel to do it. I got cancer in 2010, and a year ago I had a heart attack. Now I have the two leading causes of death and I’m still here. And I feel like I’m the luckiest guy in the world.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To see Danny Amis waiting to cross the street, to see him in line at the market, to see him pumping gas or petting his small dog, Seymour, are not particularly memorable sights. He is a soft-spoken, middle-aged guy, a regular joe, a man who walks among his fellow Californians unnoticed.\u003c/p>\n\u003cp>But to see him wearing a Mexican wrestling mask and a tuxedo, slinging a sparkling \u003ca href=\"http://www.dipintoguitars.com/category.php?id=1\">DiPinto guitar\u003c/a> onstage south of the border in front of tens of raging thousands is to see a transformation not soon forgotten. For this is no longer Danny Amis, this is the legendary Daddy-O Grande of the instrumental band \u003ca href=\"http://www.yeproc.com/artists/los-straitjackets\">Los Straitjackets\u003c/a>, a longtime cult favorite in the states that’s inspired a massive music scene in Mexico, where this simple chap has become an icon.\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/178827643&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/178827643'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Danny Amis is considered the godfather of the surf music sound here in Mexico,” says Gabriel Lopez, guitarist for Twin Tones, a wildly popular Mexican group that has collaborated with Amis on the aptly named new album \"Super Spy Western Tones.\" “He's very respected and his songs have been covered by an enormous number of bands here.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/superspysleeve350.jpg\">\u003cimg class=\"alignright size-full wp-image-10344301\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/superspysleeve350.jpg\" alt=\"LPJ1200S PSD\" width=\"350\" height=\"350\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350.jpg 350w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-75x75.jpg 75w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The beautifully produced instrumental collection is a bold soundtrack of primal twang, moody reverb and the six-string sound of the spaghetti West, songs written mostly by Amis that are as evocative of time and place as they are catchy.\u003c/p>\n\u003cp>“For a whole generation, mine and the one after, the guitar-playing style of Danny Amis was a huge influence,” continues Lopez. “I think it's a sound that a lot of Mexican bands consciously and unconsciously adopted.”\u003c/p>\n\u003cp>Born in Memphis, Amis grew up in Minneapolis, where he got his first exposure to the music that would pattern his life. “When I was a little kid my older brother had all the Ventures records and Link Wray and Duane Eddy records,” he says. “I just grew up with that as my definition of what an electric guitar should sound like.”\u003c/p>\n\u003cp>By the late ‘70s, Amis was leading his first instrumental band, The Overtones, before heading to New York in 1980 to join the seminal surf combo \u003ca href=\"http://www.bar-none.com/bios/raybio.html\">The Raybeats\u003c/a>. His next move was to Nashville, where he worked for the Grand Ole Opry as an audio engineer and, briefly, for a late incarnation of “Hee Haw.”\u003c/p>\n\u003cp>\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/5FjpHTiImBk'\n title='//www.youtube.com/embed/5FjpHTiImBk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It was excruciating,” Amis recalls. “Fourteen takes of the same joke.”\u003c/p>\n\u003cp>In 1989 he took a fateful trip south of the border, one that would spark an ongoing passion for Mexico. “First time I went down I was just looking for some sort of an adventure,” Amis says. “I took a bus down to Chihuahua. I had heard some Mexican rock and roll stuff, and I wanted to look for some of that, so I went to a record store. I not only found that, but I found a lot of new bands from Mexico City that were just dynamite. I felt at home right away and I knew I wouldn’t be able to stay away, so I’ve been going back pretty regularly ever since.”\u003c/p>\n\u003cp>In 1994 Amis co-founded Los Straitjackets, and it wasn’t long before bootleg copies of the group’s music began filtering into Mexico. The ingredients were ripe for popularity. The band all wore Lucha Libre masks, the music was fun, festive and powerful, and translation was not an issue. There were no lyrics.\u003c/p>\n\u003cp>Initially, however, Amis admits concern that the masks might have been viewed as culturally insensitive. “We had that fear a little but it was the opposite,” he says. “They were flattered that an American band would find elements of their culture really cool and really hip, which we do, and they just didn’t expect that. It touched a nerve down there, and then a whole music scene.”\u003c/p>\n\u003cp>Amis befriended one of the first groups in that scene,\u003ca href=\"http://www.lostacapulco.com/\"> Lost Acapulco\u003c/a>, and produced its hit debut album in 1998.\u003c/p>\n\u003cp>“When you have a chemical music thing it’s very easy to play and to do music, and that’s what happened with Danny and Lost Acapulco,” says Caleb Franco, aka Senor Ramirez, the band’s bassist. “We are big fans of Los Straitjackets as well. There’s so much influence for us. Of course, they wear wrestling masks, which is really good for Mexicans, but I think the crowd in Mexico likes their music so much [because] it’s so clear, so clean and super fantastic.”\u003c/p>\n\u003cp>The popularity of the Lost Acapulco album paved the way for Los Straitjackets to cross the border. “Because it was such a huge hit everybody wanted to know more about me and Los Straitjackets, so we finally went down and did a couple of shows in Mexico City and Guadalajara,” Amis says. “It was amazing the response we got.”\u003c/p>\n\u003cp>Bear in mind, we’re talking about a group that draws on the average “a couple hundred” folks to gigs in America. Last fall, Amis and his masked men attracted a frenzied audience of 50,000 to Mexico City’s Foro Sol arena -- two nights in a row.\u003c/p>\n\u003cp>\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/SKgidw7glcw'\n title='//www.youtube.com/embed/SKgidw7glcw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It’s huge! What he’s got going on down there is huge and really unbelievable,” says musician Ben Vaughn. He produced Los Straitjackets’ first three albums and has known Amis since 1983. “It’s a mystery to me, but it also makes sense, mainly because it’s Danny Amis. He’s a visionary and he doesn’t question his motives. He just follows whatever he’s excited about.”\u003c/p>\n\u003cp>Amis also takes Daddy-O Grande very seriously.\u003c/p>\n\u003cp>“He never takes the mask off when he’s down there,” Vaughn reveals. “He goes out to dinner, after sound check, keeps it on. He’s very dedicated to Daddy-O Grande, and they love him down there. He’s the right guy, and Los Straitjackets are the right band. It’s a really interesting phenomenon.”\u003c/p>\n\u003cp>While Amis was in Mexico City last year, he joined forces with the Twin Tones, spending a week in the band’s studio recording, Super Spy Western Tones. A successful Kickstarter campaign helped fund the project.\u003c/p>\n\u003cp>“This album is more than a collaboration between Danny and Los Twin Tones,” offers Vaughn. “It’s actually more cinematic almost, because of the orchestration and the horns and the strings, and the elements of film music dramatics and melodies. It has a sweeping larger feel than a standard instrumental record.”\u003c/p>\n\u003cp>The international project was hatched years ago, but was shelved when Amis hit a major, and very unexpected, road bump.\u003c/p>\n\u003cp>“We had talked about doing some recording together, but of course everything got put on hold when I got cancer,” Amis says. “I had a stem cell transplant to treat multiple myeloma. It got everything under control. I’m not technically in remission, but I’m doing OK, so last year we finally got together and made it happen.”\u003c/p>\n\u003cp>While he still records with Los Straitjackets, he no longer tours with the band, leaving him free to leave California for the land that he loves where his music is king, and he is the godfather.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It dawned on me, you know my favorite place in the world is Mexico City. The more I thought about it, I thought that’s where I really want to be,” says Amis. “I’ll probably play and record a lot more music down there because I don’t have to travel to do it. I got cancer in 2010, and a year ago I had a heart attack. Now I have the two leading causes of death and I’m still here. And I feel like I’m the luckiest guy in the world.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The 1947 Jackson Pollock painting “Lucifer” used to hang over Mary Patricia Anderson Pence’s bed. The 121 works collected by Harry W. and Mary Margaret Anderson and their daughter, Mary Patricia, now hang on the walls of a free museum on Stanford’s campus that opened to the public this September.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 1947 Jackson Pollock painting “Lucifer” used to hang over Mary Patricia Anderson Pence’s bed. The 121 works collected by Harry W. and Mary Margaret Anderson and their daughter, Mary Patricia, now hang on the walls of a free museum on Stanford’s campus that opened to the public this September.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Grumpy Cat Draws a Crowd for Animal Adoption",
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"content": "\u003cp>The Internet's favorite sourpuss, Grumpy Cat, unveiled Macy's holiday windows in Union Square on Friday night.\u003c/p>\n\u003cp>For nearly a decade, the San Francisco Society for the Prevention of Cruelty to Animals has teamed up with the department store to find homes for animals and to raise money for the nonprofit.\u003c/p>\n\u003cp>Grumpy Cat wore the only scowl as fans lined up to get a selfie with this famous feline.\u003c/p>\n\u003cfigure id=\"attachment_10351872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_006.jpg\">\u003cimg class=\"size-medium wp-image-10351872\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_006-800x533.jpg\" alt=\"The line for Grumpy Cat stretches down the street in San Francisco, Calif. on Friday, Nov. 11, 2014. Internet sensation Grumpy Cat was one of the stars of the unveiling of the Holiday Windows at Macy's.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_006-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_006-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_006-1440x960.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The line for Grumpy Cat stretched down the street. (James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Karen Pennington, a self-described Grumpy Cat groupie, took the day off from her job in Livermore just to see the cat. Pennington said she expects to feel \"lots of warmth and love.\"\u003c/p>\n\u003cfigure id=\"attachment_10351873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_007.jpg\">\u003cimg class=\"wp-image-10351873 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_007-800x533.jpg\" alt=\"20141121_grumpycat_jt_007\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_007-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_007-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_007-1440x960.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Some people waited hours to see Grumpy Cat.\u003c/p>\n\u003cfigure id=\"attachment_10351871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_005.jpg\">\u003cimg class=\"wp-image-10351871 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_005-800x533.jpg\" alt=\"Alma Quintero, center, takes a video students from the De Marillac Academy sing at the unveiling of the Holiday Windows at Macy's in San Francisco, Calif. on Friday, Nov. 11, 2014. Internet sensation Grumpy Cat was one of the stars of the unveiling of the Holiday Windows at Macy's.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_005-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_005-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_005-1440x960.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alma Quintero, center, watches as the De Marillac Academy sings holiday songs before the unveiling of the Holiday Windows. (James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Last year's event raised more than $100,000 for the SPCA, and helped 343 pets find new families.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>SF SPCA Co-President Jennifer Scarlett hopes that the celebrity appeal of Grumpy Cat will encourage people to adopt more than 350 pets this year.\u003c/p>\n\u003cfigure id=\"attachment_10351874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_008.jpg\">\u003cimg class=\"wp-image-10351874 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-800x533.jpg\" alt=\"20141121_grumpycat_jt_008\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-1440x960.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This is the ninth year Macy's has featured adoptable animals in their windows. (James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Though Grumpy Cat could only take visitors Friday evening, the display will be up through January 4th.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Internet's favorite sourpuss, Grumpy Cat, unveiled Macy's holiday windows in Union Square on Friday night.\u003c/p>\n\u003cp>For nearly a decade, the San Francisco Society for the Prevention of Cruelty to Animals has teamed up with the department store to find homes for animals and to raise money for the nonprofit.\u003c/p>\n\u003cp>Grumpy Cat wore the only scowl as fans lined up to get a selfie with this famous feline.\u003c/p>\n\u003cfigure id=\"attachment_10351872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_006.jpg\">\u003cimg class=\"size-medium wp-image-10351872\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_006-800x533.jpg\" alt=\"The line for Grumpy Cat stretches down the street in San Francisco, Calif. on Friday, Nov. 11, 2014. Internet sensation Grumpy Cat was one of the stars of the unveiling of the Holiday Windows at Macy's.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_006-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_006-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_006-1440x960.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The line for Grumpy Cat stretched down the street. (James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Karen Pennington, a self-described Grumpy Cat groupie, took the day off from her job in Livermore just to see the cat. Pennington said she expects to feel \"lots of warmth and love.\"\u003c/p>\n\u003cfigure id=\"attachment_10351873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_007.jpg\">\u003cimg class=\"wp-image-10351873 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_007-800x533.jpg\" alt=\"20141121_grumpycat_jt_007\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_007-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_007-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_007-1440x960.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Some people waited hours to see Grumpy Cat.\u003c/p>\n\u003cfigure id=\"attachment_10351871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_005.jpg\">\u003cimg class=\"wp-image-10351871 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_005-800x533.jpg\" alt=\"Alma Quintero, center, takes a video students from the De Marillac Academy sing at the unveiling of the Holiday Windows at Macy's in San Francisco, Calif. on Friday, Nov. 11, 2014. Internet sensation Grumpy Cat was one of the stars of the unveiling of the Holiday Windows at Macy's.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_005-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_005-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_005-1440x960.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alma Quintero, center, watches as the De Marillac Academy sings holiday songs before the unveiling of the Holiday Windows. (James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Last year's event raised more than $100,000 for the SPCA, and helped 343 pets find new families.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SF SPCA Co-President Jennifer Scarlett hopes that the celebrity appeal of Grumpy Cat will encourage people to adopt more than 350 pets this year.\u003c/p>\n\u003cfigure id=\"attachment_10351874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_008.jpg\">\u003cimg class=\"wp-image-10351874 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-800x533.jpg\" alt=\"20141121_grumpycat_jt_008\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-1440x960.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This is the ninth year Macy's has featured adoptable animals in their windows. (James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Though Grumpy Cat could only take visitors Friday evening, the display will be up through January 4th.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Elbo Room Is Far From Dying but There's Still a Movement to Save It",
"headTitle": "The Elbo Room Is Far From Dying but There’s Still a Movement to Save It | KQED",
"content": "\u003cp>The inside of the Elbo Room is barely lit. Much of the indoor lighting comes from unconventional sources — pinball machines, a photo booth that’s across from the bar, a silent film being projected in the back — making the place conducive to bad habits and good times.\u003c/p>\n\u003cp>Add the soundtrack of unfamiliar soul, garage, surf and proto-metal tracks blasting on the sound system and you’ve set a scene in a Scorsese film about San Francisco Mission District.\u003c/p>\n\u003cp>On Thursday night, strangely, this dark venue was the staging area for community action. Though the second floor of the club is a concert hall, this meeting had nothing to do with a performance. A small group of activists and concerned citizens had come together to begin mapping out a strategy for preventing the closure of one of their favorite haunts: the Elbo Room.\u003c/p>\n\u003cp>Earlier this month the building’s owners (who, before owning the building, also started the Elbo Room back in 1991), Dennis Ring and Susan Rokisky-Ring, went public with their plans to demolish the 79-year-old building and replace it with a five-story, nine-unit condominium.\u003c/p>\n\u003cp>At a Planning Commission meeting on Nov. 6, Rokisky-Ring stated that the couple planned to move into one of the units, where they will “spend the rest of their days,” and that a major motivation for building the condo was mobility — the stairs at their current two-story house are proving to be too much and they need a home with an elevator, according to \u003ca href=\"http://missionlocal.org/2014/11/elbo-rooms-possible-fate-a-retirement-pad-for-bars-past-owners/\" target=\"_blank\" rel=\"noopener\">\u003cem>Mission Local\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10150153\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10150153\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Inside-Elbo.jpg\" alt=\"Inside the Elbo Room\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Inside-Elbo.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Inside-Elbo-400x266.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the Elbo Room \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The couple’s plans were publicly met with scorn by a few dozen attendees and even more online, especially in the comments on blogs like \u003ca href=\"http://www.sfstation.com/2014/11/10/mission-district-venue-elbo-room-to-be-demolished-for-condos/\" target=\"_blank\" rel=\"noopener\">\u003cem>SF Station\u003c/em>,\u003c/a> which has already nailed the Elbo Room’s coffin shut, despite the fact that the bar’s lease runs through Nov. 1, 2015.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But for anyone who loves local music, the backlash is no surprise. Over recent years, there has been a steady stream of smaller venues closing — Cafe Du Nord, the Red Devil Lounge, Kimo’s and 12 Galaxies, just to name a few. Though bigger venues like the Great American Music Hall continue to succeed — its owners recently opened a similar size venue, The Chapel, in the Mission — the spots that max out at around 100-200 attendees, which are the life blood of local music scenes, appear to be a dying breed.\u003c/p>\n\u003cp>Also, as the Bay Area tech boom continues to send San Francisco rents into the stratosphere and developers attempt to pounce on the action, clubs like Bottom of the Hill and The Independent that are located near proposed developments are facing fears that \u003ca href=\"http://www.sfgate.com/bayarea/article/Residential-development-threatens-S-F-s-music-5680418.php\" target=\"_blank\" rel=\"noopener\">they could be forced out\u003c/a>, too.\u003c/p>\n\u003cp>Leading the charge against the Elbo Room’s assumed fate are two local activists, Ryan McCarthy and Catherine Lee, who organized the Thursday evening rendezvouz for motivated opponents of the demolition. Though over a hundred people had signed up on Facebook to attend the meeting, which was why they met at the club and not the San Francisco Public Library (the first suggested location), only a couple dozen people showed up to hear the two organizers’ plans for saving their beloved bar.\u003c/p>\n\u003cfigure id=\"attachment_10150156\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10150156\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/IMG_1663.jpg\" alt=\"Ryan McCarthy and Catherine Lee address the gathered opponents to the Elbo Room's demolition\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IMG_1663.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IMG_1663-400x266.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ryan McCarthy and Catherine Lee address the gathered opponents to the Elbo Room’s demolition\u003c/figcaption>\u003c/figure>\n\u003cp>As meeting agendas and a mailing list are passed around, Lee begins outlining a clear-cut vision for the group.\u003c/p>\n\u003cp>“It’s easy to say that you don’t want condos for rich people, or condos for tech. What you want to say is that you want to save a cultural institution,” she says.\u003c/p>\n\u003cp>With the building being the property of the Rings, how can this be done? The first and most publicized possibility is that if the building is determined to be culturally historic, it could be subject to more intense scrutiny by way of the \u003ca href=\"http://www.sf-planning.org/index.aspx?page=1832#not\" target=\"_blank\" rel=\"noopener\">California Environmental Quality Act (CEQA)\u003c/a>. All buildings over 50 years old are subjected to a review of their historical significance before any alterations to the structure are permitted.\u003c/p>\n\u003cp>In 2006, the Elbo Room was determined to have potential for preservation under CEQA for its previous lives as the Gaslight, a gay disco back in the early ’70s; and even more notably as Amelia’s, which was owned and operated by lesbian activist Rikki Streicher, who co-founded the Gay Olympics and has been described as being \u003ca href=\"http://www.thebolditalic.com/articles/6307-who-really-owns-the-rights-to-the-elbo-room\" target=\"_blank\" rel=\"noopener\">“one of the top three most influential lesbians of all time in San Francisco.” \u003c/a>\u003c/p>\n\u003cp>The other less-known option, noted by architect Brynn McMillan, is the \u003ca href=\"http://www.sf-planning.org/Modules/ShowDocument.aspx?documentid=539\" target=\"_blank\" rel=\"noopener\">shadow analysis portion \u003c/a>of the development’s Environmental Impact Report (EIR). A five-story building is sure to cast a lot of unwanted shadows on nearby properties, and if any them are owned or designated to be bought by the city’s Parks and Recreation department, the planning commission will not approve the project.\u003c/p>\n\u003cfigure id=\"attachment_10150157\" class=\"wp-caption alignright\" style=\"max-width: 798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10150157\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Matt-Shapiro.jpg\" alt=\"Matt Shapiro, co-owner of the Elbo Room\" width=\"798\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Matt-Shapiro.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Matt-Shapiro-400x225.jpg 400w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003cfigcaption class=\"wp-caption-text\">Matt Shapiro, co-owner of the Elbo Room \u003ccite>(Kevin L. Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s around this point when the one attendee who has the most to lose from the club’s demolition, Elbo Room co-owner Matt Shapiro, speaks up. Shapiro and partner Eric Cantu bought the club from Ring back in 2010 and have maintained a working friendship with the Rings since well before the purchase. So, though Shapiro tells the group that he appreciates their efforts, he doesn’t want anything to jeopardize his relationship with them, especially since there is the possibility of the club staying open at that location even after the lease runs out.\u003c/p>\n\u003cp>“We want to stay here as long as possible,” says Shapiro.\u003c/p>\n\u003cp>In talking with Shapiro, it appears he has more problems with blogs like \u003cem>SF Station\u003c/em> and \u003cem>SFist\u003c/em> creating an unnecessary commotion around his bar before its fate is sealed.\u003c/p>\n\u003cp>“The blogs think we’re dead already,” says Shapiro.\u003c/p>\n\u003cp>And though he understands the fear of his club joining the ranks of the recently fallen, Shapiro’s also quick to point out that some of the smaller venues listed earlier — Red Devil Lounge, Kimo’s, 12 Galaxies — all closed for reasons that really can’t be attributed to San Francisco’s property woes.\u003c/p>\n\u003cp>As for his situation, if the Rings do choose to move ahead with the development — he states that they still have a lot to submit for the permitting process — not only does he have a whole year to find a new club, but friends of his have already been reaching out with potential new locations.\u003c/p>\n\u003cp>“I’m not losing any sleep yet,” he says.\u003c/p>\n\u003cp>Still, Shapiro gave his blessing as the meeting wrapped up with promises to reconvene the following year, after necessary research into CEQA and how the public can influence the process of getting a building preserved as a historic site.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It won’t hurt to learn all these things,” said McCarthy as the attendees adjourned.\u003c/p>\n\n",
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"excerpt": "Though reports of its imminent death are premature, a group of Elbo Room fans are already organizing to stop it from closing. ",
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"description": "Though reports of its imminent death are premature, a group of Elbo Room fans are already organizing to stop it from closing. ",
"title": "The Elbo Room Is Far From Dying but There's Still a Movement to Save It | KQED",
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"headline": "The Elbo Room Is Far From Dying but There's Still a Movement to Save It",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The inside of the Elbo Room is barely lit. Much of the indoor lighting comes from unconventional sources — pinball machines, a photo booth that’s across from the bar, a silent film being projected in the back — making the place conducive to bad habits and good times.\u003c/p>\n\u003cp>Add the soundtrack of unfamiliar soul, garage, surf and proto-metal tracks blasting on the sound system and you’ve set a scene in a Scorsese film about San Francisco Mission District.\u003c/p>\n\u003cp>On Thursday night, strangely, this dark venue was the staging area for community action. Though the second floor of the club is a concert hall, this meeting had nothing to do with a performance. A small group of activists and concerned citizens had come together to begin mapping out a strategy for preventing the closure of one of their favorite haunts: the Elbo Room.\u003c/p>\n\u003cp>Earlier this month the building’s owners (who, before owning the building, also started the Elbo Room back in 1991), Dennis Ring and Susan Rokisky-Ring, went public with their plans to demolish the 79-year-old building and replace it with a five-story, nine-unit condominium.\u003c/p>\n\u003cp>At a Planning Commission meeting on Nov. 6, Rokisky-Ring stated that the couple planned to move into one of the units, where they will “spend the rest of their days,” and that a major motivation for building the condo was mobility — the stairs at their current two-story house are proving to be too much and they need a home with an elevator, according to \u003ca href=\"http://missionlocal.org/2014/11/elbo-rooms-possible-fate-a-retirement-pad-for-bars-past-owners/\" target=\"_blank\" rel=\"noopener\">\u003cem>Mission Local\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10150153\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10150153\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Inside-Elbo.jpg\" alt=\"Inside the Elbo Room\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Inside-Elbo.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Inside-Elbo-400x266.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the Elbo Room \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The couple’s plans were publicly met with scorn by a few dozen attendees and even more online, especially in the comments on blogs like \u003ca href=\"http://www.sfstation.com/2014/11/10/mission-district-venue-elbo-room-to-be-demolished-for-condos/\" target=\"_blank\" rel=\"noopener\">\u003cem>SF Station\u003c/em>,\u003c/a> which has already nailed the Elbo Room’s coffin shut, despite the fact that the bar’s lease runs through Nov. 1, 2015.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for anyone who loves local music, the backlash is no surprise. Over recent years, there has been a steady stream of smaller venues closing — Cafe Du Nord, the Red Devil Lounge, Kimo’s and 12 Galaxies, just to name a few. Though bigger venues like the Great American Music Hall continue to succeed — its owners recently opened a similar size venue, The Chapel, in the Mission — the spots that max out at around 100-200 attendees, which are the life blood of local music scenes, appear to be a dying breed.\u003c/p>\n\u003cp>Also, as the Bay Area tech boom continues to send San Francisco rents into the stratosphere and developers attempt to pounce on the action, clubs like Bottom of the Hill and The Independent that are located near proposed developments are facing fears that \u003ca href=\"http://www.sfgate.com/bayarea/article/Residential-development-threatens-S-F-s-music-5680418.php\" target=\"_blank\" rel=\"noopener\">they could be forced out\u003c/a>, too.\u003c/p>\n\u003cp>Leading the charge against the Elbo Room’s assumed fate are two local activists, Ryan McCarthy and Catherine Lee, who organized the Thursday evening rendezvouz for motivated opponents of the demolition. Though over a hundred people had signed up on Facebook to attend the meeting, which was why they met at the club and not the San Francisco Public Library (the first suggested location), only a couple dozen people showed up to hear the two organizers’ plans for saving their beloved bar.\u003c/p>\n\u003cfigure id=\"attachment_10150156\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10150156\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/IMG_1663.jpg\" alt=\"Ryan McCarthy and Catherine Lee address the gathered opponents to the Elbo Room's demolition\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IMG_1663.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IMG_1663-400x266.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ryan McCarthy and Catherine Lee address the gathered opponents to the Elbo Room’s demolition\u003c/figcaption>\u003c/figure>\n\u003cp>As meeting agendas and a mailing list are passed around, Lee begins outlining a clear-cut vision for the group.\u003c/p>\n\u003cp>“It’s easy to say that you don’t want condos for rich people, or condos for tech. What you want to say is that you want to save a cultural institution,” she says.\u003c/p>\n\u003cp>With the building being the property of the Rings, how can this be done? The first and most publicized possibility is that if the building is determined to be culturally historic, it could be subject to more intense scrutiny by way of the \u003ca href=\"http://www.sf-planning.org/index.aspx?page=1832#not\" target=\"_blank\" rel=\"noopener\">California Environmental Quality Act (CEQA)\u003c/a>. All buildings over 50 years old are subjected to a review of their historical significance before any alterations to the structure are permitted.\u003c/p>\n\u003cp>In 2006, the Elbo Room was determined to have potential for preservation under CEQA for its previous lives as the Gaslight, a gay disco back in the early ’70s; and even more notably as Amelia’s, which was owned and operated by lesbian activist Rikki Streicher, who co-founded the Gay Olympics and has been described as being \u003ca href=\"http://www.thebolditalic.com/articles/6307-who-really-owns-the-rights-to-the-elbo-room\" target=\"_blank\" rel=\"noopener\">“one of the top three most influential lesbians of all time in San Francisco.” \u003c/a>\u003c/p>\n\u003cp>The other less-known option, noted by architect Brynn McMillan, is the \u003ca href=\"http://www.sf-planning.org/Modules/ShowDocument.aspx?documentid=539\" target=\"_blank\" rel=\"noopener\">shadow analysis portion \u003c/a>of the development’s Environmental Impact Report (EIR). A five-story building is sure to cast a lot of unwanted shadows on nearby properties, and if any them are owned or designated to be bought by the city’s Parks and Recreation department, the planning commission will not approve the project.\u003c/p>\n\u003cfigure id=\"attachment_10150157\" class=\"wp-caption alignright\" style=\"max-width: 798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10150157\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Matt-Shapiro.jpg\" alt=\"Matt Shapiro, co-owner of the Elbo Room\" width=\"798\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Matt-Shapiro.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Matt-Shapiro-400x225.jpg 400w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003cfigcaption class=\"wp-caption-text\">Matt Shapiro, co-owner of the Elbo Room \u003ccite>(Kevin L. Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s around this point when the one attendee who has the most to lose from the club’s demolition, Elbo Room co-owner Matt Shapiro, speaks up. Shapiro and partner Eric Cantu bought the club from Ring back in 2010 and have maintained a working friendship with the Rings since well before the purchase. So, though Shapiro tells the group that he appreciates their efforts, he doesn’t want anything to jeopardize his relationship with them, especially since there is the possibility of the club staying open at that location even after the lease runs out.\u003c/p>\n\u003cp>“We want to stay here as long as possible,” says Shapiro.\u003c/p>\n\u003cp>In talking with Shapiro, it appears he has more problems with blogs like \u003cem>SF Station\u003c/em> and \u003cem>SFist\u003c/em> creating an unnecessary commotion around his bar before its fate is sealed.\u003c/p>\n\u003cp>“The blogs think we’re dead already,” says Shapiro.\u003c/p>\n\u003cp>And though he understands the fear of his club joining the ranks of the recently fallen, Shapiro’s also quick to point out that some of the smaller venues listed earlier — Red Devil Lounge, Kimo’s, 12 Galaxies — all closed for reasons that really can’t be attributed to San Francisco’s property woes.\u003c/p>\n\u003cp>As for his situation, if the Rings do choose to move ahead with the development — he states that they still have a lot to submit for the permitting process — not only does he have a whole year to find a new club, but friends of his have already been reaching out with potential new locations.\u003c/p>\n\u003cp>“I’m not losing any sleep yet,” he says.\u003c/p>\n\u003cp>Still, Shapiro gave his blessing as the meeting wrapped up with promises to reconvene the following year, after necessary research into CEQA and how the public can influence the process of getting a building preserved as a historic site.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It won’t hurt to learn all these things,” said McCarthy as the attendees adjourned.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mike Nichols, Award-Winning Director of 'The Graduate,' 'Silkwood,' Dies",
"headTitle": "Mike Nichols, Award-Winning Director of ‘The Graduate,’ ‘Silkwood,’ Dies | KQED",
"content": "\u003cp>Mike Nichols has a long string of classic films and plays to his credit as a director and producer, including \u003cem>The Odd Couple\u003c/em> on Broadway, \u003cem>The Graduate\u003c/em> on film and\u003cem> Angels in America\u003c/em> on TV.\u003c/p>\n\u003cfigure id=\"attachment_10148472\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-1180x1037.jpg\" alt=\"Nichols and television journalist Diane Sawyer, shown above in November 1997, were married for 26 years.\" width=\"640\" height=\"562\" class=\"size-large wp-image-10148472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-1180x1037.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-400x351.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-682x600.jpg 682w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe.jpg 1950w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nichols and television journalist Diane Sawyer, shown above in November 1997, were married for 26 years.\u003c/figcaption>\u003c/figure>\n\u003cp>He died Wednesday night of a heart attack at age 83, acknowledged as one of the most successful artists in show business. He had earned just about every major award in entertainment, and had an enduring, 26-year marriage to ABC News anchor Diane Sawyer and a family with three children and four grandchildren.\u003c/p>\n\u003cp>But Nichols once said his life as the ultimate showbiz insider came from lessons learned while growing up as an outsider — emigrating from Germany to New York City at age 7 knowing little English and having few friends.\u003c/p>\n\u003cp>One of Nichols’ greatest talents was pulling unforgettable, landmark performances from Hollywood’s acting elite.\u003c/p>\n\u003cp>In 1966, he delivered Elizabeth Taylor as a sharp-tongued wife tearing into Richard Burton in \u003cem>Who’s Afraid of Virginia Woolf? \u003c/em>“You see, George didn’t have much push, he wasn’t particularly aggressive,” Taylor says in the film, playing the hard-drinking wife of a college professor whom she loved to torment with harsh criticism. “In fact, he was sort of a flop — a great, big, fat flop!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XWgIOb_U2Hc\u003c/p>\n\u003cp>In 1986, he showcased Meryl Streep slowly unraveling as she talked about her philandering husband, played by Jack Nicholson, in \u003cem>Heartburn\u003c/em>.\u003c/p>\n\u003cp>Her character, a food writer, sits at a dinner party with her husband and friends when talk about relationships leads her to get real about her own marriage: “You sort of notice that things are not the way they were, but it’s a … a distant bell, and then when things do turn out to have been wrong, it’s not that you knew all along, it was just that you were … uh, uh … somewhere else.” The scene ends with Streep hitting Nicholson in the face with a pie intended for dessert.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iY68ovrzfXc\u003c/p>\n\u003cp>But little compared to Nichols’ most famous scene, featuring Dustin Hoffman in his breakout role, playing a bewildered 20-something about to begin an unwise affair with an older, married woman in 1967’s \u003cem>The Graduate\u003c/em>.\u003c/p>\n\u003cp>“Mrs. Robinson, you’re trying to seduce me,” Hoffman’s Benjamin Braddock tells Anne Bancroft’s Mrs. Robinson, the wife of his father’s law partner, who is stretched out in a seductive pose that became an iconic symbol for a generation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=My1cjR0rjlI\u003c/p>\n\u003cp>Nichols was a master at pushing talents like Hoffman and Streep to unexpected places. Their confused characters often highlighted thorny issues in modern life. In \u003cem>The Graduate\u003c/em>, Hoffman became a symbol of baby boomers’ uncertainty in a changing world, suffering through useless advice from clueless elders.\u003c/p>\n\u003cp>But Nichols shrugged off credit for leading actors to great performances in \u003ca href=\"http://www.movingimagesource.us/files/dialogues/2/18025_programs_transcript_pdf_203.pdf\" target=\"_blank\" rel=\"noopener\">a 1990 interview\u003c/a> for the Museum of the Moving Image.\u003c/p>\n\u003cp>“You can’t direct actors very much in a movie, because if you tell them what to do, they’ll be doing what you told them,” he said. “What’s interesting in a movie is something happening that nobody planned.”\u003c/p>\n\u003cp>Nichols understood American culture as only someone born outside the U.S. really could.\u003c/p>\n\u003cp>He was born Michael Igor Peschkowsky in Germany, the son of a Russian Jew who fled the Nazis in 1939. His physician father died a few years later, leaving a wife and two sons to struggle in New York City.\u003c/p>\n\u003cp>In 2012, Nichols told NPR his early isolation brought a lifelong advantage.\u003c/p>\n\u003cp>“The thing about being an outsider, no matter what, is that there’s a good part, which is that it teaches you to hear what people are thinking,” he said.\u003c/p>\n\u003cp>“Because I learned to hear what people are thinking, quite literally, I think it stood me in good stead,” Nichols added. “It’s probably why I’m in the theater, because I can hear an audience. … I could hear an audience thinking when I was in front of them.”\u003c/p>\n\u003cp>That skill at “reading” audiences was crucial when Nichols turned from medical studies to theater in college. By the late 1950s, he had teamed with actress/writer Elaine May to create the improvisational comedy duo Nichols and May. They were all over the TV shows of the day, including \u003cem>The Jack Paar Show\u003c/em>.\u003c/p>\n\u003cp>But performing lost its luster for Nichols, so in 1963, he agreed to direct a play by a TV joke writer. Neil Simon’s \u003cem>Barefoot in the Park\u003c/em> became a blockbuster success.\u003c/p>\n\u003cfigure id=\"attachment_10148473\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-1180x933.jpg\" alt=\"Nichols (left) and playwright Neil Simon pose together after a show rehearsal in March 1968 in New York City.\" width=\"640\" height=\"506\" class=\"size-large wp-image-10148473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-1180x933.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-758x600.jpg 758w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nichols (left) and playwright Neil Simon pose together after a show rehearsal in March 1968 in New York City.\u003c/figcaption>\u003c/figure>\n\u003cp>Suddenly, as Nichols told NPR, he realized directing was the job he was really meant to do: “To my surprise, where I never quite got how I was gonna be an actor — ’cause I don’t think I’m suited to be an actor — I immediately realized that all this time I thought I was thinking about acting, I was really thinking about directing.”\u003c/p>\n\u003cp>You could spend a long afternoon listing all the classic stage, film and TV projects Nichols touched as a director or producer. \u003cem>The Odd Couple, Plaza Suite, Hurlyburly\u003c/em> and \u003cem>Spamalot\u003c/em> on Broadway; movies like \u003cem>Carnal Knowledge, Silkwood, Working Girl\u003c/em> and \u003cem>Primary Colors\u003c/em>; along with versions of \u003cem>Wit\u003c/em> and \u003cem>Angels in America\u003c/em> for HBO on TV.\u003c/p>\n\u003cp>At times, Nichols could seem like a showbiz version of Zelig. He co-produced Broadway’s original, 1977 version of the hit musical \u003cem>Annie\u003c/em> and gave Whoopi Goldberg a career in the mid ’80s when he brought her one-woman show to Broadway.\u003c/p>\n\u003cp>So it makes sense that Nichols would be one of only 12 artists to become what industry types call an EGOT — someone who has won Emmy, Grammy, Oscar and Tony awards.\u003c/p>\n\u003cp>But when Nichols talked with NPR about why he loved directing, grand honors weren’t a big part of the equation.\u003c/p>\n\u003cp>“It’s a wonderful job,” he said. “It’s exploring and excavating and analyzing all at once. And plays, especially great plays, yield their secrets over a long period of time, and that’s the great excitement.”\u003c/p>\n\u003cp>Despite passion for his work and loads of success, Nichols said, it took his fourth wife, ABC News anchor Diane Sawyer, to rescue him from depression in his mid-50s. By 2012, he was predicting his production of \u003cem>Death of a Salesman\u003c/em>, which won him his sixth Tony award, might be his last play.\u003c/p>\n\u003cp>But a year later, he was back on Broadway, leading a revival of Harold Pinter’s \u003cem>Betrayal\u003c/em>; he had worked on adapting a version of the Tony-winning play \u003cem>Master Class\u003c/em> for HBO with Meryl Streep before his death.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Ultimately, Nichols couldn’t stay away, his passion for the work still driving him after more than five decades at the top of the industry. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mike+Nichols%2C+Award-Winning+Director+Of+%27The+Graduate%2C%27+%27Silkwood%2C%27+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mike Nichols has a long string of classic films and plays to his credit as a director and producer, including \u003cem>The Odd Couple\u003c/em> on Broadway, \u003cem>The Graduate\u003c/em> on film and\u003cem> Angels in America\u003c/em> on TV.\u003c/p>\n\u003cfigure id=\"attachment_10148472\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-1180x1037.jpg\" alt=\"Nichols and television journalist Diane Sawyer, shown above in November 1997, were married for 26 years.\" width=\"640\" height=\"562\" class=\"size-large wp-image-10148472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-1180x1037.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-400x351.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-682x600.jpg 682w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe.jpg 1950w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nichols and television journalist Diane Sawyer, shown above in November 1997, were married for 26 years.\u003c/figcaption>\u003c/figure>\n\u003cp>He died Wednesday night of a heart attack at age 83, acknowledged as one of the most successful artists in show business. He had earned just about every major award in entertainment, and had an enduring, 26-year marriage to ABC News anchor Diane Sawyer and a family with three children and four grandchildren.\u003c/p>\n\u003cp>But Nichols once said his life as the ultimate showbiz insider came from lessons learned while growing up as an outsider — emigrating from Germany to New York City at age 7 knowing little English and having few friends.\u003c/p>\n\u003cp>One of Nichols’ greatest talents was pulling unforgettable, landmark performances from Hollywood’s acting elite.\u003c/p>\n\u003cp>In 1966, he delivered Elizabeth Taylor as a sharp-tongued wife tearing into Richard Burton in \u003cem>Who’s Afraid of Virginia Woolf? \u003c/em>“You see, George didn’t have much push, he wasn’t particularly aggressive,” Taylor says in the film, playing the hard-drinking wife of a college professor whom she loved to torment with harsh criticism. “In fact, he was sort of a flop — a great, big, fat flop!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XWgIOb_U2Hc'\n title='//www.youtube.com/embed/XWgIOb_U2Hc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1986, he showcased Meryl Streep slowly unraveling as she talked about her philandering husband, played by Jack Nicholson, in \u003cem>Heartburn\u003c/em>.\u003c/p>\n\u003cp>Her character, a food writer, sits at a dinner party with her husband and friends when talk about relationships leads her to get real about her own marriage: “You sort of notice that things are not the way they were, but it’s a … a distant bell, and then when things do turn out to have been wrong, it’s not that you knew all along, it was just that you were … uh, uh … somewhere else.” The scene ends with Streep hitting Nicholson in the face with a pie intended for dessert.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iY68ovrzfXc'\n title='//www.youtube.com/embed/iY68ovrzfXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But little compared to Nichols’ most famous scene, featuring Dustin Hoffman in his breakout role, playing a bewildered 20-something about to begin an unwise affair with an older, married woman in 1967’s \u003cem>The Graduate\u003c/em>.\u003c/p>\n\u003cp>“Mrs. Robinson, you’re trying to seduce me,” Hoffman’s Benjamin Braddock tells Anne Bancroft’s Mrs. Robinson, the wife of his father’s law partner, who is stretched out in a seductive pose that became an iconic symbol for a generation.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/My1cjR0rjlI'\n title='//www.youtube.com/embed/My1cjR0rjlI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nichols was a master at pushing talents like Hoffman and Streep to unexpected places. Their confused characters often highlighted thorny issues in modern life. In \u003cem>The Graduate\u003c/em>, Hoffman became a symbol of baby boomers’ uncertainty in a changing world, suffering through useless advice from clueless elders.\u003c/p>\n\u003cp>But Nichols shrugged off credit for leading actors to great performances in \u003ca href=\"http://www.movingimagesource.us/files/dialogues/2/18025_programs_transcript_pdf_203.pdf\" target=\"_blank\" rel=\"noopener\">a 1990 interview\u003c/a> for the Museum of the Moving Image.\u003c/p>\n\u003cp>“You can’t direct actors very much in a movie, because if you tell them what to do, they’ll be doing what you told them,” he said. “What’s interesting in a movie is something happening that nobody planned.”\u003c/p>\n\u003cp>Nichols understood American culture as only someone born outside the U.S. really could.\u003c/p>\n\u003cp>He was born Michael Igor Peschkowsky in Germany, the son of a Russian Jew who fled the Nazis in 1939. His physician father died a few years later, leaving a wife and two sons to struggle in New York City.\u003c/p>\n\u003cp>In 2012, Nichols told NPR his early isolation brought a lifelong advantage.\u003c/p>\n\u003cp>“The thing about being an outsider, no matter what, is that there’s a good part, which is that it teaches you to hear what people are thinking,” he said.\u003c/p>\n\u003cp>“Because I learned to hear what people are thinking, quite literally, I think it stood me in good stead,” Nichols added. “It’s probably why I’m in the theater, because I can hear an audience. … I could hear an audience thinking when I was in front of them.”\u003c/p>\n\u003cp>That skill at “reading” audiences was crucial when Nichols turned from medical studies to theater in college. By the late 1950s, he had teamed with actress/writer Elaine May to create the improvisational comedy duo Nichols and May. They were all over the TV shows of the day, including \u003cem>The Jack Paar Show\u003c/em>.\u003c/p>\n\u003cp>But performing lost its luster for Nichols, so in 1963, he agreed to direct a play by a TV joke writer. Neil Simon’s \u003cem>Barefoot in the Park\u003c/em> became a blockbuster success.\u003c/p>\n\u003cfigure id=\"attachment_10148473\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-1180x933.jpg\" alt=\"Nichols (left) and playwright Neil Simon pose together after a show rehearsal in March 1968 in New York City.\" width=\"640\" height=\"506\" class=\"size-large wp-image-10148473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-1180x933.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-758x600.jpg 758w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nichols (left) and playwright Neil Simon pose together after a show rehearsal in March 1968 in New York City.\u003c/figcaption>\u003c/figure>\n\u003cp>Suddenly, as Nichols told NPR, he realized directing was the job he was really meant to do: “To my surprise, where I never quite got how I was gonna be an actor — ’cause I don’t think I’m suited to be an actor — I immediately realized that all this time I thought I was thinking about acting, I was really thinking about directing.”\u003c/p>\n\u003cp>You could spend a long afternoon listing all the classic stage, film and TV projects Nichols touched as a director or producer. \u003cem>The Odd Couple, Plaza Suite, Hurlyburly\u003c/em> and \u003cem>Spamalot\u003c/em> on Broadway; movies like \u003cem>Carnal Knowledge, Silkwood, Working Girl\u003c/em> and \u003cem>Primary Colors\u003c/em>; along with versions of \u003cem>Wit\u003c/em> and \u003cem>Angels in America\u003c/em> for HBO on TV.\u003c/p>\n\u003cp>At times, Nichols could seem like a showbiz version of Zelig. He co-produced Broadway’s original, 1977 version of the hit musical \u003cem>Annie\u003c/em> and gave Whoopi Goldberg a career in the mid ’80s when he brought her one-woman show to Broadway.\u003c/p>\n\u003cp>So it makes sense that Nichols would be one of only 12 artists to become what industry types call an EGOT — someone who has won Emmy, Grammy, Oscar and Tony awards.\u003c/p>\n\u003cp>But when Nichols talked with NPR about why he loved directing, grand honors weren’t a big part of the equation.\u003c/p>\n\u003cp>“It’s a wonderful job,” he said. “It’s exploring and excavating and analyzing all at once. And plays, especially great plays, yield their secrets over a long period of time, and that’s the great excitement.”\u003c/p>\n\u003cp>Despite passion for his work and loads of success, Nichols said, it took his fourth wife, ABC News anchor Diane Sawyer, to rescue him from depression in his mid-50s. By 2012, he was predicting his production of \u003cem>Death of a Salesman\u003c/em>, which won him his sixth Tony award, might be his last play.\u003c/p>\n\u003cp>But a year later, he was back on Broadway, leading a revival of Harold Pinter’s \u003cem>Betrayal\u003c/em>; he had worked on adapting a version of the Tony-winning play \u003cem>Master Class\u003c/em> for HBO with Meryl Streep before his death.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ultimately, Nichols couldn’t stay away, his passion for the work still driving him after more than five decades at the top of the industry. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mike+Nichols%2C+Award-Winning+Director+Of+%27The+Graduate%2C%27+%27Silkwood%2C%27+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Lucas Art Museum: Not Living Happily Ever After in Chicago ",
"title": "Lucas Art Museum: Not Living Happily Ever After in Chicago ",
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"content": "\u003cp>When last we checked on filmmaker George Lucas and his quest to build a museum for his collection of narrative art, he was \u003ca href=\"http://ww2.kqed.org/news/2014/06/24/george-lucas-art-museum-headed-for-chicago\" target=\"_blank\">decamping from San Francisco\u003c/a> and embracing a plan to erect \u003ca href=\"http://www.lucasmuseum.org/\" target=\"_blank\">his dream facility\u003c/a> on Chicago's lakefront.\u003c/p>\n\u003cp>Lucas trudged through a long and, for him, \u003ca href=\"http://ww2.kqed.org/news/2014/06/24/george-lucas-art-museum-headed-for-chicago\" target=\"_blank\">ultimately disappointing process\u003c/a> trying to persuade San Francisco's Presidio Trust to let him build his museum on a highly-sought-after site adjacent to Crissy Field. When that effort failed, Chicago officials, led by Mayor Rahm Emanuel, swooped in to pitch Lucas on bringing the museum there. Lucas agreed after the city offered a piece of real estate on the Lake Michigan waterfront -- near several existing museums, Soldier Field and the massive McCormick Place convention center.\u003c/p>\n\u003cp>So everyone lived happily ever after.\u003c/p>\n\u003cp>Sure. What's actually happened is that the museum proposal has found itself in the midst of a growing controversy.\u003c/p>\n\u003cp>Park groups contend the project violates development controls on lakefront property, and they've \u003ca href=\"http://www.chicagotribune.com/news/local/breaking/chi-lucas-museum-lawsuit-20141112-story.html\" target=\"_blank\">filed a lawsuit\u003c/a> that claims it's illegal to build on the reclaimed lakeshore.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The museum's \u003ca href=\"http://www.chicagotribune.com/news/columnists/ct-lucas-museum-kamin-met-1104-20141103-column.html#page=1\" target=\"_blank\">recently unveiled design proposal\u003c/a> is also drawing fire. The Chicago Tribune's Pulitzer Prize-winning architecture critic, Blair Kamin, has written a series of pieces decrying the design as \u003ca href=\"http://www.chicagotribune.com/news/columnists/ct-lucas-museum-critique-kamin-met-1107-20141106-column.html\" target=\"_blank\">\"needlessly massive\u003c/a>.\" (I'd add, \"And needlessly like an albino cousin of \u003ca href=\"http://www.starwars.com/databank/jabba-the-hutt\" target=\"_blank\">Jabba the Hutt.\"\u003c/a>)\u003c/p>\n\u003cp>On Thursday, Lucas' latest museum-related migraine arrived. The \u003ca href=\"http://www.ibtimes.com/star-wars-museum-rahm-emanuel-got-campaign-cash-disney-george-lucas-wife-pushing-1726849\" target=\"_blank\">International Business Times is reporting\u003c/a> that before offering the lakefront site, Emanuel had gotten nearly $50,000 in campaign donations from Mellody Hobson, Lucas' wife, and from the Disney Corp., which now owns Lucasfilm and the \"Star Wars\u003cem>\"\u003c/em> franchise.\u003c/p>\n\u003cp>From the IBT story:\u003c/p>\n\u003cblockquote>\u003cp>... Windy City preservationists [have sued] to block the construction of a so-called “Star Wars” museum after Mayor Rahm Emanuel offered to let George Lucas build the $400 million project on publicly owned lakefront land. The mayor has defended the proposal to lease the prime real estate to the billionaire Lucas for just $1 a year, insisting the project is on “solid legal ground,” \u003ca href=\"http://politics.suntimes.com/article/chicago/emanuel-confident-hell-win-court-fight-over-lucas-museum/wed-06252014-304pm\" target=\"_blank\">the Sun Times reported\u003c/a>.\u003c/p>\n\u003cp>What he hasn’t mentioned is the almost $50,000 worth of campaign donations he has received from those with vested interests in the project.\u003c/p>\n\u003cp>One of those donors is one of the museum’s key board members, who also happens to be Lucas’ wife. Mellody Hobson, a prominent Chicago businesswoman, is a major Emanuel supporter, contributing $31,500 to his 2011 mayoral race, according to campaign records. In fact, it was Hobson who apparently came up with the idea to build the museum in Chicago. The plan came to fruition after Lucas failed to get the project approved in San Francisco earlier this year.\u003c/p>\n\u003cp>“Don’t worry,” Hobson reportedly told Lucas. “I’ll talk to the mayor.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>So far, neither the mayor nor museum officials have commented on the IBT's story.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When last we checked on filmmaker George Lucas and his quest to build a museum for his collection of narrative art, he was \u003ca href=\"http://ww2.kqed.org/news/2014/06/24/george-lucas-art-museum-headed-for-chicago\" target=\"_blank\">decamping from San Francisco\u003c/a> and embracing a plan to erect \u003ca href=\"http://www.lucasmuseum.org/\" target=\"_blank\">his dream facility\u003c/a> on Chicago's lakefront.\u003c/p>\n\u003cp>Lucas trudged through a long and, for him, \u003ca href=\"http://ww2.kqed.org/news/2014/06/24/george-lucas-art-museum-headed-for-chicago\" target=\"_blank\">ultimately disappointing process\u003c/a> trying to persuade San Francisco's Presidio Trust to let him build his museum on a highly-sought-after site adjacent to Crissy Field. When that effort failed, Chicago officials, led by Mayor Rahm Emanuel, swooped in to pitch Lucas on bringing the museum there. Lucas agreed after the city offered a piece of real estate on the Lake Michigan waterfront -- near several existing museums, Soldier Field and the massive McCormick Place convention center.\u003c/p>\n\u003cp>So everyone lived happily ever after.\u003c/p>\n\u003cp>Sure. What's actually happened is that the museum proposal has found itself in the midst of a growing controversy.\u003c/p>\n\u003cp>Park groups contend the project violates development controls on lakefront property, and they've \u003ca href=\"http://www.chicagotribune.com/news/local/breaking/chi-lucas-museum-lawsuit-20141112-story.html\" target=\"_blank\">filed a lawsuit\u003c/a> that claims it's illegal to build on the reclaimed lakeshore.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The museum's \u003ca href=\"http://www.chicagotribune.com/news/columnists/ct-lucas-museum-kamin-met-1104-20141103-column.html#page=1\" target=\"_blank\">recently unveiled design proposal\u003c/a> is also drawing fire. The Chicago Tribune's Pulitzer Prize-winning architecture critic, Blair Kamin, has written a series of pieces decrying the design as \u003ca href=\"http://www.chicagotribune.com/news/columnists/ct-lucas-museum-critique-kamin-met-1107-20141106-column.html\" target=\"_blank\">\"needlessly massive\u003c/a>.\" (I'd add, \"And needlessly like an albino cousin of \u003ca href=\"http://www.starwars.com/databank/jabba-the-hutt\" target=\"_blank\">Jabba the Hutt.\"\u003c/a>)\u003c/p>\n\u003cp>On Thursday, Lucas' latest museum-related migraine arrived. The \u003ca href=\"http://www.ibtimes.com/star-wars-museum-rahm-emanuel-got-campaign-cash-disney-george-lucas-wife-pushing-1726849\" target=\"_blank\">International Business Times is reporting\u003c/a> that before offering the lakefront site, Emanuel had gotten nearly $50,000 in campaign donations from Mellody Hobson, Lucas' wife, and from the Disney Corp., which now owns Lucasfilm and the \"Star Wars\u003cem>\"\u003c/em> franchise.\u003c/p>\n\u003cp>From the IBT story:\u003c/p>\n\u003cblockquote>\u003cp>... Windy City preservationists [have sued] to block the construction of a so-called “Star Wars” museum after Mayor Rahm Emanuel offered to let George Lucas build the $400 million project on publicly owned lakefront land. The mayor has defended the proposal to lease the prime real estate to the billionaire Lucas for just $1 a year, insisting the project is on “solid legal ground,” \u003ca href=\"http://politics.suntimes.com/article/chicago/emanuel-confident-hell-win-court-fight-over-lucas-museum/wed-06252014-304pm\" target=\"_blank\">the Sun Times reported\u003c/a>.\u003c/p>\n\u003cp>What he hasn’t mentioned is the almost $50,000 worth of campaign donations he has received from those with vested interests in the project.\u003c/p>\n\u003cp>One of those donors is one of the museum’s key board members, who also happens to be Lucas’ wife. Mellody Hobson, a prominent Chicago businesswoman, is a major Emanuel supporter, contributing $31,500 to his 2011 mayoral race, according to campaign records. In fact, it was Hobson who apparently came up with the idea to build the museum in Chicago. The plan came to fruition after Lucas failed to get the project approved in San Francisco earlier this year.\u003c/p>\n\u003cp>“Don’t worry,” Hobson reportedly told Lucas. “I’ll talk to the mayor.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>So far, neither the mayor nor museum officials have commented on the IBT's story.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A TV comedy Bill Cosby had been developing for NBC has been canceled, after new allegations of rape have been made against the comedian. Netflix made a similar move late Tuesday, shelving a comedy special that had been slated to premiere the week of Thanksgiving.\u003c/p>\n\u003cp>Cosby, 77, has not publicly addressed the claims against him, which have now been made publicly by at least six women. In an NPR interview that \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/11/15/364297097/in-npr-interview-bill-cosby-declines-to-discuss-assault-allegations\">aired over the weekend\u003c/a>, Cosby refused to discuss the allegations.\u003c/p>\n\u003cp>Marty Singer, Cosby's attorney, has said the comedian did nothing wrong. Responding to former model Janice Dickinson's claim that Cosby drugged and sexually assaulted her, Singer called the story an \"\u003ca href=\"http://www.thewrap.com/bill-cosbys-lawyer-blasts-janice-dickinsons-sexual-assault-claims-as-outrageous-defamatory/\">outrageous defamatory lie\u003c/a>.\" In a letter to website The Wrap, Singer said the version of events Dickinson relayed this week doesn't match what she wrote about the encounter in a memoir.\u003c/p>\n\u003cp>Dickinson spoke to \u003ca href=\"http://news-briefs.ew.com/2014/11/19/janice-dickinson-bill-cosby-sexual-assault/\">Entertainment Weekly\u003c/a> several days after former actress Barbara Bowman wrote in last Friday's \u003ca href=\"http://www.washingtonpost.com/posteverything/wp/2014/11/13/bill-cosby-raped-me-why-did-it-take-30-years-for-people-to-believe-my-story/\">Washington Post\u003c/a>, \"Cosby had drugged and raped me, too.\"\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/2014/11/17/364736453/bill-cosbys-silence-on-rape-allegations-makes-huge-media-noise\">NPR's Eric Deggans wrote\u003c/a> this week, \"Several recent events, including the 30th anniversary of \u003cem>The Cosby Show\u003c/em> and the publication of the biography, have pushed media to reconsider Cosby's legacy.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Discussing the comedian's \"huge, complicated\" legacy, \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/09/19/349922912/bill-cosbys-huge-complicated-post-cosby-show-legacy\">NPR's Gene Demby wrote\u003c/a> in September:\u003c/p>\n\u003cblockquote>\u003cp>\"Cosby's renown has become less neat in the years since the show went off the air, his squeaky-clean family image tarnished by confessions of infidelity and allegations of sexual assault. His politics have become polarizing, and his name is invoked as a shorthand for a specific strain of black conservatism.\"\u003c/p>\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NBC+And+Netflix+Shelve+Bill+Cosby+Projects+As+New+Rape+Claim+Emerges&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A TV comedy Bill Cosby had been developing for NBC has been canceled, after new allegations of rape have been made against the comedian. Netflix made a similar move late Tuesday, shelving a comedy special that had been slated to premiere the week of Thanksgiving.\u003c/p>\n\u003cp>Cosby, 77, has not publicly addressed the claims against him, which have now been made publicly by at least six women. In an NPR interview that \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/11/15/364297097/in-npr-interview-bill-cosby-declines-to-discuss-assault-allegations\">aired over the weekend\u003c/a>, Cosby refused to discuss the allegations.\u003c/p>\n\u003cp>Marty Singer, Cosby's attorney, has said the comedian did nothing wrong. Responding to former model Janice Dickinson's claim that Cosby drugged and sexually assaulted her, Singer called the story an \"\u003ca href=\"http://www.thewrap.com/bill-cosbys-lawyer-blasts-janice-dickinsons-sexual-assault-claims-as-outrageous-defamatory/\">outrageous defamatory lie\u003c/a>.\" In a letter to website The Wrap, Singer said the version of events Dickinson relayed this week doesn't match what she wrote about the encounter in a memoir.\u003c/p>\n\u003cp>Dickinson spoke to \u003ca href=\"http://news-briefs.ew.com/2014/11/19/janice-dickinson-bill-cosby-sexual-assault/\">Entertainment Weekly\u003c/a> several days after former actress Barbara Bowman wrote in last Friday's \u003ca href=\"http://www.washingtonpost.com/posteverything/wp/2014/11/13/bill-cosby-raped-me-why-did-it-take-30-years-for-people-to-believe-my-story/\">Washington Post\u003c/a>, \"Cosby had drugged and raped me, too.\"\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/2014/11/17/364736453/bill-cosbys-silence-on-rape-allegations-makes-huge-media-noise\">NPR's Eric Deggans wrote\u003c/a> this week, \"Several recent events, including the 30th anniversary of \u003cem>The Cosby Show\u003c/em> and the publication of the biography, have pushed media to reconsider Cosby's legacy.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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