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"title": "With ‘War Project’ SF World Music Moves in a Radical New Direction (and That’s a Good Thing)",
"headTitle": "With ‘War Project’ SF World Music Moves in a Radical New Direction (and That’s a Good Thing) | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-war-project-music-unplugged/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>The War Project: Music UnPlugged\u003c/h4>\n\u003cdiv class=\"event-desc\">Recasting a festival for social justice\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>November 21st, 8pm\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">St. Mark’s Lutheran Church\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-war-project-music-unplugged/\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Over the course of almost two decades, the San Francisco World Music Festival has developed a reputation as a risk-taker. This year it’s making its biggest leap yet. Gone is the focus on concerts in music venues. Gone is the San Francisco-centric programming. And gone, even, is the word “festival.” Now called “SF World Music,” the organization has remade itself into a global entity that uses live-stream technology to work with singers and musicians in some of the world’s most neglected areas – while connecting these communities with resources that help them in the long term.\u003c/p>\n\u003cp>It’s music as bona fide activism that will play itself out over the next year with three war-themed events. \u003ca href=\"http://www.sfworldmusic.org\" target=\"_blank\" rel=\"noopener\">\u003cb>The War Project\u003c/b>\u003c/a> begins on Friday, November 21, at San Francisco’s \u003ca href=\"http://www.stmarks-sf.org/\" target=\"_blank\" rel=\"noopener\">St. Mark’s Lutheran Church\u003c/a> with a concert featuring musicians with roots in China, Iran, Azerbaijan, South India, Zimbabwe, and Ireland. Their songs will explore the way music can be used for cross-purposes in war – to propagandize causes, to protest injustice, and to offer solace to those under severe stress.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-2.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-10145756\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-2-800x445.jpeg\" alt=\"SF World Music 2\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/SF-World-Music-2-800x445.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/SF-World-Music-2-400x222.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/SF-World-Music-2.jpeg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>On April 17-19, \u003cstrong>The War Project\u003c/strong> will set up at Fort Mason’s \u003ca href=\"http://www.fortmason.org/venuerental/herbst-pavilion?id=1\" target=\"_blank\" rel=\"noopener\">Herbst Pavilion\u003c/a>, where musicians will perform in different tents – in collaboration with live-streamed musicians in other countries – to mirror the refugee conditions that millions face around the world.\u003c/p>\n\u003cp>And then in the autumn of 2015, at a date to be announced, from regions yet to be determined – it might include Pakistan, the Palestinian territories, and India – musicians from refugee camps will perform a benefit concert that reaches audiences in San Francisco — and anyone else — watching online. With its mix of live performance, live-streaming and integrated video footage, \u003cstrong>The War Project\u003c/strong> will let audiences experience the cultures they see in ways that diverge dramatically from traditional concerts, including those of previous performances by SF World Music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We don’t want to be a festival; we don’t want to be a concert,” says SF World Music founder and executive producer Michael Santoro. “This is a social justice shift. We feel an obligation out of all the years we’ve been doing this.”\u003c/p>\n\u003cp>The shift has been gradual. In previous years, SF World Music has done video collaborations across time zones. And in previous years, it has worked with children’s groups around the world. But in this new phase of the organization’s life, the collaborations and the activist work are taking a more central role – and it’s coinciding with a much greater emphasis on technological advances. Next April, staff will employ multiple hand-held cameras to film musicians during the concerts. As online concert-goers watch the performances at \u003ca href=\"http://www.sfworldmusic.org\" target=\"_blank\" rel=\"noopener\">SF World Music’s website\u003c/a> and see, say, a musician from Zimbabwe, the live-stream visual feed will cut to a recorded interview with the musician, then cut to footage of Zimbabwe – as the concert still steams live on the audio feed. To deepen the experience for online viewers, the festival will attach small cameras to the musicians’ instruments, providing a unique view of the performances. The possibilities for deepening the audience experience are endless, Santoro says.\u003c/p>\n\u003cfigure id=\"attachment_10145757\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-Youth-Orchestra-e1416336063310.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-Youth-Orchestra-e1416336063310.jpeg\" alt=\"SF World Music's Youth Orchestra\" width=\"640\" height=\"426\" class=\"size-full wp-image-10145757\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF World Music’s Youth Orchestra \u003ccite>(By Jim Block, courtesy of SF World Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Santoro and SF World Music are still figuring out some logistics for \u003cstrong>The War Project\u003c/strong>. In other words, it’s a work-in-progress partly, Santoro says, because nothing of this scale has really been tried before. “There’s no model that integrates all of this together in one space,” he says. “What we’ve been doing these years is putting parts of the pieces in place, experimenting in a festival format. Now, audiences and performers in the physical and virtual worlds can interact like never before.”\u003c/p>\n\u003cp>Among the performers at the November 21 concert: SF World Music’s youth orchestra; South Indian \u003ca href=\"http://en.wikipedia.org/wiki/Carnatic_music\" target=\"_blank\" rel=\"noopener\">Carnatic music \u003c/a>master \u003ca href=\"http://www.anuradhasridhar.com/\" target=\"_blank\" rel=\"noopener\">Anuradha Sridhar\u003c/a>; Azeri \u003ca href=\"http://en.wikipedia.org/wiki/Kamancheh\" target=\"_blank\" rel=\"noopener\">\u003cem>kamancha\u003c/em>\u003c/a> master, \u003ca href=\"http://www.kamancha.com/\" target=\"_blank\" rel=\"noopener\">Imamyar Hasanov\u003c/a>; Chinese \u003ca href=\"http://en.wikipedia.org/wiki/Erhu\" target=\"_blank\" rel=\"noopener\">\u003cem>erhu\u003c/em>\u003c/a> master, \u003ca href=\"http://www.jumpingbuddha.com/musicians/zhang.html\" target=\"_blank\" rel=\"noopener\">Zhang Xiaofeng\u003c/a>; Indian \u003ca href=\"http://en.wikipedia.org/wiki/Mridangam\" target=\"_blank\" rel=\"noopener\">\u003cem>mridangam \u003c/em>\u003c/a>master, \u003ca href=\"http://www.anuradhasridhar.com/shrirambrahmanandam.shtml\" target=\"_blank\" rel=\"noopener\">Shriram Brahmanandam\u003c/a>; Chinese percussion master, \u003ca href=\"http://www.guzheng.org/Text/wei_wang.html\" target=\"_blank\" rel=\"noopener\">Wang Wei\u003c/a>; Iranian percussion master, \u003ca href=\"http://www.pezhham.com/\" target=\"_blank\" rel=\"noopener\">Pezhham Akhavass\u003c/a>; Vietnamese \u003ca href=\"http://en.wikipedia.org/wiki/%C4%90%C3%A0n_tranh\" target=\"_blank\" rel=\"noopener\">\u003cem>dan tranh\u003c/em>\u003c/a> master, \u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Van-Anh Vanessa Vo\u003c/a>; Irish Celtic harp master, \u003ca href=\"http://www.dianarowan.com/\" target=\"_blank\" rel=\"noopener\">Diana Rowan\u003c/a>; and Zimbabwean percussion master, \u003ca href=\"http://ronniedaliyo.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Ronnie Daliyo\u003c/a>.\u003c/p>\n\u003cp>Last year, Hasanov traveled with Santoro and other SF World Music personnel to China, where they worked with children attending a school for migrants on the outskirts of Beijing. These children are considered “illegal immigrants.” Even their school is considered “illegal.” Santoro, who plays the Chinese \u003ca href=\"http://en.wikipedia.org/wiki/Xiao_%28flute%29\" target=\"_blank\" rel=\"noopener\">\u003cem>dong xiao\u003c/em>\u003c/a> (vertical bamboo flute), Hasanov (who grew up in Azerbaijan, but now lives in the Bay Area), and the other music staff taught both students and teachers at the school. Then they performed with a well-known migrant band at an evening concert in the community, which was live-streamed to other migrant communities in China.\u003c/p>\n\u003cp>Besides the concert, SF World Music gave the community unique software that lets students – regardless of their language – learn traditional music from around the world through a step-by-step method that emphasizes video instruction. SF World Music also gave the community unique hardware that lets them share seamless live-stream music with distant communities.\u003c/p>\n\u003cp>“It was,” says Santoro, “the most significant thing I’ve done in my entire life. That community has an opportunity to have access to the world in a way they never could because of politics, the economy, education, lack of access to global resources. We got as much out of it as performers as did the immigrant community.”\u003c/p>\n\u003cp>When a similar SF World Music team travels next year to refugee camps, they will bring the same software and hardware, and teach the communities how to use it. “We’ll begin to wire these places,” Santoro says. “We’ll bring interactive tools. So that it’s not a ‘one-off.’”\u003c/p>\n\u003cp>This sort of outreach will also be applied locally enabling SF World Music staff to connect – via live-streaming – music students from under-funded Bay Area schools with students from wealthier schools. With the video technology that SF World Music is perfecting through \u003cstrong>The War Project\u003c/strong>, they can develop collaborations between students around the Bay Area. What’s local is global. What’s global is local. That’s what SF World Music has always been about. That’s what it continues to represent, even as its vision has morphed into something much, much bigger.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The first part of \u003cstrong>The War Project\u003c/strong>, \u003ci>Music UnPlugged\u003c/i> is Friday, November 21, 2014, 8pm, at St. Mark’s Lutheran Church in San Francisco. Tickets are $15-$25. For \u003ca href=\"http://www.sfworldmusic.org/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit sfworldmusic.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-war-project-music-unplugged/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>The War Project: Music UnPlugged\u003c/h4>\n\u003cdiv class=\"event-desc\">Recasting a festival for social justice\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>November 21st, 8pm\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">St. Mark’s Lutheran Church\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-war-project-music-unplugged/\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Over the course of almost two decades, the San Francisco World Music Festival has developed a reputation as a risk-taker. This year it’s making its biggest leap yet. Gone is the focus on concerts in music venues. Gone is the San Francisco-centric programming. And gone, even, is the word “festival.” Now called “SF World Music,” the organization has remade itself into a global entity that uses live-stream technology to work with singers and musicians in some of the world’s most neglected areas – while connecting these communities with resources that help them in the long term.\u003c/p>\n\u003cp>It’s music as bona fide activism that will play itself out over the next year with three war-themed events. \u003ca href=\"http://www.sfworldmusic.org\" target=\"_blank\" rel=\"noopener\">\u003cb>The War Project\u003c/b>\u003c/a> begins on Friday, November 21, at San Francisco’s \u003ca href=\"http://www.stmarks-sf.org/\" target=\"_blank\" rel=\"noopener\">St. Mark’s Lutheran Church\u003c/a> with a concert featuring musicians with roots in China, Iran, Azerbaijan, South India, Zimbabwe, and Ireland. Their songs will explore the way music can be used for cross-purposes in war – to propagandize causes, to protest injustice, and to offer solace to those under severe stress.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-2.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-10145756\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-2-800x445.jpeg\" alt=\"SF World Music 2\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/SF-World-Music-2-800x445.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/SF-World-Music-2-400x222.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/SF-World-Music-2.jpeg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>On April 17-19, \u003cstrong>The War Project\u003c/strong> will set up at Fort Mason’s \u003ca href=\"http://www.fortmason.org/venuerental/herbst-pavilion?id=1\" target=\"_blank\" rel=\"noopener\">Herbst Pavilion\u003c/a>, where musicians will perform in different tents – in collaboration with live-streamed musicians in other countries – to mirror the refugee conditions that millions face around the world.\u003c/p>\n\u003cp>And then in the autumn of 2015, at a date to be announced, from regions yet to be determined – it might include Pakistan, the Palestinian territories, and India – musicians from refugee camps will perform a benefit concert that reaches audiences in San Francisco — and anyone else — watching online. With its mix of live performance, live-streaming and integrated video footage, \u003cstrong>The War Project\u003c/strong> will let audiences experience the cultures they see in ways that diverge dramatically from traditional concerts, including those of previous performances by SF World Music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We don’t want to be a festival; we don’t want to be a concert,” says SF World Music founder and executive producer Michael Santoro. “This is a social justice shift. We feel an obligation out of all the years we’ve been doing this.”\u003c/p>\n\u003cp>The shift has been gradual. In previous years, SF World Music has done video collaborations across time zones. And in previous years, it has worked with children’s groups around the world. But in this new phase of the organization’s life, the collaborations and the activist work are taking a more central role – and it’s coinciding with a much greater emphasis on technological advances. Next April, staff will employ multiple hand-held cameras to film musicians during the concerts. As online concert-goers watch the performances at \u003ca href=\"http://www.sfworldmusic.org\" target=\"_blank\" rel=\"noopener\">SF World Music’s website\u003c/a> and see, say, a musician from Zimbabwe, the live-stream visual feed will cut to a recorded interview with the musician, then cut to footage of Zimbabwe – as the concert still steams live on the audio feed. To deepen the experience for online viewers, the festival will attach small cameras to the musicians’ instruments, providing a unique view of the performances. The possibilities for deepening the audience experience are endless, Santoro says.\u003c/p>\n\u003cfigure id=\"attachment_10145757\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-Youth-Orchestra-e1416336063310.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SF-World-Music-Youth-Orchestra-e1416336063310.jpeg\" alt=\"SF World Music's Youth Orchestra\" width=\"640\" height=\"426\" class=\"size-full wp-image-10145757\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF World Music’s Youth Orchestra \u003ccite>(By Jim Block, courtesy of SF World Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Santoro and SF World Music are still figuring out some logistics for \u003cstrong>The War Project\u003c/strong>. In other words, it’s a work-in-progress partly, Santoro says, because nothing of this scale has really been tried before. “There’s no model that integrates all of this together in one space,” he says. “What we’ve been doing these years is putting parts of the pieces in place, experimenting in a festival format. Now, audiences and performers in the physical and virtual worlds can interact like never before.”\u003c/p>\n\u003cp>Among the performers at the November 21 concert: SF World Music’s youth orchestra; South Indian \u003ca href=\"http://en.wikipedia.org/wiki/Carnatic_music\" target=\"_blank\" rel=\"noopener\">Carnatic music \u003c/a>master \u003ca href=\"http://www.anuradhasridhar.com/\" target=\"_blank\" rel=\"noopener\">Anuradha Sridhar\u003c/a>; Azeri \u003ca href=\"http://en.wikipedia.org/wiki/Kamancheh\" target=\"_blank\" rel=\"noopener\">\u003cem>kamancha\u003c/em>\u003c/a> master, \u003ca href=\"http://www.kamancha.com/\" target=\"_blank\" rel=\"noopener\">Imamyar Hasanov\u003c/a>; Chinese \u003ca href=\"http://en.wikipedia.org/wiki/Erhu\" target=\"_blank\" rel=\"noopener\">\u003cem>erhu\u003c/em>\u003c/a> master, \u003ca href=\"http://www.jumpingbuddha.com/musicians/zhang.html\" target=\"_blank\" rel=\"noopener\">Zhang Xiaofeng\u003c/a>; Indian \u003ca href=\"http://en.wikipedia.org/wiki/Mridangam\" target=\"_blank\" rel=\"noopener\">\u003cem>mridangam \u003c/em>\u003c/a>master, \u003ca href=\"http://www.anuradhasridhar.com/shrirambrahmanandam.shtml\" target=\"_blank\" rel=\"noopener\">Shriram Brahmanandam\u003c/a>; Chinese percussion master, \u003ca href=\"http://www.guzheng.org/Text/wei_wang.html\" target=\"_blank\" rel=\"noopener\">Wang Wei\u003c/a>; Iranian percussion master, \u003ca href=\"http://www.pezhham.com/\" target=\"_blank\" rel=\"noopener\">Pezhham Akhavass\u003c/a>; Vietnamese \u003ca href=\"http://en.wikipedia.org/wiki/%C4%90%C3%A0n_tranh\" target=\"_blank\" rel=\"noopener\">\u003cem>dan tranh\u003c/em>\u003c/a> master, \u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Van-Anh Vanessa Vo\u003c/a>; Irish Celtic harp master, \u003ca href=\"http://www.dianarowan.com/\" target=\"_blank\" rel=\"noopener\">Diana Rowan\u003c/a>; and Zimbabwean percussion master, \u003ca href=\"http://ronniedaliyo.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Ronnie Daliyo\u003c/a>.\u003c/p>\n\u003cp>Last year, Hasanov traveled with Santoro and other SF World Music personnel to China, where they worked with children attending a school for migrants on the outskirts of Beijing. These children are considered “illegal immigrants.” Even their school is considered “illegal.” Santoro, who plays the Chinese \u003ca href=\"http://en.wikipedia.org/wiki/Xiao_%28flute%29\" target=\"_blank\" rel=\"noopener\">\u003cem>dong xiao\u003c/em>\u003c/a> (vertical bamboo flute), Hasanov (who grew up in Azerbaijan, but now lives in the Bay Area), and the other music staff taught both students and teachers at the school. Then they performed with a well-known migrant band at an evening concert in the community, which was live-streamed to other migrant communities in China.\u003c/p>\n\u003cp>Besides the concert, SF World Music gave the community unique software that lets students – regardless of their language – learn traditional music from around the world through a step-by-step method that emphasizes video instruction. SF World Music also gave the community unique hardware that lets them share seamless live-stream music with distant communities.\u003c/p>\n\u003cp>“It was,” says Santoro, “the most significant thing I’ve done in my entire life. That community has an opportunity to have access to the world in a way they never could because of politics, the economy, education, lack of access to global resources. We got as much out of it as performers as did the immigrant community.”\u003c/p>\n\u003cp>When a similar SF World Music team travels next year to refugee camps, they will bring the same software and hardware, and teach the communities how to use it. “We’ll begin to wire these places,” Santoro says. “We’ll bring interactive tools. So that it’s not a ‘one-off.’”\u003c/p>\n\u003cp>This sort of outreach will also be applied locally enabling SF World Music staff to connect – via live-streaming – music students from under-funded Bay Area schools with students from wealthier schools. With the video technology that SF World Music is perfecting through \u003cstrong>The War Project\u003c/strong>, they can develop collaborations between students around the Bay Area. What’s local is global. What’s global is local. That’s what SF World Music has always been about. That’s what it continues to represent, even as its vision has morphed into something much, much bigger.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first part of \u003cstrong>The War Project\u003c/strong>, \u003ci>Music UnPlugged\u003c/i> is Friday, November 21, 2014, 8pm, at St. Mark’s Lutheran Church in San Francisco. Tickets are $15-$25. For \u003ca href=\"http://www.sfworldmusic.org/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit sfworldmusic.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tommy Igoe had a good thing going in New York City. The widely respected jazz drummer and his powerhouse big band regularly attracted a full house of devoted fans to Friday nights at Birdland, one of Manhattan’s highest-profile jazz clubs.\u003c/p>\n\u003cp>Since moving to the Bay Area about three years ago he’s \u003ca href=\"http://ww2.kqed.org/news/2014/11/16/jazz-review-tommy-igoe-groove-conspiracy/\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/11/16/jazz-review-tommy-igoe-groove-conspiracy/\" target=\"_self\" title=\"Jazz Review: The Tommy Igoe Groove Conspiracy\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>Tommy Igoe had a good thing going in New York City. The widely respected jazz drummer and his powerhouse big band regularly attracted a full house of devoted fans to Friday nights at Birdland, one of Manhattan's highest-profile jazz clubs.\u003c/p>\n\u003cp>Since moving to the Bay Area about three years ago he's \u003ca href=\"http://ww2.kqed.org/news/2014/11/16/jazz-review-tommy-igoe-groove-conspiracy/\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cp>Nov. 9, 2014, marks \u003ca target=\"_self\" href=\"http://www.visitberlin.de/en/event/11-09-2014/25-years-fall-of-the-berlin-wall\" rel=\"noopener\">25 years since the fall of the Berlin Wall\u003c/a> — what Germans call the “Wende,” or turning point. It was the end of the Cold War, the end of an era and, in a practical sense, the end of a country, East Germany. The <a target=_self \u003ca href=\"http://ww2.kqed.org/news/2014/11/09/wende-museum-preserving-cold-war-in-culver-city/\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/11/09/wende-museum-preserving-cold-war-in-culver-city/\" target=\"_self\" title=\"The Wende Museum: Preserving the Cold War in Culver City\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"disqusTitle": " Sikh-American Women Explore Love in New Anthology ",
"title": " Sikh-American Women Explore Love in New Anthology ",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>At a \u003cem>Gurdwara\u003c/em> or Sikh temple in Modesto, writer Meeta Kaur is warmly welcomed by all the women preparing \u003cem>langar\u003c/em>, the communal meal. She’s never met them before but she calls them her aunties.\u003c/p>\n\u003cp>“If I look at auntie and auntie looks at me and we identify as 'Kaur,' then we automatically know there’s a bond,” she says. “And we’re equal. And she’s here to guide me.”\u003c/p>\n\u003cp>\"Kaur\" is the traditional last name Sikh women take. It’s one way they can immediately recognize each other.\u003c/p>\n\u003cp>Kaur then shows her aunties a copy of a new anthology she’s edited. It’s called \"\u003ca href=\"http://sikhlovestories.com/2014/06/17/her-name-is-kaur-has-now-been-released/\">Her Name is Kaur: Sikh American Women Write About Love, Courage, and Faith\u003c/a>.\"\u003c/p>\n\u003cp>Gurpreet Kaur Sandhu stops flattening the dough for \u003cem>chapatis\u003c/em> long enough to ask a few questions and set up a future book discussion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’ll give you the copy,” says Kaur .\u003c/p>\n\u003cp>“Yes, give me the copy and then you can come back,” Kaur Sandhu replies.\u003c/p>\n\u003caside class=\"pullquote alignright\">“We may be distinct in our outward appearance... But on the inside we experience heartbreak, we get jealous, we ache when our children are hurt.\"\u003cbr>\n\u003ccite>Meeta Kaur\u003c/cite>\u003c/aside>\n\u003cp>Followers of the Sikh faith have lived in California for a century. They’re originally from India’s Punjab region, and settled mostly in the Bay Area and the Central Valley. Although they’ve been in the United States a long time, Kaur says, they’ve recently become victims of hate crimes across the country. Her anthology is in response to these acts of violence, an effort to show who Sikhs really are.\u003c/p>\n\u003cp>Of the 25 women writers in the anthology, 10 are from California, including Kaur. The stories address love and the resulting joys, complications, even disappointments – love for a place, a man, a woman, a career. When we share our stories, Kaur says, we break down walls of prejudice.\u003c/p>\n\u003cp>“We may be distinct in our outward appearance spiritually,\" she says. \"But on the inside we experience heartbreak, we get jealous, we ache when our children are hurt.\"\u003c/p>\n\u003cp>That outward appearance has made them a target of violent prejudice. At a Gurdwara in Oak Creek, Wisconsin two years ago, a 40-year-old white supremacist named Wade Michael Page killed five men and one woman. The men all wore turbans as part of their faith.\u003c/p>\n\u003cp>And just this August, New Yorker Sandeep Singh was run over by a pickup truck driver for wearing a turban. He tells his story in a \u003ca href=\"https://www.youtube.com/watch?v=_DX-ShjFRqs\">YouTube video\u003c/a> filmed by the Sikh Coalition.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/175877968\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>“Two weeks ago I nearly lost my life when a man in a pickup truck called me a terrorist, told me to go back to my country, and then dragged me over 60 feet,” he says in a weak voice.\u003c/p>\n\u003cp>“There’s been a lot the community has been enduring, especially in a post-9/11 country,” says Kaur.\u003c/p>\n\u003cp>One goal of the anthology is to show how universally similar Sikhs are to other Americans -- like the chapter that illustrates the classic tension between married women and their mothers-in-law.\u003c/p>\n\u003cp>“And then as the story goes, both characters grow out of these roles that are pitted against one another at the start, into human beings that genuinely care for each other,” says Kaur. “And I think the lynchpin there was both women let go of judgment.”\u003c/p>\n\u003cp>At a discussion of the anthology in Fresno, Guddi Kaur Ranu says she understands this dynamic. She tells the group she had trouble watching her married son do his wife’s laundry.\u003c/p>\n\u003cp>“I’m really giving you the feelings of my double standards, I’m talking very frankly here,” she says. Kaur Ranu grew up in a traditional household in India, and her own marriage was arranged.\u003c/p>\n\u003cfigure id=\"attachment_10347606\" class=\"wp-caption alignleft\" style=\"max-width: 335px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/MeetaRollingVertical.jpg\">\u003cimg class=\" wp-image-10347606\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/MeetaRollingVertical-400x490.jpg\" alt=\"Editor Meeta Kaur rolls out a few chapatis at the Modesto Gurdwara Sahib. (Alice Daniel/KQED)\" width=\"335\" height=\"410\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/MeetaRollingVertical-400x490.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/MeetaRollingVertical-800x981.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/MeetaRollingVertical.jpg 1440w\" sizes=\"(max-width: 335px) 100vw, 335px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Editor Meeta Kaur rolls out a few chapatis at the Modesto Gurdwara Sahib. (Alice Daniel/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Other housework was OK, she says, “but it was going through my mind, 'Why can’t she do the laundry?' ” At this point, all the women start laughing. “But then I thought, ‘No, I should be happy if she’s working right now, he’s home,’” she says. “I corrected myself. It’s so hard to change the thinking, but with the process you can change over time.”\u003c/p>\n\u003cp>Simran Kaur works for the Sikh Coalition, a group that fights discrimination. She contributed to the anthology and reads to the group from her chapter about her mother’s activism after the 1984 Sikh massacre in Delhi.\u003c/p>\n\u003cp>“My mother never spoke to me about her actions because for her it wasn’t activism. It was her identity inspired by faith. It was only when I went on a school trip to a museum many years later and came across a picture of my mother with her fist in the air surrounded by her children and other Sikh women that I really felt the importance of her role in formulating what activism looked like for me.”\u003c/p>\n\u003cp>Lawyer and activist Harjit Kaur says she couldn’t put the book down. The name Kaur inspires her, she says, especially now after an abusive marriage.\u003c/p>\n\u003cp>“My relationship was very, very physically and emotionally abusive,” she tells the group. It took strength and courage to leave it, but when she was in the midst of this horrible time, a friend reminded her that the name 'Kaur' really means empowerment.\u003c/p>\n\u003cp>“And getting myself out of that, he was like, 'You know, that’s your Kaur, that’s your heritage, the resilience that’s in that Kaur name is within you,' ” she says. “A light bulb went off, like you know I can do this.\"\u003c/p>\n\u003cp>At the end of the evening Harjit tells the other women, “This book is a starting point for a conversation. And what we hope is when we all go away tonight, we recognize we all have a story to tell.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Stories that, if heard often enough, can help people see how alike we all are, says editor Meeta Kaur. She also has another anthology in the works -- this time of Sikh-American men writing about love.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At a \u003cem>Gurdwara\u003c/em> or Sikh temple in Modesto, writer Meeta Kaur is warmly welcomed by all the women preparing \u003cem>langar\u003c/em>, the communal meal. She’s never met them before but she calls them her aunties.\u003c/p>\n\u003cp>“If I look at auntie and auntie looks at me and we identify as 'Kaur,' then we automatically know there’s a bond,” she says. “And we’re equal. And she’s here to guide me.”\u003c/p>\n\u003cp>\"Kaur\" is the traditional last name Sikh women take. It’s one way they can immediately recognize each other.\u003c/p>\n\u003cp>Kaur then shows her aunties a copy of a new anthology she’s edited. It’s called \"\u003ca href=\"http://sikhlovestories.com/2014/06/17/her-name-is-kaur-has-now-been-released/\">Her Name is Kaur: Sikh American Women Write About Love, Courage, and Faith\u003c/a>.\"\u003c/p>\n\u003cp>Gurpreet Kaur Sandhu stops flattening the dough for \u003cem>chapatis\u003c/em> long enough to ask a few questions and set up a future book discussion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ll give you the copy,” says Kaur .\u003c/p>\n\u003cp>“Yes, give me the copy and then you can come back,” Kaur Sandhu replies.\u003c/p>\n\u003caside class=\"pullquote alignright\">“We may be distinct in our outward appearance... But on the inside we experience heartbreak, we get jealous, we ache when our children are hurt.\"\u003cbr>\n\u003ccite>Meeta Kaur\u003c/cite>\u003c/aside>\n\u003cp>Followers of the Sikh faith have lived in California for a century. They’re originally from India’s Punjab region, and settled mostly in the Bay Area and the Central Valley. Although they’ve been in the United States a long time, Kaur says, they’ve recently become victims of hate crimes across the country. Her anthology is in response to these acts of violence, an effort to show who Sikhs really are.\u003c/p>\n\u003cp>Of the 25 women writers in the anthology, 10 are from California, including Kaur. The stories address love and the resulting joys, complications, even disappointments – love for a place, a man, a woman, a career. When we share our stories, Kaur says, we break down walls of prejudice.\u003c/p>\n\u003cp>“We may be distinct in our outward appearance spiritually,\" she says. \"But on the inside we experience heartbreak, we get jealous, we ache when our children are hurt.\"\u003c/p>\n\u003cp>That outward appearance has made them a target of violent prejudice. At a Gurdwara in Oak Creek, Wisconsin two years ago, a 40-year-old white supremacist named Wade Michael Page killed five men and one woman. The men all wore turbans as part of their faith.\u003c/p>\n\u003cp>And just this August, New Yorker Sandeep Singh was run over by a pickup truck driver for wearing a turban. He tells his story in a \u003ca href=\"https://www.youtube.com/watch?v=_DX-ShjFRqs\">YouTube video\u003c/a> filmed by the Sikh Coalition.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/175877968&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/175877968'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Two weeks ago I nearly lost my life when a man in a pickup truck called me a terrorist, told me to go back to my country, and then dragged me over 60 feet,” he says in a weak voice.\u003c/p>\n\u003cp>“There’s been a lot the community has been enduring, especially in a post-9/11 country,” says Kaur.\u003c/p>\n\u003cp>One goal of the anthology is to show how universally similar Sikhs are to other Americans -- like the chapter that illustrates the classic tension between married women and their mothers-in-law.\u003c/p>\n\u003cp>“And then as the story goes, both characters grow out of these roles that are pitted against one another at the start, into human beings that genuinely care for each other,” says Kaur. “And I think the lynchpin there was both women let go of judgment.”\u003c/p>\n\u003cp>At a discussion of the anthology in Fresno, Guddi Kaur Ranu says she understands this dynamic. She tells the group she had trouble watching her married son do his wife’s laundry.\u003c/p>\n\u003cp>“I’m really giving you the feelings of my double standards, I’m talking very frankly here,” she says. Kaur Ranu grew up in a traditional household in India, and her own marriage was arranged.\u003c/p>\n\u003cfigure id=\"attachment_10347606\" class=\"wp-caption alignleft\" style=\"max-width: 335px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/MeetaRollingVertical.jpg\">\u003cimg class=\" wp-image-10347606\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/MeetaRollingVertical-400x490.jpg\" alt=\"Editor Meeta Kaur rolls out a few chapatis at the Modesto Gurdwara Sahib. (Alice Daniel/KQED)\" width=\"335\" height=\"410\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/MeetaRollingVertical-400x490.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/MeetaRollingVertical-800x981.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/MeetaRollingVertical.jpg 1440w\" sizes=\"(max-width: 335px) 100vw, 335px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Editor Meeta Kaur rolls out a few chapatis at the Modesto Gurdwara Sahib. (Alice Daniel/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Other housework was OK, she says, “but it was going through my mind, 'Why can’t she do the laundry?' ” At this point, all the women start laughing. “But then I thought, ‘No, I should be happy if she’s working right now, he’s home,’” she says. “I corrected myself. It’s so hard to change the thinking, but with the process you can change over time.”\u003c/p>\n\u003cp>Simran Kaur works for the Sikh Coalition, a group that fights discrimination. She contributed to the anthology and reads to the group from her chapter about her mother’s activism after the 1984 Sikh massacre in Delhi.\u003c/p>\n\u003cp>“My mother never spoke to me about her actions because for her it wasn’t activism. It was her identity inspired by faith. It was only when I went on a school trip to a museum many years later and came across a picture of my mother with her fist in the air surrounded by her children and other Sikh women that I really felt the importance of her role in formulating what activism looked like for me.”\u003c/p>\n\u003cp>Lawyer and activist Harjit Kaur says she couldn’t put the book down. The name Kaur inspires her, she says, especially now after an abusive marriage.\u003c/p>\n\u003cp>“My relationship was very, very physically and emotionally abusive,” she tells the group. It took strength and courage to leave it, but when she was in the midst of this horrible time, a friend reminded her that the name 'Kaur' really means empowerment.\u003c/p>\n\u003cp>“And getting myself out of that, he was like, 'You know, that’s your Kaur, that’s your heritage, the resilience that’s in that Kaur name is within you,' ” she says. “A light bulb went off, like you know I can do this.\"\u003c/p>\n\u003cp>At the end of the evening Harjit tells the other women, “This book is a starting point for a conversation. And what we hope is when we all go away tonight, we recognize we all have a story to tell.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Music Review: Deerhoof's 'La Isla Bonita'",
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"content": "\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/175196372\" params=\"color=ff5500&inverse=false&auto_play=false&show_user=true\" width=\"100%\" height=\"20\" iframe=\"true\" /]\u003c/p>\n\u003cp>Deerhoof called its new album “La Isla Bonita”—the beautiful island —and included a song called “Tiny Bubbles.” No, it’s not the song made famous by Hawaiian lounge lord Don Ho. It sounds more like an Ennio Morricone spaghetti Western theme. But 20 years into a career, with a dozen albums and scores of side projects, is Deerhoof trying to show it has a sense of humor?\u003c/p>\n\u003cp>Whatever is going on, it’s a winning turn. Deerhoof has previously made music often associated with the sounds of the German Krautrock movement of the ‘70s, or of early Sonic Youth —a bit cold, perhaps, and certainly very art-conscious. It’s been cited by such innovators as St. Vincent, Tune-Yards and even Flaming Lips as an influence, but has not gained the kind of renown of those followers.\u003c/p>\n\u003cp>The spark behind “La Isla Bonita,” though, was a whole other aesthetic: That of the Ramones. Deerhoof has covered “Pinhead” in concert regularly over the years. This time it really took hold, at least in approach.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/prc286.jpg\">\u003cimg class=\"alignright size-thumbnail wp-image-10345600\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/prc286-400x400.jpg\" alt=\"Deerhoof's 'La Isla Bonita'\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/prc286.jpg 1425w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The song “Exit Only” was the first recorded for this album and stands as its centerpiece, all about being in, of and for the moment. With the Ramones in mind, recording was all done live in guitarist Ed Rodriguez’s basement -- during what drummer and co-founder Greg Saunier has described as “a weeklong sleepover arguing over whether to try and sound like Joan Jett or Janet Jackson.”\u003c/p>\n\u003cp>And if that doesn’t sound like fun, what does? They even sound like they’re enjoying a song they’ve titled “Doom.”\u003c/p>\n\u003cp>For all that, this is still very recognizable as Deerhoof. The combination of Satomi Matsuzaki’s voice and bass, the jabbing and poking guitars of Rodriguez and John Dieterich, and Saunier’s sharp drumming still carry the precision of classic Krautrock, that arty cool. But the urgency of the recording has ensured that the feelings, even emotions in these songs, are not sublimated, not hidden in the artiness.\u003c/p>\n\u003cp>And yes, there is a darkness to it. Serious matters are afoot in these songs: Society is crumbling, the future is uncertain, communication is frustrating. But there’s also a self-awareness, with more than a wink. The closing song, a real tour de force of downcast disco bumping up against Radiohead, is given the purposefully eye-rolling title “Oh Bummer.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Throughout, these little jokes abound, such as putting the title “God 2” on a churning new wave surf-rock instrumental. It’s the perfect soundtrack for a sunset on the beach of “La Isla Bonita.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The song “Exit Only” was the first recorded for this album and stands as its centerpiece, all about being in, of and for the moment. With the Ramones in mind, recording was all done live in guitarist Ed Rodriguez’s basement -- during what drummer and co-founder Greg Saunier has described as “a weeklong sleepover arguing over whether to try and sound like Joan Jett or Janet Jackson.”\u003c/p>\n\u003cp>And if that doesn’t sound like fun, what does? They even sound like they’re enjoying a song they’ve titled “Doom.”\u003c/p>\n\u003cp>For all that, this is still very recognizable as Deerhoof. The combination of Satomi Matsuzaki’s voice and bass, the jabbing and poking guitars of Rodriguez and John Dieterich, and Saunier’s sharp drumming still carry the precision of classic Krautrock, that arty cool. But the urgency of the recording has ensured that the feelings, even emotions in these songs, are not sublimated, not hidden in the artiness.\u003c/p>\n\u003cp>And yes, there is a darkness to it. Serious matters are afoot in these songs: Society is crumbling, the future is uncertain, communication is frustrating. But there’s also a self-awareness, with more than a wink. The closing song, a real tour de force of downcast disco bumping up against Radiohead, is given the purposefully eye-rolling title “Oh Bummer.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Throughout, these little jokes abound, such as putting the title “God 2” on a churning new wave surf-rock instrumental. It’s the perfect soundtrack for a sunset on the beach of “La Isla Bonita.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What are these structures popping up along the sidewalks of Berkeley? Big birdhouses? Doll houses? Or are they homes small enough to actually be affordable in this crazy real estate market? Nope. None of the above. They are actually part of a worldwide phenomenon called Little Free Libraries.\u003c/p>\n\u003cp>Berkeley now has \u003ca href=\"http://ww2.kqed.org/news/2014/10/29/Berkeley-little-free-libraries\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/10/29/Berkeley-little-free-libraries\" target=\"_self\" title=\"Berkeley Residents Love Their Little Free Libraries\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The selection of TV host Bill Maher to deliver a December commencement address at UC Berkeley has come under fire from people who believe his views on Islam are racist.\u003c/p>\n\u003cp>More than 2,500 people have signed \u003ca target=\"_self\" href=\"https://www.change.org/p/university-of-california-berkeley-stop-bill-maher-from-speaking-at-uc-berkeley-s-december-graduation\" rel=\"noopener\">a petition on Change.org\u003c/a> asking that the university withdraw its offer. The petition \u003ca href=\"http://ww2.kqed.org/news/2014/10/28/bill-maher-cal-berkeley-student-protest\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/10/28/bill-maher-cal-berkeley-student-protest\" target=\"_self\" title=\"Petition Targets Planned UC Berkeley Speech by Bill Maher\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>The selection of TV host Bill Maher to deliver a December commencement address at UC Berkeley has come under fire from people who believe his views on Islam are racist.\u003c/p>\n\u003cp>More than 2,500 people have signed \u003ca target=\"_self\" href=\"https://www.change.org/p/university-of-california-berkeley-stop-bill-maher-from-speaking-at-uc-berkeley-s-december-graduation\" rel=\"noopener\">a petition on Change.org\u003c/a> asking that the university withdraw its offer. The petition \u003ca href=\"http://ww2.kqed.org/news/2014/10/28/bill-maher-cal-berkeley-student-protest\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"title": "Negativland Is Still Culture Jamming and Taking on Our Masters",
"headTitle": "Negativland Is Still Culture Jamming and Taking on Our Masters | KQED",
"content": "\u003cp>It’s understandable that you might know Negativland only for the controversial moments of their career — the \u003ca href=\"http://en.wikipedia.org/wiki/Fair_Use:_The_Story_of_the_Letter_U_and_the_Numeral_2\" target=\"_blank\" rel=\"noopener\">mockery of U2,\u003c/a> which got them into legal trouble, or their \u003ca href=\"http://en.wikipedia.org/wiki/Dispepsi\" target=\"_blank\" rel=\"noopener\">satire on the soft-drink industry \u003c/a>in the album \u003cem>Dispepsi.\u003c/em> And maybe you’ve even heard about their \u003ca href=\"http://en.wikipedia.org/wiki/Helter_Stupid\" target=\"_blank\" rel=\"noopener\">pranks on the news media\u003c/a>. If you’re a longtime Bay Area resident, maybe you’ve caught their radio show, \u003cem>Over the Edge,\u003c/em> on KPFA, though you might not have known who the masterminds behind it were.\u003c/p>\n\u003cp>If that describes your level of awareness, here’s something else you need to know: Negativland is a great band. They are a truly talented group of media slice-and-splice magicians that originally came from Contra Costa County and are now spread as far away as Seattle and North Carolina. And their newest album, \u003ci>It’s All in Your Head,\u003c/i> is proof positive that they have the skills. A powerful media collage that comes in the form of a radio show savaging organized religion — specifically fundamentalism — the album features audio wizardry that blows \u003cem>Radiolab\u003c/em> out of the water. And it was done live in front of several audiences.\u003c/p>\n\u003cp>\u003ci>It’s All in Your Head\u003c/i> was officially released today. It comes packaged in a Bible. To highlight the group’s first album in six years, we checked in with three members of Negativland — Mark Hosler, Peter Conheim and Don Joyce — and asked them questions about the new release and future plans for the band.\u003c/p>\n\u003cp>\u003cstrong>How long have you been performing \u003cem>It’s All In Your Head\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Peter Conheim\u003c/strong> – \u003cem>It’s All in Your Head\u003c/em> was birthed as a live performance in 2005 with two shows in Canada, having been drawn from our member Don Joyce’s\u003cem> Over the Edge\u003c/em> radio series, which he had been doing for 20-odd weeks. So much of the material was already there to work with. It’s always been the same show, but like all of our work has been, it evolved gradually through improvisation and discussion over the five years we performed it. And new material was brought in, which would sometimes throw us interesting curveballs, but the arc of the show remained the same.\u003c/p>\n\u003cfigure id=\"attachment_10144619\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144619\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_1.jpg\" alt=\"Some the members of Negativland back in 1985.\" width=\"640\" height=\"924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1-400x577.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1-415x600.jpg 415w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Some the members of Negativland back in 1985.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Why record an album this way?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Mark Hosler\u003c/b> – Negativland’s first record came out in 1980 and our first performance was in 1980. We got asked by a local club in the San Francisco Bay Area to perform after our record came out. They mistakenly assumed because we were “a band” that we had a set that we could do. But we had never played live in our lives! I was still in high school; we made this stuff in our bedrooms. So when we were asked to perform live, we were thrilled to have the opportunity but we didn’t know what the hell to do because there was no way to replicate our record on stage. This was 1980; the technology did not exist.\u003c/p>\n\u003cp>So we got together in a room with the instruments that we had and we said, “What can we come up with three-or-four of us in a room? What can we do?” And it sounded like what we were doing, but it was its own unique thing. So from the very first performance Negativland ever did, it had nothing to do with our records whatsoever. Nothing.\u003c/p>\n\u003cp>But why should we be duplicating our records on stage, even if we could? That’s just kind of boring; [that’s] not interesting to us. It’s not playing around and being creative enough. We just like to mess with things and do things in an out-of-the-box, unconventional way. If any of us have an idea that’s different, that isn’t normal, we always want to look at that and consider it. That goes for how we do promotion, how we do PR, our press releases, our press photos… Every aspect of what we do, we think of it as part of the art.\u003c/p>\n\u003cp>When we started developing this show that we would eventually call \u003cem>It’s All In Your Head\u003c/em>, we realized that what we were crafting was so interesting to all of us, we thought that perhaps we would make a finished studio project that was sort-of done in reverse to how we would normally do it. We would actually take the recordings as we’d done them in front of an audience and use that, because what we were doing live had its own quality to it that’s very different from our studio recordings. It’s something that we came up with that’s all of us on stage, performing in real time. We’re not using laptops; it’s all being mixed and layered and cut up and collaged right in front of you, in real time. It became an interesting, different approach for us to take; essentially it’s a carefully-constructed studio recording, but we’re building it out of parts that we all recorded live in front of audiences.\u003c/p>\n\u003cp>\u003cstrong>Besides what you perceive as the obvious detrimental effects of organized religion, were there any direct inspirations for the piece? What are the origins of the work?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144616\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144616\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_14.jpg\" alt=\"Negativland, from 1997\" width=\"640\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14-400x221.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, from 1997. Photo by Rose Whitaker and Negativland. \u003ccite>(Photo by Rose Whitaker and Negativland.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Don Joyce\u003c/strong> – There’s no “besides”; taking these ancient mythologies as fact \u003cem>does \u003c/em>cause all kinds of big and little problems in modern societies — all the way up to summary execution for not believing them.\u003c/p>\n\u003cp>I’m fascinated with human gullibility and the dangers it poses. I’ve been creating religious collages of various kinds all the way back to the beginning of \u003cem>Over the Edge\u003c/em> broadcasting. Thirty years, and it still hasn’t changed much.\u003c/p>\n\u003cp>The effect [of religion] is that for masses and masses of people, intellectual integrity does not require truth. That worries me.\u003c/p>\n\u003cp>\u003cstrong>What is the scariest part about organized religion for you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – The God concept. This concept of a “Creator” of all this, with a personality and all, is obviously the ancient human’s personification of evolution and their “reason” for existence.\u003c/p>\n\u003cp>Unfortunately, it is such a potent form of causal imagination in the human psyche that taking this lie seriously has been stuck in us right up to now. Organized religion has successfully institutionalized and legitimized this misguided form of mass delusion.\u003c/p>\n\u003cp>But all in all, thank God for religions of old, which were probably responsible for taming the brutish cave man in us and making gatherings of people living together in towns and cities workable.\u003c/p>\n\u003cp>Many of Christianity’s medieval absurdities were weeded out in the Renaissance to keep it going and plausible as times modernized (though Islam has never done that), so we continue to comfortably pay undue respect to our organized religions with no end in sight.\u003c/p>\n\u003cfigure id=\"attachment_10144618\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144618\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_5.jpg\" alt=\"Negativland, back in 1989. Photo by Cyrnai and Negativland.\" width=\"640\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_5.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_5-400x328.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, back in 1989. Photo by Cyrnai and Negativland.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MH\u003c/strong> – I think Islam has modernized a lot more than you think, Don. It just doesn’t get good press in our country because our mainstream media prefers its own dumbed-down good/evil narrative. And I think Don’s other comments kind of imply that our project is straight up atheist and that his points of view are the points of view of the work itself. \u003cem>It’s All in Your Head \u003c/em>tries to express a wide range of critical perspectives on belief, and with some compassion and empathy for the fact that religion arises from a very human need to know why we are here, why we exist, why do good and bad things happen to us, what does all of this mean. Religion then gets hijacked for all sorts of terrible and violent and controlling things, but I don’t think religion’s basic origins are bad or hard to grasp.\u003c/p>\n\u003cp>Me, I cant stand fundamentalism of any kind, and that includes atheism.\u003c/p>\n\u003cp>If you read any polls, it’s all kind of going away in the West anyway, and rather rapidly. So-called “Millennials” here and in Europe don’t believe in this stuff nearly as much anymore. In a few more generations, religion as we know it may largely be gone from the West.\u003c/p>\n\u003cp>\u003cstrong>For such a serious subject, there’s some truly silly bits in \u003cem>It’s All in Your Head,\u003c/em> with “Wildlife Tonight” being the silliest. It’s practically a Monty Python sketch. Is there some commentary there that I could be missing, or do you guys just like to be straight up goofy, even when tackling such serious subjects? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – It was much more exciting to have a live chimp on stage for those sections, actually being shaved, then to use samples or canned sound effects, that’s for sure. You said it, which is that our work is shot through with humor. That’s what we do. In the case of “Wildlife Tonight,” this was pure Don Joyce, insofar as it is very much in keeping with the flow of \u003cem>Over the Edge\u003c/em>, our radio show, and \u003cem>It’s All in Your Head\u003c/em> was designed to be \u003cem>Over the Edge\u003c/em> live on stage” (and indeed, the v.1 CD release has that as a subtitle).\u003c/p>\n\u003cp>You have to laugh at horror. That’s the only way to get through it. And furthermore, we thought some levity was needed in a show like that. We’re basically presenting you with an “aural documentary” or even – perish the thought – a lecture, so some humorous illustration seemed worth bringing to a live audience. And also, we realized that it sets the listener up to basically have the rug pulled out from under them, from an emotional standpoint, in Act II, which comes right after that and is tonally completely different.\u003c/p>\n\u003cfigure id=\"attachment_10144620\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144620\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin.jpg\" alt=\"Negativland live at the Alamo Drafthouse in 2014. Courtesy of Negativland.\" width=\"640\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin-400x278.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland live at the Alamo Drafthouse in 2014. Photo by Paul McAniff and Negativland.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MH\u003c/strong> – We performed that show (I think) 35 times and I was the chimp. And to do the chimp sounds, for as long as I have to do them each night — it’s 10 minutes of the show — it’s excruciatingly painful, as it turns out. As we were developing that portion, the original idea was that the chimp would be prerecorded. and I just for the hell of it, I said “I wonder if I can make chimp sounds.” And I tried it and thought “Oh, that actually sounds pretty good! But then I thought, “Oh my God, I’m committing to do this every night and it’s going to kill me!” And it did.\u003c/p>\n\u003cp>I think sometimes the audience could tell the endurance part of it when they were watching that part of it during the live performance. I hope there was some laughs to be had not just from the dialogue (which I think is great). But you’re watching me slowly just completely dissolve into physical pain, just to keep being the chimp through the whole thing. It was kind of a nightmare. I really did want a banana afterwards.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – I’d say shaving the chimp is evolutionistic silliness added to a serious treatment of a subject that is already full of silliness.\u003c/p>\n\u003cp>\u003cstrong>Was the audience blindfolded for the “Head” shows? If so, did people actually keep them on? Also, you now work with a video artist — was that to enhance the live shows or were there other motivations?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – Yes. We handed out paper “piñata” blindfolds at each show. Depending on the show and the city, the audience might remain 50 percent blindfolded or more. But oddly, in Boston, NO ONE wore them. It was almost a statement of defiance on their part. But the entire concept of the blindfolds was to directly remind the audience that they are listening to “radio.” Indeed, one of the lines in the introductory script was, “there’s nothing to see here. This is radio.”\u003c/p>\n\u003cp>Working with Steev Hise on video collage in our current show is just a way to bring imagery back into our live show, as visuals were historically critical in our live work, all the way up until we deliberately plunged audiences into the darkness inside their own heads for \u003cem>It’s All in Your Head.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10144534\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144534\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot.jpg\" alt=\"Negativland, live at Bumpershoot 2014\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, live at Bumbershoot 2014\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In a recent interview, Peter mentioned that one of your pieces was created after he and another member heard Marc Maron rant in his podcast about the idea of content. Is this typically how the pieces start? What about in the beginning, when you were dealing with tape?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – That’s one way it happens. Sometimes you find the material and sometimes the material finds you. Steev [Hise, a new band member] and I simultaneously had the same response to Maron’s particular rant on the subject and wanted to do something with it, and it turned out to feel so strong that we led off the show with it. Indeed, the show became named “Content!” as a result. But certainly, especially in Don’s case and my own case, material for \u003cem>It’s All in Your Head\u003c/em> was definitely sought out. We needed material which addressed faith, monotheism, your brain, etc. Don tends to have multiple sources of audio (and sometimes TV) playing in his room all at once, grabbing what seems interesting to him as he goes, and has a monstrously huge backlog of content from 34 years of preparing radio shows. I tended to seek out relevant content from specific sources.\u003c/p>\n\u003cp>A good example that I love is Voice of America’s \u003cem>Special English\u003c/em> radio program, in which announcers read very simple stories and… read… them… very… slowly… and… deliberately for listeners to whom English is a second language. It’s often pure gold. In this case, I would seek out stories which were about the brain or about “God.” On the other hand, a record found me in a rummage sale which became a crucial theme throughout the show, called \u003cem>A Child’s Idea of God.\u003c/em> It’s a privately-pressed record which appears to be from the late 1950s on which a teacher or other adult figure asks children to discuss their ideas of what god is. Fantastic.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – As for me, my weekly five-hour radio show, \u003cem>Over the Edge\u003c/em>, has me constantly collecting raw material from many sources, which then provides a huge base of raw material that can be honed down into specific stuff for Negativland projects. OTE has been a major spawning ground for Negativland releases.\u003c/p>\n\u003cp>\u003cstrong>Do you ever worry that you’re preaching to the converted?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144617\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144617\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_8.jpg\" alt=\"Negativland, back in 1991\" width=\"640\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_8.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_8-400x293.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, back in 1991\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>PC\u003c/strong> – It’s an unavoidable question or concern, insofar as we are a strange group with a strange and relatively specific audience, not a pop group with mainstream exposure. But one of the most interesting dances we did while creating \u003cem>It’s All in Your Head\u003c/em> was trying to steer away from material which might come off as too mocking, too obvious, too easy to target. In that sense, we were trying to avoid preaching to the converted because we’re trying to make you think about a variety of viewpoints and how they mesh, on perhaps THE most hot-button topic.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – Yes, given what we know about our audience of “fans” out there, we are preaching to the converted. I hope at least we’re doing it in a clever way.\u003c/p>\n\u003cp>\u003cstrong>MH\u003c/strong> – I don’t think it’s that simple. I like to recall what our longtime associate and culture critic Mr. Crosley Bendix once said: “Intelligence is temporary.” Hearing stuff we already know, but in new ways and in new contexts and in new mediums, can actually be… new. And as Negativland worked over the years creating \u003cem>It’s All in Your Head\u003c/em>, we made it to challenge \u003cem>ourselves\u003c/em> first of all, hoping that if it did, it would be thought-provoking to our fans and those who heard it.\u003c/p>\n\u003cp>\u003cstrong>Will any of the original members have to be associated with the group for it to continue, or is Negativland a concept that will live forever, no matter who is involved?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144626\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144626\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_4.jpg\" alt=\"Negativland back in 1987\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_4-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland back in 1987\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>MH\u003c/b> – One of our members is now almost 71 years old. And I started working with Richard and David 36 years ago. [Laughs] So if someone had told me then that we’d all still be doing this now in 2014, I would not have believed them. But we are, and as dysfunctional as this group can sometimes be — and boy can it be — we all seem to be committed to staying in this weird, dysfunctional marriage for the sake of the baby. The baby is Negativland and the problem with the baby is that it never grows up. You never get to say, “Well, you’re out of high school now and you get to leave the house! Go to experimental music college and leave us alone. Your father and I can get a divorce now.” We can’t do that because we have to keep taking care of this disabled little baby; it’s got too many special needs to be out on its own.\u003c/p>\n\u003cp>So there is that question — which has honestly come up given how long we have been at this and how extended the Negativland “family” is these days— of what might it take for us to finally say, “Okay, we’re done, we’re pulling the plug”? Would it be if any single one of us died? Or, if a particular member died, but enough other key members were still around, that we’d keep going? Well we don’t know — we’re not really sure. But the original members of the group are still part of this group to this day — each in their own way, doing what they feel most comfortable doing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This edited interview is based on a conversation with the band and email exchanges. \u003c/em>\u003c/p>\n\n",
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"excerpt": "We spoke with Negativland about the release of their new album, \u003ci>It's All in Your Head,\u003c/i> and a bunch of other stuff that they've never talked about before.",
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"description": "We spoke with Negativland about the release of their new album, It's All in Your Head, and a bunch of other stuff that they've never talked about before.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s understandable that you might know Negativland only for the controversial moments of their career — the \u003ca href=\"http://en.wikipedia.org/wiki/Fair_Use:_The_Story_of_the_Letter_U_and_the_Numeral_2\" target=\"_blank\" rel=\"noopener\">mockery of U2,\u003c/a> which got them into legal trouble, or their \u003ca href=\"http://en.wikipedia.org/wiki/Dispepsi\" target=\"_blank\" rel=\"noopener\">satire on the soft-drink industry \u003c/a>in the album \u003cem>Dispepsi.\u003c/em> And maybe you’ve even heard about their \u003ca href=\"http://en.wikipedia.org/wiki/Helter_Stupid\" target=\"_blank\" rel=\"noopener\">pranks on the news media\u003c/a>. If you’re a longtime Bay Area resident, maybe you’ve caught their radio show, \u003cem>Over the Edge,\u003c/em> on KPFA, though you might not have known who the masterminds behind it were.\u003c/p>\n\u003cp>If that describes your level of awareness, here’s something else you need to know: Negativland is a great band. They are a truly talented group of media slice-and-splice magicians that originally came from Contra Costa County and are now spread as far away as Seattle and North Carolina. And their newest album, \u003ci>It’s All in Your Head,\u003c/i> is proof positive that they have the skills. A powerful media collage that comes in the form of a radio show savaging organized religion — specifically fundamentalism — the album features audio wizardry that blows \u003cem>Radiolab\u003c/em> out of the water. And it was done live in front of several audiences.\u003c/p>\n\u003cp>\u003ci>It’s All in Your Head\u003c/i> was officially released today. It comes packaged in a Bible. To highlight the group’s first album in six years, we checked in with three members of Negativland — Mark Hosler, Peter Conheim and Don Joyce — and asked them questions about the new release and future plans for the band.\u003c/p>\n\u003cp>\u003cstrong>How long have you been performing \u003cem>It’s All In Your Head\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Peter Conheim\u003c/strong> – \u003cem>It’s All in Your Head\u003c/em> was birthed as a live performance in 2005 with two shows in Canada, having been drawn from our member Don Joyce’s\u003cem> Over the Edge\u003c/em> radio series, which he had been doing for 20-odd weeks. So much of the material was already there to work with. It’s always been the same show, but like all of our work has been, it evolved gradually through improvisation and discussion over the five years we performed it. And new material was brought in, which would sometimes throw us interesting curveballs, but the arc of the show remained the same.\u003c/p>\n\u003cfigure id=\"attachment_10144619\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144619\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_1.jpg\" alt=\"Some the members of Negativland back in 1985.\" width=\"640\" height=\"924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1-400x577.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1-415x600.jpg 415w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Some the members of Negativland back in 1985.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Why record an album this way?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Mark Hosler\u003c/b> – Negativland’s first record came out in 1980 and our first performance was in 1980. We got asked by a local club in the San Francisco Bay Area to perform after our record came out. They mistakenly assumed because we were “a band” that we had a set that we could do. But we had never played live in our lives! I was still in high school; we made this stuff in our bedrooms. So when we were asked to perform live, we were thrilled to have the opportunity but we didn’t know what the hell to do because there was no way to replicate our record on stage. This was 1980; the technology did not exist.\u003c/p>\n\u003cp>So we got together in a room with the instruments that we had and we said, “What can we come up with three-or-four of us in a room? What can we do?” And it sounded like what we were doing, but it was its own unique thing. So from the very first performance Negativland ever did, it had nothing to do with our records whatsoever. Nothing.\u003c/p>\n\u003cp>But why should we be duplicating our records on stage, even if we could? That’s just kind of boring; [that’s] not interesting to us. It’s not playing around and being creative enough. We just like to mess with things and do things in an out-of-the-box, unconventional way. If any of us have an idea that’s different, that isn’t normal, we always want to look at that and consider it. That goes for how we do promotion, how we do PR, our press releases, our press photos… Every aspect of what we do, we think of it as part of the art.\u003c/p>\n\u003cp>When we started developing this show that we would eventually call \u003cem>It’s All In Your Head\u003c/em>, we realized that what we were crafting was so interesting to all of us, we thought that perhaps we would make a finished studio project that was sort-of done in reverse to how we would normally do it. We would actually take the recordings as we’d done them in front of an audience and use that, because what we were doing live had its own quality to it that’s very different from our studio recordings. It’s something that we came up with that’s all of us on stage, performing in real time. We’re not using laptops; it’s all being mixed and layered and cut up and collaged right in front of you, in real time. It became an interesting, different approach for us to take; essentially it’s a carefully-constructed studio recording, but we’re building it out of parts that we all recorded live in front of audiences.\u003c/p>\n\u003cp>\u003cstrong>Besides what you perceive as the obvious detrimental effects of organized religion, were there any direct inspirations for the piece? What are the origins of the work?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144616\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144616\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_14.jpg\" alt=\"Negativland, from 1997\" width=\"640\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14-400x221.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, from 1997. Photo by Rose Whitaker and Negativland. \u003ccite>(Photo by Rose Whitaker and Negativland.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Don Joyce\u003c/strong> – There’s no “besides”; taking these ancient mythologies as fact \u003cem>does \u003c/em>cause all kinds of big and little problems in modern societies — all the way up to summary execution for not believing them.\u003c/p>\n\u003cp>I’m fascinated with human gullibility and the dangers it poses. I’ve been creating religious collages of various kinds all the way back to the beginning of \u003cem>Over the Edge\u003c/em> broadcasting. Thirty years, and it still hasn’t changed much.\u003c/p>\n\u003cp>The effect [of religion] is that for masses and masses of people, intellectual integrity does not require truth. That worries me.\u003c/p>\n\u003cp>\u003cstrong>What is the scariest part about organized religion for you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – The God concept. This concept of a “Creator” of all this, with a personality and all, is obviously the ancient human’s personification of evolution and their “reason” for existence.\u003c/p>\n\u003cp>Unfortunately, it is such a potent form of causal imagination in the human psyche that taking this lie seriously has been stuck in us right up to now. Organized religion has successfully institutionalized and legitimized this misguided form of mass delusion.\u003c/p>\n\u003cp>But all in all, thank God for religions of old, which were probably responsible for taming the brutish cave man in us and making gatherings of people living together in towns and cities workable.\u003c/p>\n\u003cp>Many of Christianity’s medieval absurdities were weeded out in the Renaissance to keep it going and plausible as times modernized (though Islam has never done that), so we continue to comfortably pay undue respect to our organized religions with no end in sight.\u003c/p>\n\u003cfigure id=\"attachment_10144618\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144618\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_5.jpg\" alt=\"Negativland, back in 1989. Photo by Cyrnai and Negativland.\" width=\"640\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_5.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_5-400x328.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, back in 1989. Photo by Cyrnai and Negativland.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MH\u003c/strong> – I think Islam has modernized a lot more than you think, Don. It just doesn’t get good press in our country because our mainstream media prefers its own dumbed-down good/evil narrative. And I think Don’s other comments kind of imply that our project is straight up atheist and that his points of view are the points of view of the work itself. \u003cem>It’s All in Your Head \u003c/em>tries to express a wide range of critical perspectives on belief, and with some compassion and empathy for the fact that religion arises from a very human need to know why we are here, why we exist, why do good and bad things happen to us, what does all of this mean. Religion then gets hijacked for all sorts of terrible and violent and controlling things, but I don’t think religion’s basic origins are bad or hard to grasp.\u003c/p>\n\u003cp>Me, I cant stand fundamentalism of any kind, and that includes atheism.\u003c/p>\n\u003cp>If you read any polls, it’s all kind of going away in the West anyway, and rather rapidly. So-called “Millennials” here and in Europe don’t believe in this stuff nearly as much anymore. In a few more generations, religion as we know it may largely be gone from the West.\u003c/p>\n\u003cp>\u003cstrong>For such a serious subject, there’s some truly silly bits in \u003cem>It’s All in Your Head,\u003c/em> with “Wildlife Tonight” being the silliest. It’s practically a Monty Python sketch. Is there some commentary there that I could be missing, or do you guys just like to be straight up goofy, even when tackling such serious subjects? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – It was much more exciting to have a live chimp on stage for those sections, actually being shaved, then to use samples or canned sound effects, that’s for sure. You said it, which is that our work is shot through with humor. That’s what we do. In the case of “Wildlife Tonight,” this was pure Don Joyce, insofar as it is very much in keeping with the flow of \u003cem>Over the Edge\u003c/em>, our radio show, and \u003cem>It’s All in Your Head\u003c/em> was designed to be \u003cem>Over the Edge\u003c/em> live on stage” (and indeed, the v.1 CD release has that as a subtitle).\u003c/p>\n\u003cp>You have to laugh at horror. That’s the only way to get through it. And furthermore, we thought some levity was needed in a show like that. We’re basically presenting you with an “aural documentary” or even – perish the thought – a lecture, so some humorous illustration seemed worth bringing to a live audience. And also, we realized that it sets the listener up to basically have the rug pulled out from under them, from an emotional standpoint, in Act II, which comes right after that and is tonally completely different.\u003c/p>\n\u003cfigure id=\"attachment_10144620\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144620\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin.jpg\" alt=\"Negativland live at the Alamo Drafthouse in 2014. Courtesy of Negativland.\" width=\"640\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin-400x278.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland live at the Alamo Drafthouse in 2014. Photo by Paul McAniff and Negativland.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MH\u003c/strong> – We performed that show (I think) 35 times and I was the chimp. And to do the chimp sounds, for as long as I have to do them each night — it’s 10 minutes of the show — it’s excruciatingly painful, as it turns out. As we were developing that portion, the original idea was that the chimp would be prerecorded. and I just for the hell of it, I said “I wonder if I can make chimp sounds.” And I tried it and thought “Oh, that actually sounds pretty good! But then I thought, “Oh my God, I’m committing to do this every night and it’s going to kill me!” And it did.\u003c/p>\n\u003cp>I think sometimes the audience could tell the endurance part of it when they were watching that part of it during the live performance. I hope there was some laughs to be had not just from the dialogue (which I think is great). But you’re watching me slowly just completely dissolve into physical pain, just to keep being the chimp through the whole thing. It was kind of a nightmare. I really did want a banana afterwards.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – I’d say shaving the chimp is evolutionistic silliness added to a serious treatment of a subject that is already full of silliness.\u003c/p>\n\u003cp>\u003cstrong>Was the audience blindfolded for the “Head” shows? If so, did people actually keep them on? Also, you now work with a video artist — was that to enhance the live shows or were there other motivations?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – Yes. We handed out paper “piñata” blindfolds at each show. Depending on the show and the city, the audience might remain 50 percent blindfolded or more. But oddly, in Boston, NO ONE wore them. It was almost a statement of defiance on their part. But the entire concept of the blindfolds was to directly remind the audience that they are listening to “radio.” Indeed, one of the lines in the introductory script was, “there’s nothing to see here. This is radio.”\u003c/p>\n\u003cp>Working with Steev Hise on video collage in our current show is just a way to bring imagery back into our live show, as visuals were historically critical in our live work, all the way up until we deliberately plunged audiences into the darkness inside their own heads for \u003cem>It’s All in Your Head.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10144534\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144534\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot.jpg\" alt=\"Negativland, live at Bumpershoot 2014\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, live at Bumbershoot 2014\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In a recent interview, Peter mentioned that one of your pieces was created after he and another member heard Marc Maron rant in his podcast about the idea of content. Is this typically how the pieces start? What about in the beginning, when you were dealing with tape?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – That’s one way it happens. Sometimes you find the material and sometimes the material finds you. Steev [Hise, a new band member] and I simultaneously had the same response to Maron’s particular rant on the subject and wanted to do something with it, and it turned out to feel so strong that we led off the show with it. Indeed, the show became named “Content!” as a result. But certainly, especially in Don’s case and my own case, material for \u003cem>It’s All in Your Head\u003c/em> was definitely sought out. We needed material which addressed faith, monotheism, your brain, etc. Don tends to have multiple sources of audio (and sometimes TV) playing in his room all at once, grabbing what seems interesting to him as he goes, and has a monstrously huge backlog of content from 34 years of preparing radio shows. I tended to seek out relevant content from specific sources.\u003c/p>\n\u003cp>A good example that I love is Voice of America’s \u003cem>Special English\u003c/em> radio program, in which announcers read very simple stories and… read… them… very… slowly… and… deliberately for listeners to whom English is a second language. It’s often pure gold. In this case, I would seek out stories which were about the brain or about “God.” On the other hand, a record found me in a rummage sale which became a crucial theme throughout the show, called \u003cem>A Child’s Idea of God.\u003c/em> It’s a privately-pressed record which appears to be from the late 1950s on which a teacher or other adult figure asks children to discuss their ideas of what god is. Fantastic.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – As for me, my weekly five-hour radio show, \u003cem>Over the Edge\u003c/em>, has me constantly collecting raw material from many sources, which then provides a huge base of raw material that can be honed down into specific stuff for Negativland projects. OTE has been a major spawning ground for Negativland releases.\u003c/p>\n\u003cp>\u003cstrong>Do you ever worry that you’re preaching to the converted?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144617\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144617\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_8.jpg\" alt=\"Negativland, back in 1991\" width=\"640\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_8.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_8-400x293.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, back in 1991\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>PC\u003c/strong> – It’s an unavoidable question or concern, insofar as we are a strange group with a strange and relatively specific audience, not a pop group with mainstream exposure. But one of the most interesting dances we did while creating \u003cem>It’s All in Your Head\u003c/em> was trying to steer away from material which might come off as too mocking, too obvious, too easy to target. In that sense, we were trying to avoid preaching to the converted because we’re trying to make you think about a variety of viewpoints and how they mesh, on perhaps THE most hot-button topic.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – Yes, given what we know about our audience of “fans” out there, we are preaching to the converted. I hope at least we’re doing it in a clever way.\u003c/p>\n\u003cp>\u003cstrong>MH\u003c/strong> – I don’t think it’s that simple. I like to recall what our longtime associate and culture critic Mr. Crosley Bendix once said: “Intelligence is temporary.” Hearing stuff we already know, but in new ways and in new contexts and in new mediums, can actually be… new. And as Negativland worked over the years creating \u003cem>It’s All in Your Head\u003c/em>, we made it to challenge \u003cem>ourselves\u003c/em> first of all, hoping that if it did, it would be thought-provoking to our fans and those who heard it.\u003c/p>\n\u003cp>\u003cstrong>Will any of the original members have to be associated with the group for it to continue, or is Negativland a concept that will live forever, no matter who is involved?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144626\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144626\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_4.jpg\" alt=\"Negativland back in 1987\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_4-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland back in 1987\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>MH\u003c/b> – One of our members is now almost 71 years old. And I started working with Richard and David 36 years ago. [Laughs] So if someone had told me then that we’d all still be doing this now in 2014, I would not have believed them. But we are, and as dysfunctional as this group can sometimes be — and boy can it be — we all seem to be committed to staying in this weird, dysfunctional marriage for the sake of the baby. The baby is Negativland and the problem with the baby is that it never grows up. You never get to say, “Well, you’re out of high school now and you get to leave the house! Go to experimental music college and leave us alone. Your father and I can get a divorce now.” We can’t do that because we have to keep taking care of this disabled little baby; it’s got too many special needs to be out on its own.\u003c/p>\n\u003cp>So there is that question — which has honestly come up given how long we have been at this and how extended the Negativland “family” is these days— of what might it take for us to finally say, “Okay, we’re done, we’re pulling the plug”? Would it be if any single one of us died? Or, if a particular member died, but enough other key members were still around, that we’d keep going? Well we don’t know — we’re not really sure. But the original members of the group are still part of this group to this day — each in their own way, doing what they feel most comfortable doing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Berkeley Resident Petitions Authorities to Punish Park Vandal",
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"content": "\u003cp>A Berkeley resident filed a petition on Whitehouse.gov Wednesday requesting that authorities pursue charges and the maximum punishment allowed for a New York artist who vandalized at least 10 national parks.\u003c/p>\n\u003cp>\u003ca href=\"https://petitions.whitehouse.gov/petition/press-charges-casey-nocket-finesmax-community-servicejail-timeetc-httpgooglhy4yqj-defacing-np-nm/1y8xJBGm\" target=\"_blank\" rel=\"noopener\">The petition\u003c/a>, which has garnered over 2,300 signatures as of 3 p.m. Thursday, states that a graffiti artist named Casey Nocket has traveled to several national parks and defaced them with her own acrylic paintings.\u003c/p>\n\u003cp>“Please don’t allow her to receive a slap. Please pursue the most serious of charges for these offenses,” reads the petition.\u003c/p>\n\u003cfigure id=\"attachment_10144442\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/creepytings_canyonlands.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10144442 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/creepytings_canyonlands-400x576.jpg\" alt=\"The SFIst took several screenshots of the creepytings Instagram account before it was removed.\" width=\"400\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/creepytings_canyonlands-400x576.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/creepytings_canyonlands-416x600.jpg 416w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/creepytings_canyonlands.jpg 450w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The SFIst took several screenshots of the creepytings Instagram account before it was removed. \u003ccite>(SFist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The news of Nocket’s activities — and they are crimes, according to the \u003ca href=\"http://home.nps.gov/news/release.htm?id=1649\" target=\"_blank\" rel=\"noopener\">National Parks Service\u003c/a> — was broken by two hiking blogs, \u003ca href=\"http://www.modernhiker.com/2014/10/21/instagram-artist-defaces-national-parks/\" target=\"_blank\" rel=\"noopener\">Modern Hiker\u003c/a> and \u003ca href=\"http://calipidder.com/wp/2014/10/tracking-serial-vandal-national-parks/\" target=\"_blank\" rel=\"noopener\">Calipidder.com\u003c/a>, after Nocket’s Instagram feed was posted on \u003ca href=\"http://www.reddit.com/r/Yosemite/comments/2jvbst/graffiti_artist_with_no_regard_for_her_actions/\" target=\"_blank\" rel=\"noopener\">Reddit\u003c/a>.\u003c/p>\n\u003cp>Before she made her Instagram account “creepytings” private, Nocket had posted several photos of her “works” at notable national parks such as Yosemite, Joshua Tree and Death Valley. On one of her Instagram posts, she admitted that she was using acrylic paint (and not chalk), later stating in the same thread, “I know I’m a bad person.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the news of her vandalism spread across the Internet, Nocket shut down her Facebook and Tumblr pages, which she used to share her Instagram photos of her graffiti. Her Tumblr account has \u003ca href=\"http://creepytings.tumblr.com/\" target=\"_blank\" rel=\"noopener\">since been reactivated\u003c/a> and after first posting “i dun fucked uuuuuuup,” the feed has since been populated with snarky responses to her critics, including one post that reads, “IT’S ART NOT VANDALISM. I AM AN ARTIST”\u003c/p>\n\u003cp>Is what Nocket doing to these beautiful landscapes art? Under the headline, “\u003ca href=\"http://news.artnet.com/in-brief/street-art-comes-to-national-parks-is-it-vandalism-141998\" target=\"_blank\" rel=\"noopener\">Street Art Comes to National Parks—Is It Vandalism?\u003c/a>” art market newswire \u003ca href=\"http://news.artnet.com/\" target=\"_blank\" rel=\"noopener\">artnet News\u003c/a> has described Nocket’s actions as having “left her unwanted graffiti art in at least 10 national parks” and stating that “Graffiti isn’t just for the urban landscape anymore.” But unlike notable artists such as \u003ca href=\"http://ww2.kqed.org/arts/2014/04/17/andres-amadors-earthscapes-art-that-goes-out-with-the-tide/\" target=\"_blank\" rel=\"noopener\">Andres Amador\u003c/a> and \u003ca href=\"http://www.morning-earth.org/ARTISTNATURALISTS/AN_Goldsworthy.html\" target=\"_blank\" rel=\"noopener\">Andy Goldsworthy\u003c/a>, both of whom use nature as their canvas, Nocket’s work is permanent and, well, not good.\u003c/p>\n\u003cp>Our question to our readers: Would you be on Nocket’s side if the work was actually good?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Thank you SFist for use of the images in this story. Read their post from Wednesday \u003ca href=\"http://sfist.com/2014/10/22/despicable_new_york_woman_defaces_y.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Berkeley resident filed a petition on Whitehouse.gov Wednesday requesting that authorities pursue charges and the maximum punishment allowed for a New York artist who vandalized at least 10 national parks.\u003c/p>\n\u003cp>\u003ca href=\"https://petitions.whitehouse.gov/petition/press-charges-casey-nocket-finesmax-community-servicejail-timeetc-httpgooglhy4yqj-defacing-np-nm/1y8xJBGm\" target=\"_blank\" rel=\"noopener\">The petition\u003c/a>, which has garnered over 2,300 signatures as of 3 p.m. Thursday, states that a graffiti artist named Casey Nocket has traveled to several national parks and defaced them with her own acrylic paintings.\u003c/p>\n\u003cp>“Please don’t allow her to receive a slap. Please pursue the most serious of charges for these offenses,” reads the petition.\u003c/p>\n\u003cfigure id=\"attachment_10144442\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/creepytings_canyonlands.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10144442 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/creepytings_canyonlands-400x576.jpg\" alt=\"The SFIst took several screenshots of the creepytings Instagram account before it was removed.\" width=\"400\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/creepytings_canyonlands-400x576.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/creepytings_canyonlands-416x600.jpg 416w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/creepytings_canyonlands.jpg 450w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The SFIst took several screenshots of the creepytings Instagram account before it was removed. \u003ccite>(SFist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The news of Nocket’s activities — and they are crimes, according to the \u003ca href=\"http://home.nps.gov/news/release.htm?id=1649\" target=\"_blank\" rel=\"noopener\">National Parks Service\u003c/a> — was broken by two hiking blogs, \u003ca href=\"http://www.modernhiker.com/2014/10/21/instagram-artist-defaces-national-parks/\" target=\"_blank\" rel=\"noopener\">Modern Hiker\u003c/a> and \u003ca href=\"http://calipidder.com/wp/2014/10/tracking-serial-vandal-national-parks/\" target=\"_blank\" rel=\"noopener\">Calipidder.com\u003c/a>, after Nocket’s Instagram feed was posted on \u003ca href=\"http://www.reddit.com/r/Yosemite/comments/2jvbst/graffiti_artist_with_no_regard_for_her_actions/\" target=\"_blank\" rel=\"noopener\">Reddit\u003c/a>.\u003c/p>\n\u003cp>Before she made her Instagram account “creepytings” private, Nocket had posted several photos of her “works” at notable national parks such as Yosemite, Joshua Tree and Death Valley. On one of her Instagram posts, she admitted that she was using acrylic paint (and not chalk), later stating in the same thread, “I know I’m a bad person.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the news of her vandalism spread across the Internet, Nocket shut down her Facebook and Tumblr pages, which she used to share her Instagram photos of her graffiti. Her Tumblr account has \u003ca href=\"http://creepytings.tumblr.com/\" target=\"_blank\" rel=\"noopener\">since been reactivated\u003c/a> and after first posting “i dun fucked uuuuuuup,” the feed has since been populated with snarky responses to her critics, including one post that reads, “IT’S ART NOT VANDALISM. I AM AN ARTIST”\u003c/p>\n\u003cp>Is what Nocket doing to these beautiful landscapes art? Under the headline, “\u003ca href=\"http://news.artnet.com/in-brief/street-art-comes-to-national-parks-is-it-vandalism-141998\" target=\"_blank\" rel=\"noopener\">Street Art Comes to National Parks—Is It Vandalism?\u003c/a>” art market newswire \u003ca href=\"http://news.artnet.com/\" target=\"_blank\" rel=\"noopener\">artnet News\u003c/a> has described Nocket’s actions as having “left her unwanted graffiti art in at least 10 national parks” and stating that “Graffiti isn’t just for the urban landscape anymore.” But unlike notable artists such as \u003ca href=\"http://ww2.kqed.org/arts/2014/04/17/andres-amadors-earthscapes-art-that-goes-out-with-the-tide/\" target=\"_blank\" rel=\"noopener\">Andres Amador\u003c/a> and \u003ca href=\"http://www.morning-earth.org/ARTISTNATURALISTS/AN_Goldsworthy.html\" target=\"_blank\" rel=\"noopener\">Andy Goldsworthy\u003c/a>, both of whom use nature as their canvas, Nocket’s work is permanent and, well, not good.\u003c/p>\n\u003cp>Our question to our readers: Would you be on Nocket’s side if the work was actually good?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Thank you SFist for use of the images in this story. Read their post from Wednesday \u003ca href=\"http://sfist.com/2014/10/22/despicable_new_york_woman_defaces_y.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Cy Musiker’s report on \u003ci>Party People\u003c/i>\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/RDnews/2014/10/MusikerPartyPeopleArtsFeature.mp3\u003c/p>\n\u003c/aside>\n\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/party-people/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘Party People’\u003c/h4>\n\u003cdiv class=\"event-desc\">Staged history of the Young Lords and the Black Panther Party.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 17-Nov. 16, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Berkeley Rep\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/party-people/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Picture this: Thirty black men and women briefly storm the floor of the California State Assembly armed with rifles, in 1967. They’re protesting a proposed measure that would outlaw the carrying of loaded firearms in public.\u003c/p>\n\u003cp>That’s one lasting image of the \u003ca href=\"http://en.wikipedia.org/wiki/Black_Panther_Party\" target=\"_blank\" rel=\"noopener\">Black Panther Party for Self-Defense\u003c/a>, formed by Huey Newton and Bobby Seale in Oakland in 1966 as a response to what they saw as the failure of the non-violent civil rights movement. The two developed a strategy for the organization that mixed militancy with radical politics on behalf of social justice for the African American Community.\u003c/p>\n\u003cp>Now, \u003cem>Party People\u003c/em>, a new musical about the Black Panther Party at the \u003ca href=\"http://www.berkeleyrep.org/season/1415/8235.asp\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre\u003c/a>, examines the history of the party and other radical groups, the ideals of their members, the oppression they faced, and some of their crimes.\u003c/p>\n\u003cp>“They were really united thinking they were going to change the world,” says Steven Sapp, one of the members of \u003ca href=\"http://www.universesonstage.com/\" target=\"_blank\" rel=\"noopener\">UNIVERSES\u003c/a>, the New York City based theater that developed the play. Sapp’s two colleagues in Universes are his wife Mildred Ruiz Sapp, and her brother William. The three have spent the past few years interviewing former Black Panthers and their fellow radicals, \u003ca href=\"http://en.wikipedia.org/wiki/Young_Lords\" target=\"_blank\" rel=\"noopener\">The Young Lords\u003c/a>, shaping the script for \u003ci>Party People\u003c/i>, which includes composite characters based on those interviews, and preparing to star in the play.\u003c/p>\n\u003cfigure id=\"attachment_10144338\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/blackpanthers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144338\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/blackpanthers.jpg\" alt=\"Two members of the Black Panther Party are met on the steps of the California State Capitol in Sacramento, May 2, 1967, by Police Lt. Ernest Holloway, who informs them they will be allowed to keep their weapons as long as they cause no trouble and do not disturb the peace. Earlier several members had invaded the Assembly chambers and had their guns taken away; Bettmann/CORBIS\" width=\"640\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/blackpanthers.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/blackpanthers-400x261.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Two members of the Black Panther Party are met on the steps of the California State Capitol in Sacramento, May 2, 1967, by Police Lt. Ernest Holloway, who informs them they will be allowed to keep their weapons as long as they cause no trouble and do not disturb the peace. Earlier several members had invaded the Assembly chambers and had their guns taken away; Bettmann/CORBIS\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Party People\u003c/i> opens with a riveting 15 minutes of music, poetry, dance, and video in a kind of beat-box version of Panther history.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Now the guns were for self-defense,” says one character. “Because the fallout from the civil rights movement was even more police brutality and oppression. And it was our legal right to defend ourselves.” The actors raise their rifles and shotguns in the air, and ask, “Do we have your attention?”\u003c/p>\n\u003cp>And then they pose another question that many in the white and black community asked in the late sixties, “What kind of negroes are these?”\u003c/p>\n\u003cp>The play shows how the Panthers’ fight for black self-determination inspired others, like the Young Lords Organization in Chicago and New York, with a goal of independence for Puerto Rico and political power for an underserved community.\u003c/p>\n\u003cp>UNIVERSES’ William Ruiz says the group began with a protest over erratic garbage collection in East Harlem that included piling garbage in the street to get the attention of city authorities. “The police showed up, and the garbage bags got lit on fire and made even more of a statement,” Ruiz said in a recent interview.\u003c/p>\n\u003cp>These black and brown revolutionaries offered free health clinics, and breakfasts for kids, but they also carried guns and watch-dogged police in sometimes bloody confrontations. And that made group members targets for local police and the FBI, which used illegal tactics, under its Counter Intelligence Program or \u003ca href=\"http://en.wikipedia.org/wiki/COINTELPRO\" target=\"_blank\" rel=\"noopener\">COINTELPRO\u003c/a>, to infiltrate the Panthers and other groups and, according to some, orchestrate the assassination of their leaders.\u003c/p>\n\u003cp>Ruiz-Sapp says the show has parallels with the recent events in Ferguson, Missouri. “It’s a conversation of a nation. It’s a conversation about an era, and what did that do to bring us to where we are today, and then what do we do from here?”\u003c/p>\n\u003cp>UNIVERSES developed \u003cem>Party People\u003c/em> for the Oregon Shakespeare Festival in 2012, under the guidance of director \u003ca href=\"http://www.berkeleyrep.org/about/whoweare.asp#tabbed-nav=leaders\" target=\"_blank\" rel=\"noopener\">Liesl Tommy\u003c/a>, who’s also Berkeley Rep’s assistant artistic director. She grew up in South Africa, the daughter of anti-apartheid activists, and says she was drawn to this tale of political idealists. “I was also really moved by the journey Universes had been on, the years that they spent just listening, that is very rare and very powerful, and to let things come into their hearts and souls, and then create a piece, to me was an extremely spiritual way of making art.”\u003c/p>\n\u003cp>UNIVERSES has listened… One thing they noticed was the strong relationships among the Panthers and between the Panthers and the Young Lords. Ruiz recalls meeting with Young Lords founder Jose Cha Cha Jimenez in Chicago and how he introduced them to the mother of Panther Fred Hampton, who was killed by Chicago police.\u003c/p>\n\u003cfigure id=\"attachment_10144342\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/partypeople2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144342\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/partypeople2.jpg\" alt=\" (l to r) Christopher Livingston, Sophia Ramos (Maruca), and Reggie D. White (Solias)\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/partypeople2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/partypeople2-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(l to r) Christopher Livingston, Sophia Ramos (Maruca), and Reggie D. White (Solias); Photo by Kevin Berne\u003c/figcaption>\u003c/figure>\n\u003cp>“Fred Hampton’s mother greets us all warmly, and as soon as Cha Cha’s daughter walks in behind us, Fred’s mother screams out, ‘There you are baby. Why don’t you come over and visit me anymore?’ And she spanks her on the butt and makes her sit on her lap. Now this is a grown girl, 24 or 25 already. And that was a sure sign to us that they were all family to each other, that they were all fighting shoulder to shoulder for the same cause.”\u003c/p>\n\u003cp>Former Panther \u003ca href=\"http://www.erickahuggins.com/Home.html\" target=\"_blank\" rel=\"noopener\">Ericka Huggins\u003c/a> has spent hours with the members of UNIVERSES, talking about her memories of the Panthers. “It [the play] captivated me from the first moment I saw it on stage,” Huggins said during a recent interview at her East Oakland home. Huggins was 16 when she joined the Panthers, later founding the New Haven chapter.\u003c/p>\n\u003cp>Huggins teaches African-American history now at Merritt College in Oakland, but she’s been through a lot. Her husband John, a Panther like her, was killed in a fight allegedly incited by the FBI, and she was tried in New Haven for her role in the torture and murder of a Panther suspected of being an FBI informant. The jury deadlocked in the case, and Huggins went free.\u003c/p>\n\u003cp>“There isn’t a day that goes by, when I don’t remember those times,” Huggins said, “and that young man, that great young man that was killed. However I did not kill him. But harm goes deeper than that. So that’s one of the reasons I continue to do my own work.”\u003c/p>\n\u003cp>Huggins says she’s okay with the fact that \u003cem>Party People\u003c/em> presents a fictionalized version of the events in New Haven, as well as putting the widow of a policeman, a composite character again, on stage to confront Panthers about her husband’s death. “People who are informed about their past, do well in their present moment and can impact the future,” Huggins said. And when I asked her if the play has the power to inspire young people to become more involved in politics, she added, “I think art has that power, and the play is a work of art.”\u003c/p>\n\u003cp>The members of UNIVERSES say they’re a little nervous about bringing this play to Berkeley, so close to the birthplace of the Panthers, and with its own history of radical politics. “I feel like every single night, there will probably be someone in that room who has experienced it all or knows it firsthand,” Steven Sapp says, “And that’s what theatre is supposed to be about, I feel. It’s supposed to be alive. There’s supposed to be an energy crackling in the room.”\u003c/p>\n\u003cp>Sapp says he expects \u003cem>Party People\u003c/em> will thrill audience members one minute and make them deeply uncomfortable the next.\u003c/p>\n\u003cp>\u003ci>Party People\u003c/i> runs through Nov. 16, 2014 at the Berkeley Repertory Theatre. For \u003ca href=\"http://www.berkeleyrep.org/season/1415/8235.asp\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit berkeleyrep.org.\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>[ad floatright]\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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"excerpt": "\u003cem>Party People\u003c/em>, a new musical about the Black Panther Party at the Berkeley Repertory Theatre, examines the history of the party and other radical groups, the ideals of their members, the oppression they faced, and some of their crimes.\r\n",
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"title": "Berkeley Rep’s ‘Party People’ Puts Black Panther Movement to Music | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Cy Musiker’s report on \u003ci>Party People\u003c/i>\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/party-people/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘Party People’\u003c/h4>\n\u003cdiv class=\"event-desc\">Staged history of the Young Lords and the Black Panther Party.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 17-Nov. 16, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Berkeley Rep\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/party-people/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Picture this: Thirty black men and women briefly storm the floor of the California State Assembly armed with rifles, in 1967. They’re protesting a proposed measure that would outlaw the carrying of loaded firearms in public.\u003c/p>\n\u003cp>That’s one lasting image of the \u003ca href=\"http://en.wikipedia.org/wiki/Black_Panther_Party\" target=\"_blank\" rel=\"noopener\">Black Panther Party for Self-Defense\u003c/a>, formed by Huey Newton and Bobby Seale in Oakland in 1966 as a response to what they saw as the failure of the non-violent civil rights movement. The two developed a strategy for the organization that mixed militancy with radical politics on behalf of social justice for the African American Community.\u003c/p>\n\u003cp>Now, \u003cem>Party People\u003c/em>, a new musical about the Black Panther Party at the \u003ca href=\"http://www.berkeleyrep.org/season/1415/8235.asp\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre\u003c/a>, examines the history of the party and other radical groups, the ideals of their members, the oppression they faced, and some of their crimes.\u003c/p>\n\u003cp>“They were really united thinking they were going to change the world,” says Steven Sapp, one of the members of \u003ca href=\"http://www.universesonstage.com/\" target=\"_blank\" rel=\"noopener\">UNIVERSES\u003c/a>, the New York City based theater that developed the play. Sapp’s two colleagues in Universes are his wife Mildred Ruiz Sapp, and her brother William. The three have spent the past few years interviewing former Black Panthers and their fellow radicals, \u003ca href=\"http://en.wikipedia.org/wiki/Young_Lords\" target=\"_blank\" rel=\"noopener\">The Young Lords\u003c/a>, shaping the script for \u003ci>Party People\u003c/i>, which includes composite characters based on those interviews, and preparing to star in the play.\u003c/p>\n\u003cfigure id=\"attachment_10144338\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/blackpanthers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144338\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/blackpanthers.jpg\" alt=\"Two members of the Black Panther Party are met on the steps of the California State Capitol in Sacramento, May 2, 1967, by Police Lt. Ernest Holloway, who informs them they will be allowed to keep their weapons as long as they cause no trouble and do not disturb the peace. Earlier several members had invaded the Assembly chambers and had their guns taken away; Bettmann/CORBIS\" width=\"640\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/blackpanthers.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/blackpanthers-400x261.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Two members of the Black Panther Party are met on the steps of the California State Capitol in Sacramento, May 2, 1967, by Police Lt. Ernest Holloway, who informs them they will be allowed to keep their weapons as long as they cause no trouble and do not disturb the peace. Earlier several members had invaded the Assembly chambers and had their guns taken away; Bettmann/CORBIS\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Party People\u003c/i> opens with a riveting 15 minutes of music, poetry, dance, and video in a kind of beat-box version of Panther history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Now the guns were for self-defense,” says one character. “Because the fallout from the civil rights movement was even more police brutality and oppression. And it was our legal right to defend ourselves.” The actors raise their rifles and shotguns in the air, and ask, “Do we have your attention?”\u003c/p>\n\u003cp>And then they pose another question that many in the white and black community asked in the late sixties, “What kind of negroes are these?”\u003c/p>\n\u003cp>The play shows how the Panthers’ fight for black self-determination inspired others, like the Young Lords Organization in Chicago and New York, with a goal of independence for Puerto Rico and political power for an underserved community.\u003c/p>\n\u003cp>UNIVERSES’ William Ruiz says the group began with a protest over erratic garbage collection in East Harlem that included piling garbage in the street to get the attention of city authorities. “The police showed up, and the garbage bags got lit on fire and made even more of a statement,” Ruiz said in a recent interview.\u003c/p>\n\u003cp>These black and brown revolutionaries offered free health clinics, and breakfasts for kids, but they also carried guns and watch-dogged police in sometimes bloody confrontations. And that made group members targets for local police and the FBI, which used illegal tactics, under its Counter Intelligence Program or \u003ca href=\"http://en.wikipedia.org/wiki/COINTELPRO\" target=\"_blank\" rel=\"noopener\">COINTELPRO\u003c/a>, to infiltrate the Panthers and other groups and, according to some, orchestrate the assassination of their leaders.\u003c/p>\n\u003cp>Ruiz-Sapp says the show has parallels with the recent events in Ferguson, Missouri. “It’s a conversation of a nation. It’s a conversation about an era, and what did that do to bring us to where we are today, and then what do we do from here?”\u003c/p>\n\u003cp>UNIVERSES developed \u003cem>Party People\u003c/em> for the Oregon Shakespeare Festival in 2012, under the guidance of director \u003ca href=\"http://www.berkeleyrep.org/about/whoweare.asp#tabbed-nav=leaders\" target=\"_blank\" rel=\"noopener\">Liesl Tommy\u003c/a>, who’s also Berkeley Rep’s assistant artistic director. She grew up in South Africa, the daughter of anti-apartheid activists, and says she was drawn to this tale of political idealists. “I was also really moved by the journey Universes had been on, the years that they spent just listening, that is very rare and very powerful, and to let things come into their hearts and souls, and then create a piece, to me was an extremely spiritual way of making art.”\u003c/p>\n\u003cp>UNIVERSES has listened… One thing they noticed was the strong relationships among the Panthers and between the Panthers and the Young Lords. Ruiz recalls meeting with Young Lords founder Jose Cha Cha Jimenez in Chicago and how he introduced them to the mother of Panther Fred Hampton, who was killed by Chicago police.\u003c/p>\n\u003cfigure id=\"attachment_10144342\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/partypeople2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144342\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/partypeople2.jpg\" alt=\" (l to r) Christopher Livingston, Sophia Ramos (Maruca), and Reggie D. White (Solias)\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/partypeople2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/partypeople2-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(l to r) Christopher Livingston, Sophia Ramos (Maruca), and Reggie D. White (Solias); Photo by Kevin Berne\u003c/figcaption>\u003c/figure>\n\u003cp>“Fred Hampton’s mother greets us all warmly, and as soon as Cha Cha’s daughter walks in behind us, Fred’s mother screams out, ‘There you are baby. Why don’t you come over and visit me anymore?’ And she spanks her on the butt and makes her sit on her lap. Now this is a grown girl, 24 or 25 already. And that was a sure sign to us that they were all family to each other, that they were all fighting shoulder to shoulder for the same cause.”\u003c/p>\n\u003cp>Former Panther \u003ca href=\"http://www.erickahuggins.com/Home.html\" target=\"_blank\" rel=\"noopener\">Ericka Huggins\u003c/a> has spent hours with the members of UNIVERSES, talking about her memories of the Panthers. “It [the play] captivated me from the first moment I saw it on stage,” Huggins said during a recent interview at her East Oakland home. Huggins was 16 when she joined the Panthers, later founding the New Haven chapter.\u003c/p>\n\u003cp>Huggins teaches African-American history now at Merritt College in Oakland, but she’s been through a lot. Her husband John, a Panther like her, was killed in a fight allegedly incited by the FBI, and she was tried in New Haven for her role in the torture and murder of a Panther suspected of being an FBI informant. The jury deadlocked in the case, and Huggins went free.\u003c/p>\n\u003cp>“There isn’t a day that goes by, when I don’t remember those times,” Huggins said, “and that young man, that great young man that was killed. However I did not kill him. But harm goes deeper than that. So that’s one of the reasons I continue to do my own work.”\u003c/p>\n\u003cp>Huggins says she’s okay with the fact that \u003cem>Party People\u003c/em> presents a fictionalized version of the events in New Haven, as well as putting the widow of a policeman, a composite character again, on stage to confront Panthers about her husband’s death. “People who are informed about their past, do well in their present moment and can impact the future,” Huggins said. And when I asked her if the play has the power to inspire young people to become more involved in politics, she added, “I think art has that power, and the play is a work of art.”\u003c/p>\n\u003cp>The members of UNIVERSES say they’re a little nervous about bringing this play to Berkeley, so close to the birthplace of the Panthers, and with its own history of radical politics. “I feel like every single night, there will probably be someone in that room who has experienced it all or knows it firsthand,” Steven Sapp says, “And that’s what theatre is supposed to be about, I feel. It’s supposed to be alive. There’s supposed to be an energy crackling in the room.”\u003c/p>\n\u003cp>Sapp says he expects \u003cem>Party People\u003c/em> will thrill audience members one minute and make them deeply uncomfortable the next.\u003c/p>\n\u003cp>\u003ci>Party People\u003c/i> runs through Nov. 16, 2014 at the Berkeley Repertory Theatre. 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"content": "\u003cp>If attendance at last night’s Arts Town Hall is any indicator of San Francisco policy makers’ interest and investment, the arts are in trouble. Of the eleven city supervisor incumbents and candidates who committed to attending, only three were present for the full discussion, which was about an hour long; four never showed at all, while others were late or left early. Meanwhile hundreds from the arts community gathered to hear incumbents and candidates give their views on supporting the arts in these challenging times. Over the course of the evening, the empty chairs on the stage came to signify the gravity of the challenges ahead.\u003c/p>\n\u003cp>The event was hosted by 75 cultural organizations of varying sizes, across a spectrum of disciplines including dance, theatre, film, music and visual arts. 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Laura Sydell, Digital Cultural Correspondent for NPR, moderated the discussion.\u003c/p>\n\u003cfigure id=\"attachment_10144255\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Arts-9058.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Arts-9058.jpg\" alt=\"NPR's Laura Sydell (center) moderates 2014 Arts Town Hall\" width=\"640\" height=\"427\" class=\"size-full wp-image-10144255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Arts-9058.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Arts-9058-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">NPR’s Laura Sydell (center) moderates 2014 Arts Town Hall\u003c/figcaption>\u003c/figure>\n\u003cp>Among the candidates fully present were Juan-Antonio Caraballo (candidate D2), Jamie Whitaker (candidate D6) and Tony Kelly (candidate D10). Partially present were Mark Farrell (incumbent D2), Jane Kim (incumbent D6), Scott Wiener (incumbent D8), Malia Cohen (incumbent D10). Absent were Michael Nulty (candidate D6), David Carlos Salaverry (candidate D6), George Davis (candidate D8), and John Nulty (candidate D8).\u003c/p>\n\u003cp>Much of the conversation focused on affordability, sustaining the arts, retaining the presence of artists amidst shifting real estate — at one point Sydell admonished the speakers to keep in mind, “We are losing our arts community to Oakland” — as well as questions about regulating Airbnb and the $25M in back taxes it owes the city, the use of publicly owned buildings and the future of arts education. 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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
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},
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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",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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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": {
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"order": 1
},
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"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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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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",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"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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},
"fresh-air": {
"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"
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"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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"npr": "https://rpb3r.app.goo.gl/3zxy",
"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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},
"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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},
"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/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"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": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"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",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"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",
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"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}