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"title": "In the Expensive Bay Area, Artists Navigate Unique Mental Health Challenges",
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"content": "\u003cfigure id=\"attachment_13871302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/image0.jpeg\" alt=\"A music studio viewed from above. A man sits in a chair with a guitar and looks up.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/image0.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/image0-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/image0-768x432.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Housewarmers’ bandleader Ian Santillano says that the Bay Area’s high cost of living can exacerbate the unique pressures musicians face by virtue of their profession. \u003ccite>(Courtesy of Ian Santillano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As a musician, it can be difficult to navigate a community stricken with mental health concerns,” says \u003ca href=\"https://seanthompson.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean Emmett Thompson\u003c/a>, a 26-year-old singer and guitarist who lives in San Francisco.\u003c/p>\n\u003cp>Grueling tour schedules, financial ups and downs, performance anxiety, fear of failure—musicians face unique job pressures that can make them more prone to mental illness. A \u003ca href=\"https://www.the73percent.com/\" target=\"_blank\" rel=\"noopener noreferrer\">2019 survey\u003c/a> of nearly 1,500 independent musicians conducted by music distributor \u003ca href=\"https://www.recordunion.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Record Union\u003c/a> found that 73 percent of respondents struggled with anxiety and depression, and 33 percent grappled with panic attacks. Furthermore, a \u003ca href=\"https://westminsterresearch.westminster.ac.uk/download/fd3b380d63e4e4a1219017768f5a56a2004e0916b59065565bac67b9d9562a22/3955058/Gross%20%26%20Musgrave%20%282016%29%20Can%20Music%20Make%20You%20Sick%20Pt1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2016 University of Westminster survey\u003c/a> of 2,211 U.K. musicians found that respondents were three times more likely than the general population to become depressed.\u003c/p>\n\u003cp>While composing and playing music can be therapeutic, trying to turn that into a full-time career can be an occupational hazard. Performing music puts an artist’s talent on display, and while this is one way to garner fans, it makes artists vulnerable to the praise and rejection of others. [aside postid='arts_13857471']\u003c/p>\n\u003cp>There are also \u003ca href=\"https://www.kqed.org/arts/13857471/artist-passion-exploitation-duke-study\" target=\"_blank\" rel=\"noopener noreferrer\">issues of fair compensation\u003c/a>: as one University of Westminster survey respondent shared, “A doctor doesn’t perform surgery for ‘exposure.’” Artists disclosed that poor pay, impostor syndrome and toxic working conditions had damaged their mental health.\u003c/p>\n\u003cp>These challenges are especially pronounced in the Bay Area, where high living costs make it nearly impossible for local artists to pursue their passion full time. And in a competitive industry, being pulled away from one’s art can cause feelings of insecurity and doubt to surface. \u003ca href=\"https://www.iansantillano.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Santillano\u003c/a>, a 23-year-old Bay Area musician and leader of the band \u003ca href=\"https://www.facebook.com/pages/category/Musician-Band/The-Housewarmers-313769652609322/\" target=\"_blank\" rel=\"noopener noreferrer\">The Housewarmers\u003c/a>, says not having enough time to work on music can rattle his confidence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I get anxious, because I wonder if I am doing enough and if I’m \u003cem>truly \u003c/em>a musician,” he says. At those times, impostor syndrome can set in—a dreadful feeling that’s amplified when Santillano scrolls through fellow artists’ Instagram feeds. [aside postid='arts_13869819']\u003c/p>\n\u003cp>Thompson has faced similar struggles. “When I first moved to San Francisco, I could barely make ends meet,” he says. Like many artists, Thompson teaches music lessons and takes on \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2019-the-gig-economy-defined-how-artists-do-business-heres-whats-likely-to-change\" target=\"_blank\" rel=\"noopener noreferrer\">side projects\u003c/a>, but overworking can make it tricky to find a work-life balance. “I’ve had difficulty saying ‘no’ to projects for fear of losing out on an opportunity, which only creates more stress,” says the artist.\u003c/p>\n\u003cp>In the past, those stressors caused Thompson to become anxious and depressed, “When you’re distracted by other work responsibilities, composing music is hard,” he shares. Not being able to create new music feeds impostor syndrome, which can leave Thompson feeling aimless and inadequate. Despite those challenges, he’s never seen a mental health professional. “Once I’m financially stable, I hope to address my mental health needs in therapy,” Thompson adds.\u003c/p>\n\u003cfigure id=\"attachment_13871305\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871305\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o.jpg 1544w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Thompson (center). \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many artists battle with mental illness, the latest survey results suggest that only 40 percent of suffering musicians received mental health care, while over 50 percent turned to alcohol and drugs to numb their pain, which isn’t uncommon for people \u003ca href=\"https://www.drugabuse.gov/publications/drugfacts/comorbidity-substance-use-disorders-other-mental-illnesses\" target=\"_blank\" rel=\"noopener noreferrer\">with mental illness\u003c/a>.\u003c/p>\n\u003cp>“I couldn’t see the wonder in the world,” recalls \u003ca href=\"https://www.mroliverblank.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oliver Blank\u003c/a>, 37, a Bay Area artist and composer. Last year, Blank’s long-term relationship ended, and his intense grief caused his creative drive to dwindle.\u003c/p>\n\u003cp>At that time, Blank was working on his podcast \u003ca href=\"https://www.mroliverblank.com/art-index/the-one-who-got-away\">\u003cem>The One Who Got Away\u003c/em>\u003c/a>, which intimately depicts the lingering grief that travels with loss. For the podcast, Blank invited people from all over the world to call a phone number and leave a message for a lost loved one, or forgotten romance, answering just one question: “What would you say to the one who got away?”\u003c/p>\n\u003cp>Hearing other people’s grief-stricken stories amplified Blank’s suffering, which only intensified his sadness. “I didn’t want to die or to hurt myself, but I wanted to go to sleep for a very long time,” the artist explains. [aside postid='arts_13861452']\u003c/p>\n\u003cp>Concerned friends encouraged Blank to talk to a therapist. He reached out for professional help, but initially, no one reached back. “The biggest issue was finding a therapist who would return my call,” says Blank.\u003c/p>\n\u003cp>For many people, navigating the mental healthcare system can be puzzling. Firstly, even with health coverage, high-deductible insurance plans require people to pay upfront for medical expenses, including psychotherapy, which can be costly. In the Bay Area, the economic boost brought on by the \u003ca href=\"https://www.kqed.org/stateofhealth/23916/bay-area-boom-driving-up-cost-of-therapy\">tech boom\u003c/a> has driven up the cost of rent, food and psychotherapy. As a result, therapy can cost anywhere between 140 and 300 dollars per session.\u003c/p>\n\u003cp>More affordable options are available, but finding the right type of help isn’t always straight forward. Websites like \u003ca href=\"https://www.betterhelp.com/helpme/?utm_source=AdWords&utm_medium=Search_PPC_c&utm_term=better%2Bhelp_e&utm_content=13899929650&network=g&placement=&target=&matchtype=e&utm_campaign=177007450&ad_type=text&adposition=1t1&gclid=CjwKCAjwlovtBRBrEiwAG3\" target=\"_blank\" rel=\"noopener noreferrer\">Better Help\u003c/a> and \u003ca href=\"https://lp.talkspace.com/try?utm_source=google&utm_medium=sembrand&utm_campaign=SEARCH_GOOGLE_BRAND&utm_content=apply65&utm_term=talkspace&gclid=CjwKCAjwlovtBRBrEiwAG3XJ-6Uy8h5LQ-0XOeo4by1B5Hv1x5qjWf2Hn4ZnJ6sUB-BxoLTnlLf74RoCOV8QAvD_BwE\">Talkspace\u003c/a> offer counseling online. While convenient, talking to a therapist online may not be ideal for people with acute mental health symptoms, such as panic attacks, thoughts of self-harm and severe depression.\u003c/p>\n\u003cp>For those seeking in-person mental health care, the non-profit organization \u003ca href=\"https://openpathcollective.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Open Path Psychotherapy Collective\u003c/a> provides affordable counseling services, and its fees range from 30 to 60 dollars per session. According to the website, over 300 therapists in the Bay Area provide mental health services through the Open Path network.\u003c/p>\n\u003cp>Psychotherapy training clinics staffed by graduate students and recent graduates also provide accessible care. For instance, in San Francisco, \u003ca href=\"https://www.ciis.edu/counseling-and-acupuncture-clinics/center-for-somatic-psychotherapy\">Center for Somatic Psychotherapy (CSP)\u003c/a> offers sliding-scale psychotherapy services seven days a week, and therapy is provided by graduate students and recent graduates from the California Institute of Integral Studies (CIIS).\u003c/p>\n\u003cp>In addition to offering traditional talk therapy, CSP therapists promote self-awareness and stress reduction by helping clients connect with the mind, body and spirit, says Steuart Gold, the CSP clinic director. “Somatic therapy encourages accessing the wisdom of the body and creates conditions where one’s creative self can live its fullest expression,” he explains. With this focus, Gold says musicians and artists often benefit from somatic psychotherapy.\u003c/p>\n\u003cp>Even though it took many phone calls, Blank eventually found a therapist. “My therapist diagnosed me with depression and told me I was experiencing suicidal ideation,” he shares. Receiving a diagnosis helped Blank understand the nature of his pain, which aided in the healing process. “I immediately felt relief,” he shares.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For now, Santillano and Thompson find emotional support by talking to their peers. Still, Thompson hopes to speak to a therapist in the near future, “I believe therapy can help me pinpoint things that I haven’t been able to put together for myself,” he says.\u003c/p>\n\n",
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"excerpt": "Research shows musicians struggle with mental health issues at high rates. The Bay Area's cost of living doesn't help. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13871302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/image0.jpeg\" alt=\"A music studio viewed from above. A man sits in a chair with a guitar and looks up.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/image0.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/image0-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/image0-768x432.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Housewarmers’ bandleader Ian Santillano says that the Bay Area’s high cost of living can exacerbate the unique pressures musicians face by virtue of their profession. \u003ccite>(Courtesy of Ian Santillano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As a musician, it can be difficult to navigate a community stricken with mental health concerns,” says \u003ca href=\"https://seanthompson.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean Emmett Thompson\u003c/a>, a 26-year-old singer and guitarist who lives in San Francisco.\u003c/p>\n\u003cp>Grueling tour schedules, financial ups and downs, performance anxiety, fear of failure—musicians face unique job pressures that can make them more prone to mental illness. A \u003ca href=\"https://www.the73percent.com/\" target=\"_blank\" rel=\"noopener noreferrer\">2019 survey\u003c/a> of nearly 1,500 independent musicians conducted by music distributor \u003ca href=\"https://www.recordunion.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Record Union\u003c/a> found that 73 percent of respondents struggled with anxiety and depression, and 33 percent grappled with panic attacks. Furthermore, a \u003ca href=\"https://westminsterresearch.westminster.ac.uk/download/fd3b380d63e4e4a1219017768f5a56a2004e0916b59065565bac67b9d9562a22/3955058/Gross%20%26%20Musgrave%20%282016%29%20Can%20Music%20Make%20You%20Sick%20Pt1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2016 University of Westminster survey\u003c/a> of 2,211 U.K. musicians found that respondents were three times more likely than the general population to become depressed.\u003c/p>\n\u003cp>While composing and playing music can be therapeutic, trying to turn that into a full-time career can be an occupational hazard. Performing music puts an artist’s talent on display, and while this is one way to garner fans, it makes artists vulnerable to the praise and rejection of others. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are also \u003ca href=\"https://www.kqed.org/arts/13857471/artist-passion-exploitation-duke-study\" target=\"_blank\" rel=\"noopener noreferrer\">issues of fair compensation\u003c/a>: as one University of Westminster survey respondent shared, “A doctor doesn’t perform surgery for ‘exposure.’” Artists disclosed that poor pay, impostor syndrome and toxic working conditions had damaged their mental health.\u003c/p>\n\u003cp>These challenges are especially pronounced in the Bay Area, where high living costs make it nearly impossible for local artists to pursue their passion full time. And in a competitive industry, being pulled away from one’s art can cause feelings of insecurity and doubt to surface. \u003ca href=\"https://www.iansantillano.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Santillano\u003c/a>, a 23-year-old Bay Area musician and leader of the band \u003ca href=\"https://www.facebook.com/pages/category/Musician-Band/The-Housewarmers-313769652609322/\" target=\"_blank\" rel=\"noopener noreferrer\">The Housewarmers\u003c/a>, says not having enough time to work on music can rattle his confidence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I get anxious, because I wonder if I am doing enough and if I’m \u003cem>truly \u003c/em>a musician,” he says. At those times, impostor syndrome can set in—a dreadful feeling that’s amplified when Santillano scrolls through fellow artists’ Instagram feeds. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thompson has faced similar struggles. “When I first moved to San Francisco, I could barely make ends meet,” he says. Like many artists, Thompson teaches music lessons and takes on \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2019-the-gig-economy-defined-how-artists-do-business-heres-whats-likely-to-change\" target=\"_blank\" rel=\"noopener noreferrer\">side projects\u003c/a>, but overworking can make it tricky to find a work-life balance. “I’ve had difficulty saying ‘no’ to projects for fear of losing out on an opportunity, which only creates more stress,” says the artist.\u003c/p>\n\u003cp>In the past, those stressors caused Thompson to become anxious and depressed, “When you’re distracted by other work responsibilities, composing music is hard,” he shares. Not being able to create new music feeds impostor syndrome, which can leave Thompson feeling aimless and inadequate. Despite those challenges, he’s never seen a mental health professional. “Once I’m financially stable, I hope to address my mental health needs in therapy,” Thompson adds.\u003c/p>\n\u003cfigure id=\"attachment_13871305\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871305\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/10531349_10152705050652868_411939417121906542_o.jpg 1544w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Thompson (center). \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many artists battle with mental illness, the latest survey results suggest that only 40 percent of suffering musicians received mental health care, while over 50 percent turned to alcohol and drugs to numb their pain, which isn’t uncommon for people \u003ca href=\"https://www.drugabuse.gov/publications/drugfacts/comorbidity-substance-use-disorders-other-mental-illnesses\" target=\"_blank\" rel=\"noopener noreferrer\">with mental illness\u003c/a>.\u003c/p>\n\u003cp>“I couldn’t see the wonder in the world,” recalls \u003ca href=\"https://www.mroliverblank.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oliver Blank\u003c/a>, 37, a Bay Area artist and composer. Last year, Blank’s long-term relationship ended, and his intense grief caused his creative drive to dwindle.\u003c/p>\n\u003cp>At that time, Blank was working on his podcast \u003ca href=\"https://www.mroliverblank.com/art-index/the-one-who-got-away\">\u003cem>The One Who Got Away\u003c/em>\u003c/a>, which intimately depicts the lingering grief that travels with loss. For the podcast, Blank invited people from all over the world to call a phone number and leave a message for a lost loved one, or forgotten romance, answering just one question: “What would you say to the one who got away?”\u003c/p>\n\u003cp>Hearing other people’s grief-stricken stories amplified Blank’s suffering, which only intensified his sadness. “I didn’t want to die or to hurt myself, but I wanted to go to sleep for a very long time,” the artist explains. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Concerned friends encouraged Blank to talk to a therapist. He reached out for professional help, but initially, no one reached back. “The biggest issue was finding a therapist who would return my call,” says Blank.\u003c/p>\n\u003cp>For many people, navigating the mental healthcare system can be puzzling. Firstly, even with health coverage, high-deductible insurance plans require people to pay upfront for medical expenses, including psychotherapy, which can be costly. In the Bay Area, the economic boost brought on by the \u003ca href=\"https://www.kqed.org/stateofhealth/23916/bay-area-boom-driving-up-cost-of-therapy\">tech boom\u003c/a> has driven up the cost of rent, food and psychotherapy. As a result, therapy can cost anywhere between 140 and 300 dollars per session.\u003c/p>\n\u003cp>More affordable options are available, but finding the right type of help isn’t always straight forward. Websites like \u003ca href=\"https://www.betterhelp.com/helpme/?utm_source=AdWords&utm_medium=Search_PPC_c&utm_term=better%2Bhelp_e&utm_content=13899929650&network=g&placement=&target=&matchtype=e&utm_campaign=177007450&ad_type=text&adposition=1t1&gclid=CjwKCAjwlovtBRBrEiwAG3\" target=\"_blank\" rel=\"noopener noreferrer\">Better Help\u003c/a> and \u003ca href=\"https://lp.talkspace.com/try?utm_source=google&utm_medium=sembrand&utm_campaign=SEARCH_GOOGLE_BRAND&utm_content=apply65&utm_term=talkspace&gclid=CjwKCAjwlovtBRBrEiwAG3XJ-6Uy8h5LQ-0XOeo4by1B5Hv1x5qjWf2Hn4ZnJ6sUB-BxoLTnlLf74RoCOV8QAvD_BwE\">Talkspace\u003c/a> offer counseling online. While convenient, talking to a therapist online may not be ideal for people with acute mental health symptoms, such as panic attacks, thoughts of self-harm and severe depression.\u003c/p>\n\u003cp>For those seeking in-person mental health care, the non-profit organization \u003ca href=\"https://openpathcollective.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Open Path Psychotherapy Collective\u003c/a> provides affordable counseling services, and its fees range from 30 to 60 dollars per session. According to the website, over 300 therapists in the Bay Area provide mental health services through the Open Path network.\u003c/p>\n\u003cp>Psychotherapy training clinics staffed by graduate students and recent graduates also provide accessible care. For instance, in San Francisco, \u003ca href=\"https://www.ciis.edu/counseling-and-acupuncture-clinics/center-for-somatic-psychotherapy\">Center for Somatic Psychotherapy (CSP)\u003c/a> offers sliding-scale psychotherapy services seven days a week, and therapy is provided by graduate students and recent graduates from the California Institute of Integral Studies (CIIS).\u003c/p>\n\u003cp>In addition to offering traditional talk therapy, CSP therapists promote self-awareness and stress reduction by helping clients connect with the mind, body and spirit, says Steuart Gold, the CSP clinic director. “Somatic therapy encourages accessing the wisdom of the body and creates conditions where one’s creative self can live its fullest expression,” he explains. With this focus, Gold says musicians and artists often benefit from somatic psychotherapy.\u003c/p>\n\u003cp>Even though it took many phone calls, Blank eventually found a therapist. “My therapist diagnosed me with depression and told me I was experiencing suicidal ideation,” he shares. Receiving a diagnosis helped Blank understand the nature of his pain, which aided in the healing process. “I immediately felt relief,” he shares.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For now, Santillano and Thompson find emotional support by talking to their peers. Still, Thompson hopes to speak to a therapist in the near future, “I believe therapy can help me pinpoint things that I haven’t been able to put together for myself,” he says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Irresistible Agnès Varda Retrospective Arrives at BAMPFA and SFMOMA",
"headTitle": "Irresistible Agnès Varda Retrospective Arrives at BAMPFA and SFMOMA | KQED",
"content": "\u003cp>The late, great Agnès Varda is often quoted saying, “In my films I always wanted to make people see deeply. I don’t want to show things, but to give people the desire to see.” \u003c/p>\n\u003cp>Now local audiences with a desire to see more of Varda’s work have a lot to look forward to. The Berkeley Art Museum and Pacific Film Archive and the San Francisco Museum of Art have teamed up to co-present \u003ci>Agnès Varda: An Irresistible Force\u003c/i>, a national touring retrospective organized by Janus Films. The program spans six decades, including her final film, \u003ci>Varda by Agnès\u003c/i>, completed before her death earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_13871484\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13871484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Varda by Agnès,’ 2019. \u003ccite>(Courtesy of Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acronym-strong co-presentation between BAMPFA and SFMOMA begins Dec. 20 with advance screenings of \u003ci>Varda by Agnès\u003c/i> in Berkeley. The full program includes nearly two dozen films, with repeat screenings on both sides of the Bay. \u003c/p>\n\u003cp>Make special note of opportunities to see Varda’s shorts, which include the Sausalito-set \u003ci>Uncle Yanco\u003c/i> (1967) and Oakland-shot \u003ci>Black Panthers\u003c/i> (1968). I’m personally jazzed to see \u003ci>Mur murs\u003c/i> (1980), a look at the large-scale murals (many now long gone) of Los Angeles. \u003c/p>\n\u003cp>\u003ci>Agnès Varda: An Irresistible Force\u003c/i> plays at \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a> Dec. 20, 2019–Feb. 28, 2020 and at \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-agnes-varda/\" rel=\"noopener noreferrer\" target=\"_blank\">SFMOMA\u003c/a> Jan. 9–March 21, 2020. Check each institution’s site for details. \u003c/p>\n\u003cp>Viva Varda!\u003c/p>\n\u003cp>https://youtu.be/Po7eU4xo54w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The late, great Agnès Varda is often quoted saying, “In my films I always wanted to make people see deeply. I don’t want to show things, but to give people the desire to see.” \u003c/p>\n\u003cp>Now local audiences with a desire to see more of Varda’s work have a lot to look forward to. The Berkeley Art Museum and Pacific Film Archive and the San Francisco Museum of Art have teamed up to co-present \u003ci>Agnès Varda: An Irresistible Force\u003c/i>, a national touring retrospective organized by Janus Films. The program spans six decades, including her final film, \u003ci>Varda by Agnès\u003c/i>, completed before her death earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_13871484\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13871484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Varda by Agnès,’ 2019. \u003ccite>(Courtesy of Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acronym-strong co-presentation between BAMPFA and SFMOMA begins Dec. 20 with advance screenings of \u003ci>Varda by Agnès\u003c/i> in Berkeley. The full program includes nearly two dozen films, with repeat screenings on both sides of the Bay. \u003c/p>\n\u003cp>Make special note of opportunities to see Varda’s shorts, which include the Sausalito-set \u003ci>Uncle Yanco\u003c/i> (1967) and Oakland-shot \u003ci>Black Panthers\u003c/i> (1968). I’m personally jazzed to see \u003ci>Mur murs\u003c/i> (1980), a look at the large-scale murals (many now long gone) of Los Angeles. \u003c/p>\n\u003cp>\u003ci>Agnès Varda: An Irresistible Force\u003c/i> plays at \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a> Dec. 20, 2019–Feb. 28, 2020 and at \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-agnes-varda/\" rel=\"noopener noreferrer\" target=\"_blank\">SFMOMA\u003c/a> Jan. 9–March 21, 2020. Check each institution’s site for details. \u003c/p>\n\u003cp>Viva Varda!\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Po7eU4xo54w'\n title='//www.youtube.com/embed/Po7eU4xo54w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "Proposed Ghost Ship TV Show From Chabon, Waldman Draws Ire [UPDATED]",
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"content": "\u003cp>\u003cem>\u003cstrong>[UPDATE, Dec. 14:\u003c/strong> The Ghost Ship TV series is off. In \u003ca href=\"https://twitter.com/ayeletw/status/1205960793361043457\" rel=\"noopener noreferrer\" target=\"_blank\">a Twitter thread\u003c/a> explaining the decision, Ayelet Waldman has announced that “At this time… we will not be proceeding, and will do our part to leave the families and survivors to their grief and their loss, in the fervent hope that someday they find not just comfort but also a measure of justice.”]\u003c/em>\u003c/p>\n\u003cp>On Dec. 10, Berkeley husband-wife author team \u003ca href=\"https://www.mercurynews.com/2019/12/10/berkeley-authors-chabon-waldman-sign-cbs-production-deal/\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Chabon and Ayelet Waldman\u003c/a> announced plans for a TV series about the Ghost Ship fire as part of a multi-year production deal they recently inked with CBS Television Studios.\u003c/p>\n\u003cp>Waldman told KQED in an email that the Ghost Ship project hasn’t yet been pitched or sold; she declined an in-person or phone interview, adding that the show is in early stages of development. She wrote that her children knew some of the fire victims, and that she envisions the show as “an indictment of the power and money that is destroying our communities, but also as a story about loss.”\u003c/p>\n\u003cp>Nonetheless, the news of a possible TV drama about the tragedy, which claimed 36 lives at an underground electronic music party in 2016, angered many of the victims’ loved ones still reeling from trauma and grappling with \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2016-evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins\" target=\"_blank\" rel=\"noopener noreferrer\">evictions of unpermitted artist warehouses\u003c/a> that followed the tragedy. (In 2017, NBC drew ire for making an \u003ca href=\"https://www.kqed.org/arts/12835384/chicago-fire-exploits-ghost-ship-victims-in-a-moral-lowpoint-for-tv\" target=\"_blank\" rel=\"noopener noreferrer\">episode of \u003cem>Chicago Fire\u003c/em>\u003c/a> based on Ghost Ship.)\u003c/p>\n\u003cp>“If you’re even thinking of making some type of TV show or something to profit off of this, before the words even come out of your mouth, you should have backing by the families in some capacity,” says Oakland resident Mark Dias. Two of his friends and coworkers, \u003ca href=\"https://www.kqed.org/arts/12452006/em-bohlka\" target=\"_blank\" rel=\"noopener noreferrer\">Em Bohlka\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/12447104/donna-kellogg\" target=\"_blank\" rel=\"noopener noreferrer\">Donna Kellogg\u003c/a>, were among the victims.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" data-conversation=\"none\">\n\u003cp dir=\"ltr\" lang=\"en\">Just to clarify: The Ghost Ship project will be adapted by journalist Elizabeth Weil, based on her own reporting. \u003ca href=\"https://twitter.com/ayeletw?ref_src=twsrc%5Etfw\">@ayeletw\u003c/a> and I are producing it, under the terms of an overall agreement with CBS Studios that is not for any one story or project in particular.\u003c/p>\n\u003cp>— Michael Chabon (@michaelchabon) \u003ca href=\"https://twitter.com/michaelchabon/status/1204867478662201344?ref_src=twsrc%5Etfw\">December 11, 2019\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Dias was disturbed to learn, per Chabon’s tweet responding to criticism from 48 Hills editor Marke Bieschke, that the show will be based on \u003cem>New York Times Magazine\u003c/em> writer Elizabeth Weil’s reporting. Weil’s only coverage of the fire was a \u003ca href=\"https://www.nytimes.com/2018/12/12/magazine/oakland-warehouse-fire-ghost-ship.html\" target=\"_blank\" rel=\"noopener noreferrer\">sympathetic profile of Max Harris\u003c/a>, the defendant who was recently acquitted of 36 counts of manslaughter in a criminal trial. The story painted Harris as a pacifist who unwittingly found himself ensnared in the criminal justice system, and did not focus on the victims or survivors.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That \u003cem>New York Times\u003c/em> profile was inaccurate in so many ways. It was a profile of a person that was told from one perspective, and none of it seemed like it was actually fact-checked against other people who knew him and were around him,” says Dias, calling the piece “out of touch.”\u003c/p>\n\u003cp>“I don’t know anybody that was directly affected by Ghost Ship that read that article and was like, ‘Oh yeah, he’s just some tragic soul that got mixed up in stuff,'” Dias says. [aside postid='arts_13865804']\u003c/p>\n\u003cp>“It’s not [Chabon and Waldman’s] story to tell,” says Chris Zaldua, a San Francisco musician and promoter who was friends with over a dozen of the fire victims. Zaldua’s record label, Left Hand Path, put out a posthumous release by \u003ca href=\"https://www.kqed.org/arts/12468905/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Igaz\u003c/a>, a.k.a. Nackt, called \u003cem>Private Property Created Crime\u003c/em>. For Zaldua and many other friends of the victims, the idea of a mainstream, commercial TV drama is at odds with the anti-capitalist beliefs of many of the artists who died in the fire.\u003c/p>\n\u003cp>“What makes it especially tricky is this kind of underground arts and music culture has always existed on the fringe,” Zaldua says, “and because it has never been about commercial success, there have been attempts to tell the story of underground culture in a commercial way and I think mostly they’ve all missed the boat.”\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" data-conversation=\"none\">\n\u003cp dir=\"ltr\" lang=\"en\">will just say it here. nobody in our small community wants to relive that tragedy on cbs of all places. thanks.\u003c/p>\n\u003cp>— Brandon Nickell (@brandon_nickell) \u003ca href=\"https://twitter.com/brandon_nickell/status/1205232190352588800?ref_src=twsrc%5Etfw\">December 12, 2019\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Oakland resident Michael Ferrari expressed similar skepticism. He says that the prevailing narrative of Ghost Ship already glossed over the complex lives and identities of the victims, including his friend \u003ca href=\"https://www.kqed.org/arts/12485542/nicole-denalda-renae\" target=\"_blank\" rel=\"noopener noreferrer\">Denalda Nicole Renae\u003c/a>, whom he met through a network of squatters that occupied empty buildings. He fears a similar phenomenon will occur if the tragedy is given a TV treatment.\u003c/p>\n\u003cp>“TV is not the right medium,” Ferrari says. “A documentary would be first thing I would think of.”\u003c/p>\n\u003cp>“I think it should be called off, period,” says Lo O’Connor, an Oakland resident who also lost multiple friends in the fire. “There has been no break from the sort of spectacle it became, and there’s been no privacy. And I just feel like them saying, ‘We’re going to do this compassionately, we’re going to do this with people in mind,’ is just so empty. There’s nothing there because they’re not listening to the people who were actually affected by this experience, who are so clearly saying, ‘Don’t do this.'”\u003c/p>\n\u003cp>Waldman \u003ca href=\"https://twitter.com/ayeletw/status/1204908539895877632?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">responded on Twitter\u003c/a>, saying she’s open to feedback from the community.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If we make this show, I want to make sure it’s not remotely exploitative,” she wrote to KQED. “I would never ever do that.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>[UPDATE, Dec. 14:\u003c/strong> The Ghost Ship TV series is off. In \u003ca href=\"https://twitter.com/ayeletw/status/1205960793361043457\" rel=\"noopener noreferrer\" target=\"_blank\">a Twitter thread\u003c/a> explaining the decision, Ayelet Waldman has announced that “At this time… we will not be proceeding, and will do our part to leave the families and survivors to their grief and their loss, in the fervent hope that someday they find not just comfort but also a measure of justice.”]\u003c/em>\u003c/p>\n\u003cp>On Dec. 10, Berkeley husband-wife author team \u003ca href=\"https://www.mercurynews.com/2019/12/10/berkeley-authors-chabon-waldman-sign-cbs-production-deal/\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Chabon and Ayelet Waldman\u003c/a> announced plans for a TV series about the Ghost Ship fire as part of a multi-year production deal they recently inked with CBS Television Studios.\u003c/p>\n\u003cp>Waldman told KQED in an email that the Ghost Ship project hasn’t yet been pitched or sold; she declined an in-person or phone interview, adding that the show is in early stages of development. She wrote that her children knew some of the fire victims, and that she envisions the show as “an indictment of the power and money that is destroying our communities, but also as a story about loss.”\u003c/p>\n\u003cp>Nonetheless, the news of a possible TV drama about the tragedy, which claimed 36 lives at an underground electronic music party in 2016, angered many of the victims’ loved ones still reeling from trauma and grappling with \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2016-evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins\" target=\"_blank\" rel=\"noopener noreferrer\">evictions of unpermitted artist warehouses\u003c/a> that followed the tragedy. (In 2017, NBC drew ire for making an \u003ca href=\"https://www.kqed.org/arts/12835384/chicago-fire-exploits-ghost-ship-victims-in-a-moral-lowpoint-for-tv\" target=\"_blank\" rel=\"noopener noreferrer\">episode of \u003cem>Chicago Fire\u003c/em>\u003c/a> based on Ghost Ship.)\u003c/p>\n\u003cp>“If you’re even thinking of making some type of TV show or something to profit off of this, before the words even come out of your mouth, you should have backing by the families in some capacity,” says Oakland resident Mark Dias. Two of his friends and coworkers, \u003ca href=\"https://www.kqed.org/arts/12452006/em-bohlka\" target=\"_blank\" rel=\"noopener noreferrer\">Em Bohlka\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/12447104/donna-kellogg\" target=\"_blank\" rel=\"noopener noreferrer\">Donna Kellogg\u003c/a>, were among the victims.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" data-conversation=\"none\">\n\u003cp dir=\"ltr\" lang=\"en\">Just to clarify: The Ghost Ship project will be adapted by journalist Elizabeth Weil, based on her own reporting. \u003ca href=\"https://twitter.com/ayeletw?ref_src=twsrc%5Etfw\">@ayeletw\u003c/a> and I are producing it, under the terms of an overall agreement with CBS Studios that is not for any one story or project in particular.\u003c/p>\n\u003cp>— Michael Chabon (@michaelchabon) \u003ca href=\"https://twitter.com/michaelchabon/status/1204867478662201344?ref_src=twsrc%5Etfw\">December 11, 2019\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Dias was disturbed to learn, per Chabon’s tweet responding to criticism from 48 Hills editor Marke Bieschke, that the show will be based on \u003cem>New York Times Magazine\u003c/em> writer Elizabeth Weil’s reporting. Weil’s only coverage of the fire was a \u003ca href=\"https://www.nytimes.com/2018/12/12/magazine/oakland-warehouse-fire-ghost-ship.html\" target=\"_blank\" rel=\"noopener noreferrer\">sympathetic profile of Max Harris\u003c/a>, the defendant who was recently acquitted of 36 counts of manslaughter in a criminal trial. The story painted Harris as a pacifist who unwittingly found himself ensnared in the criminal justice system, and did not focus on the victims or survivors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s not [Chabon and Waldman’s] story to tell,” says Chris Zaldua, a San Francisco musician and promoter who was friends with over a dozen of the fire victims. Zaldua’s record label, Left Hand Path, put out a posthumous release by \u003ca href=\"https://www.kqed.org/arts/12468905/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Igaz\u003c/a>, a.k.a. Nackt, called \u003cem>Private Property Created Crime\u003c/em>. For Zaldua and many other friends of the victims, the idea of a mainstream, commercial TV drama is at odds with the anti-capitalist beliefs of many of the artists who died in the fire.\u003c/p>\n\u003cp>“What makes it especially tricky is this kind of underground arts and music culture has always existed on the fringe,” Zaldua says, “and because it has never been about commercial success, there have been attempts to tell the story of underground culture in a commercial way and I think mostly they’ve all missed the boat.”\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" data-conversation=\"none\">\n\u003cp dir=\"ltr\" lang=\"en\">will just say it here. nobody in our small community wants to relive that tragedy on cbs of all places. thanks.\u003c/p>\n\u003cp>— Brandon Nickell (@brandon_nickell) \u003ca href=\"https://twitter.com/brandon_nickell/status/1205232190352588800?ref_src=twsrc%5Etfw\">December 12, 2019\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Oakland resident Michael Ferrari expressed similar skepticism. He says that the prevailing narrative of Ghost Ship already glossed over the complex lives and identities of the victims, including his friend \u003ca href=\"https://www.kqed.org/arts/12485542/nicole-denalda-renae\" target=\"_blank\" rel=\"noopener noreferrer\">Denalda Nicole Renae\u003c/a>, whom he met through a network of squatters that occupied empty buildings. He fears a similar phenomenon will occur if the tragedy is given a TV treatment.\u003c/p>\n\u003cp>“TV is not the right medium,” Ferrari says. “A documentary would be first thing I would think of.”\u003c/p>\n\u003cp>“I think it should be called off, period,” says Lo O’Connor, an Oakland resident who also lost multiple friends in the fire. “There has been no break from the sort of spectacle it became, and there’s been no privacy. And I just feel like them saying, ‘We’re going to do this compassionately, we’re going to do this with people in mind,’ is just so empty. There’s nothing there because they’re not listening to the people who were actually affected by this experience, who are so clearly saying, ‘Don’t do this.'”\u003c/p>\n\u003cp>Waldman \u003ca href=\"https://twitter.com/ayeletw/status/1204908539895877632?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">responded on Twitter\u003c/a>, saying she’s open to feedback from the community.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If we make this show, I want to make sure it’s not remotely exploitative,” she wrote to KQED. “I would never ever do that.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mills College, the private liberal arts institution in Oakland, plans to sell its coveted 1623 copy of playwright William Shakespeare’s First Folio as well as a handwritten musical score by the 18th-century composer Wolfgang Amadeus Mozart, KQED has learned. [aside postID=arts_13870226,arts_12248119,arts_13389908]\u003c/p>\n\u003cp>In an internal email Thursday, college president Elizabeth Hillman revealed the planned sale of the First Folio—one of the English language’s most influential and valuable books, expected to draw millions of dollars at auction—as part of “MillsNext,” the school’s plan to overcome a budget deficit that’s led to controversial layoffs of tenured faculty and union organizing among staff. Selling the “precious assets” will support current programs “while we build a bridge to a sustainable future,” the email reads.\u003c/p>\n\u003cp>Hillman’s email also mentions selling a “musical transcript,” which a source close to Mills’ F.W. Olin Library said refers to Mozart’s notation of five epistle sonatas created in the early 1770s. The source also said the First Folio will be auctioned by Christie’s, while the manuscript is being sold privately. As a private college, Mills is not obligated to publicly disclose its de-accessions.\u003c/p>\n\u003cp>“My first thought is disappointment,” said Thomas Goldwasser, an antiquarian book dealer in San Francisco. “It’s a shame because institutional libraries are supposed to steward and preserve cultural properties, and use them to teach and inspire, not treat them as commodities.”\u003c/p>\n\u003cp>“Christie’s has no news to announce at this time,” an auction house spokesperson said. Library staff directed inquiries to the Mills administration, and a school spokesperson declined to provide information for this article. “These gifts have been treasured deeply by the Mills community and will now be sold in compliance with College regulations,” reads Hillman’s email.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mills, a historic private college for women and gender non-binary students, with graduate programs for all genders, enrolls some 1,200 students in East Oakland. The Olin Library’s special collections and archives includes the papers of artists such as Pauline Oliveros and Patti Smith, and as recently as Tuesday the website listed the First Folio in its Early Printed Books Collection.\u003c/p>\n\u003cp>The book, which the source close to the library said has already left campus, was a 1977 gift from Mary Louise O’Brien in honor of her father Elias Olan James, a former English professor at Mills and namesake of a Shakespeare collection at the Olin Library.\u003c/p>\n\u003cp>When copies of the First Folio change hands, it tends to make headlines. Christie’s sold one in 2001 for $6.1 million, establishing a then-world record for a 17th-century book, and another copy fetched $5.1 million in 2006 at Sotheby’s. Most recently, in 2016, a newly-discovered copy of the First Folio exceeded Christie’s auctioneers expectations by garnering $2.75 million.\u003c/p>\n\u003cp>Goldwasser expects Mills’ First Folio to also snare millions, while the Mozart manuscript is easily worth six figures. It’s not unusual for Mills and other private institutions to quietly sell assets, he said, but the First Folio is uniquely monumental, and its sale will dissuade prospective donors from continuing to bestow important research objects and archives to Mills’ special collections.\u003c/p>\n\u003cp>“Maybe Shakespeare’s not so important anymore at some undergraduate institutions,” he said.\u003c/p>\n\u003cp>Mills’ First Folio is one of 235 extant copies of the book known worldwide, according to the Folger Shakespeare Library. Its original publication in 1623, seven years after the playwright’s death, marked the first-ever printed appearance of 18 of its 36 collected plays, including \u003cem>Macbeth\u003c/em> and \u003cem>The Tempest\u003c/em>, changing the course of English literature.\u003c/p>\n\u003cp>“Without this particular copy, we wouldn’t have authoritative versions of many of Shakespeare’s works,” said Diana Kohnke, a librarian at the California State Library’s Sutro Library in San Francisco, one of few other local institutions possessing a First Folio. “Laws prohibit us from selling—our deed from the Sutro family says the collection can’t even leave San Francisco.”\u003c/p>\n\u003cp>Peter Hanff, deputy director of the Bancroft Library at UC Berkeley, another academic research library with a First Folio, said that the sale signals a smaller institution redefining or narrowing its primary purpose—and weighing a cash infusion against the book’s research value to students. “They’re going, ‘This doesn’t advance our primary mission,’ and making a challenging decision,” Hanff said. “Personally I still hate it when this happens, because I really value the accessibility.”\u003c/p>\n\u003cp>The sales reflect Mills’ efforts to manage a budget deficit due in part to declining enrollment. In 2017, the school declared a financial emergency, and controversially moved to lay off 11 professors, many of them tenured, including renowned composer Roscoe Mitchell. The restructuring particularly impacted the storied Center for Contemporary Music; co-directors Maggi Payne and Chris Brown retired early in the hopes of pre-empting additional cuts.\u003c/p>\n\u003cp>Replacing tenured faculty with adjunct professors has become a common cost-saving strategy for college administrations, one deeply unpopular with academics and students alike. (Mills recently posted job listings for several adjunct music professors.) Brown, the former CCM co-director, said Mills selling the documents is another worrisome sign. “My impression is this is part of the pattern—things have not improved since the purge,” he said. “Now it’s the rainy day.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Staff at Mills recently launched a campaign to unionize with Service Employees International Union (SEIU) Local 1021, which already represents school faculty. Members of the organizing committee previously told KQED that part of their motivation for unionizing is to attain greater representation and transparency in institutional decision-making as the administration tries to rebound financially.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In an internal email Thursday, college president Elizabeth Hillman revealed the planned sale of the First Folio—one of the English language’s most influential and valuable books, expected to draw millions of dollars at auction—as part of “MillsNext,” the school’s plan to overcome a budget deficit that’s led to controversial layoffs of tenured faculty and union organizing among staff. Selling the “precious assets” will support current programs “while we build a bridge to a sustainable future,” the email reads.\u003c/p>\n\u003cp>Hillman’s email also mentions selling a “musical transcript,” which a source close to Mills’ F.W. Olin Library said refers to Mozart’s notation of five epistle sonatas created in the early 1770s. The source also said the First Folio will be auctioned by Christie’s, while the manuscript is being sold privately. As a private college, Mills is not obligated to publicly disclose its de-accessions.\u003c/p>\n\u003cp>“My first thought is disappointment,” said Thomas Goldwasser, an antiquarian book dealer in San Francisco. “It’s a shame because institutional libraries are supposed to steward and preserve cultural properties, and use them to teach and inspire, not treat them as commodities.”\u003c/p>\n\u003cp>“Christie’s has no news to announce at this time,” an auction house spokesperson said. Library staff directed inquiries to the Mills administration, and a school spokesperson declined to provide information for this article. “These gifts have been treasured deeply by the Mills community and will now be sold in compliance with College regulations,” reads Hillman’s email.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mills, a historic private college for women and gender non-binary students, with graduate programs for all genders, enrolls some 1,200 students in East Oakland. The Olin Library’s special collections and archives includes the papers of artists such as Pauline Oliveros and Patti Smith, and as recently as Tuesday the website listed the First Folio in its Early Printed Books Collection.\u003c/p>\n\u003cp>The book, which the source close to the library said has already left campus, was a 1977 gift from Mary Louise O’Brien in honor of her father Elias Olan James, a former English professor at Mills and namesake of a Shakespeare collection at the Olin Library.\u003c/p>\n\u003cp>When copies of the First Folio change hands, it tends to make headlines. Christie’s sold one in 2001 for $6.1 million, establishing a then-world record for a 17th-century book, and another copy fetched $5.1 million in 2006 at Sotheby’s. Most recently, in 2016, a newly-discovered copy of the First Folio exceeded Christie’s auctioneers expectations by garnering $2.75 million.\u003c/p>\n\u003cp>Goldwasser expects Mills’ First Folio to also snare millions, while the Mozart manuscript is easily worth six figures. It’s not unusual for Mills and other private institutions to quietly sell assets, he said, but the First Folio is uniquely monumental, and its sale will dissuade prospective donors from continuing to bestow important research objects and archives to Mills’ special collections.\u003c/p>\n\u003cp>“Maybe Shakespeare’s not so important anymore at some undergraduate institutions,” he said.\u003c/p>\n\u003cp>Mills’ First Folio is one of 235 extant copies of the book known worldwide, according to the Folger Shakespeare Library. Its original publication in 1623, seven years after the playwright’s death, marked the first-ever printed appearance of 18 of its 36 collected plays, including \u003cem>Macbeth\u003c/em> and \u003cem>The Tempest\u003c/em>, changing the course of English literature.\u003c/p>\n\u003cp>“Without this particular copy, we wouldn’t have authoritative versions of many of Shakespeare’s works,” said Diana Kohnke, a librarian at the California State Library’s Sutro Library in San Francisco, one of few other local institutions possessing a First Folio. “Laws prohibit us from selling—our deed from the Sutro family says the collection can’t even leave San Francisco.”\u003c/p>\n\u003cp>Peter Hanff, deputy director of the Bancroft Library at UC Berkeley, another academic research library with a First Folio, said that the sale signals a smaller institution redefining or narrowing its primary purpose—and weighing a cash infusion against the book’s research value to students. “They’re going, ‘This doesn’t advance our primary mission,’ and making a challenging decision,” Hanff said. “Personally I still hate it when this happens, because I really value the accessibility.”\u003c/p>\n\u003cp>The sales reflect Mills’ efforts to manage a budget deficit due in part to declining enrollment. In 2017, the school declared a financial emergency, and controversially moved to lay off 11 professors, many of them tenured, including renowned composer Roscoe Mitchell. The restructuring particularly impacted the storied Center for Contemporary Music; co-directors Maggi Payne and Chris Brown retired early in the hopes of pre-empting additional cuts.\u003c/p>\n\u003cp>Replacing tenured faculty with adjunct professors has become a common cost-saving strategy for college administrations, one deeply unpopular with academics and students alike. (Mills recently posted job listings for several adjunct music professors.) Brown, the former CCM co-director, said Mills selling the documents is another worrisome sign. “My impression is this is part of the pattern—things have not improved since the purge,” he said. “Now it’s the rainy day.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Staff at Mills recently launched a campaign to unionize with Service Employees International Union (SEIU) Local 1021, which already represents school faculty. Members of the organizing committee previously told KQED that part of their motivation for unionizing is to attain greater representation and transparency in institutional decision-making as the administration tries to rebound financially.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Greta Thunberg, the activist who has quickly become a leading voice on climate change, is \u003cem>Time’s \u003c/em>\u003ca href=\"https://time.com/person-of-the-year-2019-greta-thunberg-choice/\">Person of the Year for 2019\u003c/a>. At 16, she is the youngest person to earn the title in the magazine’s 92-year history. \u003c/p>\n\u003cp>Thunberg burst onto the world stage in the past year, organizing school strikes and protest marches to call attention to a climate crisis that she says older generations are not taking seriously enough.\u003c/p>\n\u003cp>She has famously called out world leaders for debating scientific facts and failing to stop a global warming trend that will affect the world’s children more than it affects anyone who’s currently in power.\u003c/p>\n\u003cp>Reacting to the honor, Thunberg said she is \u003ca href=\"https://apnews.com/2531fbc81f1a409b9e1f1a218d591289\">“a bit surprised”\u003c/a> to be chosen, according to The Associated Press, which adds that Thunberg dedicated her recognition to other young activists.\u003c/p>\n\u003cp>Thunberg is currently in Madrid, where she delivered a speech at a U.N. climate conference Wednesday morning. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Well, I am telling you there is hope. I have seen it,” she told the audience. “But it does not come from the governments or corporations. It comes from the people.”\u003c/p>\n\u003cp>Thunberg has drawn the support of millions of people, including demonstrators who coordinated an international protest day in September when she was visiting Washington and other U.S. cities.\u003c/p>\n\u003cp>The Swedish teenager has spoken with the pope, the U.N. secretary general and other influential figures. But Thunberg has also been mocked or criticized by climate skeptics — and by powerful leaders such as President Trump, Brazil’s President Jair Bolsonaro and Russia’s President Vladimir Putin. She has shrugged off those attacks, saying she won’t be silenced.\u003c/p>\n\u003cp>https://youtu.be/6_b0Jm8D6Mc\u003c/p>\n\u003cp>“We need a balance of optimism and outrage” in the environmental movement, Thunberg said in Madrid. She added, “We need optimism to keep going and to not give up … and we need outrage to be able to step outside our comfort zones.”\u003c/p>\n\u003cp>\u003cem>Time \u003c/em>says the award is based on the idea that powerful individuals shape the world. It chose Thunberg, the magazine says, for raising the alarm on climate change and “showing us all what it might look like when a new generation leads.”\u003c/p>\n\u003cp>In the past, Thunberg has spoken about how her generation is being burdened both with climate change’s effects and the task of educating people about it. And if the rise in average temperatures goes unchecked, she says, the effects will be cataclysmic.\u003c/p>\n\u003cp>“For about a year, I have been constantly talking about our rapidly declining carbon budgets — over and over again,” Thunberg said on Wednesday. She added, “But since that is still being ignored, I will just keep repeating it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because of the clarity and energy she has brought to the discussion over climate change, Thunberg has been named as a contender for a number of international honors, including the Nobel Peace Prize. But she \u003ca href=\"https://www.npr.org/2019/10/30/774693218/start-listening-greta-thunberg-rejects-major-environmental-award\">recently rejected an environmental prize\u003c/a> and cash award from the Nordic Council, saying, “It is a huge honor. But the climate movement does not need any more awards.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Greta+Thunberg+Is+The+%27Time%27+Person+Of+The+Year+For+2019&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Greta Thunberg, the activist who has quickly become a leading voice on climate change, is \u003cem>Time’s \u003c/em>\u003ca href=\"https://time.com/person-of-the-year-2019-greta-thunberg-choice/\">Person of the Year for 2019\u003c/a>. At 16, she is the youngest person to earn the title in the magazine’s 92-year history. \u003c/p>\n\u003cp>Thunberg burst onto the world stage in the past year, organizing school strikes and protest marches to call attention to a climate crisis that she says older generations are not taking seriously enough.\u003c/p>\n\u003cp>She has famously called out world leaders for debating scientific facts and failing to stop a global warming trend that will affect the world’s children more than it affects anyone who’s currently in power.\u003c/p>\n\u003cp>Reacting to the honor, Thunberg said she is \u003ca href=\"https://apnews.com/2531fbc81f1a409b9e1f1a218d591289\">“a bit surprised”\u003c/a> to be chosen, according to The Associated Press, which adds that Thunberg dedicated her recognition to other young activists.\u003c/p>\n\u003cp>Thunberg is currently in Madrid, where she delivered a speech at a U.N. climate conference Wednesday morning. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Well, I am telling you there is hope. I have seen it,” she told the audience. “But it does not come from the governments or corporations. It comes from the people.”\u003c/p>\n\u003cp>Thunberg has drawn the support of millions of people, including demonstrators who coordinated an international protest day in September when she was visiting Washington and other U.S. cities.\u003c/p>\n\u003cp>The Swedish teenager has spoken with the pope, the U.N. secretary general and other influential figures. But Thunberg has also been mocked or criticized by climate skeptics — and by powerful leaders such as President Trump, Brazil’s President Jair Bolsonaro and Russia’s President Vladimir Putin. She has shrugged off those attacks, saying she won’t be silenced.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6_b0Jm8D6Mc'\n title='//www.youtube.com/embed/6_b0Jm8D6Mc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We need a balance of optimism and outrage” in the environmental movement, Thunberg said in Madrid. She added, “We need optimism to keep going and to not give up … and we need outrage to be able to step outside our comfort zones.”\u003c/p>\n\u003cp>\u003cem>Time \u003c/em>says the award is based on the idea that powerful individuals shape the world. It chose Thunberg, the magazine says, for raising the alarm on climate change and “showing us all what it might look like when a new generation leads.”\u003c/p>\n\u003cp>In the past, Thunberg has spoken about how her generation is being burdened both with climate change’s effects and the task of educating people about it. And if the rise in average temperatures goes unchecked, she says, the effects will be cataclysmic.\u003c/p>\n\u003cp>“For about a year, I have been constantly talking about our rapidly declining carbon budgets — over and over again,” Thunberg said on Wednesday. She added, “But since that is still being ignored, I will just keep repeating it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because of the clarity and energy she has brought to the discussion over climate change, Thunberg has been named as a contender for a number of international honors, including the Nobel Peace Prize. But she \u003ca href=\"https://www.npr.org/2019/10/30/774693218/start-listening-greta-thunberg-rejects-major-environmental-award\">recently rejected an environmental prize\u003c/a> and cash award from the Nordic Council, saying, “It is a huge honor. But the climate movement does not need any more awards.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Greta+Thunberg+Is+The+%27Time%27+Person+Of+The+Year+For+2019&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Singer Marie Fredriksson, who co-founded the hitmaking Swedish pop group Roxette, died yesterday in Sweden. She was 61 years old.\u003c/p>\n\u003cp>Before she became one of the most recognizable voices of her era, Fredricksson grew up in a tiny village, where her mom was a factory worker and her dad a postman. There wasn’t any day care, so he’d take her along while delivering mail and sing to her—the experience was formative.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k2C5TjS2sh4\u003c/p>\n\u003cp>Fredriksson \u003ca href=\"http://www.mariefredriksson.se/bio.php\">began\u003c/a> her music career in earnest as a teenager, performing in bands before going solo. But later, as half of Roxette, Fredriksson scored half a dozen hits—including the one above—and sold around 75 million albums. Frederiksson was diagnosed with brain cancer seventeen years ago, but she kept recording and touring until 2016, when her illness eventually forced her and bandmate Per Gessle to \u003ca href=\"https://www.thelocal.se/20160418/swedish-roxette-cancel-europe-summer-tour\">cancel\u003c/a> an upcoming summer tour.\u003c/p>\n\u003cp>Speaking in 2015, Fredriksson \u003ca href=\"https://vi.se/artikel/srwAdMdB-a0Ev3DKW-e491b\">recalled\u003c/a>, to the Swedish magazine \u003cem>Vi\u003c/em>, of her extended period of sickness: “When things were at their most difficult… even if nobody else believed in me, I believed in myself. Felt I had to.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yCC_b5WHLX0\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Roxette%27s+Marie+Fredriksson+Dead+At+61&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer Marie Fredriksson, who co-founded the hitmaking Swedish pop group Roxette, died yesterday in Sweden. She was 61 years old.\u003c/p>\n\u003cp>Before she became one of the most recognizable voices of her era, Fredricksson grew up in a tiny village, where her mom was a factory worker and her dad a postman. There wasn’t any day care, so he’d take her along while delivering mail and sing to her—the experience was formative.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/k2C5TjS2sh4'\n title='//www.youtube.com/embed/k2C5TjS2sh4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Fredriksson \u003ca href=\"http://www.mariefredriksson.se/bio.php\">began\u003c/a> her music career in earnest as a teenager, performing in bands before going solo. But later, as half of Roxette, Fredriksson scored half a dozen hits—including the one above—and sold around 75 million albums. Frederiksson was diagnosed with brain cancer seventeen years ago, but she kept recording and touring until 2016, when her illness eventually forced her and bandmate Per Gessle to \u003ca href=\"https://www.thelocal.se/20160418/swedish-roxette-cancel-europe-summer-tour\">cancel\u003c/a> an upcoming summer tour.\u003c/p>\n\u003cp>Speaking in 2015, Fredriksson \u003ca href=\"https://vi.se/artikel/srwAdMdB-a0Ev3DKW-e491b\">recalled\u003c/a>, to the Swedish magazine \u003cem>Vi\u003c/em>, of her extended period of sickness: “When things were at their most difficult… even if nobody else believed in me, I believed in myself. Felt I had to.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A new production of Tchaikovsky’s “The Nutcracker” called “\u003ca href=\"https://www.thepeoplesconservatory.org/events-1/kola-an-afro-diasporic-remix-of-the-nutcracker\">KOLA: An Afro Diasporic Remix of the Nutcracker\u003c/a>” is hitting the stage in Oakland this holiday season.\u003c/p>\n\u003cp>It’s a twist on the traditional ballet: There’s no nutcracker, there’s no mouse, and there’s no Clara either.\u003c/p>\n\u003cfigure id=\"attachment_11790392\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790392\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-800x450.jpg\" alt=\"Brazil Clement dances as Ogun during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brazil Clement dances as Ogun during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, 13-year-old dancer Amelinda Origunwa performs the lead role of Nzingha, who travels the African diaspora, learning different kinds of dance as the show unfolds.\u003c/p>\n\u003cp>“There’s Afro-Haitian, Afro-Cuban, all the different Orisha dances. There’s ballet, modern, jazz, hip-hop, break-dancing. And flamenco,” said Origunwa.\u003c/p>\n\u003cfigure id=\"attachment_11790396\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790396\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-800x450.jpg\" alt=\"Samara Cole-Mercado dancing as Yemanja during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Samara Cole-Mercado dancing as Yemanja during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The California Report Magazine’s Sasha Khokha spoke with Rozz Nash, the founder and director of \u003ca href=\"https://www.thepeoplesconservatory.org/\">The People’s Conservatory\u003c/a>, the dance company putting on the show.\u003c/p>\n\u003cfigure id=\"attachment_11790387\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790387\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-800x534.jpg\" alt=\"RyanNicole Peters, co-writer, co-director and lead dramatist (left) sits with Rozz Nash, executive director of The People’s Conservatory, during a rehearsal at Malonga Casquelourd Center for the Arts in Oakland on Dec. 5, 2019.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RyanNicole Peters, co-writer, co-director and lead dramatist (left) sits with Rozz Nash, executive director of The People’s Conservatory, during a rehearsal at Malonga Casquelourd Center for the Arts in Oakland on Dec. 5, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Note: the quotes below have been edited for clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cb>On what makes this show different\u003cbr>\n\u003c/b>\u003cbr>\nNash: Ours really tours the globe, and focuses on not only the dances and music from different cultures, but also some of their gods, spirits and practices. We work Orishas into our work from the Ife tradition. We’re also focusing on a different, innovative narrative we created, which is not like “The Nutcracker” at all.\u003c/p>\n\u003cfigure id=\"attachment_11790389\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790389\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-800x534.jpg\" alt=\"Break dancers rehearse at Sullivan Community Space in Oakland on Dec. 8, 2019. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Break dancers rehearse at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>On the plot\u003c/b>\u003c/p>\n\u003cp>Nash: We still have a young girl who’s a protagonist. Nzingha is13, and she’s desperately looking for connection. She’s looking to find her roots and what it is about this world that is meant for her to explore. We take her on a journey along the trans-Aatlantic slave trade from West Africa to Brazil to Cuba to Haiti to Spain, and we end up back in the continental U.S. All this is done through diasporic dances, music, movement and culture. We have an incredible creative team (including local artists Kev Choice, Jennifer Johns, and RyanNicole) that helped make it possible, so we jump from one culture to another through the music and story.\u003c/p>\n\u003cfigure id=\"attachment_11790398\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790398\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-800x450.jpg\" alt=\"Dancers rehearse for a new production from The People's Conservatory called Kola: An Afro Diasporic Remix of The Nutcracker.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers rehearse for a new production from The People’s Conservatory called ‘Kola: An Afro Diasporic Remix of The Nutcracker.’ \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>On The People’s Conservatory\u003c/b>\u003c/p>\n\u003cp>Nash: The People’s Conservatory started about a year and half ago, but I’ve been working with these youth for five years at a school called \u003ca href=\"http://rosesinconcrete.org/\">Roses in Concrete,\u003c/a> where I was the director of performing and visual arts. We basically created an integrated arts school. Now that we are in 10 schools, we’re able to provide services to many more people and young people, and some of our students have gone off to other places. It’s a way for us to still keep them in the fold, work with them and help them to develop their art.\u003c/p>\n\u003cfigure id=\"attachment_11790390\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790390\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-800x450.jpg\" alt=\"James Davis, who dances Exu, break-dances with a group of snow angels during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Davis, who dances Exu, break-dances with a group of snow angels during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>On the history of Oakland and the history of slavery\u003c/b>\u003c/p>\n\u003cp>Nash: We want to make sure that we’re meeting students where they are and creating content with them that has to do with the history of where they live, who they are, where they come from and their indigeneity. The show is about how slavery has affected how folks exist and navigate the world and how folks in Oakland are navigating the world because of what their lineage had to suffer. “How did you get here? How did your family get here? What are some of the revolutionary background that comes from a lot of our students’ household and families?” We want to highlight that and not suppress that.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new production of Tchaikovsky’s “The Nutcracker” called “\u003ca href=\"https://www.thepeoplesconservatory.org/events-1/kola-an-afro-diasporic-remix-of-the-nutcracker\">KOLA: An Afro Diasporic Remix of the Nutcracker\u003c/a>” is hitting the stage in Oakland this holiday season.\u003c/p>\n\u003cp>It’s a twist on the traditional ballet: There’s no nutcracker, there’s no mouse, and there’s no Clara either.\u003c/p>\n\u003cfigure id=\"attachment_11790392\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790392\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-800x450.jpg\" alt=\"Brazil Clement dances as Ogun during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40401_RS40379__DSC8544_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brazil Clement dances as Ogun during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, 13-year-old dancer Amelinda Origunwa performs the lead role of Nzingha, who travels the African diaspora, learning different kinds of dance as the show unfolds.\u003c/p>\n\u003cp>“There’s Afro-Haitian, Afro-Cuban, all the different Orisha dances. There’s ballet, modern, jazz, hip-hop, break-dancing. And flamenco,” said Origunwa.\u003c/p>\n\u003cfigure id=\"attachment_11790396\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790396\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-800x450.jpg\" alt=\"Samara Cole-Mercado dancing as Yemanja during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40403_RS40386__DSC8282_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Samara Cole-Mercado dancing as Yemanja during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The California Report Magazine’s Sasha Khokha spoke with Rozz Nash, the founder and director of \u003ca href=\"https://www.thepeoplesconservatory.org/\">The People’s Conservatory\u003c/a>, the dance company putting on the show.\u003c/p>\n\u003cfigure id=\"attachment_11790387\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790387\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-800x534.jpg\" alt=\"RyanNicole Peters, co-writer, co-director and lead dramatist (left) sits with Rozz Nash, executive director of The People’s Conservatory, during a rehearsal at Malonga Casquelourd Center for the Arts in Oakland on Dec. 5, 2019.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40398_RS40355__DSC7322_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RyanNicole Peters, co-writer, co-director and lead dramatist (left) sits with Rozz Nash, executive director of The People’s Conservatory, during a rehearsal at Malonga Casquelourd Center for the Arts in Oakland on Dec. 5, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Note: the quotes below have been edited for clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cb>On what makes this show different\u003cbr>\n\u003c/b>\u003cbr>\nNash: Ours really tours the globe, and focuses on not only the dances and music from different cultures, but also some of their gods, spirits and practices. We work Orishas into our work from the Ife tradition. We’re also focusing on a different, innovative narrative we created, which is not like “The Nutcracker” at all.\u003c/p>\n\u003cfigure id=\"attachment_11790389\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790389\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-800x534.jpg\" alt=\"Break dancers rehearse at Sullivan Community Space in Oakland on Dec. 8, 2019. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40399_RS40363__DSC7503_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Break dancers rehearse at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>On the plot\u003c/b>\u003c/p>\n\u003cp>Nash: We still have a young girl who’s a protagonist. Nzingha is13, and she’s desperately looking for connection. She’s looking to find her roots and what it is about this world that is meant for her to explore. We take her on a journey along the trans-Aatlantic slave trade from West Africa to Brazil to Cuba to Haiti to Spain, and we end up back in the continental U.S. All this is done through diasporic dances, music, movement and culture. We have an incredible creative team (including local artists Kev Choice, Jennifer Johns, and RyanNicole) that helped make it possible, so we jump from one culture to another through the music and story.\u003c/p>\n\u003cfigure id=\"attachment_11790398\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790398\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-800x450.jpg\" alt=\"Dancers rehearse for a new production from The People's Conservatory called Kola: An Afro Diasporic Remix of The Nutcracker.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40404_RS40361__DSC7456_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers rehearse for a new production from The People’s Conservatory called ‘Kola: An Afro Diasporic Remix of The Nutcracker.’ \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>On The People’s Conservatory\u003c/b>\u003c/p>\n\u003cp>Nash: The People’s Conservatory started about a year and half ago, but I’ve been working with these youth for five years at a school called \u003ca href=\"http://rosesinconcrete.org/\">Roses in Concrete,\u003c/a> where I was the director of performing and visual arts. We basically created an integrated arts school. Now that we are in 10 schools, we’re able to provide services to many more people and young people, and some of our students have gone off to other places. It’s a way for us to still keep them in the fold, work with them and help them to develop their art.\u003c/p>\n\u003cfigure id=\"attachment_11790390\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11790390\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-800x450.jpg\" alt=\"James Davis, who dances Exu, break-dances with a group of snow angels during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/12/RS40400_RS40366__DSC7555_edited-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Davis, who dances Exu, break-dances with a group of snow angels during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>On the history of Oakland and the history of slavery\u003c/b>\u003c/p>\n\u003cp>Nash: We want to make sure that we’re meeting students where they are and creating content with them that has to do with the history of where they live, who they are, where they come from and their indigeneity. The show is about how slavery has affected how folks exist and navigate the world and how folks in Oakland are navigating the world because of what their lineage had to suffer. “How did you get here? How did your family get here? What are some of the revolutionary background that comes from a lot of our students’ household and families?” We want to highlight that and not suppress that.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Since Governor Gavin Newsom signed Assembly Bill 5 (AB5) into law in September, many California contractors—particularly those who work regular shifts for a single company—have shown up at rallies in support of the legislation.\u003c/p>\n\u003cp>The new law, which will reclassify many former freelancers as employees when it takes effect on Jan. 1 next year, will grant more benefits such as paid sick leave, overtime and expense reimbursement to workers across the state.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yet it’s still\u003c/span> \u003cspan style=\"font-weight: 400\">unclear how the law will affect artists and entertainers who do all kinds of gigs for all kinds of clients, and whose practices don’t always align with the legal requirements of an employer-employee relationship. \u003c/span>\u003c/p>\n\u003cp>Click the listen button above to hear the audio version of Chloe Veltman’s story about AB5 and the creative economy, part of KQED Arts & Culture’s \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2019-the-gig-economy-defined-how-artists-do-business-heres-whats-likely-to-change\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Our Turbulent Decade\u003c/em>\u003c/a> series. Click \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2019-the-gig-economy-defined-how-artists-do-business-heres-whats-likely-to-change\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a> to go straight to the web story Chloe wrote on the topic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since Governor Gavin Newsom signed Assembly Bill 5 (AB5) into law in September, many California contractors—particularly those who work regular shifts for a single company—have shown up at rallies in support of the legislation.\u003c/p>\n\u003cp>The new law, which will reclassify many former freelancers as employees when it takes effect on Jan. 1 next year, will grant more benefits such as paid sick leave, overtime and expense reimbursement to workers across the state.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yet it’s still\u003c/span> \u003cspan style=\"font-weight: 400\">unclear how the law will affect artists and entertainers who do all kinds of gigs for all kinds of clients, and whose practices don’t always align with the legal requirements of an employer-employee relationship. \u003c/span>\u003c/p>\n\u003cp>Click the listen button above to hear the audio version of Chloe Veltman’s story about AB5 and the creative economy, part of KQED Arts & Culture’s \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2019-the-gig-economy-defined-how-artists-do-business-heres-whats-likely-to-change\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Our Turbulent Decade\u003c/em>\u003c/a> series. Click \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2019-the-gig-economy-defined-how-artists-do-business-heres-whats-likely-to-change\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a> to go straight to the web story Chloe wrote on the topic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When \u003ca href=\"https://www.kqed.org/arts/13855938/watch-bikini-kills-first-reunion-show-in-l-a\" target=\"_blank\" rel=\"noopener noreferrer\">Bikini Kill reunited\u003c/a> in Los Angeles earlier this year, it was a near-religious experience for longtime fans who hadn’t seen them since their split in 1997.\u003c/p>\n\u003cp>Now, the pioneering riot grrrl band is back to headline \u003ca href=\"https://www.eventbrite.com/e/burger-boogaloo-11-tickets-65083832495\" target=\"_blank\" rel=\"noopener noreferrer\">Burger Boogaloo\u003c/a> in Oakland. Burger Records’ annual fest returns to Mosswood Park on July 11–12, 2020, and it marks Bikini Kill’s first Bay Area show in 25 years.\u003c/p>\n\u003cp>Other punk royalty, including the Circle Jerks and Alice Bag, join Bikini Kill on the bill. The rest of the lineup includes a variety of punk, post-punk, indie rock and garage rock acts—veterans and young musicians alike—including Plastic Bertrand, Bleached, Pansy Division, Flipper, Carbonas, The Fevers, The Younger Lovers, Panty Raid and Midnite Snaxxx. As always, Burger Boogaloo is hosted by director and counterculture hero \u003ca href=\"https://www.kqed.org/arts/13860384/john-waters-talks-microdosing-homelessness-and-cops-in-pride-before-burger-boogaloo\" target=\"_blank\" rel=\"noopener noreferrer\">John Waters\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Burger Boogaloo is running a holiday ticket special to celebrate the lineup announcement. \u003ca href=\"https://www.eventbrite.com/e/burger-boogaloo-11-tickets-65083832495\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/RM31JAhFT88\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.kqed.org/arts/13855938/watch-bikini-kills-first-reunion-show-in-l-a\" target=\"_blank\" rel=\"noopener noreferrer\">Bikini Kill reunited\u003c/a> in Los Angeles earlier this year, it was a near-religious experience for longtime fans who hadn’t seen them since their split in 1997.\u003c/p>\n\u003cp>Now, the pioneering riot grrrl band is back to headline \u003ca href=\"https://www.eventbrite.com/e/burger-boogaloo-11-tickets-65083832495\" target=\"_blank\" rel=\"noopener noreferrer\">Burger Boogaloo\u003c/a> in Oakland. Burger Records’ annual fest returns to Mosswood Park on July 11–12, 2020, and it marks Bikini Kill’s first Bay Area show in 25 years.\u003c/p>\n\u003cp>Other punk royalty, including the Circle Jerks and Alice Bag, join Bikini Kill on the bill. The rest of the lineup includes a variety of punk, post-punk, indie rock and garage rock acts—veterans and young musicians alike—including Plastic Bertrand, Bleached, Pansy Division, Flipper, Carbonas, The Fevers, The Younger Lovers, Panty Raid and Midnite Snaxxx. As always, Burger Boogaloo is hosted by director and counterculture hero \u003ca href=\"https://www.kqed.org/arts/13860384/john-waters-talks-microdosing-homelessness-and-cops-in-pride-before-burger-boogaloo\" target=\"_blank\" rel=\"noopener noreferrer\">John Waters\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Burger Boogaloo is running a holiday ticket special to celebrate the lineup announcement. \u003ca href=\"https://www.eventbrite.com/e/burger-boogaloo-11-tickets-65083832495\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RM31JAhFT88'\n title='//www.youtube.com/embed/RM31JAhFT88'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "Murray Bowles, Legendary Bay Area Punk Photographer, Dies at 68",
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"content": "\u003cp>Murray Bowles, the photographer who chronicled the characters, chaos and energy of the Bay Area’s punk scene for over three decades, died at his home in Sacramento on Sunday. He was 68.\u003c/p>\n\u003cp>Often seen in the middle of swirling crowds, one arm lifting his camera into the air, Bowles created tens of thousands of images that captured the close-up intensity of a punk show. Many of his photos became defining images, particularly in the East Bay punk scene, and his photos graced magazines, record artwork and film documentaries.\u003c/p>\n\u003cp>“One of the great rites of passage of being a teenage Berkeley punk rocker was finally getting into one of Murray’s pictures,” said close friend Anna Brown. “It meant that you were \u003cem>in\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13232566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13232566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988. \u003ccite>(Photo: Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles photographed thousands of bands, including many at Berkeley punk club 924 Gilman during the 1980s and 1990s. Along with bands like Crucifix, Filth, Crimpshrine and Fang, some of Bowles’ most iconic early photos capture young bands that went on to become globally known, like Operation Ivy, Neurosis, and Green Day.\u003c/p>\n\u003cp>But Bowles preferred the warehouses and basements.\u003c/p>\n\u003cfigure id=\"attachment_13871168\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Richie.Murray.jpg\" alt=\"Murray Bowles depicted on the cover of Green Day's album 'Dookie.'\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13871168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-1020x1020.jpg 1020w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles depicted on the cover of Green Day’s album ‘Dookie.’ \u003ccite>(Richie Bucher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was right in there with the gritty basement shows, with kids, just sweaty, wild and free,” Brown said. “And I think that one of the things that’s so great about Murrays’ pictures is that sort of joyfulness. Even if was the most violent, negative band, the pictures came across as really sweet.”\u003c/p>\n\u003cp>Bowles was such a ubiquitous presence at Bay Area punk shows that he was included by artist Richie Bucher \u003ca href=\"https://www.instagram.com/p/B51xw5phoJrsez1PWqTuOOzRAFGOnbtN0ESHKc0/\" rel=\"noopener noreferrer\" target=\"_blank\">on the cover\u003c/a> of Green Day’s 1994 breakthrough album \u003cem>Dookie\u003c/em>, in his signature point-and-shoot pose. \u003c/p>\n\u003cp>“For me, he’s the most important part of that drawing,” said Bucher, who initially wanted to include everyone in the Berkeley punk scene in the tableau, an impossible task. “I don’t know if I thought about it at the time, but I realize now that by putting him in there, I wasn’t leaving anybody out. Because everybody from our scene could connect to him.”\u003c/p>\n\u003cp>“Murray, you are a legend,” wrote Green Day’s Billie Joe Armstrong \u003ca href=\"https://www.instagram.com/p/B51rOYnHlA4/\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a> on Monday. “I remember seeing your photos up on the walls at Gilman the first time I ever went there. Amazing photographer, musician. The nicest man and a great friend to the punks. East Bay punk has a heavy heart today.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>[See a giant collection of Murray Bowles’ photos \u003ca href=\"https://www.facebook.com/profile.php?id=100005407748464&sk=media_set&set=a.211229612400629&type=3\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.]\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Questions about the future of Bowles’ archive have already been addressed. Brown said that, with Bowles, she’s planned for decades to publish a book of his photographs, a project she still hopes to see to fruition. Bowles selected all the images before he died, and helped with an outline for the book. \u003c/p>\n\u003cp>Corbett Redford, director of the documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\" rel=\"noopener noreferrer\" target=\"_blank\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em>, said that having access to Bowles’ archive was a crucial component to the film. “He was so generous to give [his archive] to us. We would not have a documentary if it was not for him.”\u003c/p>\n\u003cfigure id=\"attachment_13871189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13871189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles (R) with Very Small Records founder David Hayes. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was through the making of \u003cem>Turn It Around\u003c/em> that 25 years of Bowles’ photos were finally preserved. Redford tells the story of driving to Bowles’ San Jose home with fanzine editor Robert Eggplant and Tim Armstrong from the band Rancid. There, the three went through decades of old photos and negatives.\u003c/p>\n\u003cp>“It was all gathering dust in his closet—30,000 negatives that were pretty disorganized,” Redford said. The three loaded all of Bowles’ negatives into the trunk, and drove back to Oakland to be cleaned and digitized over time by Caoimhe Carty, the film’s online editor. \u003c/p>\n\u003cp>“When I was driving back, I had what I felt was the Tiffany Diamond in the trunk,” Redford said. “I kept thinking, ‘Please don’t get in an accident. If I do, the entire history is gone.’”\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13243294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles was raised in San Gabriel, California, and learned photography from his grandfather. Upon graduating from UC Berkeley in 1976, he found work as a computer programmer in San Jose, but an assignment to photograph a show for the fanzine \u003cem>Ripper\u003c/em> got him hooked on the action of punk. “I started bringing my camera to every show I went to,” he told \u003cem>Maximum RocknRoll\u003c/em> in \u003ca href=\"http://maximumrocknroll.com/murray-bowles/\" rel=\"noopener noreferrer\" target=\"_blank\">a 2009 interview\u003c/a>. “It was addictive.”\u003c/p>\n\u003cp>Bowles initially distributed his photos by bringing a box of them to shows and selling them for 15 cents each to cover development costs, eventually raising the price to a quarter. It became a tradition among punks to scrape together change and buy pictures of themselves at shows from the week prior. In 1987, \u003cem>Maximum RockNRoll\u003c/em> published a special issue dedicated to Bowles’ photography, titled \u003cem>If Life is a Bowl of Cherries, Why am I in the Pit?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13871178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GBH.Bowles-800x596.jpg\" alt=\"A stagediver at a GBH show in the early 1980s. \" width=\"800\" height=\"596\" class=\"size-medium wp-image-13871178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-768x572.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A stagediver at a GBH show in the early 1980s, from ‘If Life is a Bowl of Cherries, Why am I in the Pit?’. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Bowles maintained an \u003ca href=\"https://www.instagram.com/murraybowles/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">active Instagram account\u003c/a>, posting pictures from shows along with his other hobbies: food, beer, bicycling, nature. He also played the viola for several bands, as well as the Peninsula Symphony and the occasional theatre pit orchestra. He worked for Dell Computers until his retirement, when he moved to Sacramento.\u003c/p>\n\u003cp>There, Brown said, he continued to go to underground shows up until the end, always taking photos. “He really captured this side of punk that was not cliché,” Brown said. “He really got it.”\u003c/p>\n\u003cfigure id=\"attachment_13871203\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayViola-2.jpg\" alt=\"Murray Bowles, playing his viola.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13871203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2-160x107.jpg 160w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles, playing his viola. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matt Saincome, founder of the punk satire site The Hard Times, remembered Bowles for his commitment and tenacity.\u003c/p>\n\u003cp>“My friends and I, we threw a show at a barn in Clayton when I was 16,” Saincome said. “There were 12 people there, out in the middle of nowhere, up this mountain, it didn’t even have an address. Absolutely no one came. No popular bands. And all of a sudden, Murray popped up. It’s me and 12 of my friends, and then him… His dedication to punk went so far that he wasn’t just going to a couple venues here and there. He said, ‘I’m gonna drive up this mountain in Clayton, to a barn with cows and chickens.’”\u003c/p>\n\u003cfigure id=\"attachment_13871194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg\" alt=\"Murray Bowles at Sibley Park, in the East Bay hills.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13871194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles at Sibley Park, in the East Bay hills. \u003ccite>(Anna Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saincome echoed the sentiment that Bowles chronicled people, music and moments that would otherwise be forgotten, with an eye for people’s humanity. “If you’re a Bay Area punk kid, you can go to \u003ca href=\"https://pbase.com/murraybowles/\" rel=\"noopener noreferrer\" target=\"_blank\">his website\u003c/a> and watch yourself grow up in real time through his photos,” Saincome said.\u003c/p>\n\u003cp>“Just the fact that it was him taking your picture—it made you feel legitimate, and valuable, and part of something,” said Bucher. “I had trouble feeling part of anything. But if Murray’s there, then it’s hard not to feel included.”\u003c/p>\n\u003cp>As Becca Bolo, a Gilman regular in the 1990s, put it, “Murray was an incredibly talented person who gave us the gift of seeing ourselves as the beautiful humans that we are.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Murray Bowles, the photographer who chronicled the characters, chaos and energy of the Bay Area’s punk scene for over three decades, died at his home in Sacramento on Sunday. He was 68.\u003c/p>\n\u003cp>Often seen in the middle of swirling crowds, one arm lifting his camera into the air, Bowles created tens of thousands of images that captured the close-up intensity of a punk show. Many of his photos became defining images, particularly in the East Bay punk scene, and his photos graced magazines, record artwork and film documentaries.\u003c/p>\n\u003cp>“One of the great rites of passage of being a teenage Berkeley punk rocker was finally getting into one of Murray’s pictures,” said close friend Anna Brown. “It meant that you were \u003cem>in\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13232566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13232566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988. \u003ccite>(Photo: Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles photographed thousands of bands, including many at Berkeley punk club 924 Gilman during the 1980s and 1990s. Along with bands like Crucifix, Filth, Crimpshrine and Fang, some of Bowles’ most iconic early photos capture young bands that went on to become globally known, like Operation Ivy, Neurosis, and Green Day.\u003c/p>\n\u003cp>But Bowles preferred the warehouses and basements.\u003c/p>\n\u003cfigure id=\"attachment_13871168\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Richie.Murray.jpg\" alt=\"Murray Bowles depicted on the cover of Green Day's album 'Dookie.'\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13871168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-1020x1020.jpg 1020w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles depicted on the cover of Green Day’s album ‘Dookie.’ \u003ccite>(Richie Bucher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was right in there with the gritty basement shows, with kids, just sweaty, wild and free,” Brown said. “And I think that one of the things that’s so great about Murrays’ pictures is that sort of joyfulness. Even if was the most violent, negative band, the pictures came across as really sweet.”\u003c/p>\n\u003cp>Bowles was such a ubiquitous presence at Bay Area punk shows that he was included by artist Richie Bucher \u003ca href=\"https://www.instagram.com/p/B51xw5phoJrsez1PWqTuOOzRAFGOnbtN0ESHKc0/\" rel=\"noopener noreferrer\" target=\"_blank\">on the cover\u003c/a> of Green Day’s 1994 breakthrough album \u003cem>Dookie\u003c/em>, in his signature point-and-shoot pose. \u003c/p>\n\u003cp>“For me, he’s the most important part of that drawing,” said Bucher, who initially wanted to include everyone in the Berkeley punk scene in the tableau, an impossible task. “I don’t know if I thought about it at the time, but I realize now that by putting him in there, I wasn’t leaving anybody out. Because everybody from our scene could connect to him.”\u003c/p>\n\u003cp>“Murray, you are a legend,” wrote Green Day’s Billie Joe Armstrong \u003ca href=\"https://www.instagram.com/p/B51rOYnHlA4/\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a> on Monday. “I remember seeing your photos up on the walls at Gilman the first time I ever went there. Amazing photographer, musician. The nicest man and a great friend to the punks. East Bay punk has a heavy heart today.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>[See a giant collection of Murray Bowles’ photos \u003ca href=\"https://www.facebook.com/profile.php?id=100005407748464&sk=media_set&set=a.211229612400629&type=3\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.]\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Questions about the future of Bowles’ archive have already been addressed. Brown said that, with Bowles, she’s planned for decades to publish a book of his photographs, a project she still hopes to see to fruition. Bowles selected all the images before he died, and helped with an outline for the book. \u003c/p>\n\u003cp>Corbett Redford, director of the documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\" rel=\"noopener noreferrer\" target=\"_blank\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em>, said that having access to Bowles’ archive was a crucial component to the film. “He was so generous to give [his archive] to us. We would not have a documentary if it was not for him.”\u003c/p>\n\u003cfigure id=\"attachment_13871189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13871189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles (R) with Very Small Records founder David Hayes. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was through the making of \u003cem>Turn It Around\u003c/em> that 25 years of Bowles’ photos were finally preserved. Redford tells the story of driving to Bowles’ San Jose home with fanzine editor Robert Eggplant and Tim Armstrong from the band Rancid. There, the three went through decades of old photos and negatives.\u003c/p>\n\u003cp>“It was all gathering dust in his closet—30,000 negatives that were pretty disorganized,” Redford said. The three loaded all of Bowles’ negatives into the trunk, and drove back to Oakland to be cleaned and digitized over time by Caoimhe Carty, the film’s online editor. \u003c/p>\n\u003cp>“When I was driving back, I had what I felt was the Tiffany Diamond in the trunk,” Redford said. “I kept thinking, ‘Please don’t get in an accident. If I do, the entire history is gone.’”\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13243294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles was raised in San Gabriel, California, and learned photography from his grandfather. Upon graduating from UC Berkeley in 1976, he found work as a computer programmer in San Jose, but an assignment to photograph a show for the fanzine \u003cem>Ripper\u003c/em> got him hooked on the action of punk. “I started bringing my camera to every show I went to,” he told \u003cem>Maximum RocknRoll\u003c/em> in \u003ca href=\"http://maximumrocknroll.com/murray-bowles/\" rel=\"noopener noreferrer\" target=\"_blank\">a 2009 interview\u003c/a>. “It was addictive.”\u003c/p>\n\u003cp>Bowles initially distributed his photos by bringing a box of them to shows and selling them for 15 cents each to cover development costs, eventually raising the price to a quarter. It became a tradition among punks to scrape together change and buy pictures of themselves at shows from the week prior. In 1987, \u003cem>Maximum RockNRoll\u003c/em> published a special issue dedicated to Bowles’ photography, titled \u003cem>If Life is a Bowl of Cherries, Why am I in the Pit?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13871178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GBH.Bowles-800x596.jpg\" alt=\"A stagediver at a GBH show in the early 1980s. \" width=\"800\" height=\"596\" class=\"size-medium wp-image-13871178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-768x572.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A stagediver at a GBH show in the early 1980s, from ‘If Life is a Bowl of Cherries, Why am I in the Pit?’. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Bowles maintained an \u003ca href=\"https://www.instagram.com/murraybowles/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">active Instagram account\u003c/a>, posting pictures from shows along with his other hobbies: food, beer, bicycling, nature. He also played the viola for several bands, as well as the Peninsula Symphony and the occasional theatre pit orchestra. He worked for Dell Computers until his retirement, when he moved to Sacramento.\u003c/p>\n\u003cp>There, Brown said, he continued to go to underground shows up until the end, always taking photos. “He really captured this side of punk that was not cliché,” Brown said. “He really got it.”\u003c/p>\n\u003cfigure id=\"attachment_13871203\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayViola-2.jpg\" alt=\"Murray Bowles, playing his viola.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13871203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2-160x107.jpg 160w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles, playing his viola. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matt Saincome, founder of the punk satire site The Hard Times, remembered Bowles for his commitment and tenacity.\u003c/p>\n\u003cp>“My friends and I, we threw a show at a barn in Clayton when I was 16,” Saincome said. “There were 12 people there, out in the middle of nowhere, up this mountain, it didn’t even have an address. Absolutely no one came. No popular bands. And all of a sudden, Murray popped up. It’s me and 12 of my friends, and then him… His dedication to punk went so far that he wasn’t just going to a couple venues here and there. He said, ‘I’m gonna drive up this mountain in Clayton, to a barn with cows and chickens.’”\u003c/p>\n\u003cfigure id=\"attachment_13871194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg\" alt=\"Murray Bowles at Sibley Park, in the East Bay hills.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13871194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles at Sibley Park, in the East Bay hills. \u003ccite>(Anna Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saincome echoed the sentiment that Bowles chronicled people, music and moments that would otherwise be forgotten, with an eye for people’s humanity. “If you’re a Bay Area punk kid, you can go to \u003ca href=\"https://pbase.com/murraybowles/\" rel=\"noopener noreferrer\" target=\"_blank\">his website\u003c/a> and watch yourself grow up in real time through his photos,” Saincome said.\u003c/p>\n\u003cp>“Just the fact that it was him taking your picture—it made you feel legitimate, and valuable, and part of something,” said Bucher. “I had trouble feeling part of anything. But if Murray’s there, then it’s hard not to feel included.”\u003c/p>\n\u003cp>As Becca Bolo, a Gilman regular in the 1990s, put it, “Murray was an incredibly talented person who gave us the gift of seeing ourselves as the beautiful humans that we are.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Caroll Spinney, Sesame Street Puppeteer, Dies at 85",
"headTitle": "Caroll Spinney, Sesame Street Puppeteer, Dies at 85 | KQED",
"content": "\u003cp>Caroll Spinney, who gave Big Bird his warmth and Oscar the Grouch his growl for nearly 50 years on “Sesame Street,” died Sunday at the age of 85 at his home in Connecticut, according to the Sesame Workshop.\u003c/p>\n\u003cp>The Sesame Workshop said in a statement that the legendary puppeteer lived for some time with dystonia, which causes involuntary muscle contractions.\u003c/p>\n\u003cp>Spinney voiced and operated the two major Muppets from their inception in 1969 when he was 36, and performed them almost exclusively into his 80s on the PBS kids’ television show that later moved to HBO.\u003c/p>\n\u003cp>“Before I came to ‘Sesame Street,’ I didn’t feel like what I was doing was very important,” Spinney said when he announced his retirement in 2018. “Big Bird helped me find my purpose.”\u003c/p>\n\u003cp> \u003c!-- to be implemented later -->\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Through his two characters, Spinney gained huge fame that brought international tours, books, record albums, movie roles, and visits to the White House.\u003c/p>\n\u003cp>“Caroll was an artistic genius whose kind and loving view of the world helped shape and define Sesame Street from its earliest days in 1969 through five decades, and his legacy here at Sesame Workshop and in the cultural firmament will be unending,” the Sesame Workshop said.\u003c/p>\n\u003cp>But he never became a household name.\u003c/p>\n\u003cp>“I may be the most unknown famous person in America,” Spinney said in his 2003 memoir. “It’s the bird that’s famous.”\u003c/p>\n\u003cp>Spinney gave “Sesame Street” its emotional yin and yang, infusing the 8-foot-2 Big Bird with a childlike sweetness often used to handle sad subjects, and giving the trashcan-dwelling Oscar, whose voice Spinney based on a New York cabbie, a street-wise cynicism that masked a tender core.\u003c/p>\n\u003cp>“I like being miserable. That makes me happy,” Oscar often said. “But I don’t like being happy, so that makes me miserable.”\u003c/p>\n\u003cp> \u003c!-- to be implemented later -->\u003c/p>\n\u003cp>To colleagues there was no question which character the kindly Spinney resembled.\u003c/p>\n\u003cp>“Big Bird is him and he is Big Bird,” former “Sesame Street” head writer Norman Stiles said in a 2014 documentary on Spinney.\u003c/p>\n\u003cp>It wasn’t easy being Big Bird. To play the part, Spinney would strap a TV monitor to his chest as his only eyes to the outside. Then the giant yellow bird body was placed over him. He held his right arm aloft constantly to operate the head, and used his left hand to operate both arms. The bird tended to slouch more as the years took their toll.\u003c/p>\n\u003cp>In 2015, Spinney switched to just providing the characters’ voices. That year, the longtime PBS show inked a five-year pact with HBO that gave the premium cable channel the right to air new episodes nine months before they air on PBS.\u003c/p>\n\u003cblockquote class=\"embedly-card\" data-card-align=\"center\" data-card-theme=\"light\" data-card-key=\"315412bdcd554e5fab14e2295681d82f\">\n\u003ch4>\u003ca href=\"https://twitter.com/SesameWorkshop/status/1203727633458094080\">Sesame Workshop on Twitter\u003c/a>\u003c/h4>\n\u003cp>Caroll Spinney, the legendary puppeteer behind beloved Sesame Street characters Big Bird and Oscar the Grouch, died today, December 8th 2019, at age 85 at his home in Connecticut, after living with Dystonia for some time. https://t.co/9nQ8H9iUES\u003c/p>\n\u003c/blockquote>\n\u003cp>Big Bird’s builder Kermit Love always insisted that his design was a puppet, not a costume. But to many children, he was neither. He was real.\u003c/p>\n\u003cp>“Eight-year-olds have discovered to their horror that he’s a puppet,” Spinney told The Associated Press in 1987.\u003c/p>\n\u003cp>Born in 1933 in Waltham Massachusetts, Spinney had a deeply supportive mother who built him a puppet theater after he bought his first puppet, a monkey, at age 8.\u003c/p>\n\u003cp>He spent four years in the U.S. Air Force after high school, then returned to Massachusetts and broke into television. He teamed up with fellow puppeteer Judy Valentine for their own daily series, then worked on a Boston version of the clown show “Bozo’s Big Top.”\u003c/p>\n\u003cp>Spinney in this period had three children, Jessica, Melissa and Benjamin, all from his 1960 to 1971 marriage to Janice Spinney. He later married his second wife Debra in 1979, and the two were nearly inseparable for the rest of his life.\u003c/p>\n\u003cp>It was after a disastrous performance at a puppet festival in Utah that Spinney met Muppet master Jim Henson, who came backstage and told him, “I liked what you were trying to do,” Spinney remembered Henson saying, in his memoir.\u003c/p>\n\u003cp>Spinney would join the Muppet crew when “Sesame Street” was about to turn them from popular phenomenon into an American institution. Henson brought his signature character, Kermit the Frog, to the show. His right-hand man Frank Oz would become famous via Grover and Cookie Monster. Together they created Ernie and Bert.\u003c/p>\n\u003cp>But Big Bird would become the show’s biggest star, his name and image synonymous with not just “Sesame Street” but PBS and children’s television.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/B45wF14JYfY/\" title=\"View on Instagram\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/media-4\" alt=\"Instagram Photo\">\u003c/a>\u003c/p>\n\u003cp>The character was usually used for comedy, but his innocence and questioning was also useful when serious subjects needed addressing. When “Sesame Street” shopkeeper Mr. Hooper died, Big Bird had to get a lesson in accepting death, saying in the memorable 1983 episode that “he’s gotta come back. Who’s gonna take care of the store? Who’s gonna make my birdseed milkshakes, and tell me stories?”\u003c/p>\n\u003cp>When Henson died suddenly in 1990 at age 53, leaving the Muppet world devastated, Big Bird played the same part in real life. At the funeral, Spinney appeared alone on stage in full Big Bird costume and sang “It’s Not Easy Bein’ Green,” Kermit’s signature song.\u003cbr>\n“It was extraordinarily moving,” Oz said in the Spinney documentary. “It tore people up.”\u003c/p>\n\u003cp>Spinney said he was crying under the feathers but he got through the song, looking at the sky and saying, “Thank you Kermit,” before walking off.\u003c/p>\n\u003cp>Sesame Street co-founder Joan Ganz Cooney said Sunday that Spinney, her longtime colleague and friend, “not only gave us Big Bird and Oscar the Grouch, he gave so much of himself as well.”\u003c/p>\n\u003cp>“We at Sesame Workshop mourn his passing and feel an immense gratitude for all he has given to Sesame Street and to children around the world,” she said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- to be implemented later -->\u003c/p>\n\n",
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"description": "Caroll Spinney, who gave Big Bird his warmth and Oscar the Grouch his growl for nearly 50 years on “Sesame Street,” died Sunday at the age of 85 at his home in Connecticut, according to the Sesame Workshop. The Sesame Workshop said in a statement that the legendary puppeteer lived for some time with dystonia,",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Caroll Spinney, who gave Big Bird his warmth and Oscar the Grouch his growl for nearly 50 years on “Sesame Street,” died Sunday at the age of 85 at his home in Connecticut, according to the Sesame Workshop.\u003c/p>\n\u003cp>The Sesame Workshop said in a statement that the legendary puppeteer lived for some time with dystonia, which causes involuntary muscle contractions.\u003c/p>\n\u003cp>Spinney voiced and operated the two major Muppets from their inception in 1969 when he was 36, and performed them almost exclusively into his 80s on the PBS kids’ television show that later moved to HBO.\u003c/p>\n\u003cp>“Before I came to ‘Sesame Street,’ I didn’t feel like what I was doing was very important,” Spinney said when he announced his retirement in 2018. “Big Bird helped me find my purpose.”\u003c/p>\n\u003cp> \u003c!-- to be implemented later -->\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Through his two characters, Spinney gained huge fame that brought international tours, books, record albums, movie roles, and visits to the White House.\u003c/p>\n\u003cp>“Caroll was an artistic genius whose kind and loving view of the world helped shape and define Sesame Street from its earliest days in 1969 through five decades, and his legacy here at Sesame Workshop and in the cultural firmament will be unending,” the Sesame Workshop said.\u003c/p>\n\u003cp>But he never became a household name.\u003c/p>\n\u003cp>“I may be the most unknown famous person in America,” Spinney said in his 2003 memoir. “It’s the bird that’s famous.”\u003c/p>\n\u003cp>Spinney gave “Sesame Street” its emotional yin and yang, infusing the 8-foot-2 Big Bird with a childlike sweetness often used to handle sad subjects, and giving the trashcan-dwelling Oscar, whose voice Spinney based on a New York cabbie, a street-wise cynicism that masked a tender core.\u003c/p>\n\u003cp>“I like being miserable. That makes me happy,” Oscar often said. “But I don’t like being happy, so that makes me miserable.”\u003c/p>\n\u003cp> \u003c!-- to be implemented later -->\u003c/p>\n\u003cp>To colleagues there was no question which character the kindly Spinney resembled.\u003c/p>\n\u003cp>“Big Bird is him and he is Big Bird,” former “Sesame Street” head writer Norman Stiles said in a 2014 documentary on Spinney.\u003c/p>\n\u003cp>It wasn’t easy being Big Bird. To play the part, Spinney would strap a TV monitor to his chest as his only eyes to the outside. Then the giant yellow bird body was placed over him. He held his right arm aloft constantly to operate the head, and used his left hand to operate both arms. The bird tended to slouch more as the years took their toll.\u003c/p>\n\u003cp>In 2015, Spinney switched to just providing the characters’ voices. That year, the longtime PBS show inked a five-year pact with HBO that gave the premium cable channel the right to air new episodes nine months before they air on PBS.\u003c/p>\n\u003cblockquote class=\"embedly-card\" data-card-align=\"center\" data-card-theme=\"light\" data-card-key=\"315412bdcd554e5fab14e2295681d82f\">\n\u003ch4>\u003ca href=\"https://twitter.com/SesameWorkshop/status/1203727633458094080\">Sesame Workshop on Twitter\u003c/a>\u003c/h4>\n\u003cp>Caroll Spinney, the legendary puppeteer behind beloved Sesame Street characters Big Bird and Oscar the Grouch, died today, December 8th 2019, at age 85 at his home in Connecticut, after living with Dystonia for some time. https://t.co/9nQ8H9iUES\u003c/p>\n\u003c/blockquote>\n\u003cp>Big Bird’s builder Kermit Love always insisted that his design was a puppet, not a costume. But to many children, he was neither. He was real.\u003c/p>\n\u003cp>“Eight-year-olds have discovered to their horror that he’s a puppet,” Spinney told The Associated Press in 1987.\u003c/p>\n\u003cp>Born in 1933 in Waltham Massachusetts, Spinney had a deeply supportive mother who built him a puppet theater after he bought his first puppet, a monkey, at age 8.\u003c/p>\n\u003cp>He spent four years in the U.S. Air Force after high school, then returned to Massachusetts and broke into television. He teamed up with fellow puppeteer Judy Valentine for their own daily series, then worked on a Boston version of the clown show “Bozo’s Big Top.”\u003c/p>\n\u003cp>Spinney in this period had three children, Jessica, Melissa and Benjamin, all from his 1960 to 1971 marriage to Janice Spinney. He later married his second wife Debra in 1979, and the two were nearly inseparable for the rest of his life.\u003c/p>\n\u003cp>It was after a disastrous performance at a puppet festival in Utah that Spinney met Muppet master Jim Henson, who came backstage and told him, “I liked what you were trying to do,” Spinney remembered Henson saying, in his memoir.\u003c/p>\n\u003cp>Spinney would join the Muppet crew when “Sesame Street” was about to turn them from popular phenomenon into an American institution. Henson brought his signature character, Kermit the Frog, to the show. His right-hand man Frank Oz would become famous via Grover and Cookie Monster. Together they created Ernie and Bert.\u003c/p>\n\u003cp>But Big Bird would become the show’s biggest star, his name and image synonymous with not just “Sesame Street” but PBS and children’s television.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/B45wF14JYfY/\" title=\"View on Instagram\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/media-4\" alt=\"Instagram Photo\">\u003c/a>\u003c/p>\n\u003cp>The character was usually used for comedy, but his innocence and questioning was also useful when serious subjects needed addressing. When “Sesame Street” shopkeeper Mr. Hooper died, Big Bird had to get a lesson in accepting death, saying in the memorable 1983 episode that “he’s gotta come back. Who’s gonna take care of the store? 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At the funeral, Spinney appeared alone on stage in full Big Bird costume and sang “It’s Not Easy Bein’ Green,” Kermit’s signature song.\u003cbr>\n“It was extraordinarily moving,” Oz said in the Spinney documentary. “It tore people up.”\u003c/p>\n\u003cp>Spinney said he was crying under the feathers but he got through the song, looking at the sky and saying, “Thank you Kermit,” before walking off.\u003c/p>\n\u003cp>Sesame Street co-founder Joan Ganz Cooney said Sunday that Spinney, her longtime colleague and friend, “not only gave us Big Bird and Oscar the Grouch, he gave so much of himself as well.”\u003c/p>\n\u003cp>“We at Sesame Workshop mourn his passing and feel an immense gratitude for all he has given to Sesame Street and to children around the world,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>You don’t have to be a Christian or given to holiday season kitsch to appreciate the annual \u003ca href=\"http://www.christmascreche.org\" target=\"_blank\" rel=\"noopener noreferrer\">Christmas Crèche Exhibit\u003c/a> at the Church of Jesus Christ of Latter-day Saints in Palo Alto.\u003c/p>\n\u003cp>For a couple thousand years now, the nativity scene has inspired artists all over the world to depict the magic of the Christmas story: Baby Jesus in a Bethlehem manger, surrounded by his parents, Mary and Joseph, the three wise men, shepherds, a host of farm animals and sometimes local villagers, too. It’s an ancient tradition, as open to individual interpretation as there are humans on earth. \u003c/p>\n\u003cp>“It started with just a few people, with a few nativities, from a few places, in one room, and it’s grown to now, where we have it for five days and 10,000 people come every year as a tradition,” says Marguerite Gong Hancock, co-director and co-founder, here all 32 years the church has been putting on this show.\u003c/p>\n\u003cfigure id=\"attachment_13871058\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871058\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/RS40347_PHOTO-DEC-06-10-24-13-AM-qut.jpg\" alt=\"This nativity scene from Ethiopia is painted on goat skin.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40347_PHOTO-DEC-06-10-24-13-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40347_PHOTO-DEC-06-10-24-13-AM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40347_PHOTO-DEC-06-10-24-13-AM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40347_PHOTO-DEC-06-10-24-13-AM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40347_PHOTO-DEC-06-10-24-13-AM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40347_PHOTO-DEC-06-10-24-13-AM-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">This nativity scene from Ethiopia is painted on goat skin. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These days, people come by the busload from senior centers and elementary schools all over the San Francisco Bay Area and beyond. Families and book clubs add lunch nearby and make a day of it in Palo Alto.\u003c/p>\n\u003cp>The exhibit now takes over the whole building, from the sanctuary to the basketball court. There are 50 countries represented, with more than 250 nativities in every media imaginable: paint, porcelain, crystal, driftwood, goat skin, tagua nut, recycled bicycle wheels, auto parts, et cetera.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We have a whole range, things that are from artists who may be internationally known to things that are made by school children,” Gong Hancock says.\u003c/p>\n\u003cfigure id=\"attachment_13871059\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13871059 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/RS40348_PHOTO-DEC-06-10-25-49-AM-qut.jpg\" alt=\"This nativity scene from Ecuador is carved out of tagua nut.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40348_PHOTO-DEC-06-10-25-49-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40348_PHOTO-DEC-06-10-25-49-AM-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40348_PHOTO-DEC-06-10-25-49-AM-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40348_PHOTO-DEC-06-10-25-49-AM-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40348_PHOTO-DEC-06-10-25-49-AM-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40348_PHOTO-DEC-06-10-25-49-AM-qut-1200x900.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">This nativity scene from Ecuador is carved out of tagua nut. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Straining to remember whether this pastiche reflects the stories told in biblical texts? Better to relax and accept this genre gives wide berth to artistic imagination and cultural diversity.\u003c/p>\n\u003cp>Thousands of people apply to feature their nativity scenes every year, but only ten percent or so are chosen. Gong Hancock and her co-curator try to contain the deluge with an annual theme.\u003c/p>\n\u003cp>This year, the theme is “Star of Wonder, Star of Night,” referencing the popular Christmas carol, \u003ca href=\"https://www.youtube.com/watch?v=fEGHk9LXQSk\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>We Three KIngs\u003c/em>\u003c/a>. Of course, that’s a broad theme. To further subcategorize, the church’s seven rooms each focus on a color, media or geographic region, like Asia, or South America.\u003c/p>\n\u003cfigure id=\"attachment_13871060\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871060\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/RS40346_PHOTO-DEC-06-10-23-06-AM-qut.jpg\" alt='This nativity scene, constructed from bicycle parts, is called \"\"The hopes and fears of all the gears.\" ' width=\"1920\" height=\"1755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40346_PHOTO-DEC-06-10-23-06-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40346_PHOTO-DEC-06-10-23-06-AM-qut-160x146.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40346_PHOTO-DEC-06-10-23-06-AM-qut-800x731.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40346_PHOTO-DEC-06-10-23-06-AM-qut-768x702.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40346_PHOTO-DEC-06-10-23-06-AM-qut-1020x932.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40346_PHOTO-DEC-06-10-23-06-AM-qut-1200x1097.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">This nativity scene, constructed from bicycle parts, is called “”The hopes and fears of all the gears.” \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003c/b>Where did this holiday staple begin? Gong Hancock explains, “The story goes that \u003ca href=\"https://slate.com/human-interest/2013/12/history-of-the-christmas-creche-st-francis-invented-the-nativity-scene.html\" target=\"_blank\" rel=\"noopener noreferrer\">St. Francis of Assisi\u003c/a>, in 1223, created the first nativity in Italy, inspired by seeing shepherds in the distance. Over time, people started to make beautiful figurines and statues, and the churches would put them on display. People would tour from church to church to church. So it’s in that spirit that we have gathered nativity scenes and opened wide our doors, so that people can come and enjoy them.”\u003c/p>\n\u003cp>There’s also live art, music, and marionette shows daily, as well as craft workshops for children. Is it over the top? Absolutely, but not in the materialistic way Americans have come to love and/or hate. The exhibit is free, the labor is volunteered, and the art is surprising and delightful, regardless of whether Christianity is your jam.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 32 annual Christmas Crèche Exhibit runs December 7-11, 2019 at the Church of Jesus Christ of Latter-day Saints in Palo Alto. \u003ca href=\"http://www.christmascreche.org\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You don’t have to be a Christian or given to holiday season kitsch to appreciate the annual \u003ca href=\"http://www.christmascreche.org\" target=\"_blank\" rel=\"noopener noreferrer\">Christmas Crèche Exhibit\u003c/a> at the Church of Jesus Christ of Latter-day Saints in Palo Alto.\u003c/p>\n\u003cp>For a couple thousand years now, the nativity scene has inspired artists all over the world to depict the magic of the Christmas story: Baby Jesus in a Bethlehem manger, surrounded by his parents, Mary and Joseph, the three wise men, shepherds, a host of farm animals and sometimes local villagers, too. It’s an ancient tradition, as open to individual interpretation as there are humans on earth. \u003c/p>\n\u003cp>“It started with just a few people, with a few nativities, from a few places, in one room, and it’s grown to now, where we have it for five days and 10,000 people come every year as a tradition,” says Marguerite Gong Hancock, co-director and co-founder, here all 32 years the church has been putting on this show.\u003c/p>\n\u003cfigure id=\"attachment_13871058\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871058\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/RS40347_PHOTO-DEC-06-10-24-13-AM-qut.jpg\" alt=\"This nativity scene from Ethiopia is painted on goat skin.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40347_PHOTO-DEC-06-10-24-13-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40347_PHOTO-DEC-06-10-24-13-AM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40347_PHOTO-DEC-06-10-24-13-AM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40347_PHOTO-DEC-06-10-24-13-AM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40347_PHOTO-DEC-06-10-24-13-AM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40347_PHOTO-DEC-06-10-24-13-AM-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">This nativity scene from Ethiopia is painted on goat skin. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These days, people come by the busload from senior centers and elementary schools all over the San Francisco Bay Area and beyond. Families and book clubs add lunch nearby and make a day of it in Palo Alto.\u003c/p>\n\u003cp>The exhibit now takes over the whole building, from the sanctuary to the basketball court. There are 50 countries represented, with more than 250 nativities in every media imaginable: paint, porcelain, crystal, driftwood, goat skin, tagua nut, recycled bicycle wheels, auto parts, et cetera.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have a whole range, things that are from artists who may be internationally known to things that are made by school children,” Gong Hancock says.\u003c/p>\n\u003cfigure id=\"attachment_13871059\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13871059 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/RS40348_PHOTO-DEC-06-10-25-49-AM-qut.jpg\" alt=\"This nativity scene from Ecuador is carved out of tagua nut.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40348_PHOTO-DEC-06-10-25-49-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40348_PHOTO-DEC-06-10-25-49-AM-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40348_PHOTO-DEC-06-10-25-49-AM-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40348_PHOTO-DEC-06-10-25-49-AM-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40348_PHOTO-DEC-06-10-25-49-AM-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40348_PHOTO-DEC-06-10-25-49-AM-qut-1200x900.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">This nativity scene from Ecuador is carved out of tagua nut. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Straining to remember whether this pastiche reflects the stories told in biblical texts? Better to relax and accept this genre gives wide berth to artistic imagination and cultural diversity.\u003c/p>\n\u003cp>Thousands of people apply to feature their nativity scenes every year, but only ten percent or so are chosen. Gong Hancock and her co-curator try to contain the deluge with an annual theme.\u003c/p>\n\u003cp>This year, the theme is “Star of Wonder, Star of Night,” referencing the popular Christmas carol, \u003ca href=\"https://www.youtube.com/watch?v=fEGHk9LXQSk\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>We Three KIngs\u003c/em>\u003c/a>. Of course, that’s a broad theme. To further subcategorize, the church’s seven rooms each focus on a color, media or geographic region, like Asia, or South America.\u003c/p>\n\u003cfigure id=\"attachment_13871060\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871060\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/RS40346_PHOTO-DEC-06-10-23-06-AM-qut.jpg\" alt='This nativity scene, constructed from bicycle parts, is called \"\"The hopes and fears of all the gears.\" ' width=\"1920\" height=\"1755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40346_PHOTO-DEC-06-10-23-06-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40346_PHOTO-DEC-06-10-23-06-AM-qut-160x146.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40346_PHOTO-DEC-06-10-23-06-AM-qut-800x731.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40346_PHOTO-DEC-06-10-23-06-AM-qut-768x702.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40346_PHOTO-DEC-06-10-23-06-AM-qut-1020x932.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/RS40346_PHOTO-DEC-06-10-23-06-AM-qut-1200x1097.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">This nativity scene, constructed from bicycle parts, is called “”The hopes and fears of all the gears.” \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003c/b>Where did this holiday staple begin? Gong Hancock explains, “The story goes that \u003ca href=\"https://slate.com/human-interest/2013/12/history-of-the-christmas-creche-st-francis-invented-the-nativity-scene.html\" target=\"_blank\" rel=\"noopener noreferrer\">St. Francis of Assisi\u003c/a>, in 1223, created the first nativity in Italy, inspired by seeing shepherds in the distance. Over time, people started to make beautiful figurines and statues, and the churches would put them on display. People would tour from church to church to church. So it’s in that spirit that we have gathered nativity scenes and opened wide our doors, so that people can come and enjoy them.”\u003c/p>\n\u003cp>There’s also live art, music, and marionette shows daily, as well as craft workshops for children. Is it over the top? Absolutely, but not in the materialistic way Americans have come to love and/or hate. The exhibit is free, the labor is volunteered, and the art is surprising and delightful, regardless of whether Christianity is your jam.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 32 annual Christmas Crèche Exhibit runs December 7-11, 2019 at the Church of Jesus Christ of Latter-day Saints in Palo Alto. \u003ca href=\"http://www.christmascreche.org\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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