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"title": "'Fleabag' and 'Game Of Thrones' Win Big at the Emmys",
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"content": "\u003cp>If you predicted that creator-actor Phoebe Waller-Bridge would be a big winner going into Sunday night’s Emmy Awards, you might just have won your Emmys pool. And if you were predicting a giant final haul of \u003cem>Game of Thrones \u003c/em>trophies as that show leaves us for good, you were … well, sort of right.\u003c/p>\n\u003cp>These Emmys started as many do, with a limp opening number that—now that “not having a host” is the new “having a host”—wandered from Homer Simpson to Anthony Anderson to Bryan Cranston, who offered a staid salute to television and the moon landing, and then to the general goodness of TV These Days. Not to complain, but … we could always go back to having a \u003cem>good \u003c/em>host.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hnyA-9r2Fro\u003c/p>\n\u003cp>\u003cstrong>Comedy Awards\u003c/strong>\u003c/p>\n\u003cp>Comedy was up first. Ben Stiller did a wax-figure bit with Bob Newhart, who was, of course, not a wax figure. And honestly, for an awards-show bit, it was pretty funny! They presented the stacked category of supporting actor in a comedy series: The nominees were Tony Shalhoub for \u003cem>The Marvelous Mrs. Maisel\u003c/em>, Henry Winkler \u003cem>and \u003c/em>Stephen Root \u003cem>and \u003c/em>Anthony Carrigan for \u003cem>Barry\u003c/em>, Alan Arkin for \u003cem>The Kominsky Method\u003c/em> and Tony Hale for \u003cem>Veep\u003c/em>. Shalhoub won, but that is a commanding group. Amy Poehler and Catherine O’Hara, an imposing duo indeed, presented the supporting actress in a comedy series award to Alex Borstein, also from \u003cem>Maisel\u003c/em>, despite another stacked category. For a moment, it began to look like another 2018, when \u003cem>Maisel \u003c/em>won eight awards, including outstanding comedy series.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But just as that suspicion began to set in, they gave the comedy series writing award to Waller-Bridge for \u003cem>Fleabag\u003c/em>, which completed its two-season story this year with a nearly perfect second set of episodes. (Amazon Prime, if you still haven’t watched it!) The directing prize went to Harry Bradbeer, also for \u003cem>Fleabag\u003c/em>, which meant, among other things, that Amazon had won the first four prizes of the night.\u003c/p>\n\u003cp>HBO roared back when Bill Hader won lead actor for \u003cem>Barry\u003c/em>, his series in which he plays a hit man. Could HBO keep it up? They could not, because when Hader was through, we went right back to Phoebe Waller-Bridge. Sometimes more recognized as a writer than a performer (she also created \u003cem>Killing Eve\u003c/em>), Waller-Bridge beat actresses like Julia Louis-Dreyfus, the legendary Catherine O’Hara, and fabulous performances in new series by Christina Applegate and Natasha Lyonne—not to mention Rachel Brosnahan, who won last year for \u003cem>Maisel\u003c/em>. It never seemed certain that the Academy would embrace something as idiosyncratic as \u003cem>Fleabag\u003c/em>; what a delight to see that they did.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dAXJir9knco\u003c/p>\n\u003cp>\u003cstrong>A Moment For Reality\u003c/strong>\u003c/p>\n\u003cp>While most of the reality awards have been shipped off to the Creative Arts ceremony that took place a week ago, the reality competition show stayed to represent the entire genre, and this year, it went to \u003cem>RuPaul’s Drag Race\u003c/em>. RuPaul got up on stage and told everyone to go and register to vote, the first time we’d hear a (very mild) nod to current events.\u003c/p>\n\u003cp>Before the limited series and movie awards started, there was a very special moment of … gratitude? … for the existence of HBO’s \u003cem>Game of Thrones\u003c/em>, during which the cast came on stage and recited lines about what a great time they had. Had there been a whole bunch of tributes to concluded shows, it might have seemed like a more graceful element of the broadcast. But bringing the entire show to a halt to salute \u003cem>Game of Thrones\u003c/em>—a show still in competition in these very awards!—felt, for lack of a better word, weird. After all, the way a show normally wins a chunk of attention is by winning awards, and many, many wonderful shows have never been recognized at all. \u003cem>Game of Thrones \u003c/em>has been honored a great deal at the Emmys \u003cem>and \u003c/em>its ending was covered extensively in the press \u003cem>and \u003c/em>it got high ratings. Why, exactly, does it need a special moment of appreciation? How are we deciding who gets this little tribute? Why not a special tribute for shows like \u003cem>Jane the Virgin \u003c/em>that were never Emmy favorites?\u003c/p>\n\u003cp>\u003cstrong>Limited Series/Movie Awards\u003c/strong>\u003c/p>\n\u003cp>When we did finally get around to giving out more awards, Patricia Arquette won for supporting actress in a limited series for Hulu’s \u003cem>The Act\u003c/em>, based on the true story of a mother and daughter. Arquette devoted most of her speech to the pain of losing her sister Alexis, and to a stirring call to treat trans people better.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6OXS7uVU0xA\u003c/p>\n\u003cp>In further limited-series news, Johan Renck won for directing \u003cem>Chernobyl \u003c/em>for HBO, Ben Whishaw won supporting actor for Amazon’s \u003cem>A Very English Scandal \u003c/em>(beating, among others, three actors from Ava DuVernay’s \u003cem>When They See Us \u003c/em>on Netflix; they may have suffered from some vote-splitting), and Craig Mazin won for writing the highly regarded \u003cem>Chernobyl\u003c/em>. Next up was the moment for \u003cem>When They See Us\u003c/em>, though, when Jharrel Jerome won best lead actor in a limited series for playing Korey Wise, one of the five men who were ultimately exonerated after spending years incarcerated for an assault in Central Park. Jerome, the only actor in the piece who played his character both as an adolescent at the time of the arrest and as an adult at the time of his exoneration, got one of the most excited reactions of the evening.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VpxBswBrQ2w\u003c/p>\n\u003cp>The award for best TV movie, a category that doesn’t get nearly the heat it used to, went to \u003cem>Bandersnatch\u003c/em>, Netflix’s \u003ca href=\"https://www.npr.org/2018/12/28/680671691/black-mirror-bandersnatch-makes-you-choose-your-own-adventure\">weird, uneven experiment\u003c/a> in interactive storytelling. Among other nominees, it beat the movie that wrapped up HBO’s \u003cem>Deadwood\u003c/em> years after it originally ended—perhaps a fitting legacy for a show that was denied major awards for its entire run.\u003c/p>\n\u003cp>Before they wrapped up the limited series/movie awards, there was a \u003cem>Veep \u003c/em>tribute similar to the \u003cem>Game of Thrones \u003c/em>tribute, and … well, once again, there have been a lot of opportunities to salute this show, including a string of Emmys for star Julia Louis-Dreyfus. The cast, being naturally funny, did more with the on-stage time than the \u003cem>Game of Thrones \u003c/em>cast did, but … the way you recognize shows on an awards show is with awards. If you don’t have enough to do, move some awards back from Creative Arts. Or just make the show shorter. Nobody will mind. You’ve got to believe me.\u003c/p>\n\u003cp>The lead actress in a limited series or movie was Michelle Williams for her indelible work as Gwen Verdon in FX’s \u003cem>Fosse/Verdon\u003c/em>. Williams, who gave that series most of its finest moments, made a stirring speech in which she told the story of having been supported in the things she asked for—more dance lessons, a better wig, better fake teeth—and having been paid equally. She called out the particularly low pay that goes to women of color, and said that valuing people leads them to put that value back into their work.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UbMUl57nDAQ\u003c/p>\n\u003cp>The Emmy for limited series went to \u003cem>Chernobyl\u003c/em>, and there’s a good argument to be made that that award, while it’s in the middle of the show rather than at the end, is as prestigious as any. Limited series are the home of a lot of the most interesting work that’s happening at any given moment.\u003c/p>\n\u003cp>\u003cstrong>Variety Series\u003c/strong>\u003c/p>\n\u003cp>When you think about it, “Variety” is an inappropriate name for the variety category. You know how you can tell? The award for variety series writing went to the writers from \u003cem>Last Week Tonight With John Oliver\u003c/em>, which has been winning and winning, and the award for outstanding sketch series went to the young upstart known as \u003cem>Saturday Night Live\u003c/em>, which also took the directing award. Not to take anything away from these winners that have won a billion awards already, but if you haven’t yet watched \u003cem>Documentary Now!\u003c/em>, which was nominated in the sketch category and didn’t win, I encourage you to track it down immediately. It was fun, we must admit, to see Billy Porter, wearing perhaps the best hat of the year, present the award for best variety talk series to \u003cem>Last Week Tonight With John Oliver\u003c/em>, even if it was for the fourth straight time.\u003c/p>\n\u003cp>For whatever reason, variety category winners tend to win for 11 years in a row or what have you, or they never win at all. Variety, indeed.\u003c/p>\n\u003cp>\u003cstrong>Drama Series Awards\u003c/strong>\u003c/p>\n\u003cp>And then it was time for some drama.\u003c/p>\n\u003cp>Viola Davis came out in some genuinely great sneakers (comfort is important!) to present the award for supporting actor in a drama series. Unsurprisingly, it went to Peter Dinklage, who won for the fourth time for \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>In fresher news, Jesse Armstrong won for drama series writing, for HBO’s exceptional \u003cem>Succession\u003c/em>, which seems destined to one day win for drama series, even if it was not to be this year. The supporting actress Emmy was nabbed by another actor from a somewhat lower-profile show: Julia Garner for \u003cem>Ozark\u003c/em>, a Netflix drama that’s maintained a solid awards profile and has an enthusiastic following but more modest critical attention. \u003cem>Ozark \u003c/em>also won Jason Bateman, its star, an Emmy for directing. (Raise your hand if you called that one back when he was on \u003cem>Silver Spoons\u003c/em>.)\u003c/p>\n\u003cp>Some awards just seem like good news all around, and the next one to be handed out fit that bill: The award for lead actor in a drama series went to the wonderful Billy Porter for \u003cem>Pose\u003c/em>, and if you didn’t feel good about anything else that happened at this ceremony, how could you not feel good about that? And then Billy Porter was followed by a win for Jodie Comer, who plays the wicked Villanelle on \u003cem>Killing Eve\u003c/em>; she won for lead actress in a drama series. So that’s two winning roles—on \u003cem>Killing Eve \u003c/em>and \u003cem>Fleabag\u003c/em>—that were developed by the same creator, Phoebe Waller-Bridge.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U2qO9UdA6WA\u003c/p>\n\u003cp>It wasn’t over yet.\u003c/p>\n\u003cp>\u003cem>Fleabag\u003c/em>‘s night—and its Emmy run—concluded with a comedy series win for this unusual, beautiful, very funny show that probably could not have existed in quite this way even 10 years ago. This was the part of the evening where things felt surprising.\u003c/p>\n\u003cp>Best drama series went to \u003cem>Game of Thrones—\u003c/em>which, it turns out, did not need to have been given a tribute in the middle of the broadcast as if it were an adorable hero dog who saved someone from drowning, on top of winning the top award of them all … again. This was the part where things felt unsurprising.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This is the Emmys, in a nutshell: You win some—or the people whose work you like win some—and you lose some. But if you grew up watching this show turn its nose up at almost everything that felt new or fresh or experimental, seeing Billy Porter and Phoebe Waller-Bridge and Jodie Comer and Bill Hader winning Emmys for these roles? It’s not bad.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fleabag%27+And+%27Game+Of+Thrones%27+Win+Big+At+The+Emmys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"description": "Phoebe Waller-Bridge's 'Fleabag' and the departing 'Game of Thrones' both came up big Sunday night, as did 'Chernobyl' and 'The Marvelous Mrs. Maisel'.",
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"headline": "'Fleabag' and 'Game Of Thrones' Win Big at the Emmys",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you predicted that creator-actor Phoebe Waller-Bridge would be a big winner going into Sunday night’s Emmy Awards, you might just have won your Emmys pool. And if you were predicting a giant final haul of \u003cem>Game of Thrones \u003c/em>trophies as that show leaves us for good, you were … well, sort of right.\u003c/p>\n\u003cp>These Emmys started as many do, with a limp opening number that—now that “not having a host” is the new “having a host”—wandered from Homer Simpson to Anthony Anderson to Bryan Cranston, who offered a staid salute to television and the moon landing, and then to the general goodness of TV These Days. Not to complain, but … we could always go back to having a \u003cem>good \u003c/em>host.\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/hnyA-9r2Fro'\n title='//www.youtube.com/embed/hnyA-9r2Fro'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Comedy Awards\u003c/strong>\u003c/p>\n\u003cp>Comedy was up first. Ben Stiller did a wax-figure bit with Bob Newhart, who was, of course, not a wax figure. And honestly, for an awards-show bit, it was pretty funny! They presented the stacked category of supporting actor in a comedy series: The nominees were Tony Shalhoub for \u003cem>The Marvelous Mrs. Maisel\u003c/em>, Henry Winkler \u003cem>and \u003c/em>Stephen Root \u003cem>and \u003c/em>Anthony Carrigan for \u003cem>Barry\u003c/em>, Alan Arkin for \u003cem>The Kominsky Method\u003c/em> and Tony Hale for \u003cem>Veep\u003c/em>. Shalhoub won, but that is a commanding group. Amy Poehler and Catherine O’Hara, an imposing duo indeed, presented the supporting actress in a comedy series award to Alex Borstein, also from \u003cem>Maisel\u003c/em>, despite another stacked category. For a moment, it began to look like another 2018, when \u003cem>Maisel \u003c/em>won eight awards, including outstanding comedy series.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But just as that suspicion began to set in, they gave the comedy series writing award to Waller-Bridge for \u003cem>Fleabag\u003c/em>, which completed its two-season story this year with a nearly perfect second set of episodes. (Amazon Prime, if you still haven’t watched it!) The directing prize went to Harry Bradbeer, also for \u003cem>Fleabag\u003c/em>, which meant, among other things, that Amazon had won the first four prizes of the night.\u003c/p>\n\u003cp>HBO roared back when Bill Hader won lead actor for \u003cem>Barry\u003c/em>, his series in which he plays a hit man. Could HBO keep it up? They could not, because when Hader was through, we went right back to Phoebe Waller-Bridge. Sometimes more recognized as a writer than a performer (she also created \u003cem>Killing Eve\u003c/em>), Waller-Bridge beat actresses like Julia Louis-Dreyfus, the legendary Catherine O’Hara, and fabulous performances in new series by Christina Applegate and Natasha Lyonne—not to mention Rachel Brosnahan, who won last year for \u003cem>Maisel\u003c/em>. It never seemed certain that the Academy would embrace something as idiosyncratic as \u003cem>Fleabag\u003c/em>; what a delight to see that they did.\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/dAXJir9knco'\n title='//www.youtube.com/embed/dAXJir9knco'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>A Moment For Reality\u003c/strong>\u003c/p>\n\u003cp>While most of the reality awards have been shipped off to the Creative Arts ceremony that took place a week ago, the reality competition show stayed to represent the entire genre, and this year, it went to \u003cem>RuPaul’s Drag Race\u003c/em>. RuPaul got up on stage and told everyone to go and register to vote, the first time we’d hear a (very mild) nod to current events.\u003c/p>\n\u003cp>Before the limited series and movie awards started, there was a very special moment of … gratitude? … for the existence of HBO’s \u003cem>Game of Thrones\u003c/em>, during which the cast came on stage and recited lines about what a great time they had. Had there been a whole bunch of tributes to concluded shows, it might have seemed like a more graceful element of the broadcast. But bringing the entire show to a halt to salute \u003cem>Game of Thrones\u003c/em>—a show still in competition in these very awards!—felt, for lack of a better word, weird. After all, the way a show normally wins a chunk of attention is by winning awards, and many, many wonderful shows have never been recognized at all. \u003cem>Game of Thrones \u003c/em>has been honored a great deal at the Emmys \u003cem>and \u003c/em>its ending was covered extensively in the press \u003cem>and \u003c/em>it got high ratings. Why, exactly, does it need a special moment of appreciation? How are we deciding who gets this little tribute? Why not a special tribute for shows like \u003cem>Jane the Virgin \u003c/em>that were never Emmy favorites?\u003c/p>\n\u003cp>\u003cstrong>Limited Series/Movie Awards\u003c/strong>\u003c/p>\n\u003cp>When we did finally get around to giving out more awards, Patricia Arquette won for supporting actress in a limited series for Hulu’s \u003cem>The Act\u003c/em>, based on the true story of a mother and daughter. Arquette devoted most of her speech to the pain of losing her sister Alexis, and to a stirring call to treat trans people better.\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/6OXS7uVU0xA'\n title='//www.youtube.com/embed/6OXS7uVU0xA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In further limited-series news, Johan Renck won for directing \u003cem>Chernobyl \u003c/em>for HBO, Ben Whishaw won supporting actor for Amazon’s \u003cem>A Very English Scandal \u003c/em>(beating, among others, three actors from Ava DuVernay’s \u003cem>When They See Us \u003c/em>on Netflix; they may have suffered from some vote-splitting), and Craig Mazin won for writing the highly regarded \u003cem>Chernobyl\u003c/em>. Next up was the moment for \u003cem>When They See Us\u003c/em>, though, when Jharrel Jerome won best lead actor in a limited series for playing Korey Wise, one of the five men who were ultimately exonerated after spending years incarcerated for an assault in Central Park. Jerome, the only actor in the piece who played his character both as an adolescent at the time of the arrest and as an adult at the time of his exoneration, got one of the most excited reactions of the evening.\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/VpxBswBrQ2w'\n title='//www.youtube.com/embed/VpxBswBrQ2w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The award for best TV movie, a category that doesn’t get nearly the heat it used to, went to \u003cem>Bandersnatch\u003c/em>, Netflix’s \u003ca href=\"https://www.npr.org/2018/12/28/680671691/black-mirror-bandersnatch-makes-you-choose-your-own-adventure\">weird, uneven experiment\u003c/a> in interactive storytelling. Among other nominees, it beat the movie that wrapped up HBO’s \u003cem>Deadwood\u003c/em> years after it originally ended—perhaps a fitting legacy for a show that was denied major awards for its entire run.\u003c/p>\n\u003cp>Before they wrapped up the limited series/movie awards, there was a \u003cem>Veep \u003c/em>tribute similar to the \u003cem>Game of Thrones \u003c/em>tribute, and … well, once again, there have been a lot of opportunities to salute this show, including a string of Emmys for star Julia Louis-Dreyfus. The cast, being naturally funny, did more with the on-stage time than the \u003cem>Game of Thrones \u003c/em>cast did, but … the way you recognize shows on an awards show is with awards. If you don’t have enough to do, move some awards back from Creative Arts. Or just make the show shorter. Nobody will mind. You’ve got to believe me.\u003c/p>\n\u003cp>The lead actress in a limited series or movie was Michelle Williams for her indelible work as Gwen Verdon in FX’s \u003cem>Fosse/Verdon\u003c/em>. Williams, who gave that series most of its finest moments, made a stirring speech in which she told the story of having been supported in the things she asked for—more dance lessons, a better wig, better fake teeth—and having been paid equally. She called out the particularly low pay that goes to women of color, and said that valuing people leads them to put that value back into their work.\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/UbMUl57nDAQ'\n title='//www.youtube.com/embed/UbMUl57nDAQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Emmy for limited series went to \u003cem>Chernobyl\u003c/em>, and there’s a good argument to be made that that award, while it’s in the middle of the show rather than at the end, is as prestigious as any. Limited series are the home of a lot of the most interesting work that’s happening at any given moment.\u003c/p>\n\u003cp>\u003cstrong>Variety Series\u003c/strong>\u003c/p>\n\u003cp>When you think about it, “Variety” is an inappropriate name for the variety category. You know how you can tell? The award for variety series writing went to the writers from \u003cem>Last Week Tonight With John Oliver\u003c/em>, which has been winning and winning, and the award for outstanding sketch series went to the young upstart known as \u003cem>Saturday Night Live\u003c/em>, which also took the directing award. Not to take anything away from these winners that have won a billion awards already, but if you haven’t yet watched \u003cem>Documentary Now!\u003c/em>, which was nominated in the sketch category and didn’t win, I encourage you to track it down immediately. It was fun, we must admit, to see Billy Porter, wearing perhaps the best hat of the year, present the award for best variety talk series to \u003cem>Last Week Tonight With John Oliver\u003c/em>, even if it was for the fourth straight time.\u003c/p>\n\u003cp>For whatever reason, variety category winners tend to win for 11 years in a row or what have you, or they never win at all. Variety, indeed.\u003c/p>\n\u003cp>\u003cstrong>Drama Series Awards\u003c/strong>\u003c/p>\n\u003cp>And then it was time for some drama.\u003c/p>\n\u003cp>Viola Davis came out in some genuinely great sneakers (comfort is important!) to present the award for supporting actor in a drama series. Unsurprisingly, it went to Peter Dinklage, who won for the fourth time for \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>In fresher news, Jesse Armstrong won for drama series writing, for HBO’s exceptional \u003cem>Succession\u003c/em>, which seems destined to one day win for drama series, even if it was not to be this year. The supporting actress Emmy was nabbed by another actor from a somewhat lower-profile show: Julia Garner for \u003cem>Ozark\u003c/em>, a Netflix drama that’s maintained a solid awards profile and has an enthusiastic following but more modest critical attention. \u003cem>Ozark \u003c/em>also won Jason Bateman, its star, an Emmy for directing. (Raise your hand if you called that one back when he was on \u003cem>Silver Spoons\u003c/em>.)\u003c/p>\n\u003cp>Some awards just seem like good news all around, and the next one to be handed out fit that bill: The award for lead actor in a drama series went to the wonderful Billy Porter for \u003cem>Pose\u003c/em>, and if you didn’t feel good about anything else that happened at this ceremony, how could you not feel good about that? And then Billy Porter was followed by a win for Jodie Comer, who plays the wicked Villanelle on \u003cem>Killing Eve\u003c/em>; she won for lead actress in a drama series. So that’s two winning roles—on \u003cem>Killing Eve \u003c/em>and \u003cem>Fleabag\u003c/em>—that were developed by the same creator, Phoebe Waller-Bridge.\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/U2qO9UdA6WA'\n title='//www.youtube.com/embed/U2qO9UdA6WA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It wasn’t over yet.\u003c/p>\n\u003cp>\u003cem>Fleabag\u003c/em>‘s night—and its Emmy run—concluded with a comedy series win for this unusual, beautiful, very funny show that probably could not have existed in quite this way even 10 years ago. This was the part of the evening where things felt surprising.\u003c/p>\n\u003cp>Best drama series went to \u003cem>Game of Thrones—\u003c/em>which, it turns out, did not need to have been given a tribute in the middle of the broadcast as if it were an adorable hero dog who saved someone from drowning, on top of winning the top award of them all … again. This was the part where things felt unsurprising.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is the Emmys, in a nutshell: You win some—or the people whose work you like win some—and you lose some. But if you grew up watching this show turn its nose up at almost everything that felt new or fresh or experimental, seeing Billy Porter and Phoebe Waller-Bridge and Jodie Comer and Bill Hader winning Emmys for these roles? It’s not bad.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fleabag%27+And+%27Game+Of+Thrones%27+Win+Big+At+The+Emmys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Green Not Greed': Young Climate Protesters in their Own Words (and Signs)",
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"content": "\u003cp>On Friday, demonstrators from San Francisco, Oakland, San Jose and other Northern California cities \u003ca href=\"https://www.facebook.com/events/2857619404280511/\" target=\"_blank\" rel=\"noopener\">joined\u003c/a> the global \u003ca href=\"https://www.bayareaclimatestrike.net/\" target=\"_blank\" rel=\"noopener\">Climate Strike\u003c/a>, demanding a progressive climate policy, accountability from the globe’s biggest polluters and asylum for refugees escaping natural disasters. [aside postid='science_1947584']\u003c/p>\n\u003cp>In San Francisco, the march started at 10am on Seventh Street in front of the Federal Building, where House Speaker Nancy Pelosi’s office is located, and continued down Market Street. Marchers stopped at the storefronts and company headquarters of Bank of America, Amazon, BlackRock and PG&E to protest their contributions to the climate crisis through boisterous chants and slogans written in chalk on the sidewalks.\u003c/p>\n\u003cp>Most of the demonstrators were children and teenagers, some in the company of parents and teachers, others in groups of peers. Their handmade, creative protest signs called out adults in power and advocated for alternative energy, veganism, racial justice and more. Here’s what they told us:\u003c/p>\n\u003cfigure id=\"attachment_13866834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866834\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/climate-strike-1-800x533.jpg\" alt=\"Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. Teenage girls hold signs that say "You'll die of old age, I'll die of climate change" and "Don't be a fossil fool."\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m here because I care about our planet, and it’s going to get to a point where the effects of climate change are going to be irreversible,” says Abby Diacumos, 17, of San Mateo (left). “We have to do something now and every voice here has to be heard. … The greedy corporations are filled with white old men, and the people who care about this are younger millennials and Gen Zs, and we’re the ones making a difference.”\u003c/p>\n\u003cfigure id=\"attachment_13866835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866835\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/climate-strike-11-800x533.jpg\" alt=\"Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-11-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-11.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The reason we’re here is to support the youth striking across the globe. By bringing puppets, by bringing art, it’s a great way to bring people in,” says Rico Sisney of Green Peace, whose puppets of fossil fuel CEOs, including Shell’s Ben van Beurden and BP’s Bob Dudley, could be seen at the march (above). “We know that fossil fuel companies got us into this mess, so we want to put some names and faces of exactly who has helped cause this climate crisis.”\u003c/p>\n\u003cfigure id=\"attachment_13866836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866836\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/climate-strike-3-800x1200.jpg\" alt='Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. A teenage girl holds a sign that says \"Environmental racial justice issue. Black Lives Matter. Abolish ICE.\"' width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-3-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-3-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are factories being built in low-income communities, and we are being affected the most,” says Ana Mendez, 17, of Oakland. “We live in Oakland and there’s people living in Piedmont who live 10 years more than us because of the air quality.”\u003c/p>\n\u003cfigure id=\"attachment_13866857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866857\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/climate-strike-13-800x533.jpg\" alt='Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. A teenage boy holds a sign that says \"If you did your job we would be in school.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-13-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-13.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have to miss school for this, and my sister is missing a Spanish test today,” says William Floid, 14, of Menlo Park. “We wouldn’t have to be doing this if [the adults] were doing things right.”\u003c/p>\n\u003cfigure id=\"attachment_13866837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866837\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/climate-strike-6-800x533.jpg\" alt=\"Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. A mother holds a baby with the sign "It's my world."\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-6-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s going to have to have whatever we leave, and I want to make sure we do what we can to leave it good for her,” says Cyan Samone of Mill Valley while holding baby Nova.\u003c/p>\n\u003cfigure id=\"attachment_13866838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/climate-strike-4-800x533.jpg\" alt='Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. One holds a sign that says \"Like the ocean we rise.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-4-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-4.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m here because our Earth is in danger. It’s clear to see to everybody except our leaders,” says Néha Gupta, 16, of San Leandro (right). “The oceans rising disproportionately affects the poor, especially in other countries as well. And I just feel like whole parts of our world are going to be washed away if we don’t do something about it.”\u003c/p>\n\u003cfigure id=\"attachment_13866840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866840\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/climate-strike-8-800x1200.jpg\" alt='Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. A young man holds a sign that says \"Ditch Tesla, invest in trains.\"' width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-8.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-8-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-8-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Technocratic individualist solutions won’t stop a systemic issue,” says Kevin Nguyen of Sunnyvale.\u003c/p>\n\u003cfigure id=\"attachment_13866839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/climate-strike-5-800x533.jpg\" alt='Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. Three teenage girls hold a sign that says \"Global warming is a global warning.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-5-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I care about my future and I want to be able to have a family where everyone is safe and can grow up in a good environment,” says Shima Dixon, 14, of Berkeley (left).\u003c/p>\n\u003cfigure id=\"attachment_13866841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866841\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/climate-strike-7-800x533.jpg\" alt='Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. A teenage girl holds a sign that says \"Our air is as clean as my browser history.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-7-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-7.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m here because I’m upset with how the adults have treated our Earth, and I believe if I stand up against what’s happening right now we can maybe get some attention and actually get change,” says Kate Richardson, 15, of Los Altos. “And the story behind my sign is I recently got grounded for my browser history, so this is me not only standing up to my parents, but also standing up to climate change at the same time.”\u003c/p>\n\u003cfigure id=\"attachment_13866842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866842\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_3720-800x533.jpg\" alt=\"Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3720-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3720-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3720-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3720-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3720-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3720.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In our school, there are [students from] 40 different countries, so I asked everyone to write down ‘help’ in their own language,” says Ha Tian, 19, of San Francisco (left). “Our climate is dying and it’s a global issue.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The San Francisco Climate Strike drew tens of thousands of young protesters demanding a progressive climate policy.",
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"title": "'Green Not Greed': Young Climate Protesters in their Own Words (and Signs) | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday, demonstrators from San Francisco, Oakland, San Jose and other Northern California cities \u003ca href=\"https://www.facebook.com/events/2857619404280511/\" target=\"_blank\" rel=\"noopener\">joined\u003c/a> the global \u003ca href=\"https://www.bayareaclimatestrike.net/\" target=\"_blank\" rel=\"noopener\">Climate Strike\u003c/a>, demanding a progressive climate policy, accountability from the globe’s biggest polluters and asylum for refugees escaping natural disasters. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In San Francisco, the march started at 10am on Seventh Street in front of the Federal Building, where House Speaker Nancy Pelosi’s office is located, and continued down Market Street. Marchers stopped at the storefronts and company headquarters of Bank of America, Amazon, BlackRock and PG&E to protest their contributions to the climate crisis through boisterous chants and slogans written in chalk on the sidewalks.\u003c/p>\n\u003cp>Most of the demonstrators were children and teenagers, some in the company of parents and teachers, others in groups of peers. Their handmade, creative protest signs called out adults in power and advocated for alternative energy, veganism, racial justice and more. Here’s what they told us:\u003c/p>\n\u003cfigure id=\"attachment_13866834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866834\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/climate-strike-1-800x533.jpg\" alt=\"Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. Teenage girls hold signs that say "You'll die of old age, I'll die of climate change" and "Don't be a fossil fool."\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m here because I care about our planet, and it’s going to get to a point where the effects of climate change are going to be irreversible,” says Abby Diacumos, 17, of San Mateo (left). “We have to do something now and every voice here has to be heard. … The greedy corporations are filled with white old men, and the people who care about this are younger millennials and Gen Zs, and we’re the ones making a difference.”\u003c/p>\n\u003cfigure id=\"attachment_13866835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866835\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/climate-strike-11-800x533.jpg\" alt=\"Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-11-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-11.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The reason we’re here is to support the youth striking across the globe. By bringing puppets, by bringing art, it’s a great way to bring people in,” says Rico Sisney of Green Peace, whose puppets of fossil fuel CEOs, including Shell’s Ben van Beurden and BP’s Bob Dudley, could be seen at the march (above). “We know that fossil fuel companies got us into this mess, so we want to put some names and faces of exactly who has helped cause this climate crisis.”\u003c/p>\n\u003cfigure id=\"attachment_13866836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866836\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/climate-strike-3-800x1200.jpg\" alt='Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. A teenage girl holds a sign that says \"Environmental racial justice issue. Black Lives Matter. Abolish ICE.\"' width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-3-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-3-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are factories being built in low-income communities, and we are being affected the most,” says Ana Mendez, 17, of Oakland. “We live in Oakland and there’s people living in Piedmont who live 10 years more than us because of the air quality.”\u003c/p>\n\u003cfigure id=\"attachment_13866857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866857\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/climate-strike-13-800x533.jpg\" alt='Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. A teenage boy holds a sign that says \"If you did your job we would be in school.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-13-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-13.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have to miss school for this, and my sister is missing a Spanish test today,” says William Floid, 14, of Menlo Park. “We wouldn’t have to be doing this if [the adults] were doing things right.”\u003c/p>\n\u003cfigure id=\"attachment_13866837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866837\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/climate-strike-6-800x533.jpg\" alt=\"Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. A mother holds a baby with the sign "It's my world."\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-6-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s going to have to have whatever we leave, and I want to make sure we do what we can to leave it good for her,” says Cyan Samone of Mill Valley while holding baby Nova.\u003c/p>\n\u003cfigure id=\"attachment_13866838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/climate-strike-4-800x533.jpg\" alt='Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. One holds a sign that says \"Like the ocean we rise.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-4-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-4.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m here because our Earth is in danger. It’s clear to see to everybody except our leaders,” says Néha Gupta, 16, of San Leandro (right). “The oceans rising disproportionately affects the poor, especially in other countries as well. And I just feel like whole parts of our world are going to be washed away if we don’t do something about it.”\u003c/p>\n\u003cfigure id=\"attachment_13866840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866840\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/climate-strike-8-800x1200.jpg\" alt='Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. A young man holds a sign that says \"Ditch Tesla, invest in trains.\"' width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-8.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-8-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-8-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Technocratic individualist solutions won’t stop a systemic issue,” says Kevin Nguyen of Sunnyvale.\u003c/p>\n\u003cfigure id=\"attachment_13866839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/climate-strike-5-800x533.jpg\" alt='Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. Three teenage girls hold a sign that says \"Global warming is a global warning.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-5-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I care about my future and I want to be able to have a family where everyone is safe and can grow up in a good environment,” says Shima Dixon, 14, of Berkeley (left).\u003c/p>\n\u003cfigure id=\"attachment_13866841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866841\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/climate-strike-7-800x533.jpg\" alt='Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. A teenage girl holds a sign that says \"Our air is as clean as my browser history.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-7-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/climate-strike-7.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m here because I’m upset with how the adults have treated our Earth, and I believe if I stand up against what’s happening right now we can maybe get some attention and actually get change,” says Kate Richardson, 15, of Los Altos. “And the story behind my sign is I recently got grounded for my browser history, so this is me not only standing up to my parents, but also standing up to climate change at the same time.”\u003c/p>\n\u003cfigure id=\"attachment_13866842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866842\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_3720-800x533.jpg\" alt=\"Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3720-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3720-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3720-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3720-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3720-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3720.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators at the Climate Strike in San Francisco on Sept. 20, 2019. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In our school, there are [students from] 40 different countries, so I asked everyone to write down ‘help’ in their own language,” says Ha Tian, 19, of San Francisco (left). “Our climate is dying and it’s a global issue.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Historic Presidio Theatre Reopens Following $40 Million Renovation",
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"content": "\u003cp>Following a $40 million dollar face lift, the \u003ca href=\"https://www.presidiotheatre.org\" target=\"_blank\" rel=\"noopener\">Presidio Theatre\u003c/a> in San Francisco is reopening this weekend after decades of neglect and disuse. \u003c/p>\n\u003cp>The venue was built in 1939 as the main social and entertainment hub for military personnel stationed at the Presidio army base, and it has a star-studded past.\u003c/p>\n\u003cp>Around 3,000 people showed up to see comedian and vaudevillian Jack Benny perform there in 1942, and millions more heard the \u003ca href=\"https://bayarearadio.org/audio/jack-benny\" target=\"_blank\" rel=\"noopener\">NBC radio broadcast\u003c/a> across the country and around the world.\u003c/p>\n\u003cfigure id=\"attachment_13866667\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-800x600.jpg\" alt=\"Presidio Trust Program Producer Brad Rosenstein\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Presidio Trust Program Producer Brad Rosenstein. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was one of the great performers of his time,” said Presidio Trust program producer Brad Rosenstein of the famed entertainer. “So that was a huge event to have happen here.”\u003c/p>\n\u003cp>Benny was just one of many big names who appeared at the venue. Marlene Dietrich, Lucille Ball, Loretta Young and Bob Hope also came through.\u003c/p>\n\u003cp>The celebrities visited the troops, signed autographs and sometimes put on shows.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“They weren’t trying to show off,” Rosenstein said. “They were doing it because they genuinely supported the war effort. They were here to visit the wounded soldiers. They weren’t trying to be stars.”\u003c/p>\n\u003cp>Back then, the theater wasn’t an ideal place to put on a live performance. It lacked dressing rooms. And the narrow, cramped stage didn’t have proper wings.\u003c/p>\n\u003cp>Rosenstein said stars like Benny and Hope got away with performing there because of the relatively low-key demands of radio production.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“These radio programs, because they didn’t have the requirements of a big stage production, could kind of squeeze into that space between the the apron and the screen,” Rosenstein said.\u003c/p>\n\u003cp>When the army moved out in 1994, the elegant, Spanish Colonial-style building fell into disuse.\u003c/p>\n\u003cfigure id=\"attachment_13866668\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-800x600.jpg\" alt=\"Architect Mark Hornberger\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Architect Mark Hornberger. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was dark. No lights. No power,” said San Francisco architect Mark Hornberger about visiting the run-down space for the first time a few years ago. “The ceiling had partially collapsed because the roof was leaking.”\u003c/p>\n\u003cp>Hornberger was part of the team that worked on the renovation project.\u003c/p>\n\u003cp>Originally conceived as a movie theater, the newly spruced-up building will now serve the broader community as a live events venue, as well as a space for screening films.\u003c/p>\n\u003cp>The eclectic programming for the coming months includes a dance performance by \u003ca href=\"https://www.presidiotheatre.org/show/kaisahan-unidad/\" target=\"_blank\" rel=\"noopener\">Ballet Folklórico de San Francisco and LIKHA-Pilipino Folk Ensemble\u003c/a>, the pop group \u003ca href=\"https://www.presidiotheatre.org/show/the-family-crest/\" target=\"_blank\" rel=\"noopener\">The Family Crest\u003c/a> in concert, a magic show from Bay Area illusionist \u003ca href=\"https://www.presidiotheatre.org/show/andrew-evans-an-evening-of-mystery-and-illusion/\" target=\"_blank\" rel=\"noopener\">Andrew Evans\u003c/a>, a rare public screening of \u003ca href=\"https://www.presidiotheatre.org/show/janes-declaration-of-independence/\" target=\"_blank\" rel=\"noopener\">the oldest-known movie shot in the Presidio\u003c/a> and an awards ceremony for this year’s \u003ca href=\"https://www.presidiotheatre.org/show/american-indian-motion-picture-awards-show/\" target=\"_blank\" rel=\"noopener\">American Indian Film Festival.\u003c/a>\u003c/p>\n\u003cp>The venue now has a roomy stage, a fancy sound and lighting system, gleaming dressing rooms and a customizable rehearsal space. And many of the historical features, such as the foundations, the auditorium ceiling fixtures and the projection booth, are still intact.\u003c/p>\n\u003cp>The theater now seats 600 audience members instead of the original 900. Hornberger said he thinks people will love the greater comfort and coziness, including the performers.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003ci>“\u003c/i>You really feel like you can see the eyes of every member of the audience, and they feel like they’re just within reach,” Hornberger said, gazing out at the rows of blue, fabric-upholstered seats from the stage. “It’s a very intimate space.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following a $40 million dollar face lift, the \u003ca href=\"https://www.presidiotheatre.org\" target=\"_blank\" rel=\"noopener\">Presidio Theatre\u003c/a> in San Francisco is reopening this weekend after decades of neglect and disuse. \u003c/p>\n\u003cp>The venue was built in 1939 as the main social and entertainment hub for military personnel stationed at the Presidio army base, and it has a star-studded past.\u003c/p>\n\u003cp>Around 3,000 people showed up to see comedian and vaudevillian Jack Benny perform there in 1942, and millions more heard the \u003ca href=\"https://bayarearadio.org/audio/jack-benny\" target=\"_blank\" rel=\"noopener\">NBC radio broadcast\u003c/a> across the country and around the world.\u003c/p>\n\u003cfigure id=\"attachment_13866667\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-800x600.jpg\" alt=\"Presidio Trust Program Producer Brad Rosenstein\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Presidio Trust Program Producer Brad Rosenstein. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was one of the great performers of his time,” said Presidio Trust program producer Brad Rosenstein of the famed entertainer. “So that was a huge event to have happen here.”\u003c/p>\n\u003cp>Benny was just one of many big names who appeared at the venue. Marlene Dietrich, Lucille Ball, Loretta Young and Bob Hope also came through.\u003c/p>\n\u003cp>The celebrities visited the troops, signed autographs and sometimes put on shows.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“They weren’t trying to show off,” Rosenstein said. “They were doing it because they genuinely supported the war effort. They were here to visit the wounded soldiers. They weren’t trying to be stars.”\u003c/p>\n\u003cp>Back then, the theater wasn’t an ideal place to put on a live performance. It lacked dressing rooms. And the narrow, cramped stage didn’t have proper wings.\u003c/p>\n\u003cp>Rosenstein said stars like Benny and Hope got away with performing there because of the relatively low-key demands of radio production.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“These radio programs, because they didn’t have the requirements of a big stage production, could kind of squeeze into that space between the the apron and the screen,” Rosenstein said.\u003c/p>\n\u003cp>When the army moved out in 1994, the elegant, Spanish Colonial-style building fell into disuse.\u003c/p>\n\u003cfigure id=\"attachment_13866668\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-800x600.jpg\" alt=\"Architect Mark Hornberger\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Architect Mark Hornberger. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was dark. No lights. No power,” said San Francisco architect Mark Hornberger about visiting the run-down space for the first time a few years ago. “The ceiling had partially collapsed because the roof was leaking.”\u003c/p>\n\u003cp>Hornberger was part of the team that worked on the renovation project.\u003c/p>\n\u003cp>Originally conceived as a movie theater, the newly spruced-up building will now serve the broader community as a live events venue, as well as a space for screening films.\u003c/p>\n\u003cp>The eclectic programming for the coming months includes a dance performance by \u003ca href=\"https://www.presidiotheatre.org/show/kaisahan-unidad/\" target=\"_blank\" rel=\"noopener\">Ballet Folklórico de San Francisco and LIKHA-Pilipino Folk Ensemble\u003c/a>, the pop group \u003ca href=\"https://www.presidiotheatre.org/show/the-family-crest/\" target=\"_blank\" rel=\"noopener\">The Family Crest\u003c/a> in concert, a magic show from Bay Area illusionist \u003ca href=\"https://www.presidiotheatre.org/show/andrew-evans-an-evening-of-mystery-and-illusion/\" target=\"_blank\" rel=\"noopener\">Andrew Evans\u003c/a>, a rare public screening of \u003ca href=\"https://www.presidiotheatre.org/show/janes-declaration-of-independence/\" target=\"_blank\" rel=\"noopener\">the oldest-known movie shot in the Presidio\u003c/a> and an awards ceremony for this year’s \u003ca href=\"https://www.presidiotheatre.org/show/american-indian-motion-picture-awards-show/\" target=\"_blank\" rel=\"noopener\">American Indian Film Festival.\u003c/a>\u003c/p>\n\u003cp>The venue now has a roomy stage, a fancy sound and lighting system, gleaming dressing rooms and a customizable rehearsal space. And many of the historical features, such as the foundations, the auditorium ceiling fixtures and the projection booth, are still intact.\u003c/p>\n\u003cp>The theater now seats 600 audience members instead of the original 900. Hornberger said he thinks people will love the greater comfort and coziness, including the performers.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003ci>“\u003c/i>You really feel like you can see the eyes of every member of the audience, and they feel like they’re just within reach,” Hornberger said, gazing out at the rows of blue, fabric-upholstered seats from the stage. “It’s a very intimate space.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Cam's Unlikely Journey from the Bay Area to Country Music Stardom in Nashville",
"headTitle": "Cam’s Unlikely Journey from the Bay Area to Country Music Stardom in Nashville | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith a double-platinum country single and songwriting credits for Sam Smith and Miley Cyrus, the country singer \u003ca href=\"https://www.camcountry.com/\" target=\"_blank\" rel=\"noopener\">Cam\u003c/a> has made a name for herself as a full-fledged Nashville star. But a conversation with her quickly reveals that she’s a Bay Area girl through and through.\u003c/p>\n\u003cp>A UC Davis grad raised in the Contra Costa County suburb of Lafayette, Cam (born Camaron Ochs) got her start playing in venues like Berkeley folk music haven the Starry Plough and Oakland dives the Stork Club and \u003ca href=\"https://www.eastbayexpress.com/oakland/last-days-of-mama-buzz/Content?oid=3069004\" target=\"_blank\" rel=\"noopener\">Mama Buzz Cafe\u003c/a>. (Mama Buzz, a now-shuttered all-ages venue, was where Oakland’s now-famous First Fridays coalesced in the late 2000s, when the tourist-friendly street fair was still a tiny, DIY block party.)\u003c/p>\n\u003cp>Cam, raised on Patsy Cline, Bonnie Raitt, Ray Charles and Joni Mitchell, had felt the Bay Area’s economic pressure to get a full-time job rather than work on music. Though she knew audiences had a hunger for what she calls “acoustic guitar-driven stories,” the Bay Area didn’t—and still doesn’t—have much of a country music scene.\u003c/p>\n\u003cp>But Cam’s anxieties were quickly dispelled. “If I had a show, people packed it out,” she says in a recent phone interview. “So whatever people say of support for different genres, the community \u003cem>loves\u003c/em> music.”\u003c/p>\n\u003cfigure id=\"attachment_13866628\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/CAM_press-photo-800x800.jpg\" alt=\"A portrait of Cam as she looks out a window and into the distance. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cam. \u003ccite>(Sony Music Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cam’s path to becoming one of country music’s most exciting voices was a winding one. Although she had always dreamed of a life in music, after graduating from UC Davis, she worked in psychology research at UC Berkeley and Stanford, waitressing on the side and playing shows on the weekends. While working at Stanford’s \u003ca href=\"https://culture-emotion-lab.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Culture and Emotion Lab\u003c/a>, where Cam co-authored two papers, she mulled over whether to pursue music as a career. During a moment of doubt, her boss, Professor Jeanne Tsai, posed a question that put everything in perspective: “Picture yourself 80 years old,” she said. “Looking back on your life, what would you regret missing out on: psychology research or music?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It just clicked, it was clear,” says Cam. “I would beat myself up if I didn’t give it a shot.”\u003c/p>\n\u003cp>So Cam packed her bags and moved to Portland—to “retire young” from working a day job, she tells me jokingly, and to focus exclusively on music. There, she began to write “Burning House,” the heartbreaking ballad that put her on the map as a solo artist. Evoking the crushing feeling of wanting to save someone who can’t be saved, the sweetly strummed song showcases Cam’s quietly profound lyrical abilities.\u003c/p>\n\u003cp>In a decade of ironic, detached pop, Cam went in the opposite direction, writing earnest lyrics about how much she cares—about love, relationships, her dreams. The approach proved to be refreshing for listeners. In addition to becoming certified double platinum in 2018, “Burning House” peaked at No. 2 on Billboard’s country chart and No. 29 on the Hot 100, and earned Cam a Grammy nomination in 2016.\u003c/p>\n\u003cp>https://youtu.be/uyGSe76rAJc\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>ealizing she needed to relocate to take her career to the next level, Cam left Portland for Los Angeles, where her close collaborator Tyler Johnson introduced her to Jeff Bhasker, a songwriter and producer for pop royalty like Beyoncé, Alicia Keys and Kanye West. With Bhasker and Johnson’s help, she began crafting what would become her first major album, \u003ca href=\"https://music.apple.com/us/album/untamed/1055442148\" target=\"_blank\" rel=\"noopener\">\u003cem>Untamed\u003c/em>\u003c/a>, released in 2015 on Sony Music Entertainment.\u003c/p>\n\u003cp>While \u003cem>Untamed\u003c/em> was still in the works circa 2012, a friend of a friend promised to pass some of Cam’s demos to Faith Hill. (“Word to the wise, for everyone who’s starting out in the industry: they don’t know Faith Hill,” Cam says, chuckling at her naiveté at the time.) The demos ended up in the hands of an artist manager in Nashville who had previously worked with the Dixie Chicks and Tim McGraw, and he bought the rights to one of Cam’s songs for a new artist he was developing.\u003c/p>\n\u003cp>Ecstatic that people with industry clout saw her potential as a songwriter, Cam decided to move to Nashville in 2012. But shortly after arriving, she turned down a publishing deal as a behind-the-scenes writer, setting her sights on her own solo career.\u003c/p>\n\u003cp>“It always feels so statistically impossible to make it in music, so whenever anything happens you get so overjoyed,” Cam says of the difficult decision to turn down the offer. “I’m glad I was a little older at that point, and I had some savvy, Bay Area ‘I know what things cost in real life.’ I knew I was worth more than this.”\u003c/p>\n\u003cp>She was right—as the success of \u003cem>Untamed\u003c/em> would later prove.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s Cam worked on \u003cem>Untamed\u003c/em>, her profile as a songwriter continued to grow. She co-wrote “\u003ca href=\"https://youtu.be/RcYXDISiJuA\" target=\"_blank\" rel=\"noopener\">Maybe You’re Right\u003c/a>” for Miley Cyrus’ 2013 album \u003cem>Bangerz\u003c/em>, pairing lovelorn lyrics sung in a contemporary country croon with Johnson’s anthemic, kick drum-driven pop beat. Cam was accustomed to solo writing sessions with her acoustic guitar, and had never written lyrics to an already-finished pop instrumental. Not to mention, she had attempted to keep up in the “smoking department” with some of the rap producers Cyrus enlisted for the album, she remembers.\u003c/p>\n\u003cp>“They closed me in the vocal booth and just put the song on loop. It felt like it was hours, but I’m sure it was five minutes,” she says. To Cam’s surprise, Cyrus loved what she came up with.\u003c/p>\n\u003cp>Following the success of \u003cem>Untamed\u003c/em>, Johnson invited Cam into the studio to work with another high-profile client, Sam Smith. The British hitmaker was instantly charmed by the warm, sparse melody Cam strummed on her Gretsch Falcon guitar, as well as her lyrics about how falling in love, no matter the outcome, is “never a waste of time.”\u003c/p>\n\u003cp>The track they collaborated on ended up becoming “Palace” for Smith’s 2017 \u003cem>The Thrill of It All\u003c/em>, and the album hit No. 1 on Billboard. Smith invited Cam open for them on their 2018 tour (Smith \u003ca href=\"https://www.billboard.com/articles/news/pride/8529910/sam-smith-they-them-pronouns-change\" target=\"_blank\" rel=\"noopener\">uses they/them pronouns\u003c/a>), where the two musicians sang “Palace” as a duet in arenas across North America. “To have Sam Smith sing your words back to you is nuts!” Cam says excitedly.\u003c/p>\n\u003cp>https://youtu.be/4ANgUxbeXUc\u003c/p>\n\u003cp>Cam’s reached crucial milestones of music-industry success, and in keeping with the Bay Area’s tradition of activism, she uses her position to advocate for social change. She’s a member of the Recording Academy’s Task Force on Diversity and Inclusion. And although she’s pleased that conversations about gender are opening up in country music (honoring the genre’s women trailblazers, Carrie Underwood, Dolly Parton and Reba McEntire host this November’s \u003ca href=\"https://www.rollingstone.com/music/music-country/2019-cma-awards-host-carrie-underwood-dolly-parton-reba-873257/\" target=\"_blank\" rel=\"noopener\">Country Music Awards\u003c/a>), she’s quick to note how country’s gatekeepers have all but erased many of the genre’s black originators. “It was a segregated country, so it’s a segregated genre,” Cam says. [aside postid='arts_13866441']\u003c/p>\n\u003cp>Drawing on her psychology background, she holds a long view of music as a crucial part of human brain development, identity and cultural groups. For Cam, music is not just entertainment—which is why she says it’s important to advocate for a more inclusive industry. “It’s a record of stories, and it’s a confirmation that your story is real, and you’re hearing people who sound like you going through things that you’ve gone through,” she says.\u003c/p>\n\u003cp>“It’s just so important for community healing and growth. If you aren’t giving space for everyone to participate, the community is gonna suffer, the culture is gonna suffer.”\u003c/p>\n\u003cp>https://youtu.be/zScLQPhj_0Q\u003c/p>\n\u003cp>This year, in addition to performing at country music festival Stage Coach, Cam has kept busy working on new music for a forthcoming album (no release date yet) and trying out different directions herself. “So Long,” Cam’s new single with super-producer Diplo, is a bit of a crossover oddity, but its fiddles weirdly work over the sleek, house-pop beat. With her sweet, sincere voice front-and-center, Cam pleads with a problematic lover to an earworm of a tune.\u003c/p>\n\u003cp>Much like the willingness to take a chance on love Cam conveys in her lyrics, her approach to her music career has been similarly built on faith—in her musical abilities, her work ethic and her storytelling.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And so far, she’s placed a winning bet on herself.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith a double-platinum country single and songwriting credits for Sam Smith and Miley Cyrus, the country singer \u003ca href=\"https://www.camcountry.com/\" target=\"_blank\" rel=\"noopener\">Cam\u003c/a> has made a name for herself as a full-fledged Nashville star. But a conversation with her quickly reveals that she’s a Bay Area girl through and through.\u003c/p>\n\u003cp>A UC Davis grad raised in the Contra Costa County suburb of Lafayette, Cam (born Camaron Ochs) got her start playing in venues like Berkeley folk music haven the Starry Plough and Oakland dives the Stork Club and \u003ca href=\"https://www.eastbayexpress.com/oakland/last-days-of-mama-buzz/Content?oid=3069004\" target=\"_blank\" rel=\"noopener\">Mama Buzz Cafe\u003c/a>. (Mama Buzz, a now-shuttered all-ages venue, was where Oakland’s now-famous First Fridays coalesced in the late 2000s, when the tourist-friendly street fair was still a tiny, DIY block party.)\u003c/p>\n\u003cp>Cam, raised on Patsy Cline, Bonnie Raitt, Ray Charles and Joni Mitchell, had felt the Bay Area’s economic pressure to get a full-time job rather than work on music. Though she knew audiences had a hunger for what she calls “acoustic guitar-driven stories,” the Bay Area didn’t—and still doesn’t—have much of a country music scene.\u003c/p>\n\u003cp>But Cam’s anxieties were quickly dispelled. “If I had a show, people packed it out,” she says in a recent phone interview. “So whatever people say of support for different genres, the community \u003cem>loves\u003c/em> music.”\u003c/p>\n\u003cfigure id=\"attachment_13866628\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/CAM_press-photo-800x800.jpg\" alt=\"A portrait of Cam as she looks out a window and into the distance. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cam. \u003ccite>(Sony Music Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cam’s path to becoming one of country music’s most exciting voices was a winding one. Although she had always dreamed of a life in music, after graduating from UC Davis, she worked in psychology research at UC Berkeley and Stanford, waitressing on the side and playing shows on the weekends. While working at Stanford’s \u003ca href=\"https://culture-emotion-lab.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Culture and Emotion Lab\u003c/a>, where Cam co-authored two papers, she mulled over whether to pursue music as a career. During a moment of doubt, her boss, Professor Jeanne Tsai, posed a question that put everything in perspective: “Picture yourself 80 years old,” she said. “Looking back on your life, what would you regret missing out on: psychology research or music?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It just clicked, it was clear,” says Cam. “I would beat myself up if I didn’t give it a shot.”\u003c/p>\n\u003cp>So Cam packed her bags and moved to Portland—to “retire young” from working a day job, she tells me jokingly, and to focus exclusively on music. There, she began to write “Burning House,” the heartbreaking ballad that put her on the map as a solo artist. Evoking the crushing feeling of wanting to save someone who can’t be saved, the sweetly strummed song showcases Cam’s quietly profound lyrical abilities.\u003c/p>\n\u003cp>In a decade of ironic, detached pop, Cam went in the opposite direction, writing earnest lyrics about how much she cares—about love, relationships, her dreams. The approach proved to be refreshing for listeners. In addition to becoming certified double platinum in 2018, “Burning House” peaked at No. 2 on Billboard’s country chart and No. 29 on the Hot 100, and earned Cam a Grammy nomination in 2016.\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/uyGSe76rAJc'\n title='//www.youtube.com/embed/uyGSe76rAJc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>ealizing she needed to relocate to take her career to the next level, Cam left Portland for Los Angeles, where her close collaborator Tyler Johnson introduced her to Jeff Bhasker, a songwriter and producer for pop royalty like Beyoncé, Alicia Keys and Kanye West. With Bhasker and Johnson’s help, she began crafting what would become her first major album, \u003ca href=\"https://music.apple.com/us/album/untamed/1055442148\" target=\"_blank\" rel=\"noopener\">\u003cem>Untamed\u003c/em>\u003c/a>, released in 2015 on Sony Music Entertainment.\u003c/p>\n\u003cp>While \u003cem>Untamed\u003c/em> was still in the works circa 2012, a friend of a friend promised to pass some of Cam’s demos to Faith Hill. (“Word to the wise, for everyone who’s starting out in the industry: they don’t know Faith Hill,” Cam says, chuckling at her naiveté at the time.) The demos ended up in the hands of an artist manager in Nashville who had previously worked with the Dixie Chicks and Tim McGraw, and he bought the rights to one of Cam’s songs for a new artist he was developing.\u003c/p>\n\u003cp>Ecstatic that people with industry clout saw her potential as a songwriter, Cam decided to move to Nashville in 2012. But shortly after arriving, she turned down a publishing deal as a behind-the-scenes writer, setting her sights on her own solo career.\u003c/p>\n\u003cp>“It always feels so statistically impossible to make it in music, so whenever anything happens you get so overjoyed,” Cam says of the difficult decision to turn down the offer. “I’m glad I was a little older at that point, and I had some savvy, Bay Area ‘I know what things cost in real life.’ I knew I was worth more than this.”\u003c/p>\n\u003cp>She was right—as the success of \u003cem>Untamed\u003c/em> would later prove.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s Cam worked on \u003cem>Untamed\u003c/em>, her profile as a songwriter continued to grow. She co-wrote “\u003ca href=\"https://youtu.be/RcYXDISiJuA\" target=\"_blank\" rel=\"noopener\">Maybe You’re Right\u003c/a>” for Miley Cyrus’ 2013 album \u003cem>Bangerz\u003c/em>, pairing lovelorn lyrics sung in a contemporary country croon with Johnson’s anthemic, kick drum-driven pop beat. Cam was accustomed to solo writing sessions with her acoustic guitar, and had never written lyrics to an already-finished pop instrumental. Not to mention, she had attempted to keep up in the “smoking department” with some of the rap producers Cyrus enlisted for the album, she remembers.\u003c/p>\n\u003cp>“They closed me in the vocal booth and just put the song on loop. It felt like it was hours, but I’m sure it was five minutes,” she says. To Cam’s surprise, Cyrus loved what she came up with.\u003c/p>\n\u003cp>Following the success of \u003cem>Untamed\u003c/em>, Johnson invited Cam into the studio to work with another high-profile client, Sam Smith. The British hitmaker was instantly charmed by the warm, sparse melody Cam strummed on her Gretsch Falcon guitar, as well as her lyrics about how falling in love, no matter the outcome, is “never a waste of time.”\u003c/p>\n\u003cp>The track they collaborated on ended up becoming “Palace” for Smith’s 2017 \u003cem>The Thrill of It All\u003c/em>, and the album hit No. 1 on Billboard. Smith invited Cam open for them on their 2018 tour (Smith \u003ca href=\"https://www.billboard.com/articles/news/pride/8529910/sam-smith-they-them-pronouns-change\" target=\"_blank\" rel=\"noopener\">uses they/them pronouns\u003c/a>), where the two musicians sang “Palace” as a duet in arenas across North America. “To have Sam Smith sing your words back to you is nuts!” Cam says excitedly.\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/4ANgUxbeXUc'\n title='//www.youtube.com/embed/4ANgUxbeXUc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cam’s reached crucial milestones of music-industry success, and in keeping with the Bay Area’s tradition of activism, she uses her position to advocate for social change. She’s a member of the Recording Academy’s Task Force on Diversity and Inclusion. And although she’s pleased that conversations about gender are opening up in country music (honoring the genre’s women trailblazers, Carrie Underwood, Dolly Parton and Reba McEntire host this November’s \u003ca href=\"https://www.rollingstone.com/music/music-country/2019-cma-awards-host-carrie-underwood-dolly-parton-reba-873257/\" target=\"_blank\" rel=\"noopener\">Country Music Awards\u003c/a>), she’s quick to note how country’s gatekeepers have all but erased many of the genre’s black originators. “It was a segregated country, so it’s a segregated genre,” Cam says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Drawing on her psychology background, she holds a long view of music as a crucial part of human brain development, identity and cultural groups. For Cam, music is not just entertainment—which is why she says it’s important to advocate for a more inclusive industry. “It’s a record of stories, and it’s a confirmation that your story is real, and you’re hearing people who sound like you going through things that you’ve gone through,” she says.\u003c/p>\n\u003cp>“It’s just so important for community healing and growth. If you aren’t giving space for everyone to participate, the community is gonna suffer, the culture is gonna suffer.”\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/zScLQPhj_0Q'\n title='//www.youtube.com/embed/zScLQPhj_0Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This year, in addition to performing at country music festival Stage Coach, Cam has kept busy working on new music for a forthcoming album (no release date yet) and trying out different directions herself. “So Long,” Cam’s new single with super-producer Diplo, is a bit of a crossover oddity, but its fiddles weirdly work over the sleek, house-pop beat. With her sweet, sincere voice front-and-center, Cam pleads with a problematic lover to an earworm of a tune.\u003c/p>\n\u003cp>Much like the willingness to take a chance on love Cam conveys in her lyrics, her approach to her music career has been similarly built on faith—in her musical abilities, her work ethic and her storytelling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And so far, she’s placed a winning bet on herself.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over a dozen Yerba Buena-adjacent arts and cultural institutions have joined forces for the second time this year to offer free admission and special programming as part of \u003ca href=\"https://www.yb3tsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Culture for Community\u003c/a>, an event timed to the neighborhood’s regular third Thursday extravaganza.\u003c/p>\n\u003cp>[aside postID='arts_13861476,arts_13862451,arts_13866230' label='What to see']\u003c/p>\n\u003cp>The collaboration opens doors at SFMOMA, the Museum of the African Diaspora, the California Historical Society, the Contemporary Jewish Museum and Yerba Buena Center for the Arts, with most institutions hosting events and tours tied to the theme of intergenerational storytelling.\u003c/p>\n\u003cp>Highlights include \u003ca href=\"https://crownpoint.com/exhibition/8940/\" target=\"_blank\" rel=\"noopener noreferrer\">new etchings by Gay Outlaw\u003c/a> at Crown Point Press, YBCA’s technology-centric group show \u003ci>\u003ca href=\"https://ybca.org/event/the-body-electric/\" target=\"_blank\" rel=\"noopener noreferrer\">The Body Electric\u003c/a>\u003c/i>, \u003ca href=\"https://www.sfmoma.org/event/culture-for-community-free-day-2/\" target=\"_blank\" rel=\"noopener noreferrer\">11am and 1pm screenings\u003c/a> of Nicole Miller’s \u003ci>To The Stars\u003c/i> at SFMOMA, and \u003ca href=\"https://www.thecjm.org/exhibitions/109\" target=\"_blank\" rel=\"noopener noreferrer\">Annabeth Rosen’s magnificent survey\u003c/a> of ceramic work at the CJM.\u003c/p>\n\u003cp>Skip out of work early, take a long lunch break, do what you have to do to soak up as much art and culture as you can this Thursday. Here’s the list of major institutions and their (often extended) hours:\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"https://bookbindersmuseum.org/culture-for-community/\" target=\"_blank\" rel=\"noopener noreferrer\">American Bookbinders Museum\u003c/a>\u003c/strong>: Free 10am–8pm\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Historical Society\u003c/a>\u003c/strong>: Free 11am–5pm with \u003ca href=\"https://my.californiahistoricalsociety.org/single/EventDetail.aspx?p=1829\" target=\"_blank\" rel=\"noopener noreferrer\">a talk at 6:30pm\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://creativity.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Creativity Museum\u003c/a>\u003c/strong>: Free 10am–7pm\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.thecjm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Contemporary Jewish Museum\u003c/a>\u003c/strong>: Free 11am–9pm\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://crownpoint.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Crown Point Press\u003c/a>\u003c/strong>: Open 10am–8pm (always free)\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"http://www.mirusgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mirus Gallery\u003c/a>\u003c/strong>: Open 12–9pm (always free)\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.moadsf.org/event/culture-for-community-free-day/?instance_id=15532\" target=\"_blank\" rel=\"noopener noreferrer\">MoAD\u003c/a>\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003cli>\u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>SFMOMA\u003c/strong>\u003c/a>: Free 10am–9pm (\u003ca href=\"https://www.sfmoma.org/event/culture-for-community-free-day-2/\" target=\"_blank\" rel=\"noopener noreferrer\">reserve your tickets\u003c/a>)\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.spur.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SPUR\u003c/a>\u003c/strong>: Open 9am–7:30pm with a \u003ca href=\"https://www.spur.org/events/2019-09-19/what-urban-design-can-learn-senior-design\" target=\"_blank\" rel=\"noopener noreferrer\">talk at 6pm\u003c/a> (always free)\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://ybca.org/event/third-thursday-culture-for-community/\" target=\"_blank\" rel=\"noopener noreferrer\">YBCA\u003c/a>\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://ybgfestival.org/event/ricardo-lemvo-2019/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Gardens Festival\u003c/a>\u003c/strong>: Performance by Ricardo Lemvo, 6–7:30pm\u003c/li>\n\u003cli>\u003ca href=\"https://111minnagallery.com/event/yerba-buena-3rd-thursdays-presents-culture-for-community/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>111 Minna\u003c/strong>\u003c/a>: Open 7am–9pm (always free)\u003c/li>\n\u003c/ul>\n\u003cp>See the full list of participating spaces \u003ca href=\"https://www.yb3tsf.org/locations\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The collaboration opens doors at SFMOMA, the Museum of the African Diaspora, the California Historical Society, the Contemporary Jewish Museum and Yerba Buena Center for the Arts, with most institutions hosting events and tours tied to the theme of intergenerational storytelling.\u003c/p>\n\u003cp>Highlights include \u003ca href=\"https://crownpoint.com/exhibition/8940/\" target=\"_blank\" rel=\"noopener noreferrer\">new etchings by Gay Outlaw\u003c/a> at Crown Point Press, YBCA’s technology-centric group show \u003ci>\u003ca href=\"https://ybca.org/event/the-body-electric/\" target=\"_blank\" rel=\"noopener noreferrer\">The Body Electric\u003c/a>\u003c/i>, \u003ca href=\"https://www.sfmoma.org/event/culture-for-community-free-day-2/\" target=\"_blank\" rel=\"noopener noreferrer\">11am and 1pm screenings\u003c/a> of Nicole Miller’s \u003ci>To The Stars\u003c/i> at SFMOMA, and \u003ca href=\"https://www.thecjm.org/exhibitions/109\" target=\"_blank\" rel=\"noopener noreferrer\">Annabeth Rosen’s magnificent survey\u003c/a> of ceramic work at the CJM.\u003c/p>\n\u003cp>Skip out of work early, take a long lunch break, do what you have to do to soak up as much art and culture as you can this Thursday. Here’s the list of major institutions and their (often extended) hours:\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"https://bookbindersmuseum.org/culture-for-community/\" target=\"_blank\" rel=\"noopener noreferrer\">American Bookbinders Museum\u003c/a>\u003c/strong>: Free 10am–8pm\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Historical Society\u003c/a>\u003c/strong>: Free 11am–5pm with \u003ca href=\"https://my.californiahistoricalsociety.org/single/EventDetail.aspx?p=1829\" target=\"_blank\" rel=\"noopener noreferrer\">a talk at 6:30pm\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://creativity.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Creativity Museum\u003c/a>\u003c/strong>: Free 10am–7pm\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.thecjm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Contemporary Jewish Museum\u003c/a>\u003c/strong>: Free 11am–9pm\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://crownpoint.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Crown Point Press\u003c/a>\u003c/strong>: Open 10am–8pm (always free)\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"http://www.mirusgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mirus Gallery\u003c/a>\u003c/strong>: Open 12–9pm (always free)\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.moadsf.org/event/culture-for-community-free-day/?instance_id=15532\" target=\"_blank\" rel=\"noopener noreferrer\">MoAD\u003c/a>\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003cli>\u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>SFMOMA\u003c/strong>\u003c/a>: Free 10am–9pm (\u003ca href=\"https://www.sfmoma.org/event/culture-for-community-free-day-2/\" target=\"_blank\" rel=\"noopener noreferrer\">reserve your tickets\u003c/a>)\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://www.spur.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SPUR\u003c/a>\u003c/strong>: Open 9am–7:30pm with a \u003ca href=\"https://www.spur.org/events/2019-09-19/what-urban-design-can-learn-senior-design\" target=\"_blank\" rel=\"noopener noreferrer\">talk at 6pm\u003c/a> (always free)\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://ybca.org/event/third-thursday-culture-for-community/\" target=\"_blank\" rel=\"noopener noreferrer\">YBCA\u003c/a>\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"https://ybgfestival.org/event/ricardo-lemvo-2019/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Gardens Festival\u003c/a>\u003c/strong>: Performance by Ricardo Lemvo, 6–7:30pm\u003c/li>\n\u003cli>\u003ca href=\"https://111minnagallery.com/event/yerba-buena-3rd-thursdays-presents-culture-for-community/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>111 Minna\u003c/strong>\u003c/a>: Open 7am–9pm (always free)\u003c/li>\n\u003c/ul>\n\u003cp>See the full list of participating spaces \u003ca href=\"https://www.yb3tsf.org/locations\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>Updated at 4:18 p.m. Monday\u003c/strong>\u003c/p>\n\u003cp>Ric Ocasek, the lead singer of the rock band The Cars, died Sunday in New York; he was found unconscious Sunday afternoon at his townhouse in Manhattan. A New York Police Department spokesman confirmed Ocasek’s death to NPR. There is some confusion about Ocasek’s age: The NYPD said that he was 75; public records list his age as 70 years old.\u003c/p>\n\u003cp>On Monday, the New York City Office of Chief Medical Examiner told NPR in a statement that Ocasek died of heart disease, specifically hypertensive and atherosclerotic cardiovascular disease, with pulmonary emphysema as a contributing condition. (OCME also lists the singer’s age as 75.)\u003c/p>\n\u003cp>The Boston-based band was inducted into the Rock & Roll Hall of Fame in 2018; the Rock Hall \u003ca href=\"https://www.rockhall.com/inductees/cars?gclid=CjwKCAjwwvfrBRBIEiwA2nFiPR6ZqPqJ-1nBQ_Y-sHi_5GAAAyzL74sTlm2Y4J22xBC6I6tI1upsWhoCNuoQAvD_BwE\">called\u003c/a> The Cars “the ultimate New Wave dream machine: a hook-savvy super-charged quintet that fused 60s pop, 70s glam and avant-rock minimalism into a decade of dashboard-radio nirvana.”\u003c/p>\n\u003cp>[aside tag='rock, rock-n-roll' label='More Stories For You']\u003c/p>\n\u003cp>Ocasek — The Cars’ lead singer, guitarist and songwriter — was born in Baltimore (as Richard Otcasek) and raised in Cleveland. He co-founded the group with Benjamin Orr, a bassist and vocalist with whom he had begun playing in Ohio. The two began traveling as a duo before landing in Boston. The Cars came together in 1976 with three other musicians: guitarist Elliot Easton, keyboard player Greg Hawkes and drummer David Robinson.\u003c/p>\n\u003cp>Within a year, the group was signed to Elektra. During the initial wave of publicity for their eponymous debut album, then-\u003cem>Rolling Stone \u003c/em>critic Jon Pareles \u003ca href=\"https://www.rollingstone.com/music/music-news/the-cars-ric-ocasek-boston-new-wave-band-cover-176467/\">predicted\u003c/a> the band’s lasting appeal. He wrote: “Everybody liked it: New Wavers recognized Ocasek’s Velvet Underground debts and the cunning ambivalence of his lyrics, while rock fans and radio programmers picked up on the catchy tunes and meticulous arrangements.”\u003c/p>\n\u003cp>Several cuts from \u003cem>The Cars\u003c/em> became instant radio staples, including “Just What I Needed,” “Good Times Roll,” “My Best Friend’s Girl” and “You’re All I’ve Got Tonight.” Each of the group’s next four albums emerged as huge commercial successes as well.\u003c/p>\n\u003cp>But even at its most Top 40-friendly, The Cars wove offbeat, New Wave elements into its sound and look that were a perfect match for the MTV age, such as in 1984’s “\u003ca href=\"https://www.youtube.com/watch?v=3dOx510kyOs\">You Might Think\u003c/a>,” which won the first-ever Video of the Year honor at the MTV Video Music Awards.\u003c/p>\n\u003cp>Ocasek also worked in A&R and produced work by New Wave-era peers like Suicide and Romeo Void. The Cars broke up in 1988, but Ocasek’s influence in rock extended well beyond the apex of the group’s career. In addition to releasing half a dozen solo albums, he worked as a producer for leading bands of a younger generation, including Weezer, No Doubt, Guided by Voices and Bad Religion. Orr died of pancreatic cancer in 2000, but in 2011, the surviving members of The Cars reunited and released a new album, \u003cem>Move Like This\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ocasek — The Cars’ lead singer, guitarist and songwriter — was born in Baltimore (as Richard Otcasek) and raised in Cleveland. He co-founded the group with Benjamin Orr, a bassist and vocalist with whom he had begun playing in Ohio. The two began traveling as a duo before landing in Boston. The Cars came together in 1976 with three other musicians: guitarist Elliot Easton, keyboard player Greg Hawkes and drummer David Robinson.\u003c/p>\n\u003cp>Within a year, the group was signed to Elektra. During the initial wave of publicity for their eponymous debut album, then-\u003cem>Rolling Stone \u003c/em>critic Jon Pareles \u003ca href=\"https://www.rollingstone.com/music/music-news/the-cars-ric-ocasek-boston-new-wave-band-cover-176467/\">predicted\u003c/a> the band’s lasting appeal. He wrote: “Everybody liked it: New Wavers recognized Ocasek’s Velvet Underground debts and the cunning ambivalence of his lyrics, while rock fans and radio programmers picked up on the catchy tunes and meticulous arrangements.”\u003c/p>\n\u003cp>Several cuts from \u003cem>The Cars\u003c/em> became instant radio staples, including “Just What I Needed,” “Good Times Roll,” “My Best Friend’s Girl” and “You’re All I’ve Got Tonight.” Each of the group’s next four albums emerged as huge commercial successes as well.\u003c/p>\n\u003cp>But even at its most Top 40-friendly, The Cars wove offbeat, New Wave elements into its sound and look that were a perfect match for the MTV age, such as in 1984’s “\u003ca href=\"https://www.youtube.com/watch?v=3dOx510kyOs\">You Might Think\u003c/a>,” which won the first-ever Video of the Year honor at the MTV Video Music Awards.\u003c/p>\n\u003cp>Ocasek also worked in A&R and produced work by New Wave-era peers like Suicide and Romeo Void. The Cars broke up in 1988, but Ocasek’s influence in rock extended well beyond the apex of the group’s career. In addition to releasing half a dozen solo albums, he worked as a producer for leading bands of a younger generation, including Weezer, No Doubt, Guided by Voices and Bad Religion. Orr died of pancreatic cancer in 2000, but in 2011, the surviving members of The Cars reunited and released a new album, \u003cem>Move Like This\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>María Fernanda Papa was 4 years old when she and her family arrived in Miami. She’d begun dancing back home in Venezuela, and when she and her parents settled in the U.S., she asked if she could continue practicing ballet. Eventually, they found a spot for her in an “amazing school,” says María, now 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.classicalballetschool.com/\">That amazing school,\u003c/a> run by the Arts Ballet Theatre of Florida, is in a strip mall in North Miami Beach. Many of the dancers are Venezuelan. In recent years, more than 200,000 Venezuelans fleeing political and economic upheaval have settled in South Florida.\u003c/p>\n\u003cp>Many of the children are continuing artistic studies they began in their home country. \u003ca href=\"https://www.artsballettheatre.org/\">Arts Ballet Theatre\u003c/a> and its associated school is run by Ruby Romero-Issaev and her husband, ballet master \u003ca href=\"https://www.artsballettheatre.org/director-1\">Vladimir Issaev\u003c/a>. They came to Miami from Venezuela in 1997, a couple of years before Hugo Chávez came to power. Over the next two decades, under Chávez and his successor Nicolás Maduro, the country became more authoritarian and basic goods and services became harder to get. So, many other Venezuelans followed, including families with children.\u003c/p>\n\u003cp>[aside tag='if-cities-could-dance' label='WATCH: If Cities Could Dance']\u003c/p>\n\u003cp>“Although they knew they were going to struggle, they didn’t want the children’s lives to change,” Romero-Issaev says. “If they were doing tennis, they wanted to do tennis. If they were doing soccer, they wanted to do soccer. If they were doing ballet, they needed to do ballet.”\u003c/p>\n\u003cp>With help from Miami’s \u003ca href=\"https://www.thechildrenstrust.org/\">Children’s Trust,\u003c/a> a quasi-governmental agency, Arts Ballet Theatre and the school are able to provide scholarships to students from low-income families, including many newly arrived from Venezuela.\u003c/p>\n\u003cp>\u003ca href=\"https://www.artsballettheatre.org/lusian-hernandez\">Lusian Hernández,\u003c/a> 25, is a soloist who dances with Arts Ballet Theatre’s professional company. She came to Miami when she was 16, determined to continue her studies and launch a career. In Venezuela now, she says there are few opportunities for dancers.\u003c/p>\n\u003cp>“Many schools had to close,” Hernández explains. Students didn’t have the money to pay tuition, and without tuition, the schools couldn’t pay rent. “It’s very insecure,” she says. “So [dancers] have to leave the country and the schools start closing.”\u003c/p>\n\u003cp>There used to be three professional ballet companies in Caracas. Now there’s just one, Hernández says, and it’s small. She remembers point shoes were already expensive and hard to find a decade ago — her parents, who are still back at home in Venezuela — say it’s now all but impossible to get a pair.\u003c/p>\n\u003cp>Hernandez considers herself lucky to be in the U.S. where she can continue her studies with the hopes of one day becoming a professional dancer. With help from Arts Ballet Theatre, Hernández collects used point shoes from the company’s dancers which she sends to a dance school in her hometown.\u003c/p>\n\u003cp>Other arts programs in Miami are also working to help young Venezuelans adjust to life in a new country. On a recent afternoon, at a church in the Miami neighborhood of Coconut Grove, a dozen beginners on violins and cellos are playing scales and simple tunes. They’re part of \u003ca href=\"https://www.musicall.org/\">Musicall\u003c/a>, another arts program offering scholarships. About a quarter of the program’s 300 students are from Venezuela.\u003c/p>\n\u003cp>Venezuela is “a very musical country,” says opera singer and Musicall teacher Carlos Silva. He began his vocal studies at a school that was part of El Sistema — the renowned Venezuelan music education program founded more than 40 years ago. Its graduates include \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2017/05/04/526897569/gustavo-dudamel-addresses-venezuelas-leaders-enough-is-enough\">conductor Gustavo Dudamel, \u003c/a>who now leads the Los Angeles Philharmonic.\u003c/p>\n\u003cp>But under the Chávez and Muduro regimes, music education programs suffered and many teachers left the country, Silva explains, and now “those who couldn’t travel outside of the country are stuck there and they are facing a lot of problems.”\u003c/p>\n\u003cp>[aside tag='immigration' label='Stories For You']\u003c/p>\n\u003cp>In today’s Venezuela, Silva says, there are more pressing needs than music education. People are starving, he says: “It’s difficult to find a place for music. There are priorities and the priority there is to find something to eat.” Silva wants to someday go back to Venezuela to teach, but he doesn’t know when that might become possible.\u003c/p>\n\u003cp>Ruby Romero-Issaev, with Arts Ballet Theatre, is ready to help rebuild Venezuela, too — but in the meantime, she has work to do here. “We were lucky at a certain point to be here, to have a visa, to be able to work, to be able to establish our lives here,” she says. “We think it’s our responsibility to try to help other Venezuelan families that are bringing the kids.”\u003c/p>\n\u003cp>Knowing what their families and friends are going through in Venezuela is hard for her students, Romero-Issaev says: “You see their sadness, but once they get into the studio, and the music starts to play … their minds, their hearts open and they feel they’re in another world.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>María Fernanda Papa was 4 years old when she and her family arrived in Miami. She’d begun dancing back home in Venezuela, and when she and her parents settled in the U.S., she asked if she could continue practicing ballet. Eventually, they found a spot for her in an “amazing school,” says María, now 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.classicalballetschool.com/\">That amazing school,\u003c/a> run by the Arts Ballet Theatre of Florida, is in a strip mall in North Miami Beach. Many of the dancers are Venezuelan. In recent years, more than 200,000 Venezuelans fleeing political and economic upheaval have settled in South Florida.\u003c/p>\n\u003cp>Many of the children are continuing artistic studies they began in their home country. \u003ca href=\"https://www.artsballettheatre.org/\">Arts Ballet Theatre\u003c/a> and its associated school is run by Ruby Romero-Issaev and her husband, ballet master \u003ca href=\"https://www.artsballettheatre.org/director-1\">Vladimir Issaev\u003c/a>. They came to Miami from Venezuela in 1997, a couple of years before Hugo Chávez came to power. Over the next two decades, under Chávez and his successor Nicolás Maduro, the country became more authoritarian and basic goods and services became harder to get. So, many other Venezuelans followed, including families with children.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Although they knew they were going to struggle, they didn’t want the children’s lives to change,” Romero-Issaev says. “If they were doing tennis, they wanted to do tennis. If they were doing soccer, they wanted to do soccer. If they were doing ballet, they needed to do ballet.”\u003c/p>\n\u003cp>With help from Miami’s \u003ca href=\"https://www.thechildrenstrust.org/\">Children’s Trust,\u003c/a> a quasi-governmental agency, Arts Ballet Theatre and the school are able to provide scholarships to students from low-income families, including many newly arrived from Venezuela.\u003c/p>\n\u003cp>\u003ca href=\"https://www.artsballettheatre.org/lusian-hernandez\">Lusian Hernández,\u003c/a> 25, is a soloist who dances with Arts Ballet Theatre’s professional company. She came to Miami when she was 16, determined to continue her studies and launch a career. In Venezuela now, she says there are few opportunities for dancers.\u003c/p>\n\u003cp>“Many schools had to close,” Hernández explains. Students didn’t have the money to pay tuition, and without tuition, the schools couldn’t pay rent. “It’s very insecure,” she says. “So [dancers] have to leave the country and the schools start closing.”\u003c/p>\n\u003cp>There used to be three professional ballet companies in Caracas. Now there’s just one, Hernández says, and it’s small. She remembers point shoes were already expensive and hard to find a decade ago — her parents, who are still back at home in Venezuela — say it’s now all but impossible to get a pair.\u003c/p>\n\u003cp>Hernandez considers herself lucky to be in the U.S. where she can continue her studies with the hopes of one day becoming a professional dancer. With help from Arts Ballet Theatre, Hernández collects used point shoes from the company’s dancers which she sends to a dance school in her hometown.\u003c/p>\n\u003cp>Other arts programs in Miami are also working to help young Venezuelans adjust to life in a new country. On a recent afternoon, at a church in the Miami neighborhood of Coconut Grove, a dozen beginners on violins and cellos are playing scales and simple tunes. They’re part of \u003ca href=\"https://www.musicall.org/\">Musicall\u003c/a>, another arts program offering scholarships. About a quarter of the program’s 300 students are from Venezuela.\u003c/p>\n\u003cp>Venezuela is “a very musical country,” says opera singer and Musicall teacher Carlos Silva. He began his vocal studies at a school that was part of El Sistema — the renowned Venezuelan music education program founded more than 40 years ago. Its graduates include \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2017/05/04/526897569/gustavo-dudamel-addresses-venezuelas-leaders-enough-is-enough\">conductor Gustavo Dudamel, \u003c/a>who now leads the Los Angeles Philharmonic.\u003c/p>\n\u003cp>But under the Chávez and Muduro regimes, music education programs suffered and many teachers left the country, Silva explains, and now “those who couldn’t travel outside of the country are stuck there and they are facing a lot of problems.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In today’s Venezuela, Silva says, there are more pressing needs than music education. People are starving, he says: “It’s difficult to find a place for music. There are priorities and the priority there is to find something to eat.” Silva wants to someday go back to Venezuela to teach, but he doesn’t know when that might become possible.\u003c/p>\n\u003cp>Ruby Romero-Issaev, with Arts Ballet Theatre, is ready to help rebuild Venezuela, too — but in the meantime, she has work to do here. “We were lucky at a certain point to be here, to have a visa, to be able to work, to be able to establish our lives here,” she says. “We think it’s our responsibility to try to help other Venezuelan families that are bringing the kids.”\u003c/p>\n\u003cp>Knowing what their families and friends are going through in Venezuela is hard for her students, Romero-Issaev says: “You see their sadness, but once they get into the studio, and the music starts to play … their minds, their hearts open and they feel they’re in another world.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Readers, rejoice! Starting today, the San Francisco Public Library has \u003ca href=\"https://sfpl.org/index.php?pg=2001163901\" target=\"_blank\" rel=\"noopener\">eliminated overdue fines\u003c/a> for all library patrons.\u003c/p>\n\u003cp>If you have existing overdue fines (guilty as charged), these are now cleared. And moving forward, any overdue materials eligible for renewal will be automatically renewed for you (up to three times, per library policy).\u003c/p>\n\u003cp>According to the SFPL’s announcement, “the fine free movement has taken on momentum \u003ca href=\"https://www.urbanlibraries.org/member-resources/fine-free-map\" target=\"_blank\" rel=\"noopener\">across the nation\u003c/a>.” Berkeley Public Library and San Diego Public Library eliminated overdue fines for all patrons in 2018, and Contra Costa County Library, San Mateo County Library and Marin County Library followed suit earlier this year. The SFPL is actually expanding on an existing policy, adopted in 1974, that eliminated fines for children and teen accounts.\u003c/p>\n\u003cp>\u003ca href=\"https://sfpl.org/uploads/files/pdfs/commission/Fine-Free-Report011719.pdf\" target=\"_blank\" rel=\"noopener\">A study\u003c/a> undertaken by the SFPL and the San Francisco Financial Justice Project of the Treasurer’s Office, published in January 2019, found that “overdue fines restrict access and exacerbate inequality by disproportionately affecting low-income and racial-minority communities, create conflict between patrons and the library, require an inefficient use of staff time, and do not consistently ensure borrowed materials end up back on library shelves.”\u003c/p>\n\u003cp>In short, overdue fines hindered the library’s ability to serve those who would benefit most from it, contradicting the SFPL’s mission of providing its patrons free and equal access to information.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Studying their own numbers and fine elimination programs at nine other libraries across the country, the SFPL and treasurer’s office determined that “removing overdue fines from the SFPL would generate benefits at all levels of the library ecosystem.”\u003c/p>\n\u003cp>Previously, overdue items accrued fines of $0.10 a day, maxing out at $5 for a single item. At 60 days past due, the items entered “billed status” (essentially, pay for the replacement of this item or find a suitable replacement yourself). The library blocked accounts with a billed item and those owing $10 or more.\u003c/p>\n\u003cp>Anecdotal evidence within the report shows overdue fines created negative relationships between the library and its patrons. “When I owe money to the library, I do not feel comfortable using the resources of the library,” said one Park Branch patron. “It creates a sense of un-belonging.”\u003c/p>\n\u003cp>For those fretting over lost income: In the 2017–2018 fiscal year, overdue fine collections amounted to just 0.2 percent of the SFPL’s total operating budget. In contrast, library employees spend 1,155–3,464 hours a year collecting fines, which adds up to $64,000–$191,000 in staff capacity. That’s time and money, the SFPL reasons, that could be better spent on services directly benefitting its patrons.\u003c/p>\n\u003cp>The library will still issue \u003ca href=\"https://sfpl.libanswers.com/faq/146652\" target=\"_blank\" rel=\"noopener\">billed item fees\u003c/a> for materials lost, damaged or unreturned 30 days past their due date. You can’t just borrow a book and never return it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But in the meantime, we’re all footloose and fine free.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Readers, rejoice! Starting today, the San Francisco Public Library has \u003ca href=\"https://sfpl.org/index.php?pg=2001163901\" target=\"_blank\" rel=\"noopener\">eliminated overdue fines\u003c/a> for all library patrons.\u003c/p>\n\u003cp>If you have existing overdue fines (guilty as charged), these are now cleared. And moving forward, any overdue materials eligible for renewal will be automatically renewed for you (up to three times, per library policy).\u003c/p>\n\u003cp>According to the SFPL’s announcement, “the fine free movement has taken on momentum \u003ca href=\"https://www.urbanlibraries.org/member-resources/fine-free-map\" target=\"_blank\" rel=\"noopener\">across the nation\u003c/a>.” Berkeley Public Library and San Diego Public Library eliminated overdue fines for all patrons in 2018, and Contra Costa County Library, San Mateo County Library and Marin County Library followed suit earlier this year. The SFPL is actually expanding on an existing policy, adopted in 1974, that eliminated fines for children and teen accounts.\u003c/p>\n\u003cp>\u003ca href=\"https://sfpl.org/uploads/files/pdfs/commission/Fine-Free-Report011719.pdf\" target=\"_blank\" rel=\"noopener\">A study\u003c/a> undertaken by the SFPL and the San Francisco Financial Justice Project of the Treasurer’s Office, published in January 2019, found that “overdue fines restrict access and exacerbate inequality by disproportionately affecting low-income and racial-minority communities, create conflict between patrons and the library, require an inefficient use of staff time, and do not consistently ensure borrowed materials end up back on library shelves.”\u003c/p>\n\u003cp>In short, overdue fines hindered the library’s ability to serve those who would benefit most from it, contradicting the SFPL’s mission of providing its patrons free and equal access to information.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Studying their own numbers and fine elimination programs at nine other libraries across the country, the SFPL and treasurer’s office determined that “removing overdue fines from the SFPL would generate benefits at all levels of the library ecosystem.”\u003c/p>\n\u003cp>Previously, overdue items accrued fines of $0.10 a day, maxing out at $5 for a single item. At 60 days past due, the items entered “billed status” (essentially, pay for the replacement of this item or find a suitable replacement yourself). The library blocked accounts with a billed item and those owing $10 or more.\u003c/p>\n\u003cp>Anecdotal evidence within the report shows overdue fines created negative relationships between the library and its patrons. “When I owe money to the library, I do not feel comfortable using the resources of the library,” said one Park Branch patron. “It creates a sense of un-belonging.”\u003c/p>\n\u003cp>For those fretting over lost income: In the 2017–2018 fiscal year, overdue fine collections amounted to just 0.2 percent of the SFPL’s total operating budget. In contrast, library employees spend 1,155–3,464 hours a year collecting fines, which adds up to $64,000–$191,000 in staff capacity. That’s time and money, the SFPL reasons, that could be better spent on services directly benefitting its patrons.\u003c/p>\n\u003cp>The library will still issue \u003ca href=\"https://sfpl.libanswers.com/faq/146652\" target=\"_blank\" rel=\"noopener\">billed item fees\u003c/a> for materials lost, damaged or unreturned 30 days past their due date. You can’t just borrow a book and never return it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But in the meantime, we’re all footloose and fine free.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Great Man, A Complicated Man: Gandhi On Stage in Song and Dance",
"headTitle": "A Great Man, A Complicated Man: Gandhi On Stage in Song and Dance | KQED",
"content": "\u003cp>It’s an epic story; everything from Mahatma Gandhi’s early days in law school to his campaigns in South Africa, to the civil disobedience movement he led against British colonial rule in India that inspired people all over the world, including \u003ca href=\"https://kinginstitute.stanford.edu/encyclopedia/gandhi-mohandas-k\" target=\"_blank\" rel=\"noopener\">Dr. Martin Luther King, Jr.\u003c/a>.\u003c/p>\n\u003cp>Naatak co-founder, artistic director and playwright Sujit Saraf says, with \u003ca style=\"font-style: italic\" href=\"https://www.naatak.com/portfolio/gandhi/\" target=\"_blank\" rel=\"noopener\">Gandhi: A Grand Musical\u003c/a>\u003ci>, the \u003c/i>theater company presents an accessible yet nuanced picture for Indians steeped in Gandhi love — and hate — from childhood on.\u003c/p>\n\u003cp>“Gandhi has total ‘brand permeation’ in India. We grew up with Gandhi as our father. Some of us continue to adore him. Then there is a strain of — it’s hot in India — where you mock everything Gandhi did because he’s extremely easy to mock.” That includes some of the very things that helped establish Gandhi’s moral and political stature in the first place, like the humble loincloth, or dhoti, he wore, the vow of celibacy he held to for much of his adult life, and his campaign to change sanitation practices.\u003c/p>\n\u003cp>“A man who led 300 million people and had something to say, over a long public career, on every subject on earth necessarily said many silly things. I could come up with a hundred silly things that Gandhi said and none of those put together would paint a picture of the man. So, in our play, he does say those things, but not in an attempt to make fun of him; in an attempt to better understand what Gandhi meant to India, to the world, and to history.”\u003c/p>\n\u003cfigure id=\"attachment_13866385\" class=\"wp-caption aligncenter\" style=\"max-width: 1568px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866385\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/DSC01728.jpeg\" alt='\"Gandhi: The Musical\" by Naatak runs September 14 - October 6 at Cubberley Theatre in Palo Alto.' width=\"1568\" height=\"1048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728.jpeg 1568w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-800x535.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-1020x682.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-1200x802.jpeg 1200w\" sizes=\"(max-width: 1568px) 100vw, 1568px\">\u003cfigcaption class=\"wp-caption-text\">“Gandhi: A Grand Musical” by Naatak runs September 14 – October 6 at Cubberley Theatre in Palo Alto. \u003ccite>(Photo: Courtesy of Rajat Bhargava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.naatak.com\" target=\"_blank\" rel=\"noopener\">Naatak\u003c/a> has been delivering Indian theatre to Silicon Valley for a quarter century now, everything from Western classics cast with Indian-American locals to original work, like what opens tonight.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To write the play, Saraf dove deep into books about and recordings of the great man and come up with a sense of him as “stubborn, cruel, intelligent, and very very courageous.”\u003c/p>\n\u003cp>“The problem with most writings about Gandhi, including the big \u003ca href=\"https://www.youtube.com/watch?v=B7I6D3mSYTE\" target=\"_blank\" rel=\"noopener\">movie\u003c/a> [directed by Richard Attenborough], is that they are too conscious of his star power. They are too aware that he is a world figure. He is the father of the nation. So the movie, for instance, is full of slow motion footage of Gandhi putting on glasses, Gandhi slipping his feet into sandals. He utters witticisms and white people’s jaws drop.”\u003c/p>\n\u003cp>“We are Indians. I don’t need to see Gandhi through Western eyes. Not only that, I’m able to represent him in his own language.” Three languages, in fact: Ghandi’s native tongue, Gujarati, as well as Hindi and English.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=bhLexs13cZU]Saraf says there was a distinct difference in the way Gandhi communicated, depending on who his audience was.\u003c/p>\n\u003cp>“When he spoke in Hindi, he spoke very mundanely. When he spoke in English, he was aiming it at a western audience, and the point five percent of Indians who could speak English then. His speeches acquired a slightly more poetic air. He wasn’t an orator on the level of MLK. I don’t have Gandhi making beautiful speeches in the musical because it just doesn’t make sense. ”\u003c/p>\n\u003cp>That said, Naatak feels freer to take poetic license with original music (composed by Nachiketa Yakkundi and dance (choreography by Soumya Agastya, Shwetha Subraya and Nisha Natraj). “So many of Gandhi’s ideas and campaigns are presented in the play as lovely dance and music,” Saraf says. The musical also includes songs familiar from Gandhi’s life and the Indian independence movement.\u003c/p>\n\u003ch2>Resistance as Spiritual Practice\u003c/h2>\n\u003cp>Gandhi’s deeply rooted spiritual practice was central to his political practice, his philosophy of non-violent resistance to oppression. Political campaigns for him were a means to a larger end. He felt he was an instrument of divine will.\u003c/p>\n\u003cp>“He arrived at what he thought were some simple truths,” says Saraf. “Everything he did was an attempt to test those truths and his laboratory kept getting larger and larger. He really was a very personal man living as a public figure, testing out deeply held beliefs and theories — on abstinence, on sanitation, on humility. They took a political form, but the political life was not what he was talking about, and in a strange way, he never made a secret of it. He often talked about how independence from the British meant nothing [to him].”\u003c/p>\n\u003cp>What did mean something to Gandhi? “A life of dignity, harmony between Hindus and Muslims, and self-sufficiency. To him, these were the important aims and goals of life, and independence from British rule was merely a means of achieving these.”\u003c/p>\n\u003cfigure id=\"attachment_13866387\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866387\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/DSC01284.jpg\" alt='Original music and dance feature prominently in \"Gandhi: The Musical\" put on by Silicon Valley-based Naatak.' width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-1200x802.jpg 1200w\" sizes=\"(max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Original music and dance feature prominently in “Gandhi: A Grand Musical” put on by Silicon Valley-based Naatak. \u003ccite>(Photo: Courtesy of Rajat Bhargava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if Gandhi succeeded in shaming the British out of India, he was completely unsuccessful in establishing a country free of religious and class divisions, and of politicians who stoke the fires of those divisions to get into and stay in power. Naked materialism is in vogue now, as much in India as any place else on earth.\u003c/p>\n\u003cp>“He would not be pleased if he came back,” muses Saraf. “I think he would go on a fast unto death, and sadly, I don’t know if anybody would care.”\u003c/p>\n\u003cp>Heady stuff to tackle on stage — and timely, given that October 2nd marks the 150th anniversary of Gandhi’s birth.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Gandhi: A Grand Musical\u003c/strong> runs Sept. 14-Oct. 6 at Cubberley Theatre in Palo Alto. For more information, click \u003ca href=\"https://www.naatak.com/portfolio/gandhi/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s an epic story; everything from Mahatma Gandhi’s early days in law school to his campaigns in South Africa, to the civil disobedience movement he led against British colonial rule in India that inspired people all over the world, including \u003ca href=\"https://kinginstitute.stanford.edu/encyclopedia/gandhi-mohandas-k\" target=\"_blank\" rel=\"noopener\">Dr. Martin Luther King, Jr.\u003c/a>.\u003c/p>\n\u003cp>Naatak co-founder, artistic director and playwright Sujit Saraf says, with \u003ca style=\"font-style: italic\" href=\"https://www.naatak.com/portfolio/gandhi/\" target=\"_blank\" rel=\"noopener\">Gandhi: A Grand Musical\u003c/a>\u003ci>, the \u003c/i>theater company presents an accessible yet nuanced picture for Indians steeped in Gandhi love — and hate — from childhood on.\u003c/p>\n\u003cp>“Gandhi has total ‘brand permeation’ in India. We grew up with Gandhi as our father. Some of us continue to adore him. Then there is a strain of — it’s hot in India — where you mock everything Gandhi did because he’s extremely easy to mock.” That includes some of the very things that helped establish Gandhi’s moral and political stature in the first place, like the humble loincloth, or dhoti, he wore, the vow of celibacy he held to for much of his adult life, and his campaign to change sanitation practices.\u003c/p>\n\u003cp>“A man who led 300 million people and had something to say, over a long public career, on every subject on earth necessarily said many silly things. I could come up with a hundred silly things that Gandhi said and none of those put together would paint a picture of the man. So, in our play, he does say those things, but not in an attempt to make fun of him; in an attempt to better understand what Gandhi meant to India, to the world, and to history.”\u003c/p>\n\u003cfigure id=\"attachment_13866385\" class=\"wp-caption aligncenter\" style=\"max-width: 1568px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866385\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/DSC01728.jpeg\" alt='\"Gandhi: The Musical\" by Naatak runs September 14 - October 6 at Cubberley Theatre in Palo Alto.' width=\"1568\" height=\"1048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728.jpeg 1568w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-800x535.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-1020x682.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-1200x802.jpeg 1200w\" sizes=\"(max-width: 1568px) 100vw, 1568px\">\u003cfigcaption class=\"wp-caption-text\">“Gandhi: A Grand Musical” by Naatak runs September 14 – October 6 at Cubberley Theatre in Palo Alto. \u003ccite>(Photo: Courtesy of Rajat Bhargava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.naatak.com\" target=\"_blank\" rel=\"noopener\">Naatak\u003c/a> has been delivering Indian theatre to Silicon Valley for a quarter century now, everything from Western classics cast with Indian-American locals to original work, like what opens tonight.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To write the play, Saraf dove deep into books about and recordings of the great man and come up with a sense of him as “stubborn, cruel, intelligent, and very very courageous.”\u003c/p>\n\u003cp>“The problem with most writings about Gandhi, including the big \u003ca href=\"https://www.youtube.com/watch?v=B7I6D3mSYTE\" target=\"_blank\" rel=\"noopener\">movie\u003c/a> [directed by Richard Attenborough], is that they are too conscious of his star power. They are too aware that he is a world figure. He is the father of the nation. So the movie, for instance, is full of slow motion footage of Gandhi putting on glasses, Gandhi slipping his feet into sandals. He utters witticisms and white people’s jaws drop.”\u003c/p>\n\u003cp>“We are Indians. I don’t need to see Gandhi through Western eyes. Not only that, I’m able to represent him in his own language.” Three languages, in fact: Ghandi’s native tongue, Gujarati, as well as Hindi and English.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bhLexs13cZU'\n title='//www.youtube.com/embed/bhLexs13cZU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>Saraf says there was a distinct difference in the way Gandhi communicated, depending on who his audience was.\u003c/p>\n\u003cp>“When he spoke in Hindi, he spoke very mundanely. When he spoke in English, he was aiming it at a western audience, and the point five percent of Indians who could speak English then. His speeches acquired a slightly more poetic air. He wasn’t an orator on the level of MLK. I don’t have Gandhi making beautiful speeches in the musical because it just doesn’t make sense. ”\u003c/p>\n\u003cp>That said, Naatak feels freer to take poetic license with original music (composed by Nachiketa Yakkundi and dance (choreography by Soumya Agastya, Shwetha Subraya and Nisha Natraj). “So many of Gandhi’s ideas and campaigns are presented in the play as lovely dance and music,” Saraf says. The musical also includes songs familiar from Gandhi’s life and the Indian independence movement.\u003c/p>\n\u003ch2>Resistance as Spiritual Practice\u003c/h2>\n\u003cp>Gandhi’s deeply rooted spiritual practice was central to his political practice, his philosophy of non-violent resistance to oppression. Political campaigns for him were a means to a larger end. He felt he was an instrument of divine will.\u003c/p>\n\u003cp>“He arrived at what he thought were some simple truths,” says Saraf. “Everything he did was an attempt to test those truths and his laboratory kept getting larger and larger. He really was a very personal man living as a public figure, testing out deeply held beliefs and theories — on abstinence, on sanitation, on humility. They took a political form, but the political life was not what he was talking about, and in a strange way, he never made a secret of it. He often talked about how independence from the British meant nothing [to him].”\u003c/p>\n\u003cp>What did mean something to Gandhi? “A life of dignity, harmony between Hindus and Muslims, and self-sufficiency. To him, these were the important aims and goals of life, and independence from British rule was merely a means of achieving these.”\u003c/p>\n\u003cfigure id=\"attachment_13866387\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866387\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/DSC01284.jpg\" alt='Original music and dance feature prominently in \"Gandhi: The Musical\" put on by Silicon Valley-based Naatak.' width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-1200x802.jpg 1200w\" sizes=\"(max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Original music and dance feature prominently in “Gandhi: A Grand Musical” put on by Silicon Valley-based Naatak. \u003ccite>(Photo: Courtesy of Rajat Bhargava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if Gandhi succeeded in shaming the British out of India, he was completely unsuccessful in establishing a country free of religious and class divisions, and of politicians who stoke the fires of those divisions to get into and stay in power. Naked materialism is in vogue now, as much in India as any place else on earth.\u003c/p>\n\u003cp>“He would not be pleased if he came back,” muses Saraf. “I think he would go on a fast unto death, and sadly, I don’t know if anybody would care.”\u003c/p>\n\u003cp>Heady stuff to tackle on stage — and timely, given that October 2nd marks the 150th anniversary of Gandhi’s birth.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Gandhi: A Grand Musical\u003c/strong> runs Sept. 14-Oct. 6 at Cubberley Theatre in Palo Alto. For more information, click \u003ca href=\"https://www.naatak.com/portfolio/gandhi/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The outsider singer, songwriter and visual artist Daniel Johnston has died. His death was confirmed to NPR by his brother, Dick Johnston, who said that Daniel had just been released on Tuesday from a hospital, where he had been treated for kidney issues. Dick Johnston said that Tuesday night, Daniel had seemed well, but he was found dead at his home in Waller, Texas, near Houston, Wednesday morning. He was 58 years old.\u003c/p>\n\u003cp>His sister, Margy Johnston, told the \u003ca href=\"https://www.austinchronicle.com/daily/music/2019-09-11/austin-singer-songwriter-daniel-johnston-dead-at-58/\">Austin Chronicle\u003c/a> in 2018 that he had been physically unwell in recent years; in a \u003ca href=\"https://www.nytimes.com/2017/09/27/arts/music/daniel-johnston-final-concerts.html\">2017 profile\u003c/a>, \u003cem>The New York Times\u003c/em> reported that he had struggled with diabetes, a kidney infection and hydrocephalus, in addition to the manic depression and schizophrenia that he bore for most of his adult life.\u003c/p>\n\u003cp>Born Jan. 22, 1961, in Sacramento, Calif., Johnston was a musician’s musician, whose guileless lyrics about love and isolation found significant fans who brought his singular songs to a wider audience. Tom Waits, Yo La Tengo, Bright Eyes and many other bands covered Johnston’s achingly sincere songs of alienation. Wayne Coyne of the Flaming Lips\u003ca href=\"https://www.austinchronicle.com/daily/music/2019-01-21/hi-how-are-you-day-wayne-coyne/\"> said\u003c/a>, of his music, “There’s definitely some absolutely pure, emotional thing that happens in his songs.” Kurt Cobain wore a T-shirt featuring the art from Johnston’s 1983 cassette \u003cem>Hi, How Are You. \u003c/em>\u003c/p>\n\u003cp>https://youtu.be/3OvWFurOBk8\u003c/p>\n\u003cp>He was beloved as a visual artist and cartoonist too: In 2006, the Whitney Museum of American Art chose him for its famed \u003ca href=\"https://whitney.org/exhibitions/2006-biennial\">Biennial\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2005, he was the subject of a documentary, the Jeff Feuerzeig-directed\u003ca href=\"https://www.imdb.com/title/tt0436231/\"> The Devil and Daniel Johnston\u003c/a>, that traced his art-making and his significant struggles; the film won the documentary directing award at the Sundance Film Festival that year.\u003c/p>\n\u003cp>https://youtu.be/wJZOe65eA4Y\u003c/p>\n\u003cp>Dick Johnston also told NPR on Wednesday that the family has been working with director \u003ca href=\"https://catastrophictheatre.com/production/speeding-motorcycle/\">Jason Nodler\u003c/a> to create a biographical film of Daniel Johnston’s life, based on the stage work \u003cem>Speeding Motorcycle, \u003c/em>which Nodler directed and which is based on Johnston’s songs. “It’s so sad that he won’t get to see it,” Dick Johnston said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As news of his death spread, many musicians and artists have taken to social media to pay tribute to Johnston. “There are not enough words I can say about the … vitality of Daniel Johnston’s musical spirit,” Zola Jesus wrote on \u003ca href=\"https://twitter.com/ZOLAJESUS/status/1171883463584178176?s=20\">Twitter\u003c/a>. “He was a huge inspiration to me, to follow my creative impulses no matter how messy or simple.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The outsider singer, songwriter and visual artist Daniel Johnston has died. His death was confirmed to NPR by his brother, Dick Johnston, who said that Daniel had just been released on Tuesday from a hospital, where he had been treated for kidney issues. Dick Johnston said that Tuesday night, Daniel had seemed well, but he was found dead at his home in Waller, Texas, near Houston, Wednesday morning. He was 58 years old.\u003c/p>\n\u003cp>His sister, Margy Johnston, told the \u003ca href=\"https://www.austinchronicle.com/daily/music/2019-09-11/austin-singer-songwriter-daniel-johnston-dead-at-58/\">Austin Chronicle\u003c/a> in 2018 that he had been physically unwell in recent years; in a \u003ca href=\"https://www.nytimes.com/2017/09/27/arts/music/daniel-johnston-final-concerts.html\">2017 profile\u003c/a>, \u003cem>The New York Times\u003c/em> reported that he had struggled with diabetes, a kidney infection and hydrocephalus, in addition to the manic depression and schizophrenia that he bore for most of his adult life.\u003c/p>\n\u003cp>Born Jan. 22, 1961, in Sacramento, Calif., Johnston was a musician’s musician, whose guileless lyrics about love and isolation found significant fans who brought his singular songs to a wider audience. Tom Waits, Yo La Tengo, Bright Eyes and many other bands covered Johnston’s achingly sincere songs of alienation. Wayne Coyne of the Flaming Lips\u003ca href=\"https://www.austinchronicle.com/daily/music/2019-01-21/hi-how-are-you-day-wayne-coyne/\"> said\u003c/a>, of his music, “There’s definitely some absolutely pure, emotional thing that happens in his songs.” Kurt Cobain wore a T-shirt featuring the art from Johnston’s 1983 cassette \u003cem>Hi, How Are You. \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/3OvWFurOBk8'\n title='//www.youtube.com/embed/3OvWFurOBk8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He was beloved as a visual artist and cartoonist too: In 2006, the Whitney Museum of American Art chose him for its famed \u003ca href=\"https://whitney.org/exhibitions/2006-biennial\">Biennial\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2005, he was the subject of a documentary, the Jeff Feuerzeig-directed\u003ca href=\"https://www.imdb.com/title/tt0436231/\"> The Devil and Daniel Johnston\u003c/a>, that traced his art-making and his significant struggles; the film won the documentary directing award at the Sundance Film Festival that year.\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/wJZOe65eA4Y'\n title='//www.youtube.com/embed/wJZOe65eA4Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dick Johnston also told NPR on Wednesday that the family has been working with director \u003ca href=\"https://catastrophictheatre.com/production/speeding-motorcycle/\">Jason Nodler\u003c/a> to create a biographical film of Daniel Johnston’s life, based on the stage work \u003cem>Speeding Motorcycle, \u003c/em>which Nodler directed and which is based on Johnston’s songs. “It’s so sad that he won’t get to see it,” Dick Johnston said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As news of his death spread, many musicians and artists have taken to social media to pay tribute to Johnston. “There are not enough words I can say about the … vitality of Daniel Johnston’s musical spirit,” Zola Jesus wrote on \u003ca href=\"https://twitter.com/ZOLAJESUS/status/1171883463584178176?s=20\">Twitter\u003c/a>. “He was a huge inspiration to me, to follow my creative impulses no matter how messy or simple.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The City of Oakland has released a 342-page review draft of its Downtown Oakland Specific Plan (DOSP), a policy framework for development, transportation and public space as well as cultural arts in its rapidly changing urban core, and officials are now soliciting public feedback. [aside postID=arts_13861153,arts_13853547,arts_13862998] \u003c/p>\n\u003cp>It largely carries forward cultural stabilization strategies from similarly-aimed task forces and planning documents dating as far back as 2015 that local arts figures support but wish to see funded and implemented more swiftly than in recent years. \u003c/p>\n\u003cp>The \u003ca href=\"https://cao-94612.s3.amazonaws.com/documents/FINAL_DOSP-Public-Review-Draft-Plan_082819_Compressed.pdf\">document\u003c/a>, four years in the making and projected for adoption in 2020, includes a raft of policy proposals to support arts and culture in the area approximately bounded by Lake Merritt, Interstate 980, 27th Street and the Oakland Estuary in a chapter entitled “Culture Keeping.” \u003c/p>\n\u003cp>It’s an area experiencing dramatic development, with thousands of housing units opening or under construction, and intense competition for commercial and office space. Changes to the built environment, along with downtown’s declining black population and an influx of affluent residents, pose challenges to nonprofits, galleries, venues and other cultural resources. \u003c/p>\n\u003cp>Downtown Oakland has 161 arts and culture businesses, institutions and nonprofits, 62 nightlife and entertainment establishments and 184 murals, according to the DOSP. “Unprecedented economic investment … has introduced a new dynamic in the cultural landscape that, left unaddressed, endangers this mosaic,” reads the chapter introduction. \u003c/p>\n\u003cfigure id=\"attachment_13863001\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/13th-Street-800x450.jpg\" alt=\"The 13th Street Commons project shows the extraordinary power of Business Improvement District organizations to shape, and police, public space.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13863001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 13th Street Commons project shows the extraordinary power of Business Improvement District organizations to shape, and police, public space. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plan proposes formalizing unofficial cultural districts such as Chinatown and the cluster of galleries near the Oakland First Fridays street festival, plus allocating resources to the already-established Black Arts Movement and Business District (BAMBD). These districts would be incorporated into a network of public spaces with culturally-relevant streetscape elements. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among the ten intersections listed for potential redesign is 13th Street between Broadway and Franklin Street. There the Downtown Oakland Association, a consortium of area property owners, plans to create a plaza to dissuade loitering, raising concerns about the organization’s swelling power to shape and police public space, as KQED \u003ca href=\"https://www.kqed.org/arts/13862998/to-reduce-loitering-a-plaza-downtown-oakland-landlords-plan-to-annex-a-street\">previously reported\u003c/a>. \u003c/p>\n\u003cp>Also proposed is requiring developers that displace arts and culture businesses to offer replacement space on-site or else offer relocation assistance; supporting land trusts and other collective ownership models to acquire and preserve properties for arts uses (along the lines of \u003ca href=\"https://www.kqed.org/arts/13838421/with-luxury-development-on-all-sides-oakland-artists-buy-the-right-to-stay-put\">Shadetree\u003c/a>); and offering more below-market-rate leases to galleries in city-owned properties similar to its deals with Pro Arts and Betti Ono. \u003c/p>\n\u003cp>The plan lists difficulties for entertainment venues to comply with special-events regulations including prohibitive costs and “racial bias in permitting and enforcement,” a reference to \u003ca href=\"https://www.eastbayexpress.com/oakland/blacklisted-how-the-oakland-police-department-discriminates-against-rappers-and-music-venues/Content?oid=6482231\">reports\u003c/a> of Oakland cops’ double standards for hip-hop nightclubs that draw largely black audiences. In March city officials \u003ca href=\"https://www.kqed.org/arts/13853547/new-karibbean-citys-after-hours-permit-revoked-prompting-discrimination-accusation\">revoked\u003c/a> New Karibbean City’s after-hours permit at the urging of Oakland police in what proprietor Richard Ali considered the latest example of discrimination against hip-hop venues. \u003c/p>\n\u003cp>Proposed regulatory fixes for downtown entertainment include a streamlined “one-stop shop” for permitting and revising what critics call selectively-enforced aspects of the municipal code pertaining to events. \u003c/p>\n\u003cp>Acknowledging tensions between nightlife operators and residents, the plan also floats an idea—similar to \u003ca href=\"https://www.kqed.org/arts/10632258/legislation-passes-to-protect-sf-nightclubs-from-complainy-pants-neighbors\">legislation\u003c/a> San Francisco adopted in 2015—to protect entertainment venues against noise complaints from residents of newly-constructed buildings. For example, Oakland could proactively require developers to disclose the presence of entertainment venues near new apartments to prospective tenants or buyers.\u003c/p>\n\u003cfigure id=\"attachment_13853569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg\" alt=\"New Karibbean City proprietor Richard Ali is among the downtown nightlife operators to accuse Oakland police of discriminating against hip-hop venues that draw largely black audiences.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13853569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Karibbean City proprietor Richard Ali is among the downtown nightlife operators to accuse Oakland police of discriminating against hip-hop venues that draw largely black audiences. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The document incorporates ideas from the Cultural Plan published last year, the special events task force formed after the Dec. 2, 2016 Ghost Ship fire in East Oakland and an artist housing and workspace task force report published in 2015. Local arts figures laud many of the proposals, but worry Oakland lacks the resources and political will to follow through with investment and implementation. \u003c/p>\n\u003cp>Eric Arnold, BAMBD spokesperson and community advisor to the DOSP authors, called the document “aspirational,” noting many of the “Culture Keeping” strategies date back years. “The outcomes listed all sound great, but how do we get there?” He said, “There isn’t the urgency we need.”\u003c/p>\n\u003cp>Some of the DOSP proposals have gained momentum only to stall: The Black Arts Movement and Business District was established in 2016 but just recently received city funding—$75,000 for signage. Stakeholders in the Art + Garage District, as some call the First Fridays gallery cluster, campaigned for formal recognition in 2015, only to have the plan scuttled after area property owners objected, according to supporters. \u003c/p>\n\u003cp>Lonnie Lee, a key Art + Garage District promoter whose Vessel Gallery was \u003ca href=\"https://www.kqed.org/arts/13843911/vessel-gallery-oakland-art-murmur-fixture-to-close-following-lease-termination\">displaced\u003c/a> earlier this year, said she’s baffled that cultural districts are so prominent in the plan after her disheartening experience attempting to form one. “They just want the marketing value,” Lee said. “The districts are nothing without policies—a sign’s not going to keep you.” \u003c/p>\n\u003cp>The DOSP specifically identifies the city-owned Malonga Casquelourd Center for the Arts—a longtime hub for performing arts of the African diaspora, currently housing companies including SambaFunk! and Dimensions Dance Theater—as needing significant upgrades, noting tenants of the facility have complained of deferred maintenance and inadequate staffing since 1999. \u003c/p>\n\u003cp>“Many in the arts community recommended increasing overall funding for arts and culture programs, as well as direct financial assistance to local artists and artists of color,” the plan reads. As \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">KQED previously reported\u003c/a>, the Cultural Affairs Unit has launched new initiatives—embedding artists in city departments, reestablishing an arts commission—under the leadership of Cultural Affairs Manager Roberto Bedoya since 2016, yet earlier this year officials cut its grant-making budget by 17 percent. \u003c/p>\n\u003cfigure id=\"attachment_13840998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-800x514.jpg\" alt=\"Oakland Mayor Libby Schaaf and Cultural Affairs Manager Roberto Bedoya present the city's first-ever Cultural Plan.\" width=\"800\" height=\"514\" class=\"size-medium wp-image-13840998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1200x770.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1920x1232.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1180x757.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-960x616.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-520x334.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland Mayor Libby Schaaf and Cultural Affairs Manager Roberto Bedoya present the city’s first-ever Cultural Plan. \u003ccite>(Chloe Veltman / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A lot of these strategies require a huge infusion of support for Cultural Affairs,” Arnold said. “If you don’t increase their funding, projects requiring their input aren’t really going to happen.” \u003c/p>\n\u003cp>One solution, according to the plan, is to increase the Cultural Funding Program’s share of Oakland’s hotel or transient occupancy tax, although this would require a ballot measure. “That’s a big lift,” said Arnold. “You have community support, but you need political will, money to get it on the ballot and a campaign to draw attention—and the hotel industry will fight back.” \u003c/p>\n\u003cp>The DOSP also proposes contributing public funds to another round of real-estate holding nonprofit \u003ca href=\"https://cast-sf.org/\">Community Arts Stabilization Trust\u003c/a>’s “Keeping Space—Oakland,” which launched late 2016 to provide precarious local arts organizations financial and technical assistance; the first round was philanthropically financed. Oakland’s increasingly close partnership with CAST has previously \u003ca href=\"https://openspace.sfmoma.org/2018/06/culture-cash-oaklands-struggle-to-support-the-arts/\">stirred concerns\u003c/a> of Cultural Funding Program responsibilities being outsourced or privatized. \u003c/p>\n\u003cp>The DOSP, developed with input from community advisory and stakeholder groups and public surveys, is still subject to change and requires approval from the Oakland City Council for adoption.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Events for the public to \u003ca href=\"https://www.oaklandca.gov/meetings/related-to/topics/downtown-oakland-specific-plan?range%5Bdate%5D=1567321200000%3A1569913199999\">learn more and provide feedback\u003c/a> on the document are scheduled for Thursday, Sept. 19 at Latham Square Plaza and Sunday, Sept. 29 at the Jack London Farmers Market. The Oakland Chinatown Chamber of Commerce, Jack London Improvement District and Old Oakland Neighbors are also hosting informational events throughout September. \u003c/p>\n\n",
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"title": "Will Oakland’s New Plan to Protect Downtown Arts and Culture Succeed? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The City of Oakland has released a 342-page review draft of its Downtown Oakland Specific Plan (DOSP), a policy framework for development, transportation and public space as well as cultural arts in its rapidly changing urban core, and officials are now soliciting public feedback. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>It largely carries forward cultural stabilization strategies from similarly-aimed task forces and planning documents dating as far back as 2015 that local arts figures support but wish to see funded and implemented more swiftly than in recent years. \u003c/p>\n\u003cp>The \u003ca href=\"https://cao-94612.s3.amazonaws.com/documents/FINAL_DOSP-Public-Review-Draft-Plan_082819_Compressed.pdf\">document\u003c/a>, four years in the making and projected for adoption in 2020, includes a raft of policy proposals to support arts and culture in the area approximately bounded by Lake Merritt, Interstate 980, 27th Street and the Oakland Estuary in a chapter entitled “Culture Keeping.” \u003c/p>\n\u003cp>It’s an area experiencing dramatic development, with thousands of housing units opening or under construction, and intense competition for commercial and office space. Changes to the built environment, along with downtown’s declining black population and an influx of affluent residents, pose challenges to nonprofits, galleries, venues and other cultural resources. \u003c/p>\n\u003cp>Downtown Oakland has 161 arts and culture businesses, institutions and nonprofits, 62 nightlife and entertainment establishments and 184 murals, according to the DOSP. “Unprecedented economic investment … has introduced a new dynamic in the cultural landscape that, left unaddressed, endangers this mosaic,” reads the chapter introduction. \u003c/p>\n\u003cfigure id=\"attachment_13863001\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/13th-Street-800x450.jpg\" alt=\"The 13th Street Commons project shows the extraordinary power of Business Improvement District organizations to shape, and police, public space.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13863001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 13th Street Commons project shows the extraordinary power of Business Improvement District organizations to shape, and police, public space. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plan proposes formalizing unofficial cultural districts such as Chinatown and the cluster of galleries near the Oakland First Fridays street festival, plus allocating resources to the already-established Black Arts Movement and Business District (BAMBD). These districts would be incorporated into a network of public spaces with culturally-relevant streetscape elements. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among the ten intersections listed for potential redesign is 13th Street between Broadway and Franklin Street. There the Downtown Oakland Association, a consortium of area property owners, plans to create a plaza to dissuade loitering, raising concerns about the organization’s swelling power to shape and police public space, as KQED \u003ca href=\"https://www.kqed.org/arts/13862998/to-reduce-loitering-a-plaza-downtown-oakland-landlords-plan-to-annex-a-street\">previously reported\u003c/a>. \u003c/p>\n\u003cp>Also proposed is requiring developers that displace arts and culture businesses to offer replacement space on-site or else offer relocation assistance; supporting land trusts and other collective ownership models to acquire and preserve properties for arts uses (along the lines of \u003ca href=\"https://www.kqed.org/arts/13838421/with-luxury-development-on-all-sides-oakland-artists-buy-the-right-to-stay-put\">Shadetree\u003c/a>); and offering more below-market-rate leases to galleries in city-owned properties similar to its deals with Pro Arts and Betti Ono. \u003c/p>\n\u003cp>The plan lists difficulties for entertainment venues to comply with special-events regulations including prohibitive costs and “racial bias in permitting and enforcement,” a reference to \u003ca href=\"https://www.eastbayexpress.com/oakland/blacklisted-how-the-oakland-police-department-discriminates-against-rappers-and-music-venues/Content?oid=6482231\">reports\u003c/a> of Oakland cops’ double standards for hip-hop nightclubs that draw largely black audiences. In March city officials \u003ca href=\"https://www.kqed.org/arts/13853547/new-karibbean-citys-after-hours-permit-revoked-prompting-discrimination-accusation\">revoked\u003c/a> New Karibbean City’s after-hours permit at the urging of Oakland police in what proprietor Richard Ali considered the latest example of discrimination against hip-hop venues. \u003c/p>\n\u003cp>Proposed regulatory fixes for downtown entertainment include a streamlined “one-stop shop” for permitting and revising what critics call selectively-enforced aspects of the municipal code pertaining to events. \u003c/p>\n\u003cp>Acknowledging tensions between nightlife operators and residents, the plan also floats an idea—similar to \u003ca href=\"https://www.kqed.org/arts/10632258/legislation-passes-to-protect-sf-nightclubs-from-complainy-pants-neighbors\">legislation\u003c/a> San Francisco adopted in 2015—to protect entertainment venues against noise complaints from residents of newly-constructed buildings. For example, Oakland could proactively require developers to disclose the presence of entertainment venues near new apartments to prospective tenants or buyers.\u003c/p>\n\u003cfigure id=\"attachment_13853569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg\" alt=\"New Karibbean City proprietor Richard Ali is among the downtown nightlife operators to accuse Oakland police of discriminating against hip-hop venues that draw largely black audiences.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13853569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Karibbean City proprietor Richard Ali is among the downtown nightlife operators to accuse Oakland police of discriminating against hip-hop venues that draw largely black audiences. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The document incorporates ideas from the Cultural Plan published last year, the special events task force formed after the Dec. 2, 2016 Ghost Ship fire in East Oakland and an artist housing and workspace task force report published in 2015. Local arts figures laud many of the proposals, but worry Oakland lacks the resources and political will to follow through with investment and implementation. \u003c/p>\n\u003cp>Eric Arnold, BAMBD spokesperson and community advisor to the DOSP authors, called the document “aspirational,” noting many of the “Culture Keeping” strategies date back years. “The outcomes listed all sound great, but how do we get there?” He said, “There isn’t the urgency we need.”\u003c/p>\n\u003cp>Some of the DOSP proposals have gained momentum only to stall: The Black Arts Movement and Business District was established in 2016 but just recently received city funding—$75,000 for signage. Stakeholders in the Art + Garage District, as some call the First Fridays gallery cluster, campaigned for formal recognition in 2015, only to have the plan scuttled after area property owners objected, according to supporters. \u003c/p>\n\u003cp>Lonnie Lee, a key Art + Garage District promoter whose Vessel Gallery was \u003ca href=\"https://www.kqed.org/arts/13843911/vessel-gallery-oakland-art-murmur-fixture-to-close-following-lease-termination\">displaced\u003c/a> earlier this year, said she’s baffled that cultural districts are so prominent in the plan after her disheartening experience attempting to form one. “They just want the marketing value,” Lee said. “The districts are nothing without policies—a sign’s not going to keep you.” \u003c/p>\n\u003cp>The DOSP specifically identifies the city-owned Malonga Casquelourd Center for the Arts—a longtime hub for performing arts of the African diaspora, currently housing companies including SambaFunk! and Dimensions Dance Theater—as needing significant upgrades, noting tenants of the facility have complained of deferred maintenance and inadequate staffing since 1999. \u003c/p>\n\u003cp>“Many in the arts community recommended increasing overall funding for arts and culture programs, as well as direct financial assistance to local artists and artists of color,” the plan reads. As \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">KQED previously reported\u003c/a>, the Cultural Affairs Unit has launched new initiatives—embedding artists in city departments, reestablishing an arts commission—under the leadership of Cultural Affairs Manager Roberto Bedoya since 2016, yet earlier this year officials cut its grant-making budget by 17 percent. \u003c/p>\n\u003cfigure id=\"attachment_13840998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-800x514.jpg\" alt=\"Oakland Mayor Libby Schaaf and Cultural Affairs Manager Roberto Bedoya present the city's first-ever Cultural Plan.\" width=\"800\" height=\"514\" class=\"size-medium wp-image-13840998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1200x770.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1920x1232.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1180x757.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-960x616.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-520x334.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland Mayor Libby Schaaf and Cultural Affairs Manager Roberto Bedoya present the city’s first-ever Cultural Plan. \u003ccite>(Chloe Veltman / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A lot of these strategies require a huge infusion of support for Cultural Affairs,” Arnold said. “If you don’t increase their funding, projects requiring their input aren’t really going to happen.” \u003c/p>\n\u003cp>One solution, according to the plan, is to increase the Cultural Funding Program’s share of Oakland’s hotel or transient occupancy tax, although this would require a ballot measure. “That’s a big lift,” said Arnold. “You have community support, but you need political will, money to get it on the ballot and a campaign to draw attention—and the hotel industry will fight back.” \u003c/p>\n\u003cp>The DOSP also proposes contributing public funds to another round of real-estate holding nonprofit \u003ca href=\"https://cast-sf.org/\">Community Arts Stabilization Trust\u003c/a>’s “Keeping Space—Oakland,” which launched late 2016 to provide precarious local arts organizations financial and technical assistance; the first round was philanthropically financed. Oakland’s increasingly close partnership with CAST has previously \u003ca href=\"https://openspace.sfmoma.org/2018/06/culture-cash-oaklands-struggle-to-support-the-arts/\">stirred concerns\u003c/a> of Cultural Funding Program responsibilities being outsourced or privatized. \u003c/p>\n\u003cp>The DOSP, developed with input from community advisory and stakeholder groups and public surveys, is still subject to change and requires approval from the Oakland City Council for adoption.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Events for the public to \u003ca href=\"https://www.oaklandca.gov/meetings/related-to/topics/downtown-oakland-specific-plan?range%5Bdate%5D=1567321200000%3A1569913199999\">learn more and provide feedback\u003c/a> on the document are scheduled for Thursday, Sept. 19 at Latham Square Plaza and Sunday, Sept. 29 at the Jack London Farmers Market. The Oakland Chinatown Chamber of Commerce, Jack London Improvement District and Old Oakland Neighbors are also hosting informational events throughout September. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sealed-for-10-years-an-excelsior-butcher-shop-becomes-a-vibrant-teen-art-space",
"title": "Sealed for 10 Years, an Excelsior Butcher Shop Becomes a Vibrant Teen Art Space",
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"headTitle": "Sealed for 10 Years, an Excelsior Butcher Shop Becomes a Vibrant Teen Art Space | KQED",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n an overcast August afternoon, \u003ca href=\"https://www.youthartexchange.org/xspace\" target=\"_blank\" rel=\"noopener\">[x]space\u003c/a> is bustling with dozens of teenagers, parents and neighbors eager to see summertime work by Youth Art Exchange students. A group of girls hawk screen-printed, hand-dyed patches and tote bags with slogans like “Melt I.C.E.!” Succulents in handmade planters hang from wooden “living walls” built by students themselves. At one point, kids beeline to the music studio in the back, where videos they recorded and edited screen in surround sound and high definition.\u003c/p>\n\u003cp>The neon pink meat hooks hanging above the music studio are the only evidence that just a year ago, this vibrant Excelsior art space was a derelict butcher shop that had been abruptly sealed shut and left as-is for 10 years.\u003c/p>\n\u003cfigure id=\"attachment_13865910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_3391-800x533.jpg\" alt=\"Students, parents and neighbors gather at Youth Art Exchange's X Space for a teen art show.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students, parents and neighbors gather at Youth Art Exchange’s [x]space for a teen art show. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With sky-high real estate prices in San Francisco, the story of how the teen-focused art space came to be is an unlikely one. In 2018, a grant from San Francisco’s Office of Economic and Workforce Development presented \u003ca href=\"https://www.youthartexchange.org\" target=\"_blank\" rel=\"noopener\">Youth Art Exchange\u003c/a> an opportunity to find a brick-and-mortar location. Until that point, the small nonprofit had run its free after-school and summer arts programs out of various classrooms across the city. [pullquote align='right' citation='Jorge Courtade']“This is a safe space for people growing up in a city that’s changing by the day.”[/pullquote]\u003c/p>\n\u003cp>Youth Art Exchange organizers knew full well that they didn’t fit the profile of a typical commercial tenant. Property owners seemed confused when executive director Reed Davaz McGowan and deputy director Raffaella Falchi Macias told them that they weren’t selling anything, and would pay rent through a combination of several grants. Meanwhile, most landlords wanted a tenant willing to commit to a 10-year lease, while they were only looking to sign for one to three years.\u003c/p>\n\u003cp>Undeterred, Davaz McGowan and Falchi Macias spent six months hitting the streets and calling numbers on any “For Rent” sign they could find. Eventually, the business development group Excelsior Action Group introduced them to the three brothers who owned the Chuck’s Market building. To Davaz McGowan and Falchi Macias’ surprise, they decided to take a chance on Youth Art Exchange.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The only catch? Their storefront on the corner of Mission Street and Geneva Avenue needed a ton of work. The first thing Falchi Macias and Davaz McGowan noticed was the smell.\u003c/p>\n\u003cp>“It was rotting flesh with a little side of fish,” recalls Davaz McGowan, wrinkling her nose. “Imagine that mixed with 10 years of mildew and funk.”\u003c/p>\n\u003cfigure id=\"attachment_13865907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865907\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/yax2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Printmaking students show off apparel with activist slogans at Youth Art Exchange’s [x]space. \u003ccite>(Nastia Voynovskaya )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith the help of 50 volunteers, the Youth Art Exchange team emptied ancient dish buckets, threw away rusty lobster cages, cleared out old deli fridges and chiseled tiles off the walls. The nonprofit ArtSpan, which came on as a co-tenant and keeps an artist studio in the space, activated its network of artists to help. Three months later, in June 2018, Youth Art Exchange’s first classes at the new [x]space were in session.\u003c/p>\n\u003cp>With a faculty of practicing artists, including musicians, designers and photographers, [x]space offers a wide range of \u003ca href=\"https://www.youthartexchange.org/core-programs\" target=\"_blank\" rel=\"noopener\">curricula\u003c/a> to diverse cohorts of high school students, and all after-school classes and summer programs are free. (They also regularly offer free events and workshops to the public, like the upcoming \u003ca href=\"https://www.youthartexchange.org/events/artmart2019\" target=\"_blank\" rel=\"noopener\">fundraiser and art market\u003c/a> on Oct. 10.) This past summer’s intensive programs focused on printmaking, film and music production. Sessions kicking off this school year include the above-mentioned disciplines, plus architecture, photography, industrial and product design, fashion design and dance.\u003c/p>\n\u003cp>“We want to make the arts really accessible across economic boundaries,” says Falchi Macias, explaining that Youth Art Exchange programming is designed to mirror intro-level college art studio classes.\u003c/p>\n\u003cfigure id=\"attachment_13866018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866018\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_6244-800x533.jpg\" alt=\"Students dance at Youth Art Exchange's Youth Digital Music Festival, which took place at X Space in May.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students dance to each other’s music at Youth Art Exchange’s Youth Digital Music Festival, which took place at [x]space in May. \u003ccite>(Chantelle Schultz/Youth Art Exchange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Some youth come in and they have very limited skills, and we’re bringing them to a high-beginning, lower-intermediate level as fast as we can,” says music production instructor Alfie Macias, who is also a percussionist, DJ and the musical director of award-winning Brazilian dance ensemble \u003ca href=\"https://www.facebook.com/sambaxe/\" target=\"_blank\" rel=\"noopener\">Sambaxé\u003c/a>. “And others are coming in with vocal training, instrument training, theory, so with them we’re going straight into composition and showing them what’s possible in a recording environment.”\u003c/p>\n\u003cp>He adds that one of his main goals is to expose students to audio careers in the Bay Area, where the industry is geared towards audio-for-video and live sound engineering. Indeed, some Youth Art Exchange students are well on their way to professional music careers. At Youth Art Exchange’s Youth Digital Music Festival this past May (where, full disclosure, I was a guest speaker), a 16-year-old rapper named Fusion casually announced that he was stopping in to “do this little show” for his teachers before heading off for tour in Central America.\u003c/p>\n\u003cfigure id=\"attachment_13865908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/yax1-800x533.jpg\" alt=\"Music instructor Alfie Macias talks to a parent at X Space. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music instructor Alfie Macias talks to a parent at [x]space. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he students who use [x]space come from the Excelsior, Mission and Bayview neighborhoods, among others, and represent a wide variety of public schools. [x]space, located on a busy block with Chinese restaurants, liquor stores and a pupusería, sits in the heart of a diverse neighborhood that’s predominantly Asian and Latinx. As San Francisco becomes increasingly more affluent, white and childless, [x]space serves as a crucial gathering space for teens of color whose families bear the brunt of current economic pressures. [aside postid='arts_13864750']\u003c/p>\n\u003cp>Indeed, San Francisco Supervisor Ahsha Safaí, whose office supported [x]space with funding and logistics, says that his constituency in the Excelsior has the highest concentration of children under 18 in San Francisco, along with Bayview-Hunters Point. “There are immigrant families and families of color living in my district, so having a place that’s near their home that readily promotes the arts is extremely important, and opens up opportunities and experiences for our families and our youth,” he says.\u003c/p>\n\u003cp>“I wish I could have had this kind of place when I was younger and in high school,” says Jorge Courtade, Youth Art Exchange’s program associate, who is also known as DJ \u003ca href=\"https://soundcloud.com/juannydepp\" target=\"_blank\" rel=\"noopener\">Juanny Depp\u003c/a> from the music collective Amor Digital. He was raised in Millbrae and some of his family, immigrants from Honduras, settled in the Excelsior. “Being a teenager is a strange time in anyone’s life, especially when factors like institutional poverty and racism exist, so this is a safe space for people growing up in a city that’s changing by the day.”\u003c/p>\n\u003cfigure id=\"attachment_13865909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13865909 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_3393-800x533.jpg\" alt=\"Youth Art Exchange deputy director Raffaella Falchi Macias and executive director Reed Davaz McGowan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Youth Art Exchange deputy director Raffaella Falchi Macias and Reed Davaz McGowan. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of Youth Art Exchange programming is designed to give students a voice at a time when change in San Francisco is largely dictated by governmental and corporate forces, and it’s easy for individuals to feel powerless. In recent years, architecture students designed parklets near City Hall. Printmaking students screen-printed public art for utility boxes on Ocean Avenue. And music students performed songs about gentrification in English, Spanish and Haitian Creole in a collaboration with SFJAZZ called Beats on the Corner. [aside postid='arts_13865238']\u003c/p>\n\u003cp>“Since the Trump presidency specifically, we were feeling really scared and we didn’t know what we could really do to make a difference,” says Fiona Gray, a Youth Art Exchange alumni who graduated from Mission High School this year. “A lot of it is just getting out there and getting your message heard.”\u003c/p>\n\u003cp>Davaz McGowan and Falchi Macias agree. “[Youth] often don’t have agency, or are often thought of as ‘they’re too young and don’t know anything yet, so we shouldn’t listen to what they have to say,'” says Falchi Macias.\u003c/p>\n\u003cp>Although most of the Youth Art Exchange kids can’t vote yet, the directors explain, the program’s emphasis on civic engagement through art—getting their hands dirty setting up [x]space included—is one way they’re making an impact on their community.\u003c/p>\n\u003cp>As Davaz McGowan says, “They actually get to make the San Francisco they want to have.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Correction:\u003c/em> \u003c/strong>\u003cem>This story originally referred to the organization that connected Youth Art Exchange to the owners of Chuck’s Market as Excelsior Collaborative. The group was Excelsior Action Group.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n an overcast August afternoon, \u003ca href=\"https://www.youthartexchange.org/xspace\" target=\"_blank\" rel=\"noopener\">[x]space\u003c/a> is bustling with dozens of teenagers, parents and neighbors eager to see summertime work by Youth Art Exchange students. A group of girls hawk screen-printed, hand-dyed patches and tote bags with slogans like “Melt I.C.E.!” Succulents in handmade planters hang from wooden “living walls” built by students themselves. At one point, kids beeline to the music studio in the back, where videos they recorded and edited screen in surround sound and high definition.\u003c/p>\n\u003cp>The neon pink meat hooks hanging above the music studio are the only evidence that just a year ago, this vibrant Excelsior art space was a derelict butcher shop that had been abruptly sealed shut and left as-is for 10 years.\u003c/p>\n\u003cfigure id=\"attachment_13865910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_3391-800x533.jpg\" alt=\"Students, parents and neighbors gather at Youth Art Exchange's X Space for a teen art show.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students, parents and neighbors gather at Youth Art Exchange’s [x]space for a teen art show. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With sky-high real estate prices in San Francisco, the story of how the teen-focused art space came to be is an unlikely one. In 2018, a grant from San Francisco’s Office of Economic and Workforce Development presented \u003ca href=\"https://www.youthartexchange.org\" target=\"_blank\" rel=\"noopener\">Youth Art Exchange\u003c/a> an opportunity to find a brick-and-mortar location. Until that point, the small nonprofit had run its free after-school and summer arts programs out of various classrooms across the city. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Youth Art Exchange organizers knew full well that they didn’t fit the profile of a typical commercial tenant. Property owners seemed confused when executive director Reed Davaz McGowan and deputy director Raffaella Falchi Macias told them that they weren’t selling anything, and would pay rent through a combination of several grants. Meanwhile, most landlords wanted a tenant willing to commit to a 10-year lease, while they were only looking to sign for one to three years.\u003c/p>\n\u003cp>Undeterred, Davaz McGowan and Falchi Macias spent six months hitting the streets and calling numbers on any “For Rent” sign they could find. Eventually, the business development group Excelsior Action Group introduced them to the three brothers who owned the Chuck’s Market building. To Davaz McGowan and Falchi Macias’ surprise, they decided to take a chance on Youth Art Exchange.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The only catch? Their storefront on the corner of Mission Street and Geneva Avenue needed a ton of work. The first thing Falchi Macias and Davaz McGowan noticed was the smell.\u003c/p>\n\u003cp>“It was rotting flesh with a little side of fish,” recalls Davaz McGowan, wrinkling her nose. “Imagine that mixed with 10 years of mildew and funk.”\u003c/p>\n\u003cfigure id=\"attachment_13865907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865907\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/yax2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Printmaking students show off apparel with activist slogans at Youth Art Exchange’s [x]space. \u003ccite>(Nastia Voynovskaya )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith the help of 50 volunteers, the Youth Art Exchange team emptied ancient dish buckets, threw away rusty lobster cages, cleared out old deli fridges and chiseled tiles off the walls. The nonprofit ArtSpan, which came on as a co-tenant and keeps an artist studio in the space, activated its network of artists to help. Three months later, in June 2018, Youth Art Exchange’s first classes at the new [x]space were in session.\u003c/p>\n\u003cp>With a faculty of practicing artists, including musicians, designers and photographers, [x]space offers a wide range of \u003ca href=\"https://www.youthartexchange.org/core-programs\" target=\"_blank\" rel=\"noopener\">curricula\u003c/a> to diverse cohorts of high school students, and all after-school classes and summer programs are free. (They also regularly offer free events and workshops to the public, like the upcoming \u003ca href=\"https://www.youthartexchange.org/events/artmart2019\" target=\"_blank\" rel=\"noopener\">fundraiser and art market\u003c/a> on Oct. 10.) This past summer’s intensive programs focused on printmaking, film and music production. Sessions kicking off this school year include the above-mentioned disciplines, plus architecture, photography, industrial and product design, fashion design and dance.\u003c/p>\n\u003cp>“We want to make the arts really accessible across economic boundaries,” says Falchi Macias, explaining that Youth Art Exchange programming is designed to mirror intro-level college art studio classes.\u003c/p>\n\u003cfigure id=\"attachment_13866018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866018\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_6244-800x533.jpg\" alt=\"Students dance at Youth Art Exchange's Youth Digital Music Festival, which took place at X Space in May.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students dance to each other’s music at Youth Art Exchange’s Youth Digital Music Festival, which took place at [x]space in May. \u003ccite>(Chantelle Schultz/Youth Art Exchange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Some youth come in and they have very limited skills, and we’re bringing them to a high-beginning, lower-intermediate level as fast as we can,” says music production instructor Alfie Macias, who is also a percussionist, DJ and the musical director of award-winning Brazilian dance ensemble \u003ca href=\"https://www.facebook.com/sambaxe/\" target=\"_blank\" rel=\"noopener\">Sambaxé\u003c/a>. “And others are coming in with vocal training, instrument training, theory, so with them we’re going straight into composition and showing them what’s possible in a recording environment.”\u003c/p>\n\u003cp>He adds that one of his main goals is to expose students to audio careers in the Bay Area, where the industry is geared towards audio-for-video and live sound engineering. Indeed, some Youth Art Exchange students are well on their way to professional music careers. At Youth Art Exchange’s Youth Digital Music Festival this past May (where, full disclosure, I was a guest speaker), a 16-year-old rapper named Fusion casually announced that he was stopping in to “do this little show” for his teachers before heading off for tour in Central America.\u003c/p>\n\u003cfigure id=\"attachment_13865908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/yax1-800x533.jpg\" alt=\"Music instructor Alfie Macias talks to a parent at X Space. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music instructor Alfie Macias talks to a parent at [x]space. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he students who use [x]space come from the Excelsior, Mission and Bayview neighborhoods, among others, and represent a wide variety of public schools. [x]space, located on a busy block with Chinese restaurants, liquor stores and a pupusería, sits in the heart of a diverse neighborhood that’s predominantly Asian and Latinx. As San Francisco becomes increasingly more affluent, white and childless, [x]space serves as a crucial gathering space for teens of color whose families bear the brunt of current economic pressures. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, San Francisco Supervisor Ahsha Safaí, whose office supported [x]space with funding and logistics, says that his constituency in the Excelsior has the highest concentration of children under 18 in San Francisco, along with Bayview-Hunters Point. “There are immigrant families and families of color living in my district, so having a place that’s near their home that readily promotes the arts is extremely important, and opens up opportunities and experiences for our families and our youth,” he says.\u003c/p>\n\u003cp>“I wish I could have had this kind of place when I was younger and in high school,” says Jorge Courtade, Youth Art Exchange’s program associate, who is also known as DJ \u003ca href=\"https://soundcloud.com/juannydepp\" target=\"_blank\" rel=\"noopener\">Juanny Depp\u003c/a> from the music collective Amor Digital. He was raised in Millbrae and some of his family, immigrants from Honduras, settled in the Excelsior. “Being a teenager is a strange time in anyone’s life, especially when factors like institutional poverty and racism exist, so this is a safe space for people growing up in a city that’s changing by the day.”\u003c/p>\n\u003cfigure id=\"attachment_13865909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13865909 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_3393-800x533.jpg\" alt=\"Youth Art Exchange deputy director Raffaella Falchi Macias and executive director Reed Davaz McGowan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Youth Art Exchange deputy director Raffaella Falchi Macias and Reed Davaz McGowan. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of Youth Art Exchange programming is designed to give students a voice at a time when change in San Francisco is largely dictated by governmental and corporate forces, and it’s easy for individuals to feel powerless. In recent years, architecture students designed parklets near City Hall. Printmaking students screen-printed public art for utility boxes on Ocean Avenue. And music students performed songs about gentrification in English, Spanish and Haitian Creole in a collaboration with SFJAZZ called Beats on the Corner. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Since the Trump presidency specifically, we were feeling really scared and we didn’t know what we could really do to make a difference,” says Fiona Gray, a Youth Art Exchange alumni who graduated from Mission High School this year. “A lot of it is just getting out there and getting your message heard.”\u003c/p>\n\u003cp>Davaz McGowan and Falchi Macias agree. “[Youth] often don’t have agency, or are often thought of as ‘they’re too young and don’t know anything yet, so we shouldn’t listen to what they have to say,'” says Falchi Macias.\u003c/p>\n\u003cp>Although most of the Youth Art Exchange kids can’t vote yet, the directors explain, the program’s emphasis on civic engagement through art—getting their hands dirty setting up [x]space included—is one way they’re making an impact on their community.\u003c/p>\n\u003cp>As Davaz McGowan says, “They actually get to make the San Francisco they want to have.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Correction:\u003c/em> \u003c/strong>\u003cem>This story originally referred to the organization that connected Youth Art Exchange to the owners of Chuck’s Market as Excelsior Collaborative. The group was Excelsior Action Group.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 8
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},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"order": 9
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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