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"content": "\u003cp>Rachael Myrow here, pinch-hitting for Cy Musiker this week. Naturally, I picked a co-host from Palo Alto — visual artist and salon organizer \u003ca href=\"http://sahbashere.com\" target=\"_blank\" rel=\"noopener\">Sabha Shere\u003c/a> — and we talked about the upcoming concerts and exhibitions we’re most excited about.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6–8\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828634/science-parties-with-pop-culture-at-silicon-valley-comic-con-2018\" target=\"_blank\" rel=\"noopener\">Science Parties With Pop Culture at Silicon Valley Comic Con 2018\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock\" target=\"_blank\" rel=\"noopener\">Kronos Quartet Plays Live to Green Fog, a Found Footage Homage to Hitchcock\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 9–14: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828645/other-minds-festival-celebrates-cerebral-and-witty-sound-poetry\" target=\"_blank\" rel=\"noopener\">Other Minds Festival Celebrates Cerebral and Witty Sound Poetry\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mar. 24– Aug. 12\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828651/cult-of-the-machine-explores-the-magnetic-pull-of-industrial-design\" target=\"_blank\" rel=\"noopener\">Cult of the Machine Explores the Magnetic Pull of Industrial Design\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Mar. 30– Apr. 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828662/in-a-time-of-economic-extremes-shakespeares-timon-recast-as-a-silicon-valley-ceo\" target=\"_blank\" rel=\"noopener\">In a Time of Economic Extremes, Shakespeare’s Timon Recast as a Silicon Valley CEO\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828695/haim-plays-the-greek-theatre-on-the-road-to-coachella\" target=\"_blank\" rel=\"noopener\">Haim Plays at the Greek Theatre in Berkeley on The Road to Coachella\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 20–22\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828705/the-classic-chicano-novel-reimagined-as-an-opera\" target=\"_blank\" rel=\"noopener\">The Classic Chicano Novel ‘Bless Me, Última’ Reimagined as an Opera\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Apr. 27-28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828723/epic-tale-from-the-ancient-indian-ramayan-takes-flight-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Epic Tale From the Ancient Indian Ramayan Takes Flight in San Francisco\u003c/a>\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rachael Myrow here, pinch-hitting for Cy Musiker this week. Naturally, I picked a co-host from Palo Alto — visual artist and salon organizer \u003ca href=\"http://sahbashere.com\" target=\"_blank\" rel=\"noopener\">Sabha Shere\u003c/a> — and we talked about the upcoming concerts and exhibitions we’re most excited about.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6–8\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828634/science-parties-with-pop-culture-at-silicon-valley-comic-con-2018\" target=\"_blank\" rel=\"noopener\">Science Parties With Pop Culture at Silicon Valley Comic Con 2018\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock\" target=\"_blank\" rel=\"noopener\">Kronos Quartet Plays Live to Green Fog, a Found Footage Homage to Hitchcock\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 9–14: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828645/other-minds-festival-celebrates-cerebral-and-witty-sound-poetry\" target=\"_blank\" rel=\"noopener\">Other Minds Festival Celebrates Cerebral and Witty Sound Poetry\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mar. 24– Aug. 12\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828651/cult-of-the-machine-explores-the-magnetic-pull-of-industrial-design\" target=\"_blank\" rel=\"noopener\">Cult of the Machine Explores the Magnetic Pull of Industrial Design\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Mar. 30– Apr. 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828662/in-a-time-of-economic-extremes-shakespeares-timon-recast-as-a-silicon-valley-ceo\" target=\"_blank\" rel=\"noopener\">In a Time of Economic Extremes, Shakespeare’s Timon Recast as a Silicon Valley CEO\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828695/haim-plays-the-greek-theatre-on-the-road-to-coachella\" target=\"_blank\" rel=\"noopener\">Haim Plays at the Greek Theatre in Berkeley on The Road to Coachella\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 20–22\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828705/the-classic-chicano-novel-reimagined-as-an-opera\" target=\"_blank\" rel=\"noopener\">The Classic Chicano Novel ‘Bless Me, Última’ Reimagined as an Opera\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Apr. 27-28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828723/epic-tale-from-the-ancient-indian-ramayan-takes-flight-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Epic Tale From the Ancient Indian Ramayan Takes Flight in San Francisco\u003c/a>\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Say hello to \u003ca href=\"http://www.svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic Con 3.0\u003c/a>.\u003c/p>\n\u003cp>This weekend, the streets of downtown San Jose will be packed with science geeks. You’re probably thinking, “This is new, how?” Well, some of them will be wearing costumes. But also, this comic con is very much different from the others worldwide in the sense it’s the baby of The Woz, Steve Wozniak of Apple fame.\u003c/p>\n\u003cp>“From the very beginning we chose to incorporate science and technology as much as we focus on pop culture. There is this union between the two, but we extend that much further,” Silicon Valley Comic Con chairman Trip Hunter said.\u003c/p>\n\u003cp>Along those lines, Silicon Valley’s Comic Con goes to extra lengths to pay tribute to real world heroes whose names are not as familiar to the public as the stars of film and television. For example, astronaut Dr. Mae Jemison, the first African American woman to go into space, will give a talk about human interstellar travel, introduced by \u003cem>Star Trek’s\u003c/em> Nichelle Nichols, who was the first African American woman to travel to space on TV.\u003c/p>\n\u003cfigure id=\"attachment_13828679\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828679\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-800x661.jpg\" alt=\"Steve Wozniak and Stan Lee, two accomplished giants, one in technology, the other in science fiction, geek out at the Silicon Valley Comic Con.\" width=\"800\" height=\"661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-800x661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-768x634.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1020x842.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1920x1586.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1180x974.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-960x793.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-240x198.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-375x310.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-520x429.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Wozniak and Stan Lee, two accomplished giants, one in technology, the other in science fiction, geek out at the Silicon Valley Comic Con. \u003ccite>(Photo: Courtesy of Silicon Valley Comic Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are not that many public platforms for scientists delivering this size of a crowd,” Hunter noted, adding he feels a strong drive to inspire the event’s youngest attendees, from that 8-year-old experimenting with nuclear fission in his garage to that kid who just needs to know that science is cool.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last year, at a panel called “Women in STEM,” astrophysicist \u003ca href=\"http://jannalevin.com\" target=\"_blank\" rel=\"noopener\">Janna Levin\u003c/a> spoke about black holes. Hunter thrills at the thought of the email he received afterward from a 15-year-old girl who wrote, “Until I went to that panel, I didn’t know what to do with my life.”\u003c/p>\n\u003cp>Hunter estimates the vast majority of the 60,000 people who annually attend are local. “90 percent California.” I’d add that 100 percent are from this galaxy, but who can tell when so many people are in costume?\u003c/p>\n\u003cp>So don’t get the idea science crowds out cos play and pop culture at SVCC. You can bet the blockbuster film \u003cem>Black Panther\u003c/em> is on everybody’s lips and there will be a capacity crowd to hear pop culture critic \u003ca href=\"http://www.svcomiccon.com/index.php/guest/evan-narcisse/\" target=\"_blank\" rel=\"noopener\">Evan Narcisse\u003c/a>, talk about writing for Marvel Comics, including the \u003cem>Rise of the Black Panther\u003c/em> series. (The fourth issue just came out this week.)\u003c/p>\n\u003cfigure id=\"attachment_13828682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-800x571.jpg\" alt=\"Evan Narcisse will probably be busy getting autographs at the Silicon Valley Comic Con, when he isn't busy giving then to Black Panther fans.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-520x371.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evan Narcisse will probably be busy getting autographs at the Silicon Valley Comic Con, when he isn’t busy giving then to Black Panther fans. \u003ccite>(Photo: Courtesy of Silicon Valley Comic Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is Narcisse a Comic Con enthusiast? Do you have to ask? “The best part of the experience has been meeting people who are reading the work and enjoying it, but also I’m going to get the chance to moderate some panels with people whose work I’ve loved my entire life and enjoy what’s it’s like to be a nerd in 2018,” Narcisse told me.\u003c/p>\n\u003cp>He’ll probably also find a way to point out how the success of \u003cem>Black Panther\u003c/em> has dramatically proven, as he told me, “how if you give a wide latitude and agency to people of color — and black people, specifically — and trust and resources, you can reap similar benefits as what Marvel and Disney have.”\u003c/p>\n\u003cp>Silicon Valley Comic Con runs April 6-8 at the San Jose Convention Center. \u003ca href=\"http://www.svcomiccon.com\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Say hello to \u003ca href=\"http://www.svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic Con 3.0\u003c/a>.\u003c/p>\n\u003cp>This weekend, the streets of downtown San Jose will be packed with science geeks. You’re probably thinking, “This is new, how?” Well, some of them will be wearing costumes. But also, this comic con is very much different from the others worldwide in the sense it’s the baby of The Woz, Steve Wozniak of Apple fame.\u003c/p>\n\u003cp>“From the very beginning we chose to incorporate science and technology as much as we focus on pop culture. There is this union between the two, but we extend that much further,” Silicon Valley Comic Con chairman Trip Hunter said.\u003c/p>\n\u003cp>Along those lines, Silicon Valley’s Comic Con goes to extra lengths to pay tribute to real world heroes whose names are not as familiar to the public as the stars of film and television. For example, astronaut Dr. Mae Jemison, the first African American woman to go into space, will give a talk about human interstellar travel, introduced by \u003cem>Star Trek’s\u003c/em> Nichelle Nichols, who was the first African American woman to travel to space on TV.\u003c/p>\n\u003cfigure id=\"attachment_13828679\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828679\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-800x661.jpg\" alt=\"Steve Wozniak and Stan Lee, two accomplished giants, one in technology, the other in science fiction, geek out at the Silicon Valley Comic Con.\" width=\"800\" height=\"661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-800x661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-768x634.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1020x842.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1920x1586.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1180x974.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-960x793.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-240x198.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-375x310.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-520x429.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Wozniak and Stan Lee, two accomplished giants, one in technology, the other in science fiction, geek out at the Silicon Valley Comic Con. \u003ccite>(Photo: Courtesy of Silicon Valley Comic Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are not that many public platforms for scientists delivering this size of a crowd,” Hunter noted, adding he feels a strong drive to inspire the event’s youngest attendees, from that 8-year-old experimenting with nuclear fission in his garage to that kid who just needs to know that science is cool.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last year, at a panel called “Women in STEM,” astrophysicist \u003ca href=\"http://jannalevin.com\" target=\"_blank\" rel=\"noopener\">Janna Levin\u003c/a> spoke about black holes. Hunter thrills at the thought of the email he received afterward from a 15-year-old girl who wrote, “Until I went to that panel, I didn’t know what to do with my life.”\u003c/p>\n\u003cp>Hunter estimates the vast majority of the 60,000 people who annually attend are local. “90 percent California.” I’d add that 100 percent are from this galaxy, but who can tell when so many people are in costume?\u003c/p>\n\u003cp>So don’t get the idea science crowds out cos play and pop culture at SVCC. You can bet the blockbuster film \u003cem>Black Panther\u003c/em> is on everybody’s lips and there will be a capacity crowd to hear pop culture critic \u003ca href=\"http://www.svcomiccon.com/index.php/guest/evan-narcisse/\" target=\"_blank\" rel=\"noopener\">Evan Narcisse\u003c/a>, talk about writing for Marvel Comics, including the \u003cem>Rise of the Black Panther\u003c/em> series. (The fourth issue just came out this week.)\u003c/p>\n\u003cfigure id=\"attachment_13828682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-800x571.jpg\" alt=\"Evan Narcisse will probably be busy getting autographs at the Silicon Valley Comic Con, when he isn't busy giving then to Black Panther fans.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-520x371.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evan Narcisse will probably be busy getting autographs at the Silicon Valley Comic Con, when he isn’t busy giving then to Black Panther fans. \u003ccite>(Photo: Courtesy of Silicon Valley Comic Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is Narcisse a Comic Con enthusiast? Do you have to ask? “The best part of the experience has been meeting people who are reading the work and enjoying it, but also I’m going to get the chance to moderate some panels with people whose work I’ve loved my entire life and enjoy what’s it’s like to be a nerd in 2018,” Narcisse told me.\u003c/p>\n\u003cp>He’ll probably also find a way to point out how the success of \u003cem>Black Panther\u003c/em> has dramatically proven, as he told me, “how if you give a wide latitude and agency to people of color — and black people, specifically — and trust and resources, you can reap similar benefits as what Marvel and Disney have.”\u003c/p>\n\u003cp>Silicon Valley Comic Con runs April 6-8 at the San Jose Convention Center. \u003ca href=\"http://www.svcomiccon.com\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kim Jong Un was \"Deeply Moved\" After K-Pop Performance",
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"content": "\u003cp>Just two years after K-pop was \u003ca href=\"https://www.npr.org/sections/parallels/2016/01/13/462853390/responding-to-nuclear-test-s-korea-cranks-up-the-k-pop\" target=\"_blank\" rel=\"noopener\">deployed\u003c/a> as a soft weapon against his country, North Korean leader Kim Jong Un said he was “deeply moved” following a two-hour performance by South Korean artists, the North Korean state news agency \u003ca href=\"https://kcnawatch.co/newstream/1522666885-955577091/kim-jong-un-enjoys-performance-of-south-side-art-troupe/\" target=\"_blank\" rel=\"noopener\">KCNA reported Monday\u003c/a>.\u003c/p>\n\u003cp>South Korea’s 160-person delegation — which included the K-pop group Red Velvet and Cho Yong Pil, the last South Korean to have performed in the North, \u003ca href=\"https://www.npr.org/sections/parallels/2018/03/30/597872371/k-pop-stars-red-velvet-set-to-perform-in-pyongyang-this-weekend\">back in 2005\u003c/a> — were in the North Korean capital Pyongyang on Sunday to further stoke a warming of relations between the two countries, which have a summit planned for April 27.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WyiIGEHQP8o\u003c/p>\n\u003cp>Kim is the first North Korean leader to publicly attend a performance by South Korean artists in Pyongyang — Cho Yong Pil’s 2005 concert was broadcast on television in North Korea, but Kim Jong Un’s father Kim Jong Il reportedly \u003ca href=\"http://english.chosun.com/site/data/html_dir/2005/08/03/2005080361031.html\" target=\"_blank\" rel=\"noopener\">did not attend\u003c/a> — and was “particularly interested” in Red Velvet, a K-pop girl group, the publicly funded South Korean broadcaster \u003ca href=\"https://www.youtube.com/watch?v=CLoLxM0hd64\" target=\"_blank\" rel=\"noopener\">KBS reported\u003c/a>.\u003c/p>\n\u003cp>The performance was the latest public display in a diplomatic thaw between the two Koreas. In February, North Korea sent its own artistic olive branch to its southern neighbor, dispatching singers, dancers and an orchestra \u003ca href=\"https://www.nytimes.com/2018/02/08/world/asia/north-korea-orchestra-olympics.html\" target=\"_blank\" rel=\"noopener\">for a performance\u003c/a> celebrating the Winter Olympics in Pyeongchang.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>South Korea’s delegation arrived less than a week after Kim Jong Un was said to have left North Korea for the first time since assuming power in 2011, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/28/597507942/on-trip-to-china-north-koreas-leader-says-denuclearization-is-reachable\" target=\"_blank\" rel=\"noopener\">traveling to Beijing\u003c/a> for talks with President Xi Jinping.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And then there is the matter of the White House accepting an “invitation to talk, based on [North Korea] following through with concrete actions on the promises that they’ve made,” as White House Press Secretary Sarah Huckabee Sanders told reporters at \u003ca href=\"https://www.whitehouse.gov/briefings-statements/press-briefing-press-secretary-sarah-sanders-030918/\" target=\"_blank\" rel=\"noopener\">a briefing on March 9\u003c/a>. “This meeting [between President Trump and Kim Jong Un] won’t take place without concrete actions that match the promises that have been made by North Korea,” Sanders cautioned, citing the North’s promises around denuclearization. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kim+Jong+Un+Was+%27Deeply+Moved%27+After+K-Pop+Performance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just two years after K-pop was \u003ca href=\"https://www.npr.org/sections/parallels/2016/01/13/462853390/responding-to-nuclear-test-s-korea-cranks-up-the-k-pop\" target=\"_blank\" rel=\"noopener\">deployed\u003c/a> as a soft weapon against his country, North Korean leader Kim Jong Un said he was “deeply moved” following a two-hour performance by South Korean artists, the North Korean state news agency \u003ca href=\"https://kcnawatch.co/newstream/1522666885-955577091/kim-jong-un-enjoys-performance-of-south-side-art-troupe/\" target=\"_blank\" rel=\"noopener\">KCNA reported Monday\u003c/a>.\u003c/p>\n\u003cp>South Korea’s 160-person delegation — which included the K-pop group Red Velvet and Cho Yong Pil, the last South Korean to have performed in the North, \u003ca href=\"https://www.npr.org/sections/parallels/2018/03/30/597872371/k-pop-stars-red-velvet-set-to-perform-in-pyongyang-this-weekend\">back in 2005\u003c/a> — were in the North Korean capital Pyongyang on Sunday to further stoke a warming of relations between the two countries, which have a summit planned for April 27.\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/WyiIGEHQP8o'\n title='//www.youtube.com/embed/WyiIGEHQP8o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kim is the first North Korean leader to publicly attend a performance by South Korean artists in Pyongyang — Cho Yong Pil’s 2005 concert was broadcast on television in North Korea, but Kim Jong Un’s father Kim Jong Il reportedly \u003ca href=\"http://english.chosun.com/site/data/html_dir/2005/08/03/2005080361031.html\" target=\"_blank\" rel=\"noopener\">did not attend\u003c/a> — and was “particularly interested” in Red Velvet, a K-pop girl group, the publicly funded South Korean broadcaster \u003ca href=\"https://www.youtube.com/watch?v=CLoLxM0hd64\" target=\"_blank\" rel=\"noopener\">KBS reported\u003c/a>.\u003c/p>\n\u003cp>The performance was the latest public display in a diplomatic thaw between the two Koreas. In February, North Korea sent its own artistic olive branch to its southern neighbor, dispatching singers, dancers and an orchestra \u003ca href=\"https://www.nytimes.com/2018/02/08/world/asia/north-korea-orchestra-olympics.html\" target=\"_blank\" rel=\"noopener\">for a performance\u003c/a> celebrating the Winter Olympics in Pyeongchang.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>South Korea’s delegation arrived less than a week after Kim Jong Un was said to have left North Korea for the first time since assuming power in 2011, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/28/597507942/on-trip-to-china-north-koreas-leader-says-denuclearization-is-reachable\" target=\"_blank\" rel=\"noopener\">traveling to Beijing\u003c/a> for talks with President Xi Jinping.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And then there is the matter of the White House accepting an “invitation to talk, based on [North Korea] following through with concrete actions on the promises that they’ve made,” as White House Press Secretary Sarah Huckabee Sanders told reporters at \u003ca href=\"https://www.whitehouse.gov/briefings-statements/press-briefing-press-secretary-sarah-sanders-030918/\" target=\"_blank\" rel=\"noopener\">a briefing on March 9\u003c/a>. “This meeting [between President Trump and Kim Jong Un] won’t take place without concrete actions that match the promises that have been made by North Korea,” Sanders cautioned, citing the North’s promises around denuclearization. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kim+Jong+Un+Was+%27Deeply+Moved%27+After+K-Pop+Performance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "When A Brand Does Well Even When It's Called 'Racist'",
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"content": "\u003cp>\u003cstrong>\u003cem>Warning\u003c/em>\u003c/strong>\u003cem>: This post contains language that some people may find offensive.\u003c/em>\u003c/p>\n\u003cp>“I think companies are purposely putting out noticably racist ads so they can get more views,” Chance the Rapper posted on \u003ca href=\"https://twitter.com/chancetherapper/status/978078809995046912\">Twitter\u003c/a> after seeing a recent ad for light beer.\u003c/p>\n\u003cp>https://twitter.com/chancetherapper/status/978078809995046912\u003c/p>\n\u003cp>In it, as reggae music plays, a light-skinned bartender slides a bottle across the bar, past three black people (one playing a guitar), to a light-skinned customer.\u003c/p>\n\u003cp>It ends with the tagline, “Sometimes, lighter is better.” The company Chance called out, Heineken, has since pulled the spot, globally.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/g_u_-OD1_z0\u003c/p>\n\u003cp>Though it may have been lost amid the noise of media reactions to Chance’s recognition of what he saw as the ad’s racist subtext, which was then amplified by its subsequent disavowal by the company, Chance’s point was a good one.\u003c/p>\n\u003cp>In a statement provided to NPR, Heineken says it “missed the mark” but did not respond to a question about whether the ad was purposefully controversial.\u003c/p>\n\u003cp>In the end, it may not really matter. Could having a Grammy-winning artist pillory your brand for being racist actually be beneficial?\u003c/p>\n\u003cp>As the old adage goes, “All press is good press.”\u003c/p>\n\u003cp>In 2014, \u003ca href=\"http://www.adweek.com/digital/bad-news-negative-headlines-get-much-more-attention/\">\u003cem>Adweek\u003c/em> \u003c/a>looked at a study that suggested negative headlines — for instance, several media outlets reporting that a rap star accused a brand of being subtly racist — have a 63 percent higher click-through rate than positive ones.\u003c/p>\n\u003cp>A \u003ca href=\"http://www.pewinternet.org/2018/03/01/social-media-use-in-2018/\">recent study from the Pew Research Center \u003c/a>found that nearly a quarter of Americans are on Twitter and that more than two-thirds are on Facebook.\u003c/p>\n\u003cp>The combination presents a useful overlap for a brand, even if it is the subject of negative attention — if a “controversy” is stoked on Twitter, and news outlets are posting their articles about that controversy to Facebook, it’s reasonable to assume a large audience would be scooped into paying attention to it, relative to the one an ad could have hoped for in the first place. As a 2014 working paper from \u003ca href=\"https://www.hbs.edu/faculty/Publication%20Files/14-055_2ef21e7e-7529-4864-b0f0-c64e4169e17f.pdf\">Harvard Business School titled, “The Rising Cost of Consumer Attention.”\u003c/a> put it: “Before consumers can be affected by advertising messages, they need to first be paying attention.”\u003c/p>\n\u003cp>It later poses the question: “How can brands create ads so compelling that consumers actively seek them out?”\u003c/p>\n\u003cp>Chance’s tweet, and media coverage of it, presents one way. Remember: Fyre Festival, that doomed experiment in entrepreneurial and excess hubris, began as nothing more than an expensive social media marketing campaign.\u003c/p>\n\u003cp>Meanwhile, the fuzzy practice of translating the value of people seeing your advertisement versus reading about your company through an article, what is called “\u003ca href=\"http://apps.prsa.org/intelligence/businesscase/measurementresources/advertisingvalueequivalency/\">advertising value equivalency\u003c/a>,” is not particularly well-regarded by professionals and has largely fallen out of favor as a metric, according to the Public Relations Society of America. Moreover, advertising value equivalency relies on an outdated equation that depended on comparing the total square inches a brand would receive in a physical magazine and then extrapolating its value based on the advertising rates for that publication.\u003c/p>\n\u003cp>The sweet spot, regardless, would be media coverage \u003cem>of\u003c/em> a brand’s advertisement — just as Chance pointed out.\u003c/p>\n\u003cp>There are recent-ish examples of a similar situation. Last fall, a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/08/556523422/dove-expresses-regret-for-ad-that-missed-the-mark.\">soap brand was forced to express\u003c/a>, like Heineken, its “regret” over a racially insensitive ad showing a black person washing her skin and revealing it to be white. A year ago, Pepsi’s grandiose ad featuring Kendall Jenner was so \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/05/522750764/after-uproar-pepsi-halts-rollout-of-controversial-protest-themed-ad\">laughably out-of-touch\u003c/a> that its rollout was halted, all but forcing \u003cem>Saturday Night Live\u003c/em> to parody it. And on Wednesday, an egregious example from Groupon was \u003ca href=\"https://www.cosmopolitan.com/lifestyle/a19619963/groupon-racial-slur-boots-ad/\">added to the pile\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/Pn8pwoNWseM\u003c/p>\n\u003cp>In a media landscape with only one common denominator — fragmentation — getting people’s shattered attention spans to focus on one place for any amount of time is a win. Even if that win is \u003ca href=\"https://www.youtube.com/watch?v=phr1pOFK1V8\">achieved by failing\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”JSAzu4oJNTLLeWwE0smS7hyeN4MglWHJ”]\u003c/p>\n\u003cp>“In truth, it might not matter whether they ‘meant; to do this or not, when the outcome is the same,” writes Ian Bogost, an editor at \u003ca href=\"https://www.theatlantic.com/technology/archive/2017/04/pepsi-ad-success/522021/\">The Atlantic \u003c/a>and a media studies professor, in an email to NPR Music. “The commercial probably had a much greater effect even though it was technically pulled than it might have had otherwise.”\u003c/p>\n\u003cp>Bogost had similar thoughts around Pepsi’s own experience with failing upwards last year.\u003c/p>\n\u003cp>“It’s a trap: Let the ad lie and risk its seemingly racist message to continue,” Bogost says, “or draw attention to it and spread the marketing message far further than it would have reached. There’s no good move.”\u003c/p>\n\u003cp>“I didnt wanna tweet about it so bad … but its like how can u not,” Chance \u003ca href=\"https://twitter.com/chancetherapper/status/978082289207988231\">wrote\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Thursday morning, Heineken stock was up — that isn’t proof that it was positively impacted by the controversy, but it certainly shows it wasn’t hurt by it. Late capitalism is strange sometimes.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+A+Brand+Does+Well+Even+When+It%27s+Called+%27Racist%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Warning\u003c/em>\u003c/strong>\u003cem>: This post contains language that some people may find offensive.\u003c/em>\u003c/p>\n\u003cp>“I think companies are purposely putting out noticably racist ads so they can get more views,” Chance the Rapper posted on \u003ca href=\"https://twitter.com/chancetherapper/status/978078809995046912\">Twitter\u003c/a> after seeing a recent ad for light beer.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In it, as reggae music plays, a light-skinned bartender slides a bottle across the bar, past three black people (one playing a guitar), to a light-skinned customer.\u003c/p>\n\u003cp>It ends with the tagline, “Sometimes, lighter is better.” The company Chance called out, Heineken, has since pulled the spot, globally.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/g_u_-OD1_z0'\n title='//www.youtube.com/embed/g_u_-OD1_z0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though it may have been lost amid the noise of media reactions to Chance’s recognition of what he saw as the ad’s racist subtext, which was then amplified by its subsequent disavowal by the company, Chance’s point was a good one.\u003c/p>\n\u003cp>In a statement provided to NPR, Heineken says it “missed the mark” but did not respond to a question about whether the ad was purposefully controversial.\u003c/p>\n\u003cp>In the end, it may not really matter. Could having a Grammy-winning artist pillory your brand for being racist actually be beneficial?\u003c/p>\n\u003cp>As the old adage goes, “All press is good press.”\u003c/p>\n\u003cp>In 2014, \u003ca href=\"http://www.adweek.com/digital/bad-news-negative-headlines-get-much-more-attention/\">\u003cem>Adweek\u003c/em> \u003c/a>looked at a study that suggested negative headlines — for instance, several media outlets reporting that a rap star accused a brand of being subtly racist — have a 63 percent higher click-through rate than positive ones.\u003c/p>\n\u003cp>A \u003ca href=\"http://www.pewinternet.org/2018/03/01/social-media-use-in-2018/\">recent study from the Pew Research Center \u003c/a>found that nearly a quarter of Americans are on Twitter and that more than two-thirds are on Facebook.\u003c/p>\n\u003cp>The combination presents a useful overlap for a brand, even if it is the subject of negative attention — if a “controversy” is stoked on Twitter, and news outlets are posting their articles about that controversy to Facebook, it’s reasonable to assume a large audience would be scooped into paying attention to it, relative to the one an ad could have hoped for in the first place. As a 2014 working paper from \u003ca href=\"https://www.hbs.edu/faculty/Publication%20Files/14-055_2ef21e7e-7529-4864-b0f0-c64e4169e17f.pdf\">Harvard Business School titled, “The Rising Cost of Consumer Attention.”\u003c/a> put it: “Before consumers can be affected by advertising messages, they need to first be paying attention.”\u003c/p>\n\u003cp>It later poses the question: “How can brands create ads so compelling that consumers actively seek them out?”\u003c/p>\n\u003cp>Chance’s tweet, and media coverage of it, presents one way. Remember: Fyre Festival, that doomed experiment in entrepreneurial and excess hubris, began as nothing more than an expensive social media marketing campaign.\u003c/p>\n\u003cp>Meanwhile, the fuzzy practice of translating the value of people seeing your advertisement versus reading about your company through an article, what is called “\u003ca href=\"http://apps.prsa.org/intelligence/businesscase/measurementresources/advertisingvalueequivalency/\">advertising value equivalency\u003c/a>,” is not particularly well-regarded by professionals and has largely fallen out of favor as a metric, according to the Public Relations Society of America. Moreover, advertising value equivalency relies on an outdated equation that depended on comparing the total square inches a brand would receive in a physical magazine and then extrapolating its value based on the advertising rates for that publication.\u003c/p>\n\u003cp>The sweet spot, regardless, would be media coverage \u003cem>of\u003c/em> a brand’s advertisement — just as Chance pointed out.\u003c/p>\n\u003cp>There are recent-ish examples of a similar situation. Last fall, a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/08/556523422/dove-expresses-regret-for-ad-that-missed-the-mark.\">soap brand was forced to express\u003c/a>, like Heineken, its “regret” over a racially insensitive ad showing a black person washing her skin and revealing it to be white. A year ago, Pepsi’s grandiose ad featuring Kendall Jenner was so \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/05/522750764/after-uproar-pepsi-halts-rollout-of-controversial-protest-themed-ad\">laughably out-of-touch\u003c/a> that its rollout was halted, all but forcing \u003cem>Saturday Night Live\u003c/em> to parody it. And on Wednesday, an egregious example from Groupon was \u003ca href=\"https://www.cosmopolitan.com/lifestyle/a19619963/groupon-racial-slur-boots-ad/\">added to the pile\u003c/a>.\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/Pn8pwoNWseM'\n title='//www.youtube.com/embed/Pn8pwoNWseM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a media landscape with only one common denominator — fragmentation — getting people’s shattered attention spans to focus on one place for any amount of time is a win. Even if that win is \u003ca href=\"https://www.youtube.com/watch?v=phr1pOFK1V8\">achieved by failing\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“In truth, it might not matter whether they ‘meant; to do this or not, when the outcome is the same,” writes Ian Bogost, an editor at \u003ca href=\"https://www.theatlantic.com/technology/archive/2017/04/pepsi-ad-success/522021/\">The Atlantic \u003c/a>and a media studies professor, in an email to NPR Music. “The commercial probably had a much greater effect even though it was technically pulled than it might have had otherwise.”\u003c/p>\n\u003cp>Bogost had similar thoughts around Pepsi’s own experience with failing upwards last year.\u003c/p>\n\u003cp>“It’s a trap: Let the ad lie and risk its seemingly racist message to continue,” Bogost says, “or draw attention to it and spread the marketing message far further than it would have reached. There’s no good move.”\u003c/p>\n\u003cp>“I didnt wanna tweet about it so bad … but its like how can u not,” Chance \u003ca href=\"https://twitter.com/chancetherapper/status/978082289207988231\">wrote\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Thursday morning, Heineken stock was up — that isn’t proof that it was positively impacted by the controversy, but it certainly shows it wasn’t hurt by it. Late capitalism is strange sometimes.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+A+Brand+Does+Well+Even+When+It%27s+Called+%27Racist%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Theater and music guy Eli Wirtschafter joins me this week as co-host on The Do List, as we celebrate female trios: the three folk singer-songwriters of I’m With Her, the new play from 3Girls Theater Company, the three women singing of the African diaspora at SFJAZZ, and the three girls in iron shoes in a new play at Shotgun. Plus we cover the SF International Film Festival. We hope you like the show, times three.\u003c/p>\n\u003cp>\u003cstrong>April 3 and 4:\u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828123/three-voices-become-one-for-the-singer-songwriters-of-im-with-her\" target=\"_blank\" rel=\"noopener\"> The trio I’m With Her work in perfect harmony in two Bay Area appearances\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 4-17:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828178/bay-area-filmmakers-well-represented-at-the-sf-international-film-festival\" target=\"_blank\" rel=\"noopener\">Plenty of Bay Area movies at the San Francisco International Film Festival \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 21-April 29: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828198/vietgone-mines-laughs-and-insight-from-the-lives-of-vietnamese-refugees\" target=\"_blank\" rel=\"noopener\">Humor and heartache in the lives of Vietnamese refugees in the play \u003cem>Vietgone \u003c/em> at ACT’s Strand Theater\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 6-28:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828207/disruption-flips-the-script-on-sexual-harassment\" target=\"_blank\" rel=\"noopener\">The play \u003cem>Disruption\u003c/em> examines sexual harassment from a male employee’s point of view at 3Girls Theater Co.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 22-May 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828213/walking-a-mile-in-iron-shoes-at-shotgun-players\" target=\"_blank\" rel=\"noopener\">Deconstructing folk tales in the play \u003cem>Iron Shoes\u003c/em> at the Shotgun Players\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 5-8: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828139/african-diaspora-showcase-features-music-from-mali-ethiopia-and-cuba\" target=\"_blank\" rel=\"noopener\">The Bay Area’s Meklit Hadero and Mali’s Fatoumata Diawara \u003c/a>\u003ca href=\"https://www.kqed.org/arts/13828139/african-diaspora-showcase-features-music-from-mali-ethiopia-and-cuba\" target=\"_blank\" rel=\"noopener\">take the lead in a mini-fest of music of the African diaspora at SFJAZZ\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Shoutouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>April 8 & 12\u003c/strong>: \u003ca href=\"https://www.livenation.com/artists/200262/gloria-trevi-alejandra-guzman\" target=\"_blank\" rel=\"noopener\">Exuberant Mexican Pop from Gloria Trevi and Alejandra Guzmán at the SAP Center and Golden 1 Center \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.phenomenal-anomalies.org/upcoming/\" target=\"_blank\" rel=\"noopener\">The Phenomenal Anomalies do a free dance performance on the Lincoln Steps in San Francisco \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Theater and music guy Eli Wirtschafter joins me this week as co-host on The Do List, as we celebrate female trios: the three folk singer-songwriters of I’m With Her, the new play from 3Girls Theater Company, the three women singing of the African diaspora at SFJAZZ, and the three girls in iron shoes in a new play at Shotgun. Plus we cover the SF International Film Festival. We hope you like the show, times three.\u003c/p>\n\u003cp>\u003cstrong>April 3 and 4:\u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828123/three-voices-become-one-for-the-singer-songwriters-of-im-with-her\" target=\"_blank\" rel=\"noopener\"> The trio I’m With Her work in perfect harmony in two Bay Area appearances\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 4-17:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828178/bay-area-filmmakers-well-represented-at-the-sf-international-film-festival\" target=\"_blank\" rel=\"noopener\">Plenty of Bay Area movies at the San Francisco International Film Festival \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 21-April 29: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828198/vietgone-mines-laughs-and-insight-from-the-lives-of-vietnamese-refugees\" target=\"_blank\" rel=\"noopener\">Humor and heartache in the lives of Vietnamese refugees in the play \u003cem>Vietgone \u003c/em> at ACT’s Strand Theater\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 6-28:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828207/disruption-flips-the-script-on-sexual-harassment\" target=\"_blank\" rel=\"noopener\">The play \u003cem>Disruption\u003c/em> examines sexual harassment from a male employee’s point of view at 3Girls Theater Co.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>We treasure folk and fairy tales for the insights into our culture that they provide. Disney bowdlerizes and makes movies out of these tales, and we put our children to sleep with them, even though they’re often weird, terrifying, and sexist. So maybe it’s no surprise that the Shotgun Players is presenting the world premiere of \u003cem>Iron Shoes\u003c/em>, a musical deconstruction of three Eastern European folk tales about girls forced to wander the world and wear out a pair (or three pair) of iron shoes, in order to be reunited with a lover or family. The project got its start when Janet Kutulus of the Bay Area’s Kitka, the all woman Balkan music chorus, wrote a song cycle based on the stories. Kutulus then hooked up with director-choreographer Erika Chong Shuch and writer Michelle Carter to put the stories and music on stage. Shuch says the idea was to reevaluate these tales where the girls are powerless, the step-sisters are cruel and the parents are indifferent; and how the storyteller becomes complicit in the suffering.\u003c/p>\n\u003cfigure id=\"attachment_13828222\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828222\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-800x533.jpg\" alt=\"The cast confronts the narrator, Beth Wilmurt, in 'Iron Shoes' at the Shotgun Players in Berkeley\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast confronts the narrator, Beth Wilmurt, in ‘Iron Shoes’ at the Shotgun Players in Berkeley \u003ccite>(Ben Krantz/Shotgun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So we started thinking a lot about narration, and who has the right to tell these stories,” Shuch told me backstage at the theater a few days ago. “And for the girls in iron shoes, other people have been telling their stories. But what kind of shift would happen if the person telling their story, actually had to live thru what they lived through?”\u003c/p>\n\u003cp>There’s lots of humor in \u003cem>Iron Shoes\u003c/em>, despite the post-modern approach. And I found the play, especially the music and dance, deeply moving. And what’s best in \u003cem>Iron Shoes\u003c/em>, is the way it asks what it means to be a sympathetic, empathetic person, even when telling a tragic tale. \u003c/p>\n\u003cp>\u003cem>Iron Shoes\u003c/em> continues at The Shotgun Players at the Ashby Stage through May 6.\u003ca href=\"https://shotgunplayers.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=F72CB6B5-F471-4D48-BA66-D1C249384EAD&menu_id=A9AA731D-A9E2-4E77-ACBB-FF92411BD789&sToken=1%2C890f02ad%2C5abc185b%2C5E2DAF7C-963A-404C-BDA5-8A931B530D2B%2C1Iy0mbR72EO9uySw4KmSI5AKUVM%3D\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_iaxZEfaL50&list=RDEMLm35Se_-DS4rb606Go27tg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We treasure folk and fairy tales for the insights into our culture that they provide. Disney bowdlerizes and makes movies out of these tales, and we put our children to sleep with them, even though they’re often weird, terrifying, and sexist. So maybe it’s no surprise that the Shotgun Players is presenting the world premiere of \u003cem>Iron Shoes\u003c/em>, a musical deconstruction of three Eastern European folk tales about girls forced to wander the world and wear out a pair (or three pair) of iron shoes, in order to be reunited with a lover or family. The project got its start when Janet Kutulus of the Bay Area’s Kitka, the all woman Balkan music chorus, wrote a song cycle based on the stories. Kutulus then hooked up with director-choreographer Erika Chong Shuch and writer Michelle Carter to put the stories and music on stage. Shuch says the idea was to reevaluate these tales where the girls are powerless, the step-sisters are cruel and the parents are indifferent; and how the storyteller becomes complicit in the suffering.\u003c/p>\n\u003cfigure id=\"attachment_13828222\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828222\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-800x533.jpg\" alt=\"The cast confronts the narrator, Beth Wilmurt, in 'Iron Shoes' at the Shotgun Players in Berkeley\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast confronts the narrator, Beth Wilmurt, in ‘Iron Shoes’ at the Shotgun Players in Berkeley \u003ccite>(Ben Krantz/Shotgun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So we started thinking a lot about narration, and who has the right to tell these stories,” Shuch told me backstage at the theater a few days ago. “And for the girls in iron shoes, other people have been telling their stories. But what kind of shift would happen if the person telling their story, actually had to live thru what they lived through?”\u003c/p>\n\u003cp>There’s lots of humor in \u003cem>Iron Shoes\u003c/em>, despite the post-modern approach. And I found the play, especially the music and dance, deeply moving. And what’s best in \u003cem>Iron Shoes\u003c/em>, is the way it asks what it means to be a sympathetic, empathetic person, even when telling a tragic tale. \u003c/p>\n\u003cp>\u003cem>Iron Shoes\u003c/em> continues at The Shotgun Players at the Ashby Stage through May 6.\u003ca href=\"https://shotgunplayers.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=F72CB6B5-F471-4D48-BA66-D1C249384EAD&menu_id=A9AA731D-A9E2-4E77-ACBB-FF92411BD789&sToken=1%2C890f02ad%2C5abc185b%2C5E2DAF7C-963A-404C-BDA5-8A931B530D2B%2C1Iy0mbR72EO9uySw4KmSI5AKUVM%3D\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\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/_iaxZEfaL50'\n title='//www.youtube.com/embed/_iaxZEfaL50'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "Prince Died With 'Exceedingly High' Level Of Fentanyl, Report States",
"headTitle": "Prince Died With ‘Exceedingly High’ Level Of Fentanyl, Report States | KQED",
"content": "\u003cp>Prince had an extremely high level of a powerful synthetic opioid in his body at the time of his death at his home in Minnesota in April 2016, according to a toxicology report obtained by The Associated Press.\u003c/p>\n\u003cp>The confidential toxicology information was reported less than a week after the Carver County Attorney Mark Metz \u003ca href=\"https://www.co.carver.mn.us/home/showdocument?id=12976\">stated that the death investigation\u003c/a> remains active. Metz is still deciding whether to charge someone with a crime.\u003c/p>\n\u003cp>The Midwest Medical Examiner’s Office in Ramsey, Minn., had ruled “fentanyl toxicity” as the superstar musician’s cause of death \u003ca href=\"https://www.anokacounty.us/DocumentCenter/View/10066\">in its public autopsy report\u003c/a> in June 2016. It also ruled his death to be an accident and had provided no details about the concentration of the “self-administered” drug in his body.\u003c/p>\n\u003cp>According to the AP, the confidential toxicology report indicates that “concentration of fentanyl in Prince’s blood was 67.8 micrograms per liter.” As the wire service notes, “fatalities have been documented in people with blood levels ranging from three to 58 micrograms per liter.”\u003c/p>\n\u003cp>“The amount in his blood is exceedingly high, even for somebody who is a chronic pain patient on fentanyl patches,” Dr. Lewis Nelson, chairman of emergency medicine at Rutgers New Jersey Medical School, told the wire service.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 57-year-old musician was found dead at Paisley Park, his home in a Minneapolis suburb. As NPR’s Andrew Flanagan and Anastasia Tsioulcas reported, local officials have been investigating how Prince obtained the fentanyl that killed him. \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/17/524398523/investigation-into-prince-s-death-reveals-pills-were-hidden-throughout-paisley-p\">Here’s more\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“Throughout Prince’s residence, including in the laundry room and in Prince’s bedroom, investigators discovered controlled substances that ‘were not contained in typical prescription pill bottles but rather, were stored in various other containers such as vitamin bottles,’ according to the documents.\u003c/p>\n\u003cp>“Much of the investigation appears to focus on Kirk Johnson, a bodyguard and friend of Prince’s since the ’80s and, according to the investigators, ‘one of the few people who had unrestricted access to Paisley Park.’ The investigation also delved into Dr. Michael Schulenberg, who had begun treating Prince on April 7, 2016 — just weeks before his death.”\u003c/p>\u003c/blockquote>\n\u003cp>It’s worth noting that Prince, while secretive about his private life, was known to not allow drugs or alcohol in his home, \u003ca href=\"https://www.npr.org/2016/06/03/480564725/autopsy-report-prince-died-of-accidental-overdose\">as NPR’s Cheryl Corley has reported\u003c/a>. He was also thought to be in severe pain and struggling with damaged hips, using a cane in his later years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the Carver County Attorney, the Anoka County District Court ordered the release last week of the full autopsy report to lawyers representing Prince’s next of kin. The lawyers were hired, the county attorney stated, to “explore the possibility of a potential civil wrongful death lawsuit” before the statute of limitations expires. This would be separate from any potential criminal charges.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince+Died+With+%27Exceedingly+High%27+Level+Of+Fentanyl%2C+Report+States&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prince had an extremely high level of a powerful synthetic opioid in his body at the time of his death at his home in Minnesota in April 2016, according to a toxicology report obtained by The Associated Press.\u003c/p>\n\u003cp>The confidential toxicology information was reported less than a week after the Carver County Attorney Mark Metz \u003ca href=\"https://www.co.carver.mn.us/home/showdocument?id=12976\">stated that the death investigation\u003c/a> remains active. Metz is still deciding whether to charge someone with a crime.\u003c/p>\n\u003cp>The Midwest Medical Examiner’s Office in Ramsey, Minn., had ruled “fentanyl toxicity” as the superstar musician’s cause of death \u003ca href=\"https://www.anokacounty.us/DocumentCenter/View/10066\">in its public autopsy report\u003c/a> in June 2016. It also ruled his death to be an accident and had provided no details about the concentration of the “self-administered” drug in his body.\u003c/p>\n\u003cp>According to the AP, the confidential toxicology report indicates that “concentration of fentanyl in Prince’s blood was 67.8 micrograms per liter.” As the wire service notes, “fatalities have been documented in people with blood levels ranging from three to 58 micrograms per liter.”\u003c/p>\n\u003cp>“The amount in his blood is exceedingly high, even for somebody who is a chronic pain patient on fentanyl patches,” Dr. Lewis Nelson, chairman of emergency medicine at Rutgers New Jersey Medical School, told the wire service.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 57-year-old musician was found dead at Paisley Park, his home in a Minneapolis suburb. As NPR’s Andrew Flanagan and Anastasia Tsioulcas reported, local officials have been investigating how Prince obtained the fentanyl that killed him. \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/17/524398523/investigation-into-prince-s-death-reveals-pills-were-hidden-throughout-paisley-p\">Here’s more\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“Throughout Prince’s residence, including in the laundry room and in Prince’s bedroom, investigators discovered controlled substances that ‘were not contained in typical prescription pill bottles but rather, were stored in various other containers such as vitamin bottles,’ according to the documents.\u003c/p>\n\u003cp>“Much of the investigation appears to focus on Kirk Johnson, a bodyguard and friend of Prince’s since the ’80s and, according to the investigators, ‘one of the few people who had unrestricted access to Paisley Park.’ The investigation also delved into Dr. Michael Schulenberg, who had begun treating Prince on April 7, 2016 — just weeks before his death.”\u003c/p>\u003c/blockquote>\n\u003cp>It’s worth noting that Prince, while secretive about his private life, was known to not allow drugs or alcohol in his home, \u003ca href=\"https://www.npr.org/2016/06/03/480564725/autopsy-report-prince-died-of-accidental-overdose\">as NPR’s Cheryl Corley has reported\u003c/a>. He was also thought to be in severe pain and struggling with damaged hips, using a cane in his later years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the Carver County Attorney, the Anoka County District Court ordered the release last week of the full autopsy report to lawyers representing Prince’s next of kin. The lawyers were hired, the county attorney stated, to “explore the possibility of a potential civil wrongful death lawsuit” before the statute of limitations expires. This would be separate from any potential criminal charges.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince+Died+With+%27Exceedingly+High%27+Level+Of+Fentanyl%2C+Report+States&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Are Kanye West and Michael Scott from 'The Office' The Same Person? Yes.",
"headTitle": "Are Kanye West and Michael Scott from ‘The Office’ The Same Person? Yes. | KQED",
"content": "\u003cp>An enterprising YouTube user, MrBroks00, took the time to make a primer on Kanye West’s sonically disparate discography by using a selection of timeless scenes from \u003cem>The Office \u003c/em>as conceptual analogues.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PZBWI5vz2Hg\u003c/p>\n\u003cp>There’s a profound discovery to be made when these strange bedfellows link up — Michael Scott and Kanye West, it turns out, are two peas in an idiosyncratic pod. Michael’s need to be respected turns out to be an fitting descriptor of \u003cem>My Beautiful Dark Twisted Fantasy \u003c/em>and Kanye West’s overall public persona. \u003c/p>\n\u003cp>Still lost? If you need a quick brushing up on your \u003cem>Office \u003c/em>and/or Yeezy knowledge\u003cem>,\u003c/em> here’s here’s how to decipher the meaning between the corresponding scenes and albums. \u003c/p>\n\u003cp>\u003cem>\u003cstrong>The College Dropout, \u003c/strong>\u003c/em> \u003cstrong>Season 4, Episode 7 and 8: “Money”\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kanye West’s Grammy-winning debut album, \u003cem>The College Dropout\u003c/em>, chronicles a young black man skipping Chi-town to make beats and abandoning the hopes of his mother in the process. In “Money,” Michael Scott hops a train because the dude can’t budget responsibly. Ergo, “blow and dodge.” \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Late Registration\u003c/strong>\u003c/em>, \u003cstrong>Season 1, Episode 5: “Basketball”\u003c/strong>\u003c/p>\n\u003cp>On \u003cem>Late Registration\u003c/em>, West broadens his sonic palette beyond nostalgia-heavy sampling to incorporate jazz lines, funk staples and a wealth of stunning classical flourishes in his productions with the help of legendary producer and composer Jon Brion. It’s not quite like jazz, but then again, neither is basketball. \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Graduation, \u003c/strong>\u003c/em>\u003cstrong>Season 9, Episode 8: “The Target”\u003c/strong>\u003c/p>\n\u003cp>Kanye scraps the lush, jazzy soundscapes in \u003cem>Late Registration\u003c/em> for \u003cem>Graduation’s \u003c/em>extravagant, stadium-trotting pop-rap, \u003ca href=\"https://www.rollingstone.com/music/news/kanye-vs-50-cent-20070906\">squashing beefs\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=YQYslaA1Lus\">setting trends\u003c/a> once it dropped. It was a hit, selling 957,000 copies in its first week alone. But West’s abandonment of the warmth and introspection that came to define his early sound alienated \u003ca href=\"http://www.nytimes.com/2007/09/05/arts/music/05west.html\">a select faction of fans and critics alike\u003c/a>. (Besides, Angela likely enjoys Kanye West about as much as she does jazz musicianship, which is to say not very.) \u003c/p>\n\u003cfigure id=\"attachment_13827928\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-800x450.jpg\" alt=\"Steve Carrell as Michael Scott on the set of 'The Office' in 2008.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Carrell as Michael Scott on the set of ‘The Office’ in 2008. \u003ccite>(NBC/NBC via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>808s & Heartbreak, \u003c/strong>\u003c/em>\u003cstrong>Season 5, Episode 4: “Local Ad”\u003c/strong>\u003c/p>\n\u003cp>Dropping the subdued, ballad-heavy \u003cem>808s & Heartbreak\u003c/em> only a year after the celebratory, party-rap fest Graduation ended in whiplash for plenty of Yeezy’s devotees. It made sense for Kanye: \u003cem>808s\u003c/em> was an emotional bloodletting after a much-publicized split with his fianceé, designer Alexis Phifer and the death of his mother, Donda West. But, Michael’s protestation wasn’t wrong: “I was under the impression that this was gonna be a rap.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Beautiful Dark Twisted Fantasy, \u003c/strong>\u003c/em>\u003cstrong>Season 4, Episode 1: “Fun Run” \u003c/strong>\u003c/p>\n\u003cp>Michael’s indelible monologue is the perfect thesis for \u003cem>My Beautiful Dark Twisted Fantasy\u003c/em>, West’s critically revered opus. They both cast themselves as the villain in their own stories, West after a public excommunication from the general public’s good graces after the 2009 MTV Video Music Awards, Scott after running Meredith over in the Dunder Mifflin parking lot. Indeed, no one man should have all that power. \u003c/p>\n\u003cp>\u003cstrong>\u003cem>Watch The Throne\u003c/em>\u003c/strong>\u003cstrong>, Season 3, Episode 8: “The Merger”\u003c/strong>\u003c/p>\n\u003cp>In the canon of seminal rap duos, there’s Eric B. and Rakim, Mos Def and Talib Kweli, Bun B and Pimp C, Prodigy and Havoc, Big Boi and 3000, Pusha and Malice, Jay and Ye and…Dwight and Michael. (“Lazy Scranton” is low-key a banger.) \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Yeezus\u003c/strong>\u003c/em>\u003cstrong>,\u003c/strong>\u003cem>\u003cstrong> \u003c/strong>\u003c/em>\u003cstrong>Season 5, Episodes 14 and 15: “Stress Relief”\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=Shoej-GlMbw\">Listen to the first thirty seconds of “On Sight,” the opening number to \u003cem>Yeezus\u003c/em>\u003c/a>\u003cem>. \u003c/em>Now, watch Dwight’s impromptu fire drill.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Life of Pablo\u003c/strong>\u003c/em>\u003cstrong>,\u003c/strong>\u003cem>\u003cstrong> \u003c/strong>\u003c/em>\u003cstrong>Season 5, Episodes 14 and 15: “Stress Relief”\u003c/strong> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Life of Pablo \u003c/em>was a living, breathing work broadcast in real time, \u003ca href=\"http://www.xxlmag.com/news/2016/06/kanye-west-the-life-of-pablo-changes/\">as West released version after version of the album as he saw necessary.\u003c/a> Did he know what to do? Probably. Did Michael know what to do after Stanley suffered a heart attack after the nightmarish fire drill? (See above.) Definitely not. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Are+Kanye+West+And+Michael+Scott+From+%27The+Office%27+The+Same+Person%3F+Yes.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An enterprising YouTube user, MrBroks00, took the time to make a primer on Kanye West’s sonically disparate discography by using a selection of timeless scenes from \u003cem>The Office \u003c/em>as conceptual analogues.\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/PZBWI5vz2Hg'\n title='//www.youtube.com/embed/PZBWI5vz2Hg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s a profound discovery to be made when these strange bedfellows link up — Michael Scott and Kanye West, it turns out, are two peas in an idiosyncratic pod. Michael’s need to be respected turns out to be an fitting descriptor of \u003cem>My Beautiful Dark Twisted Fantasy \u003c/em>and Kanye West’s overall public persona. \u003c/p>\n\u003cp>Still lost? If you need a quick brushing up on your \u003cem>Office \u003c/em>and/or Yeezy knowledge\u003cem>,\u003c/em> here’s here’s how to decipher the meaning between the corresponding scenes and albums. \u003c/p>\n\u003cp>\u003cem>\u003cstrong>The College Dropout, \u003c/strong>\u003c/em> \u003cstrong>Season 4, Episode 7 and 8: “Money”\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kanye West’s Grammy-winning debut album, \u003cem>The College Dropout\u003c/em>, chronicles a young black man skipping Chi-town to make beats and abandoning the hopes of his mother in the process. In “Money,” Michael Scott hops a train because the dude can’t budget responsibly. Ergo, “blow and dodge.” \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Late Registration\u003c/strong>\u003c/em>, \u003cstrong>Season 1, Episode 5: “Basketball”\u003c/strong>\u003c/p>\n\u003cp>On \u003cem>Late Registration\u003c/em>, West broadens his sonic palette beyond nostalgia-heavy sampling to incorporate jazz lines, funk staples and a wealth of stunning classical flourishes in his productions with the help of legendary producer and composer Jon Brion. It’s not quite like jazz, but then again, neither is basketball. \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Graduation, \u003c/strong>\u003c/em>\u003cstrong>Season 9, Episode 8: “The Target”\u003c/strong>\u003c/p>\n\u003cp>Kanye scraps the lush, jazzy soundscapes in \u003cem>Late Registration\u003c/em> for \u003cem>Graduation’s \u003c/em>extravagant, stadium-trotting pop-rap, \u003ca href=\"https://www.rollingstone.com/music/news/kanye-vs-50-cent-20070906\">squashing beefs\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=YQYslaA1Lus\">setting trends\u003c/a> once it dropped. It was a hit, selling 957,000 copies in its first week alone. But West’s abandonment of the warmth and introspection that came to define his early sound alienated \u003ca href=\"http://www.nytimes.com/2007/09/05/arts/music/05west.html\">a select faction of fans and critics alike\u003c/a>. (Besides, Angela likely enjoys Kanye West about as much as she does jazz musicianship, which is to say not very.) \u003c/p>\n\u003cfigure id=\"attachment_13827928\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-800x450.jpg\" alt=\"Steve Carrell as Michael Scott on the set of 'The Office' in 2008.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Carrell as Michael Scott on the set of ‘The Office’ in 2008. \u003ccite>(NBC/NBC via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>808s & Heartbreak, \u003c/strong>\u003c/em>\u003cstrong>Season 5, Episode 4: “Local Ad”\u003c/strong>\u003c/p>\n\u003cp>Dropping the subdued, ballad-heavy \u003cem>808s & Heartbreak\u003c/em> only a year after the celebratory, party-rap fest Graduation ended in whiplash for plenty of Yeezy’s devotees. It made sense for Kanye: \u003cem>808s\u003c/em> was an emotional bloodletting after a much-publicized split with his fianceé, designer Alexis Phifer and the death of his mother, Donda West. But, Michael’s protestation wasn’t wrong: “I was under the impression that this was gonna be a rap.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Beautiful Dark Twisted Fantasy, \u003c/strong>\u003c/em>\u003cstrong>Season 4, Episode 1: “Fun Run” \u003c/strong>\u003c/p>\n\u003cp>Michael’s indelible monologue is the perfect thesis for \u003cem>My Beautiful Dark Twisted Fantasy\u003c/em>, West’s critically revered opus. They both cast themselves as the villain in their own stories, West after a public excommunication from the general public’s good graces after the 2009 MTV Video Music Awards, Scott after running Meredith over in the Dunder Mifflin parking lot. Indeed, no one man should have all that power. \u003c/p>\n\u003cp>\u003cstrong>\u003cem>Watch The Throne\u003c/em>\u003c/strong>\u003cstrong>, Season 3, Episode 8: “The Merger”\u003c/strong>\u003c/p>\n\u003cp>In the canon of seminal rap duos, there’s Eric B. and Rakim, Mos Def and Talib Kweli, Bun B and Pimp C, Prodigy and Havoc, Big Boi and 3000, Pusha and Malice, Jay and Ye and…Dwight and Michael. (“Lazy Scranton” is low-key a banger.) \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Yeezus\u003c/strong>\u003c/em>\u003cstrong>,\u003c/strong>\u003cem>\u003cstrong> \u003c/strong>\u003c/em>\u003cstrong>Season 5, Episodes 14 and 15: “Stress Relief”\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=Shoej-GlMbw\">Listen to the first thirty seconds of “On Sight,” the opening number to \u003cem>Yeezus\u003c/em>\u003c/a>\u003cem>. \u003c/em>Now, watch Dwight’s impromptu fire drill.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Life of Pablo\u003c/strong>\u003c/em>\u003cstrong>,\u003c/strong>\u003cem>\u003cstrong> \u003c/strong>\u003c/em>\u003cstrong>Season 5, Episodes 14 and 15: “Stress Relief”\u003c/strong> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Life of Pablo \u003c/em>was a living, breathing work broadcast in real time, \u003ca href=\"http://www.xxlmag.com/news/2016/06/kanye-west-the-life-of-pablo-changes/\">as West released version after version of the album as he saw necessary.\u003c/a> Did he know what to do? Probably. Did Michael know what to do after Stanley suffered a heart attack after the nightmarish fire drill? (See above.) Definitely not. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Are+Kanye+West+And+Michael+Scott+From+%27The+Office%27+The+Same+Person%3F+Yes.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Urban Sketcher Captures the Colorful Commercial Signs of a San Jose Long Gone",
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"content": "\u003cp>You know the old story about urban redevelopment: “They paved paradise and put up a parking lot,” as the singer-songwriter Joni Mitchell put it. A new exhibition, \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/mckay-gallery/\" target=\"_blank\" rel=\"noopener\">\u003cem>Sign of the Times\u003c/em>\u003c/a>, going up at History San José, pays tribute to a chapter of Silicon Valley’s history fast fading from view.\u003c/p>\n\u003cp>Vintage signs – for shops, restaurants, bowling alleys, and so on – have a way of encapsulating our sense of place. Sometimes, the signs become landmarks, vestigial reminders of places that no longer exist.\u003c/p>\n\u003cp>Originally from Bombay, \u003ca href=\"http://www.vintagesignsanjose.com\" target=\"_blank\" rel=\"noopener\">Suhita Shirodkar\u003c/a> is an illustrator and graphic designer who moved to San Jose about 20 years ago. “I originally thought I was coming here for a couple of years, and then I ended up meeting my husband and staying on,” she says.\u003c/p>\n\u003cp>The graphic design tethers her to a computer, but sketching is something she can do anytime, anywhere. “I’m an urban sketcher, which means I walk around with a sketchbook all day in my bag, and I draw anything that catches my eye,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13827450\" class=\"wp-caption aligncenter\" style=\"max-width: 578px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827450\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2.jpg\" alt=\"Once, this sign advertised the Futurama Bowl, a Persian-themed bowling alley. When Safeway moved in, the supermarket kept the sign, and it still stands today. This an example of Googie, a Southern California-spawned design aesthetic that merged car culture and the rage for the space age in post World War II America.\" width=\"578\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2.jpg 578w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-240x332.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-375x519.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-520x720.jpg 520w\" sizes=\"(max-width: 578px) 100vw, 578px\">\u003cfigcaption class=\"wp-caption-text\">Once, this sign advertised the Futurama Bowl, a Persian-themed bowling alley. When Safeway moved in, the supermarket kept the sign, and it still stands today. This an example of Googie, a Southern California-spawned design aesthetic that merged car culture and the rage for the space age in post World War II America.7 \u003ccite>(Photo: Courtesy of Suhita Shirodkar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shirodkar noticed over time she was filling her sketchbooks with drawings and watercolors of signs like the “Dancing Pig” that advertises the now demolished Stephen’s Meat Products on Montgomery Street. The signs point to a world that disappeared before she got here.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After sketching a sign, Shirodkar heads online to resources like History San José’s \u003ca href=\"http://historysanjose.org/wp/research-collection/research-library/\" target=\"_blank\" rel=\"noopener\">Research Library and Archives\u003c/a>, as well as \u003ca href=\"https://www.facebook.com/sanjosesignproject/\" target=\"_blank\" rel=\"noopener\">The San Jose Signs Project\u003c/a>.\u003c/p>\n\u003cp>“I really like these signs. They sort of pulled me back into history, which is really what art does. It becomes a reason to understanding something, why something’s important — or why it needs to stay,” Shirodkar says.\u003c/p>\n\u003cp>Does that make her sound like an activist? She is one. Peruse the more than 50 sketches on display at History San José, and you may find yourself signing up to help preserve them.\u003c/p>\n\u003cfigure id=\"attachment_13827451\" class=\"wp-caption aligncenter\" style=\"max-width: 622px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827451\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm.jpg\" alt=\""I think if there's one beloved sign in San Jose, it's the Stephen's pig sign," says artist Suhita Shirodkar. The Preservation Action Council of San Jose is raising money to restore the neon sign. "Everybody would like to see the pig dancing again. Whatever it takes to bring that one alive, I think it'll be a good showcase for what can be done with our signs."\" width=\"622\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm.jpg 622w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-240x309.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-375x482.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-520x669.jpg 520w\" sizes=\"(max-width: 622px) 100vw, 622px\">\u003cfigcaption class=\"wp-caption-text\">“I think if there’s one beloved sign in San Jose, it’s the Stephen’s pig sign,” says artist Suhita Shirodkar. The Preservation Action Council of San Jose is \u003ca href=\"http://www.preservation.org/pac_donate.html\" target=\"_blank\" rel=\"noopener\">raising money\u003c/a> to restore the neon sign. “Everybody would like to see the pig dancing again. Whatever it takes to bring that one alive, I think it’ll be a good showcase for what can be done with our signs.” \u003ccite>(Photo: Courtesy of Suhita Shirodkar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Signs of the Times is open to the public on weekends at History San José until December 23, 2018. For more information, click \u003c/i>\u003cstrong style=\"font-style: italic\">\u003ca href=\"http://historysanjose.org/wp/exhibits-activities/mckay-gallery/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know the old story about urban redevelopment: “They paved paradise and put up a parking lot,” as the singer-songwriter Joni Mitchell put it. A new exhibition, \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/mckay-gallery/\" target=\"_blank\" rel=\"noopener\">\u003cem>Sign of the Times\u003c/em>\u003c/a>, going up at History San José, pays tribute to a chapter of Silicon Valley’s history fast fading from view.\u003c/p>\n\u003cp>Vintage signs – for shops, restaurants, bowling alleys, and so on – have a way of encapsulating our sense of place. Sometimes, the signs become landmarks, vestigial reminders of places that no longer exist.\u003c/p>\n\u003cp>Originally from Bombay, \u003ca href=\"http://www.vintagesignsanjose.com\" target=\"_blank\" rel=\"noopener\">Suhita Shirodkar\u003c/a> is an illustrator and graphic designer who moved to San Jose about 20 years ago. “I originally thought I was coming here for a couple of years, and then I ended up meeting my husband and staying on,” she says.\u003c/p>\n\u003cp>The graphic design tethers her to a computer, but sketching is something she can do anytime, anywhere. “I’m an urban sketcher, which means I walk around with a sketchbook all day in my bag, and I draw anything that catches my eye,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13827450\" class=\"wp-caption aligncenter\" style=\"max-width: 578px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827450\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2.jpg\" alt=\"Once, this sign advertised the Futurama Bowl, a Persian-themed bowling alley. When Safeway moved in, the supermarket kept the sign, and it still stands today. This an example of Googie, a Southern California-spawned design aesthetic that merged car culture and the rage for the space age in post World War II America.\" width=\"578\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2.jpg 578w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-240x332.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-375x519.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-520x720.jpg 520w\" sizes=\"(max-width: 578px) 100vw, 578px\">\u003cfigcaption class=\"wp-caption-text\">Once, this sign advertised the Futurama Bowl, a Persian-themed bowling alley. When Safeway moved in, the supermarket kept the sign, and it still stands today. This an example of Googie, a Southern California-spawned design aesthetic that merged car culture and the rage for the space age in post World War II America.7 \u003ccite>(Photo: Courtesy of Suhita Shirodkar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shirodkar noticed over time she was filling her sketchbooks with drawings and watercolors of signs like the “Dancing Pig” that advertises the now demolished Stephen’s Meat Products on Montgomery Street. The signs point to a world that disappeared before she got here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After sketching a sign, Shirodkar heads online to resources like History San José’s \u003ca href=\"http://historysanjose.org/wp/research-collection/research-library/\" target=\"_blank\" rel=\"noopener\">Research Library and Archives\u003c/a>, as well as \u003ca href=\"https://www.facebook.com/sanjosesignproject/\" target=\"_blank\" rel=\"noopener\">The San Jose Signs Project\u003c/a>.\u003c/p>\n\u003cp>“I really like these signs. They sort of pulled me back into history, which is really what art does. It becomes a reason to understanding something, why something’s important — or why it needs to stay,” Shirodkar says.\u003c/p>\n\u003cp>Does that make her sound like an activist? She is one. Peruse the more than 50 sketches on display at History San José, and you may find yourself signing up to help preserve them.\u003c/p>\n\u003cfigure id=\"attachment_13827451\" class=\"wp-caption aligncenter\" style=\"max-width: 622px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827451\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm.jpg\" alt=\""I think if there's one beloved sign in San Jose, it's the Stephen's pig sign," says artist Suhita Shirodkar. The Preservation Action Council of San Jose is raising money to restore the neon sign. "Everybody would like to see the pig dancing again. Whatever it takes to bring that one alive, I think it'll be a good showcase for what can be done with our signs."\" width=\"622\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm.jpg 622w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-240x309.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-375x482.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-520x669.jpg 520w\" sizes=\"(max-width: 622px) 100vw, 622px\">\u003cfigcaption class=\"wp-caption-text\">“I think if there’s one beloved sign in San Jose, it’s the Stephen’s pig sign,” says artist Suhita Shirodkar. The Preservation Action Council of San Jose is \u003ca href=\"http://www.preservation.org/pac_donate.html\" target=\"_blank\" rel=\"noopener\">raising money\u003c/a> to restore the neon sign. “Everybody would like to see the pig dancing again. Whatever it takes to bring that one alive, I think it’ll be a good showcase for what can be done with our signs.” \u003ccite>(Photo: Courtesy of Suhita Shirodkar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Signs of the Times is open to the public on weekends at History San José until December 23, 2018. For more information, click \u003c/i>\u003cstrong style=\"font-style: italic\">\u003ca href=\"http://historysanjose.org/wp/exhibits-activities/mckay-gallery/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Send in the Clones: Barbra Streisand Reveals Fluffy Canine Copies",
"headTitle": "Send in the Clones: Barbra Streisand Reveals Fluffy Canine Copies | KQED",
"content": "\u003cp>In \u003ca href=\"http://variety.com/2018/film/news/barbra-streisand-oscars-sexism-in-hollywood-clone-dogs-1202710585/\" target=\"_blank\" rel=\"noopener\">an interview with Variety magazine\u003c/a> for this month’s cover, legendary singer/actor/filmmaker Barbra Streisand opines on topics ranging from the 2016 election (she says the voting machines were rigged against Hillary Clinton) to the \u003ca href=\"https://twitter.com/hashtag/metoo?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Ehashtag\" target=\"_blank\" rel=\"noopener\">#metoo\u003c/a> movement (says Harvey Weinstein once threatened her), but one bombshell has nothing to do with politics or Hollywood.\u003c/p>\n\u003cp>During the photo shoot, \u003ca href=\"http://variety.com/2018/film/news/barbra-streisand-clone-dogs-samantha-1202711047/\" target=\"_blank\" rel=\"noopener\">Streisand joked\u003c/a> that a portrait with her three \u003ca href=\"http://www.akc.org/dog-breeds/coton-de-tulear/\" target=\"_blank\" rel=\"noopener\">coton de tulear\u003c/a> dogs should be captioned “Send in the Clones.”\u003c/p>\n\u003cp>She explained that two of her three canine companions, Miss Violet and Miss Scarlet, are clones of her beloved Samantha, who died last year. To get the genetic material needed to perform the procedure, Streisand had cells taken from Samantha’s mouth and stomach.\u003c/p>\n\u003cp>Her duplicated dogs “have different personalities,” she tells \u003cem>Variety\u003c/em>. “I’m waiting for them to get older so I can see if they have [Samantha’s] brown eyes and seriousness.”\u003c/p>\n\u003cp>The star says she got the names for the clones because she tied violet and scarlet colored sashes on them in an effort to tell them apart.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Streisand’s third coton de tulear, named Miss Fanny, is a distant cousin of Samantha’s, according to the magazine.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.npr.org/sections/health-shots/2015/09/30/418642018/disgraced-scientist-clones-dogs-and-critics-question-his-intent\" target=\"_blank\" rel=\"noopener\">NPR’s Rob Stein reported three years ago\u003c/a>, Sooam Biotech Research Foundation in Seoul, South Korea, founded by Hwang Woo Suk — “who became a scientific pariah in 2006, when his claim that he had created the first cloned human embryos in 2004 to produce human embryonic stem cells was discovered to be \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=5147015\" target=\"_blank\" rel=\"noopener\">fraudulent\u003c/a>” — was offering to clone a pet for $100,000.\u003c/p>\n\u003cp>At the time of Rob’s report, Hwang had cloned at least 600 dogs.\u003c/p>\n\u003cp>Three years later, however, with competition, the price has dropped. ViaGen, which bills itself as “America’s Most Trusted Animal Cloning Company,” now charges $50,000 to clone a dog and $25,000 for a cat, according to \u003ca href=\"http://time.com/money/5178509/barbra-streisand-dog-coton-du-tulear-clone-cloning/\">Time’s Money magazine\u003c/a>.\u003c/p>\n\u003cp>According to the pitch on \u003ca href=\"https://viagenpets.com/\" target=\"_blank\" rel=\"noopener\">ViaGen’s website\u003c/a>, “a truly special pet provides us a unique sense of comfort and life-enriching fulfillment which is nearly impossible to extend beyond your pet’s natural lifespan. [U]ntil now.”\u003c/p>\n\u003cp>\u003cem>Morning Edition\u003c/em> notes that not everyone is applauding Streisand’s choice. The animal rights group PETA, for example, has come out strongly against the practice of pet cloning.\u003c/p>\n\u003cp>“We all want our beloved dogs to live forever,” the animal rights group’s president, Ingrid Newkirk, \u003ca href=\"https://pagesix.com/2018/02/27/peta-wants-celebrities-to-stop-cloning-their-dogs/\" target=\"_blank\" rel=\"noopener\">said in a statement to Page Six on Tuesday\u003c/a>. “[W]hen you consider that millions of wonderful adoptable dogs are languishing in animal shelters every year or dying in terrifying ways when abandoned, you realize that cloning adds to the homeless-animal population crisis.”\u003c/p>\n\u003cp>Rob wrote in 2015 that Sooam Biotech’s cloning process “works only about a third of the time. So, getting a cloned puppy entails a lot of attempts and a lot of miscarriages. And the process requires \u003cem>many\u003c/em> dogs — some to provide the eggs, and others to serve as surrogates.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He adds, “even when the process works perfectly, the cloned animals aren’t exact replicas of the originals. Environmental influences, including some that help determine when particular genes are turned on and off during development, play a role in how closely the resulting clone mimics the original dog.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Send+In+The+Clones%3A+Barbra+Streisand+Reveals+Fluffy+Canine+Copies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "In an interview with \u003cem>Variety\u003c/em> magazine, the legendary singer/filmmaker dropped a bombshell: Two of her three coton de tulears are clones of a favorite canine who died last year.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003ca href=\"http://variety.com/2018/film/news/barbra-streisand-oscars-sexism-in-hollywood-clone-dogs-1202710585/\" target=\"_blank\" rel=\"noopener\">an interview with Variety magazine\u003c/a> for this month’s cover, legendary singer/actor/filmmaker Barbra Streisand opines on topics ranging from the 2016 election (she says the voting machines were rigged against Hillary Clinton) to the \u003ca href=\"https://twitter.com/hashtag/metoo?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Ehashtag\" target=\"_blank\" rel=\"noopener\">#metoo\u003c/a> movement (says Harvey Weinstein once threatened her), but one bombshell has nothing to do with politics or Hollywood.\u003c/p>\n\u003cp>During the photo shoot, \u003ca href=\"http://variety.com/2018/film/news/barbra-streisand-clone-dogs-samantha-1202711047/\" target=\"_blank\" rel=\"noopener\">Streisand joked\u003c/a> that a portrait with her three \u003ca href=\"http://www.akc.org/dog-breeds/coton-de-tulear/\" target=\"_blank\" rel=\"noopener\">coton de tulear\u003c/a> dogs should be captioned “Send in the Clones.”\u003c/p>\n\u003cp>She explained that two of her three canine companions, Miss Violet and Miss Scarlet, are clones of her beloved Samantha, who died last year. To get the genetic material needed to perform the procedure, Streisand had cells taken from Samantha’s mouth and stomach.\u003c/p>\n\u003cp>Her duplicated dogs “have different personalities,” she tells \u003cem>Variety\u003c/em>. “I’m waiting for them to get older so I can see if they have [Samantha’s] brown eyes and seriousness.”\u003c/p>\n\u003cp>The star says she got the names for the clones because she tied violet and scarlet colored sashes on them in an effort to tell them apart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Streisand’s third coton de tulear, named Miss Fanny, is a distant cousin of Samantha’s, according to the magazine.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.npr.org/sections/health-shots/2015/09/30/418642018/disgraced-scientist-clones-dogs-and-critics-question-his-intent\" target=\"_blank\" rel=\"noopener\">NPR’s Rob Stein reported three years ago\u003c/a>, Sooam Biotech Research Foundation in Seoul, South Korea, founded by Hwang Woo Suk — “who became a scientific pariah in 2006, when his claim that he had created the first cloned human embryos in 2004 to produce human embryonic stem cells was discovered to be \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=5147015\" target=\"_blank\" rel=\"noopener\">fraudulent\u003c/a>” — was offering to clone a pet for $100,000.\u003c/p>\n\u003cp>At the time of Rob’s report, Hwang had cloned at least 600 dogs.\u003c/p>\n\u003cp>Three years later, however, with competition, the price has dropped. ViaGen, which bills itself as “America’s Most Trusted Animal Cloning Company,” now charges $50,000 to clone a dog and $25,000 for a cat, according to \u003ca href=\"http://time.com/money/5178509/barbra-streisand-dog-coton-du-tulear-clone-cloning/\">Time’s Money magazine\u003c/a>.\u003c/p>\n\u003cp>According to the pitch on \u003ca href=\"https://viagenpets.com/\" target=\"_blank\" rel=\"noopener\">ViaGen’s website\u003c/a>, “a truly special pet provides us a unique sense of comfort and life-enriching fulfillment which is nearly impossible to extend beyond your pet’s natural lifespan. [U]ntil now.”\u003c/p>\n\u003cp>\u003cem>Morning Edition\u003c/em> notes that not everyone is applauding Streisand’s choice. The animal rights group PETA, for example, has come out strongly against the practice of pet cloning.\u003c/p>\n\u003cp>“We all want our beloved dogs to live forever,” the animal rights group’s president, Ingrid Newkirk, \u003ca href=\"https://pagesix.com/2018/02/27/peta-wants-celebrities-to-stop-cloning-their-dogs/\" target=\"_blank\" rel=\"noopener\">said in a statement to Page Six on Tuesday\u003c/a>. “[W]hen you consider that millions of wonderful adoptable dogs are languishing in animal shelters every year or dying in terrifying ways when abandoned, you realize that cloning adds to the homeless-animal population crisis.”\u003c/p>\n\u003cp>Rob wrote in 2015 that Sooam Biotech’s cloning process “works only about a third of the time. So, getting a cloned puppy entails a lot of attempts and a lot of miscarriages. And the process requires \u003cem>many\u003c/em> dogs — some to provide the eggs, and others to serve as surrogates.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He adds, “even when the process works perfectly, the cloned animals aren’t exact replicas of the originals. Environmental influences, including some that help determine when particular genes are turned on and off during development, play a role in how closely the resulting clone mimics the original dog.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Send+In+The+Clones%3A+Barbra+Streisand+Reveals+Fluffy+Canine+Copies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Alice Bag and Riot Grrrl Royals Pay Punk Homage to '9 to 5'",
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"content": "\u003cp>https://www.youtube.com/watch?v=ZmnTGTyRjEM\u003c/p>\n\u003cp>In 1980, \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a> became Doralee Rhodes for the proto-feminist workplace comedy \u003cem>9 to 5\u003c/em>. “Working 9 to 5, what a way to make a livin’ / Barely gettin’ by, it’s all takin’ and no givin’,” she sings in the film’s eponymous theme song. “They just use your mind and they never give you credit / It’s enough to drive you crazy if you let it.”\u003c/p>\n\u003cp>Perhaps a 22-year-old \u003ca href=\"https://www.npr.org/artists/588864231/alice-bag\">Alice Bag\u003c/a> sat in an East Los Angeles movie theater in 1980 and sneered at the silly white women onscreen. Or maybe she identified with Judy’s, Violet’s, and Doralee’s desire to avenge themselves against their “\u003ca href=\"http://www.imdb.com/title/tt0080319/quotes/qt0233209?mavIsAdult=false\">sexist, egotistical, lying, hypocritical bigot\u003c/a>” boss, Franklin Hart Jr. Alice Bag was, after all, the bloodthirsty Chicana punk legend who wrote “\u003ca href=\"https://www.youtube.com/watch?v=DRE_joRelOk\">Violence Girl\u003c/a>“: “She’s taken too much of the domesticated world / She’s tearing it to pieces, she’s a violence girl!”\u003c/p>\n\u003cp>In “77,” the second single off Bag’s upcoming album, \u003cem>Blueprint\u003c/em>, Bag is the ghost of female office-comedies-past. Riot Grrrl royals Kathleen Hanna of \u003ca href=\"https://www.npr.org/artists/106311747/bikini-kill\">Bikini Kill\u003c/a> and Allison Wolfe of Bratmobile — who both inherited the feminist punk mantle that Alice Bag and the Bags created in the ’70s and \u003ca href=\"https://www.spin.com/2018/01/alice-bag-turn-it-up-ft-kathleen-hanna-and-allison-wolfe/\">also appear on “Turn It Up”\u003c/a> — provide guest vocals and appear in the video. They are the Jane Fonda and Dolly Parton to Bag’s Lily Tomlin, each fake-typing in correspondingly colored wigs. They are angry that as of 2012, American women \u003ca href=\"https://www.census.gov/prod/2013pubs/p60-245.pdf#page=19\">still only earned 77 cents to a man’s dollar\u003c/a>.\u003c/p>\n\u003cp>\u003cem>9 to 5 — \u003c/em>the movie, song, musical, et al — has aged into its silliness. Like the actress who played her, Doralee is portrayed as beautiful, busty and unintelligent. Many of the film’s jokes hinge on Judy, Doralee, and Violet \u003ca href=\"https://www.youtube.com/watch?v=UDhGOYglISE\">occupying roles that their characters weren’t meant to have\u003c/a>. Yet in the moments when the trio aren’t accidentally poisoning their boss, Doralee provides the film’s best-aged and still-relevant emotional core. She confronts her harasser boss after he spreads a false rumor that he is having an affair with her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Look, I’ve been straight with you since the first day I got here,” she tells him. “And I’ve put up with all of your pinchin’ and starin’ and chasin’ me around the desk because I need this job. But this is the last straw!”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WPQRMeU4Co0\u003c/p>\n\u003cp>Like so many of the girl comedies of our mothers’ generations, \u003cem>9 to 5 \u003c/em>asks us to laugh, because what else was a woman to do?\u003c/p>\n\u003cp>Alice Bag is still laughing, but it’s an angry laugh. If white women like Doralee earned \u003ca href=\"http://www.pewresearch.org/fact-tank/2016/07/01/racial-gender-wage-gaps-persist-in-u-s-despite-some-progress/\">67 cents to every Franklin Hart Jr.’s dollar in 1980\u003c/a>, according to a 2016 Pew Research Center study, Hanna’s and Wolfe’s characters have won only fifteen cents more — 82 cents in 2015 — in 35 years.\u003c/p>\n\u003cp>“I make 77 cents and it’s not right / It’s bad for women!” shouts Wolfe on the song. While this figure relies on 2012 census data that is no longer accurate, Bag’s point still stands. The same Pew study indicates that Latina women like Bag statistically make 58 cents to a man’s dollar \u003cem>now \u003c/em>— less than Doralee did back in 1980. As white women trudge closer toward pay equity, real equity will involve prioritizing their sisters of color.\u003c/p>\n\u003cp>“It’s worse if you’re not white,” Bag shrieks in retort. Sneering at the traditional weak justification that \u003cem>men are providers\u003c/em>, Bag invokes the Latina mothers who have \u003cem>always “\u003c/em>needed this job” or had to work. “You’re head of household? So am I / It’s not just about me / I need to provide.”\u003c/p>\n\u003cp>And yeah, Bag, Hanna, and Wolfe do string up their boss (played by Hunx and His Punx vocalist Seth Bogart) like their foremothers with a cord telephone — only this time, it’s less Western steer and more S&M.\u003c/p>\n\u003cp>Blue-haired, this time as herself, Bag sets off a TNT explosion of money and defibrillates a man’s bare chest with clothing irons. The women mosh around a GIRLS GIRLS GIRLS neon sign and chant “it’s time, it’s time” like bacchants.\u003c/p>\n\u003cp>Somewhere, Dolly Parton may be clutching her pearls, but I hope she’s laughing, too. Bag’s humor is a violent one. Feminist music’s greatest stride over a century has been its re-purposing of \u003ca href=\"https://www.npr.org/2011/07/14/136581522/medical-musing-on-politics-poetry-and-hysteria\">female hysteria\u003c/a> into meaningful anger, refining it into something precise and sharp, yet no less piercing.\u003c/p>\n\u003cp>“Yeah, don’t pretend that we’re paid equal,” Bag sneers. “You wrote the script / But I’m writing the sequel.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>Blueprint \u003cem>comes out March 23 on \u003c/em>\u003ca href=\"http://dongiovannirecords.com/releases/alice-bag-blueprint/\">\u003cem>Don Giovanni Records\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Songs+We+Love%3A+Alice+Bag%2C+%2777%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\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/ZmnTGTyRjEM'\n title='//www.youtube.com/embed/ZmnTGTyRjEM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1980, \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a> became Doralee Rhodes for the proto-feminist workplace comedy \u003cem>9 to 5\u003c/em>. “Working 9 to 5, what a way to make a livin’ / Barely gettin’ by, it’s all takin’ and no givin’,” she sings in the film’s eponymous theme song. “They just use your mind and they never give you credit / It’s enough to drive you crazy if you let it.”\u003c/p>\n\u003cp>Perhaps a 22-year-old \u003ca href=\"https://www.npr.org/artists/588864231/alice-bag\">Alice Bag\u003c/a> sat in an East Los Angeles movie theater in 1980 and sneered at the silly white women onscreen. Or maybe she identified with Judy’s, Violet’s, and Doralee’s desire to avenge themselves against their “\u003ca href=\"http://www.imdb.com/title/tt0080319/quotes/qt0233209?mavIsAdult=false\">sexist, egotistical, lying, hypocritical bigot\u003c/a>” boss, Franklin Hart Jr. Alice Bag was, after all, the bloodthirsty Chicana punk legend who wrote “\u003ca href=\"https://www.youtube.com/watch?v=DRE_joRelOk\">Violence Girl\u003c/a>“: “She’s taken too much of the domesticated world / She’s tearing it to pieces, she’s a violence girl!”\u003c/p>\n\u003cp>In “77,” the second single off Bag’s upcoming album, \u003cem>Blueprint\u003c/em>, Bag is the ghost of female office-comedies-past. Riot Grrrl royals Kathleen Hanna of \u003ca href=\"https://www.npr.org/artists/106311747/bikini-kill\">Bikini Kill\u003c/a> and Allison Wolfe of Bratmobile — who both inherited the feminist punk mantle that Alice Bag and the Bags created in the ’70s and \u003ca href=\"https://www.spin.com/2018/01/alice-bag-turn-it-up-ft-kathleen-hanna-and-allison-wolfe/\">also appear on “Turn It Up”\u003c/a> — provide guest vocals and appear in the video. They are the Jane Fonda and Dolly Parton to Bag’s Lily Tomlin, each fake-typing in correspondingly colored wigs. They are angry that as of 2012, American women \u003ca href=\"https://www.census.gov/prod/2013pubs/p60-245.pdf#page=19\">still only earned 77 cents to a man’s dollar\u003c/a>.\u003c/p>\n\u003cp>\u003cem>9 to 5 — \u003c/em>the movie, song, musical, et al — has aged into its silliness. Like the actress who played her, Doralee is portrayed as beautiful, busty and unintelligent. Many of the film’s jokes hinge on Judy, Doralee, and Violet \u003ca href=\"https://www.youtube.com/watch?v=UDhGOYglISE\">occupying roles that their characters weren’t meant to have\u003c/a>. Yet in the moments when the trio aren’t accidentally poisoning their boss, Doralee provides the film’s best-aged and still-relevant emotional core. She confronts her harasser boss after he spreads a false rumor that he is having an affair with her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Look, I’ve been straight with you since the first day I got here,” she tells him. “And I’ve put up with all of your pinchin’ and starin’ and chasin’ me around the desk because I need this job. But this is the last straw!”\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/WPQRMeU4Co0'\n title='//www.youtube.com/embed/WPQRMeU4Co0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like so many of the girl comedies of our mothers’ generations, \u003cem>9 to 5 \u003c/em>asks us to laugh, because what else was a woman to do?\u003c/p>\n\u003cp>Alice Bag is still laughing, but it’s an angry laugh. If white women like Doralee earned \u003ca href=\"http://www.pewresearch.org/fact-tank/2016/07/01/racial-gender-wage-gaps-persist-in-u-s-despite-some-progress/\">67 cents to every Franklin Hart Jr.’s dollar in 1980\u003c/a>, according to a 2016 Pew Research Center study, Hanna’s and Wolfe’s characters have won only fifteen cents more — 82 cents in 2015 — in 35 years.\u003c/p>\n\u003cp>“I make 77 cents and it’s not right / It’s bad for women!” shouts Wolfe on the song. While this figure relies on 2012 census data that is no longer accurate, Bag’s point still stands. The same Pew study indicates that Latina women like Bag statistically make 58 cents to a man’s dollar \u003cem>now \u003c/em>— less than Doralee did back in 1980. As white women trudge closer toward pay equity, real equity will involve prioritizing their sisters of color.\u003c/p>\n\u003cp>“It’s worse if you’re not white,” Bag shrieks in retort. Sneering at the traditional weak justification that \u003cem>men are providers\u003c/em>, Bag invokes the Latina mothers who have \u003cem>always “\u003c/em>needed this job” or had to work. “You’re head of household? So am I / It’s not just about me / I need to provide.”\u003c/p>\n\u003cp>And yeah, Bag, Hanna, and Wolfe do string up their boss (played by Hunx and His Punx vocalist Seth Bogart) like their foremothers with a cord telephone — only this time, it’s less Western steer and more S&M.\u003c/p>\n\u003cp>Blue-haired, this time as herself, Bag sets off a TNT explosion of money and defibrillates a man’s bare chest with clothing irons. The women mosh around a GIRLS GIRLS GIRLS neon sign and chant “it’s time, it’s time” like bacchants.\u003c/p>\n\u003cp>Somewhere, Dolly Parton may be clutching her pearls, but I hope she’s laughing, too. Bag’s humor is a violent one. Feminist music’s greatest stride over a century has been its re-purposing of \u003ca href=\"https://www.npr.org/2011/07/14/136581522/medical-musing-on-politics-poetry-and-hysteria\">female hysteria\u003c/a> into meaningful anger, refining it into something precise and sharp, yet no less piercing.\u003c/p>\n\u003cp>“Yeah, don’t pretend that we’re paid equal,” Bag sneers. “You wrote the script / But I’m writing the sequel.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>Blueprint \u003cem>comes out March 23 on \u003c/em>\u003ca href=\"http://dongiovannirecords.com/releases/alice-bag-blueprint/\">\u003cem>Don Giovanni Records\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Songs+We+Love%3A+Alice+Bag%2C+%2777%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jamedra Brown Fleischman is back as co-host this week, with her twins adding to the fun, watching from the control room of the studio. The picks this week are a reminder that we’re deep into Black History Month, but every month should feature such deeply intriguing and emotionally satisfying music and theater. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/what-viewers-didnt-see-changed-everything/\" target=\"_blank\" rel=\"noopener\">A musical performance about the troubling history of blackface, Ben Vereen and the 1981 Reagan Inauguration\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14-17:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/the-effortlessly-hip-comedy-of-zainab-johnson/\" target=\"_blank\" rel=\"noopener\"> The effortlessly funny hipness of Zainab Johnson\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22-24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13824549&action=edit\" target=\"_blank\" rel=\"noopener\">The long pauses of funnyman Ron Funches\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22 and 28\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/rapper-caleborate-is-still-a-real-person-despite-his-success/\" target=\"_blank\" rel=\"noopener\"> Rapper Caleborate still a “real person,” despite success\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/all-welcome-at-a-parade-of-black-joy-in-oakland/\" target=\"_blank\" rel=\"noopener\">A parade and street fair promise an afternoon of black joy\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 17-March 11: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/tales-of-seeking-sanctuary-woven-into-36-rugs-at-fort-mason/\" target=\"_blank\" rel=\"noopener\">For-Site gathers an exhibition of beautiful rugs on the theme of sanctuary for refugees\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 19 and 26: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/garage-rock-band-the-coathangers-have-plenty-to-be-pissed-off-about/\" target=\"_blank\" rel=\"noopener\">The Coathangers rock out with songs about men and other irritants\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 19, 22, and 23: \u003c/strong>\u003ca href=\"http://www.leeannwomack.com/p/tour-dates\" target=\"_blank\" rel=\"noopener\">Lee Ann Womack brings her earthy Texas country rock to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 18:\u003c/strong> \u003ca href=\"https://www.belovedoakland.org/\" target=\"_blank\" rel=\"noopener\">Beloved Oakland is a chance to celebrate The Town and some of its civic and artistic leaders at the Paramount\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13824627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824627\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg\" alt=\"\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rug designed by Ammar al-Beik in For-Site’s show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/all-welcome-at-a-parade-of-black-joy-in-oakland/\" target=\"_blank\" rel=\"noopener\">A parade and street fair promise an afternoon of black joy\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 17-March 11: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/tales-of-seeking-sanctuary-woven-into-36-rugs-at-fort-mason/\" target=\"_blank\" rel=\"noopener\">For-Site gathers an exhibition of beautiful rugs on the theme of sanctuary for refugees\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 19 and 26: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/garage-rock-band-the-coathangers-have-plenty-to-be-pissed-off-about/\" target=\"_blank\" rel=\"noopener\">The Coathangers rock out with songs about men and other irritants\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 19, 22, and 23: \u003c/strong>\u003ca href=\"http://www.leeannwomack.com/p/tour-dates\" target=\"_blank\" rel=\"noopener\">Lee Ann Womack brings her earthy Texas country rock to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 18:\u003c/strong> \u003ca href=\"https://www.belovedoakland.org/\" target=\"_blank\" rel=\"noopener\">Beloved Oakland is a chance to celebrate The Town and some of its civic and artistic leaders at the Paramount\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13824627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824627\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg\" alt=\"\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rug designed by Ammar al-Beik in For-Site’s show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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