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"title": "The Day the Beaver Died: Reflections on Becoming an Anti-War Activist",
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"content": "\u003cp>“Did you hear that the Beaver got killed in Vietnam?” \u003c/p>\n\u003cp>I was visiting Amherst College in Massachusetts in the late ’60s, attending some sort of anti-war gathering, and this older student took me aside to give me the bad news. In those days I didn’t like talking about my past as a child actor, including my years on TV playing Beaver’s best friend, Gilbert, on \u003cem>Leave it to Beaver\u003c/em>. It seemed too superficial and irrelevant and just plain embarrassing when the country was at war, and cities and campuses were on fire. \u003c/p>\n\u003cp>But this guy knew my secret and he wanted to tell me the awful truth. \u003c/p>\n\u003cp>His words stopped me cold. I didn’t believe him, or at least I didn’t want to. Even though I was living in Connecticut while I was going to Wesleyan University, far from my family and friends in Los Angeles, surely I would have heard if my TV buddy had died. Then again, there had been so many deaths, assassinations and shocking events in the 1960s that maybe this was just one more surreal, tragic loss. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/TheVietnamWar_web_banners-1180x177-Ver_3-e1506839982941.png\" alt=\"\" width=\"301\" height=\"301\" class=\"alignright size-full wp-image-13810077\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was in the papers,” he said, “people are talking about it on the radio.”\u003c/p>\n\u003cp>“Maybe,” he added, “this will wake people up. Nobody’s safe anymore, even Beaver Cleaver.”\u003c/p>\n\u003cp>He was right. The death of a TV icon in Vietnam would probably strike home with many Americans, especially those in suburbia and the heartland. Just the people we needed to reach. Maybe more would turn against the war.\u003c/p>\n\u003cp>But it was hard to think that way at the moment. \u003c/p>\n\u003cp>I felt sick. I was stung by guilt. Jerry and I had become friends in the course of the five years and more than 50 episodes of TV we’d worked on together. After the show was cancelled in the summer of 1963, we’d stayed in touch. I’d spent the night at his family’s house. We’d gone to a “Twist” party when that dance was all the rage. We ate lunch at Bob’s Big Boy. But when we went to different high schools in the San Fernando Valley, we drifted apart. By the time I left for college back East, I hadn’t seen him for several years. \u003c/p>\n\u003cfigure id=\"attachment_13810037\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jerry_Mathers.jpg\" alt=\" Jerry Mathers in his Air Force Reserve uniform\" width=\"600\" height=\"648\" class=\"size-full wp-image-13810037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-240x259.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-375x405.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-520x562.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mathers in his Air Force Reserve uniform \u003ccite>(Public Domain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’d known he’d signed up for some sort of military service. In 1967 he handed out an Emmy to Gene Kelly, and I saw him in a newspaper wearing his Air Force uniform and sporting a shaved head. Now he was dead? Why hadn’t I reached out to him, and tried to convince him not to put his life at risk in what I had come to regard as an immoral, unjust, unnecessary conflict? \u003c/p>\n\u003cp>Back in my dorm, I made some calls and wrote some letters. No one seemed to know for sure if he was dead. It was all so depressing, so “heavy,” as we used to say, and it felt almost too symbolic. For my baby boomer TV generation, the character of the Beaver was nearly as iconic as Tom Sawyer. He was the all-American suburban kid, constantly getting into scrapes and mishaps, often misled by his prankish pal Gilbert (played by me), and yet thanks to his basic goodness and loving (if sometimes clueless) parents he always emerged unscathed, perhaps even having learned a lesson or two. Now he’d grown up only to be killed in Vietnam? \u003c/p>\n\u003cp>You might say the Beaver was a symbol of late 1950s, early ’60s American innocence — cute, freckled, playful, a little gullible. Just a few months after the last episode of “Beaver” aired on ABC, President John Kennedy was assassinated. The innocence of the \u003cem>Leave it to Beaver\u003c/em> era was shattered. Now the war in Vietnam was tearing the country asunder and Beaver was its latest victim. Things were falling apart. I was an English major and I kept hearing those lines of Yeats: “The blood-dimmed tide is loosed, and everywhere / The ceremony of innocence is drowned.” \u003c/p>\n\u003cfigure id=\"attachment_13810035\" class=\"wp-caption aligncenter\" style=\"max-width: 632px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/GILBERT-beaver.jpg\" alt=\"Scene from a TV episode of 'Leave it to Beaver' -- the regular trio of friends (left to right): Beaver (Jerry Mathers), Gilbert (Stephen Talbot) and Whitey (Stanley Fafara)\" width=\"632\" height=\"383\" class=\"size-full wp-image-13810035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-520x315.jpg 520w\" sizes=\"(max-width: 632px) 100vw, 632px\">\u003cfigcaption class=\"wp-caption-text\">Scene from a TV episode of ‘Leave it to Beaver’ — the regular trio of friends (left to right): Beaver (Jerry Mathers), Gilbert (Stephen Talbot) and Whitey (Stanley Fafara) \u003ccite>(Courtesy of Stephen Talbot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, it wasn’t true. Beaver was alive, much to my relief. \u003c/p>\n\u003cp>Jerry Mathers had joined the Air Force Reserves, but he never left the United States. He never fought in Vietnam. But the rumor of his death lived on. It became an urban myth. (Weirdly, the “Beaver” series generated more than its share of these myths. For example, \u003ca href=\"https://en.wikipedia.org/wiki/Ken_Osmond\" rel=\"noopener\" target=\"_blank\">Ken Osmond\u003c/a>, who played the famously two-faced Eddie Haskell character, did not grow up to be a porn star like the urban legend said. He actually became an LAPD motorcycle cop.)\u003c/p>\n\u003cp>Tracing back the origins of Beaver’s alleged death, it turns out there was a 21-year-old Sgt. Steven Mathers who was killed in Vietnam in October of ’68. Associated Press and UPI stories erroneously reported this was the Beaver, and the case of mistaken identity spread from there — actress Shelly Winters even announced it to Johnny Carson on \u003cem>The Tonight Show\u003c/em>. Jerry Mathers said later the rumor was so prevalent that his good friend Tony Dow, who played his TV brother Wally, actually sent bereavement flowers to his parents’ home.\u003c/p>\n\u003cfigure id=\"attachment_13810036\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-800x1071.jpg\" alt=\"Stephen Talbot in his high school yearbook, 1965-1966, in my Jr. ROTC uniform\" width=\"800\" height=\"1071\" class=\"size-medium wp-image-13810036\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-800x1071.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-768x1028.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-1020x1366.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-1920x2571.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-1180x1580.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-960x1285.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-240x321.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-375x502.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-520x696.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66.jpg 1936w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Talbot in his high school yearbook, 1965-1966, in my Jr. ROTC uniform \u003ccite>(Courtesy of Stephen Talbot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grateful that Jerry was really alive, I redoubled my efforts in the anti-war movement. Others I knew were being drafted. Everyone seemed to know someone who had been wounded or killed in Vietnam. In a few short years I’d gone from being a cadet in a military school (the all-boys Harvard School in North Hollywood) to becoming an anti-war activist, who would be teargassed and arrested in protests, and worked closely with groups like Vietnam Veterans Against the War. Thankfully Nixon’s lottery system, installed just as I graduated from college in 1970, randomly gave me such a low number that I escaped the draft. Watching the lottery picks on TV felt like a surreal episode of \u003cem>You Bet Your Life\u003c/em>.\u003c/p>\n\u003cp>The violent death in a controversial war of a cherished TV star was a difficult rumor to put to rest. But that’s all it was, just a nightmare rumor. Unfortunately, the Vietnam War itself was all too real. Somewhere between 2.5 and 3.5 million Vietnamese soldiers and civilians perished in that conflict, as well as some 58,000 Americans. My friend Jerry was fortunately not one those casualties. But the widespread rumor of his death reflected something very real about the anxiety and despair that had settled over the United States during the Vietnam War. My generation’s innocence was dead, replaced with anger and cynicism.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To see more stories and photographs from KQED’s series about the impact of the Vietnam War on the Bay Area and other communities in California, visit \u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\" target=\"_blank\" rel=\"noopener noreferrer\">kqed.org/vietnamwar\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "The Day the Beaver Died: Reflections on Becoming an Anti-War Activist | KQED",
"description": "Former child TV star Stephen Talbot remembers the time his good buddy from 'Leave It To Beaver' was reportedly killed in Vietnam.",
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"headline": "The Day the Beaver Died: Reflections on Becoming an Anti-War Activist",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Did you hear that the Beaver got killed in Vietnam?” \u003c/p>\n\u003cp>I was visiting Amherst College in Massachusetts in the late ’60s, attending some sort of anti-war gathering, and this older student took me aside to give me the bad news. In those days I didn’t like talking about my past as a child actor, including my years on TV playing Beaver’s best friend, Gilbert, on \u003cem>Leave it to Beaver\u003c/em>. It seemed too superficial and irrelevant and just plain embarrassing when the country was at war, and cities and campuses were on fire. \u003c/p>\n\u003cp>But this guy knew my secret and he wanted to tell me the awful truth. \u003c/p>\n\u003cp>His words stopped me cold. I didn’t believe him, or at least I didn’t want to. Even though I was living in Connecticut while I was going to Wesleyan University, far from my family and friends in Los Angeles, surely I would have heard if my TV buddy had died. Then again, there had been so many deaths, assassinations and shocking events in the 1960s that maybe this was just one more surreal, tragic loss. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/TheVietnamWar_web_banners-1180x177-Ver_3-e1506839982941.png\" alt=\"\" width=\"301\" height=\"301\" class=\"alignright size-full wp-image-13810077\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was in the papers,” he said, “people are talking about it on the radio.”\u003c/p>\n\u003cp>“Maybe,” he added, “this will wake people up. Nobody’s safe anymore, even Beaver Cleaver.”\u003c/p>\n\u003cp>He was right. The death of a TV icon in Vietnam would probably strike home with many Americans, especially those in suburbia and the heartland. Just the people we needed to reach. Maybe more would turn against the war.\u003c/p>\n\u003cp>But it was hard to think that way at the moment. \u003c/p>\n\u003cp>I felt sick. I was stung by guilt. Jerry and I had become friends in the course of the five years and more than 50 episodes of TV we’d worked on together. After the show was cancelled in the summer of 1963, we’d stayed in touch. I’d spent the night at his family’s house. We’d gone to a “Twist” party when that dance was all the rage. We ate lunch at Bob’s Big Boy. But when we went to different high schools in the San Fernando Valley, we drifted apart. By the time I left for college back East, I hadn’t seen him for several years. \u003c/p>\n\u003cfigure id=\"attachment_13810037\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jerry_Mathers.jpg\" alt=\" Jerry Mathers in his Air Force Reserve uniform\" width=\"600\" height=\"648\" class=\"size-full wp-image-13810037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-240x259.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-375x405.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-520x562.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mathers in his Air Force Reserve uniform \u003ccite>(Public Domain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’d known he’d signed up for some sort of military service. In 1967 he handed out an Emmy to Gene Kelly, and I saw him in a newspaper wearing his Air Force uniform and sporting a shaved head. Now he was dead? Why hadn’t I reached out to him, and tried to convince him not to put his life at risk in what I had come to regard as an immoral, unjust, unnecessary conflict? \u003c/p>\n\u003cp>Back in my dorm, I made some calls and wrote some letters. No one seemed to know for sure if he was dead. It was all so depressing, so “heavy,” as we used to say, and it felt almost too symbolic. For my baby boomer TV generation, the character of the Beaver was nearly as iconic as Tom Sawyer. He was the all-American suburban kid, constantly getting into scrapes and mishaps, often misled by his prankish pal Gilbert (played by me), and yet thanks to his basic goodness and loving (if sometimes clueless) parents he always emerged unscathed, perhaps even having learned a lesson or two. Now he’d grown up only to be killed in Vietnam? \u003c/p>\n\u003cp>You might say the Beaver was a symbol of late 1950s, early ’60s American innocence — cute, freckled, playful, a little gullible. Just a few months after the last episode of “Beaver” aired on ABC, President John Kennedy was assassinated. The innocence of the \u003cem>Leave it to Beaver\u003c/em> era was shattered. Now the war in Vietnam was tearing the country asunder and Beaver was its latest victim. Things were falling apart. I was an English major and I kept hearing those lines of Yeats: “The blood-dimmed tide is loosed, and everywhere / The ceremony of innocence is drowned.” \u003c/p>\n\u003cfigure id=\"attachment_13810035\" class=\"wp-caption aligncenter\" style=\"max-width: 632px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/GILBERT-beaver.jpg\" alt=\"Scene from a TV episode of 'Leave it to Beaver' -- the regular trio of friends (left to right): Beaver (Jerry Mathers), Gilbert (Stephen Talbot) and Whitey (Stanley Fafara)\" width=\"632\" height=\"383\" class=\"size-full wp-image-13810035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-520x315.jpg 520w\" sizes=\"(max-width: 632px) 100vw, 632px\">\u003cfigcaption class=\"wp-caption-text\">Scene from a TV episode of ‘Leave it to Beaver’ — the regular trio of friends (left to right): Beaver (Jerry Mathers), Gilbert (Stephen Talbot) and Whitey (Stanley Fafara) \u003ccite>(Courtesy of Stephen Talbot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, it wasn’t true. Beaver was alive, much to my relief. \u003c/p>\n\u003cp>Jerry Mathers had joined the Air Force Reserves, but he never left the United States. He never fought in Vietnam. But the rumor of his death lived on. It became an urban myth. (Weirdly, the “Beaver” series generated more than its share of these myths. For example, \u003ca href=\"https://en.wikipedia.org/wiki/Ken_Osmond\" rel=\"noopener\" target=\"_blank\">Ken Osmond\u003c/a>, who played the famously two-faced Eddie Haskell character, did not grow up to be a porn star like the urban legend said. He actually became an LAPD motorcycle cop.)\u003c/p>\n\u003cp>Tracing back the origins of Beaver’s alleged death, it turns out there was a 21-year-old Sgt. Steven Mathers who was killed in Vietnam in October of ’68. Associated Press and UPI stories erroneously reported this was the Beaver, and the case of mistaken identity spread from there — actress Shelly Winters even announced it to Johnny Carson on \u003cem>The Tonight Show\u003c/em>. Jerry Mathers said later the rumor was so prevalent that his good friend Tony Dow, who played his TV brother Wally, actually sent bereavement flowers to his parents’ home.\u003c/p>\n\u003cfigure id=\"attachment_13810036\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-800x1071.jpg\" alt=\"Stephen Talbot in his high school yearbook, 1965-1966, in my Jr. ROTC uniform\" width=\"800\" height=\"1071\" class=\"size-medium wp-image-13810036\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-800x1071.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-768x1028.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-1020x1366.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-1920x2571.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-1180x1580.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-960x1285.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-240x321.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-375x502.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-520x696.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66.jpg 1936w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Talbot in his high school yearbook, 1965-1966, in my Jr. ROTC uniform \u003ccite>(Courtesy of Stephen Talbot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grateful that Jerry was really alive, I redoubled my efforts in the anti-war movement. Others I knew were being drafted. Everyone seemed to know someone who had been wounded or killed in Vietnam. In a few short years I’d gone from being a cadet in a military school (the all-boys Harvard School in North Hollywood) to becoming an anti-war activist, who would be teargassed and arrested in protests, and worked closely with groups like Vietnam Veterans Against the War. Thankfully Nixon’s lottery system, installed just as I graduated from college in 1970, randomly gave me such a low number that I escaped the draft. Watching the lottery picks on TV felt like a surreal episode of \u003cem>You Bet Your Life\u003c/em>.\u003c/p>\n\u003cp>The violent death in a controversial war of a cherished TV star was a difficult rumor to put to rest. But that’s all it was, just a nightmare rumor. Unfortunately, the Vietnam War itself was all too real. Somewhere between 2.5 and 3.5 million Vietnamese soldiers and civilians perished in that conflict, as well as some 58,000 Americans. My friend Jerry was fortunately not one those casualties. But the widespread rumor of his death reflected something very real about the anxiety and despair that had settled over the United States during the Vietnam War. My generation’s innocence was dead, replaced with anger and cynicism.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>To see more stories and photographs from KQED’s series about the impact of the Vietnam War on the Bay Area and other communities in California, visit \u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\" target=\"_blank\" rel=\"noopener noreferrer\">kqed.org/vietnamwar\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Nancy's Kathy Tu and Tobin Low on Podcasting as Friends Across Coasts",
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"content": "\u003cp>Kathy Tu and Tobin Low, the hosts and managing editors of WNYC Studios’ stellar LGBT-centered podcast \u003ca href=\"http://nancypodcast.org\">\u003cem>Nancy,\u003c/em>\u003c/a> are really, really good friends. They went to Disneyland after finishing Season 1. They also send each other clips from their favorite queer rom-coms. (Tobin’s is ‘90s Ang Lee flick \u003cem>The Wedding Banquet\u003c/em>; Kathy’s is queer-gal rom-com \u003cem>Imagine Me and You\u003c/em>.)\u003c/p>\n\u003cp>That’s not to say that \u003cem>Nancy\u003c/em>‘s just a back-and-forth between the two. There’s a heft to each \u003cem>Nancy \u003c/em>episode that underscores their mutual background in traditional radio journalism. Tu and Low have produced for the likes of \u003cem>Radiolab\u003c/em> and\u003cem> Marketplace, \u003c/em>and that expertise shines in their reporting — especially in their coverage of the \u003ca href=\"https://www.nytimes.com/2017/06/10/us/year-after-pulse-massacre-blessings-and-frustrations-abound.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">Pulse massacre\u003c/a> and the population’s views on gender identity. But it’s also worth tuning in just to hear Tu and Low’s repartee talking about the queer subtext of\u003cem> The Golden Girls\u003c/em> and \u003cem>Harry Potter.\u003c/em> \u003cem>Nancy\u003c/em> often feels like a giggly brunch date with two pals who dole out killer compliments and jokes on a whim.\u003c/p>\n\u003cp>I got to speak to Tu and Low right as\u003cem> Nancy\u003c/em> was rolling out its \u003ca href=\"https://project.wnyc.org/nancy/out-at-work/\" target=\"_blank\" rel=\"noopener noreferrer\">Out at Work\u003c/a> project, a series on the endless process of coming out in the workplace. Though we covered plenty of ground, I was left wanting to spend a whole day with them.\u003c/p>\n\u003cp>\u003cem>Note: This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>What sorts of stories are you two most interested in covering on Nancy?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kathy: Moments of transition are interesting, and so is thinking about your own identity as you’re coming into it or as it changes. A lot of people think that once you figured out who you are that’s the end of it. But maybe their road’s not done yet, and I truly enjoy sharing stories about people figuring out that moment, because it’s a hard thing to do alone.\u003c/p>\n\u003cp>Tobin: We also want\u003cem> Nancy\u003c/em> to be about queer joy, so we try to make sure that we’re also celebrating happiness and love and being exuberant in some way. It’s where you can go and look to people living full, vibrant lives.\u003c/p>\n\u003cp>\u003cstrong>How do you ensure that \u003cem>Nancy\u003c/em> treads as much ground on a variety of queer and trans issues?\u003c/strong>\u003c/p>\n\u003cp>Tobin: When we were developing \u003cem>Nancy\u003c/em>, we wanted to avoid playing the role of the experts. One way to avoid it is to have a lot of stories come through the door and let the show be a pastiche of many stories so that you feel like any one person you’re hearing can talk very personally, and that they don’t have to talk about the total queer experience.\u003c/p>\n\u003cp>It’s a wonderful challenge because there are so many people who are waiting to have their stories told. We’re constantly checking ourselves by asking “who is still an important story that we need to get to put on the docket and push and think about?” And we need to find the right story, too. We want to avoid interviews that feel like they’re just defining a thing.\u003c/p>\n\u003cp>https://twitter.com/NancyPodcast/status/905052909108215808\u003c/p>\n\u003cp>\u003cstrong>This season, you’re starting a project titled ‘Out at Work.’ Can you tell me more about it, and where the idea came from?\u003c/strong>\u003c/p>\n\u003cp>Tobin: We were talking about what were some big things we wanted to tackle for Season 2. The thing about work is that it touches so many people’s lives in how you try to become an adult and how you take care of yourself and how you live your life in the day-to-day.\u003c/p>\n\u003cp>There are stories here about how we are in the situation that we are with the rights that we have at the federal and state level. There’s also everyday stories where it comes up a billion times a day at work. If you’re not out, do you avoid avoid pronouns or who your partner is? \u003cspan style=\"font-weight: 400\">For us, that’s a really interesting storytelling opportunity, so what we’re really interested in is our listener base. We want to have them on the show so that they can talk about the whole range of stories that they have about being out at work.\u003c/span>\u003c/p>\n\u003cp>Kathy: It’s a chance for us to hear from people from across the nation and not just from the coastal cities, where we think that we have all the protections that we need or want. We want to hear from the people who don’t, and how they deal with what they have.\u003c/p>\n\u003cp>\u003cstrong>Did you have experiences where you couldn’t be fully out at work? If so, how did you cope?\u003c/strong>\u003c/p>\n\u003cp>Kathy: In one of my previous lives, I worked as an emergency medical technician in L.A.. At that time, I did not feel comfortable at all being out. It wasn’t a matter of whether I had rights or not, but the environment made it feel as if I couldn’t come out. I only lasted a year. After I quit, I said to myself I would never work jobs where I had to hide that part of myself.\u003c/p>\n\u003cfigure id=\"attachment_13808786\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808786\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Nancy-Podcast-hosts-800x429.jpg\" alt=\"The hosts of 'Nancy' in California\" width=\"800\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-Podcast-hosts-800x429.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-Podcast-hosts-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-Podcast-hosts-768x412.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-Podcast-hosts.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-Podcast-hosts-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-Podcast-hosts-375x201.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-Podcast-hosts-520x279.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The hosts of ‘Nancy’ in California \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On the subject of working, can you speak about the challenges of balancing full-time jobs while working on the \u003cem>Nancy\u003c/em> pilot on separate coasts?\u003c/strong>\u003c/p>\n\u003cp>Tobin: At the time, I worked an overnight shift. When we were doing the pilot, I would do that shift for a radio program, then I would take the train to WNYC and record from the afternoon until normal end of business day. We’re both very driven people, and we’re both interested in working really hard in a finite amount of time.\u003c/p>\n\u003cp>Kathy: Even more than that, we’re both the type of people to not let each other down. In my head, I’d be like, “I have to do this because Tobin believes in me!” But finding time and balancing your energy between a side project and a full-time job is tough. I did not go outside for weeks.\u003c/p>\n\u003cp>\u003cstrong>Kathy, you’re still based in L.A. even though \u003cem>Nancy\u003c/em> is a largely New York-based operation. Do you still record \u003cem>Nancy\u003c/em> in California?\u003c/strong>\u003c/p>\n\u003cp>Kathy: When we did our pilot, that’s how it was for the first few months. WNYC sent me equipment, and I decked out this tiny, tiny closet and made it into my own little studio. It was nice and dark. That was fun. And then I came to New York, and recorded in a real studio.\u003c/p>\n\u003cp>Right now, I’ve decided that I will be in New York when the show is releasing episodes. During the off-season, I go back to L.A. and get some alone time so we have stories to tell each other. Then, I come back maybe a month before the season starts gearing up again. It’s a true bi-coastal year.\u003c/p>\n\u003cp>\u003cstrong>Tobin, when was the last time you made it out to California?\u003c/strong>\u003c/p>\n\u003cp>Tobin: At the end of Season 1! We were literally on the same flight to L.A., and we hung out for a week. We went to Disneyland, and we hung out. It’s a funny thing being friends who co-host a podcast, because people seem genuinely surprised when we do things as friends in real life. More than once, people have been like “Oh, you’re really friends?”\u003c/p>\n\u003cfigure id=\"attachment_13808789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Nancy-hosts2-800x600.jpg\" alt=\""Splitting an entire cheesecake with your bestie gives off those 'Golden Girls' vibes."\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-hosts2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-hosts2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-hosts2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-hosts2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-hosts2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-hosts2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-hosts2-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Splitting an entire cheesecake with your bestie gives off those ‘Golden Girls’ vibes.” \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It seems like you two have got the whole “friends who host a podcast” thing figured out. How do you work on making sure that your friendship and your work relationship don’t get tangled up?\u003c/strong>\u003c/p>\n\u003cp>Tobin: To be totally candid, it’s a thing we’re still figuring out. We’re still in the early days of working on this, and the thing that we are figuring out now that’s working for us is learning that there’s a work version of us that draws on real-life version of us. It’s important for us to foster and communicate our relationship as real-life friends, and make sure that we know which hat we’re wearing with each other.\u003c/p>\n\u003cp>Kathy: We keep trying to plan for our great big fight. I don’t know when that’s happening, but we’ve planned for it.\u003c/p>\n\u003cp>Tobin: We’re gonna put out a tell-all book.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Kathy: Maybe in a year or two.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kathy Tu and Tobin Low, the hosts and managing editors of WNYC Studios’ stellar LGBT-centered podcast \u003ca href=\"http://nancypodcast.org\">\u003cem>Nancy,\u003c/em>\u003c/a> are really, really good friends. They went to Disneyland after finishing Season 1. They also send each other clips from their favorite queer rom-coms. (Tobin’s is ‘90s Ang Lee flick \u003cem>The Wedding Banquet\u003c/em>; Kathy’s is queer-gal rom-com \u003cem>Imagine Me and You\u003c/em>.)\u003c/p>\n\u003cp>That’s not to say that \u003cem>Nancy\u003c/em>‘s just a back-and-forth between the two. There’s a heft to each \u003cem>Nancy \u003c/em>episode that underscores their mutual background in traditional radio journalism. Tu and Low have produced for the likes of \u003cem>Radiolab\u003c/em> and\u003cem> Marketplace, \u003c/em>and that expertise shines in their reporting — especially in their coverage of the \u003ca href=\"https://www.nytimes.com/2017/06/10/us/year-after-pulse-massacre-blessings-and-frustrations-abound.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">Pulse massacre\u003c/a> and the population’s views on gender identity. But it’s also worth tuning in just to hear Tu and Low’s repartee talking about the queer subtext of\u003cem> The Golden Girls\u003c/em> and \u003cem>Harry Potter.\u003c/em> \u003cem>Nancy\u003c/em> often feels like a giggly brunch date with two pals who dole out killer compliments and jokes on a whim.\u003c/p>\n\u003cp>I got to speak to Tu and Low right as\u003cem> Nancy\u003c/em> was rolling out its \u003ca href=\"https://project.wnyc.org/nancy/out-at-work/\" target=\"_blank\" rel=\"noopener noreferrer\">Out at Work\u003c/a> project, a series on the endless process of coming out in the workplace. Though we covered plenty of ground, I was left wanting to spend a whole day with them.\u003c/p>\n\u003cp>\u003cem>Note: This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>What sorts of stories are you two most interested in covering on Nancy?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kathy: Moments of transition are interesting, and so is thinking about your own identity as you’re coming into it or as it changes. A lot of people think that once you figured out who you are that’s the end of it. But maybe their road’s not done yet, and I truly enjoy sharing stories about people figuring out that moment, because it’s a hard thing to do alone.\u003c/p>\n\u003cp>Tobin: We also want\u003cem> Nancy\u003c/em> to be about queer joy, so we try to make sure that we’re also celebrating happiness and love and being exuberant in some way. It’s where you can go and look to people living full, vibrant lives.\u003c/p>\n\u003cp>\u003cstrong>How do you ensure that \u003cem>Nancy\u003c/em> treads as much ground on a variety of queer and trans issues?\u003c/strong>\u003c/p>\n\u003cp>Tobin: When we were developing \u003cem>Nancy\u003c/em>, we wanted to avoid playing the role of the experts. One way to avoid it is to have a lot of stories come through the door and let the show be a pastiche of many stories so that you feel like any one person you’re hearing can talk very personally, and that they don’t have to talk about the total queer experience.\u003c/p>\n\u003cp>It’s a wonderful challenge because there are so many people who are waiting to have their stories told. We’re constantly checking ourselves by asking “who is still an important story that we need to get to put on the docket and push and think about?” And we need to find the right story, too. We want to avoid interviews that feel like they’re just defining a thing.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cstrong>This season, you’re starting a project titled ‘Out at Work.’ Can you tell me more about it, and where the idea came from?\u003c/strong>\u003c/p>\n\u003cp>Tobin: We were talking about what were some big things we wanted to tackle for Season 2. The thing about work is that it touches so many people’s lives in how you try to become an adult and how you take care of yourself and how you live your life in the day-to-day.\u003c/p>\n\u003cp>There are stories here about how we are in the situation that we are with the rights that we have at the federal and state level. There’s also everyday stories where it comes up a billion times a day at work. If you’re not out, do you avoid avoid pronouns or who your partner is? \u003cspan style=\"font-weight: 400\">For us, that’s a really interesting storytelling opportunity, so what we’re really interested in is our listener base. We want to have them on the show so that they can talk about the whole range of stories that they have about being out at work.\u003c/span>\u003c/p>\n\u003cp>Kathy: It’s a chance for us to hear from people from across the nation and not just from the coastal cities, where we think that we have all the protections that we need or want. We want to hear from the people who don’t, and how they deal with what they have.\u003c/p>\n\u003cp>\u003cstrong>Did you have experiences where you couldn’t be fully out at work? If so, how did you cope?\u003c/strong>\u003c/p>\n\u003cp>Kathy: In one of my previous lives, I worked as an emergency medical technician in L.A.. At that time, I did not feel comfortable at all being out. It wasn’t a matter of whether I had rights or not, but the environment made it feel as if I couldn’t come out. I only lasted a year. After I quit, I said to myself I would never work jobs where I had to hide that part of myself.\u003c/p>\n\u003cfigure id=\"attachment_13808786\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808786\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Nancy-Podcast-hosts-800x429.jpg\" alt=\"The hosts of 'Nancy' in California\" width=\"800\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-Podcast-hosts-800x429.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-Podcast-hosts-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-Podcast-hosts-768x412.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-Podcast-hosts.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-Podcast-hosts-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-Podcast-hosts-375x201.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-Podcast-hosts-520x279.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The hosts of ‘Nancy’ in California \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On the subject of working, can you speak about the challenges of balancing full-time jobs while working on the \u003cem>Nancy\u003c/em> pilot on separate coasts?\u003c/strong>\u003c/p>\n\u003cp>Tobin: At the time, I worked an overnight shift. When we were doing the pilot, I would do that shift for a radio program, then I would take the train to WNYC and record from the afternoon until normal end of business day. We’re both very driven people, and we’re both interested in working really hard in a finite amount of time.\u003c/p>\n\u003cp>Kathy: Even more than that, we’re both the type of people to not let each other down. In my head, I’d be like, “I have to do this because Tobin believes in me!” But finding time and balancing your energy between a side project and a full-time job is tough. I did not go outside for weeks.\u003c/p>\n\u003cp>\u003cstrong>Kathy, you’re still based in L.A. even though \u003cem>Nancy\u003c/em> is a largely New York-based operation. Do you still record \u003cem>Nancy\u003c/em> in California?\u003c/strong>\u003c/p>\n\u003cp>Kathy: When we did our pilot, that’s how it was for the first few months. WNYC sent me equipment, and I decked out this tiny, tiny closet and made it into my own little studio. It was nice and dark. That was fun. And then I came to New York, and recorded in a real studio.\u003c/p>\n\u003cp>Right now, I’ve decided that I will be in New York when the show is releasing episodes. During the off-season, I go back to L.A. and get some alone time so we have stories to tell each other. Then, I come back maybe a month before the season starts gearing up again. It’s a true bi-coastal year.\u003c/p>\n\u003cp>\u003cstrong>Tobin, when was the last time you made it out to California?\u003c/strong>\u003c/p>\n\u003cp>Tobin: At the end of Season 1! We were literally on the same flight to L.A., and we hung out for a week. We went to Disneyland, and we hung out. It’s a funny thing being friends who co-host a podcast, because people seem genuinely surprised when we do things as friends in real life. More than once, people have been like “Oh, you’re really friends?”\u003c/p>\n\u003cfigure id=\"attachment_13808789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Nancy-hosts2-800x600.jpg\" alt=\""Splitting an entire cheesecake with your bestie gives off those 'Golden Girls' vibes."\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-hosts2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-hosts2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-hosts2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-hosts2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-hosts2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-hosts2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nancy-hosts2-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Splitting an entire cheesecake with your bestie gives off those ‘Golden Girls’ vibes.” \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It seems like you two have got the whole “friends who host a podcast” thing figured out. How do you work on making sure that your friendship and your work relationship don’t get tangled up?\u003c/strong>\u003c/p>\n\u003cp>Tobin: To be totally candid, it’s a thing we’re still figuring out. We’re still in the early days of working on this, and the thing that we are figuring out now that’s working for us is learning that there’s a work version of us that draws on real-life version of us. It’s important for us to foster and communicate our relationship as real-life friends, and make sure that we know which hat we’re wearing with each other.\u003c/p>\n\u003cp>Kathy: We keep trying to plan for our great big fight. I don’t know when that’s happening, but we’ve planned for it.\u003c/p>\n\u003cp>Tobin: We’re gonna put out a tell-all book.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kathy: Maybe in a year or two.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "VIDEO: Taylor Mac & Machine Dazzle Turn U.S. History into a Catwalk",
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"headTitle": "VIDEO: Taylor Mac & Machine Dazzle Turn U.S. History into a Catwalk | KQED",
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"content": "\u003cp>The Stockton-born, New York-based performance artist \u003ca href=\"http://www.taylormac.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac\u003c/a> and his costume designer Machine Dazzle are no ordinary historians. In \u003cem>A 24-Decade History of Popular Music\u003c/em>, their 24-hour romp through American history from 1776 to the present day, Mac, Dazzle and their vast team of collaborators use the pop hits of the ages, commentary, and off-the-wall fashions to share a unique vision of this country’s story.\u003c/p>\n\u003cp>KQED’s senior arts editor Chloe Veltman sat down with Mac and Dazzle in the costume-strewn basement of San Francisco’s Curran Theater when the artists were prepping for a run of their show.\u003c/p>\n\u003cp>Watch the report for \u003cem>KQED Newsroom\u003c/em> here:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4tor0TADs3Q\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>A 24-Decade History of Popular Music\u003c/em> runs in four, six-hour-long episodes from Friday, Sept. 15 to Sunday, Sept. 24 at the Curran Theater in San Francisco. For more information, click \u003ca href=\"https://sfcurran.com/shows/taylor-mac/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stanford Live is also presenting a 3-hour-long, abridged version of the show at the Bing Concert Hall on the Stanford Campus on Wednesday, Sept. 27. Information \u003ca href=\"https://live.stanford.edu/calendar/september-2017/24-decade-history-popular-music-abridged\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg\" alt=\"Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Stockton-born, New York-based performance artist \u003ca href=\"http://www.taylormac.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac\u003c/a> and his costume designer Machine Dazzle are no ordinary historians. In \u003cem>A 24-Decade History of Popular Music\u003c/em>, their 24-hour romp through American history from 1776 to the present day, Mac, Dazzle and their vast team of collaborators use the pop hits of the ages, commentary, and off-the-wall fashions to share a unique vision of this country’s story.\u003c/p>\n\u003cp>KQED’s senior arts editor Chloe Veltman sat down with Mac and Dazzle in the costume-strewn basement of San Francisco’s Curran Theater when the artists were prepping for a run of their show.\u003c/p>\n\u003cp>Watch the report for \u003cem>KQED Newsroom\u003c/em> here:\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/4tor0TADs3Q'\n title='//www.youtube.com/embed/4tor0TADs3Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A 24-Decade History of Popular Music\u003c/em> runs in four, six-hour-long episodes from Friday, Sept. 15 to Sunday, Sept. 24 at the Curran Theater in San Francisco. For more information, click \u003ca href=\"https://sfcurran.com/shows/taylor-mac/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stanford Live is also presenting a 3-hour-long, abridged version of the show at the Bing Concert Hall on the Stanford Campus on Wednesday, Sept. 27. Information \u003ca href=\"https://live.stanford.edu/calendar/september-2017/24-decade-history-popular-music-abridged\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg\" alt=\"Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The week on the Do List we welcome co-host Eli Wirtschafter, a musician, theater person, and contributing reporter for KQED! Listen to the picks above, and click through for more details on each show below.\u003c/p>\n\u003cp>\u003cstrong>Sept. 21-26:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWbU\" target=\"_blank\" rel=\"noopener noreferrer\">Songs from a folk-singing nomad now settled in Los Angeles\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 17:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWc5\" target=\"_blank\" rel=\"noopener noreferrer\"> A million much-needed, free laughs at Comedy Day in Golden Gate Park\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 23 &24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWbH\" target=\"_blank\" rel=\"noopener noreferrer\">A dance company explores the story of Moses and the exodus through an African American lens\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Aug. 25-Jan. 14:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VW3L\" target=\"_blank\" rel=\"noopener noreferrer\">A San Jose Museum show that welcomes selfies and explores their long history in photography\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept. 16: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWc8\" target=\"_blank\" rel=\"noopener noreferrer\">A hip-hop oratorio for challenging times from Ensemble Mik Nawooj\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 21:\u003c/strong> \u003ca href=\"https://www.loscenzontles.com/tourdates/one-lobo-one-night-david-hidalgo-w-los-cenzontles\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Los Cenzontles play a show on their home stage in San Pablo, with guest David Hidalgo of Los Lobos\u003c/span>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 26: \u003c/strong>\u003ca href=\"http://www.swedishamericanhall.com/main/calendar/sam-amidon/\" target=\"_blank\" rel=\"noopener noreferrer\">Sam Amidon brings his serious folk songs and deadpan humor to Cafe du Nord\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Oakland musician, composer and band leader \u003c/span>\u003cspan style=\"font-weight: 400\">Joowan\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Kim is always ambitious, a hip-hop artist with classical rigor. Witness his newest effort, a hip hop oratorio called \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Death Become Life, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">written for his\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003ca href=\"http://www.ensemblemiknawooj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ensemble Mik Nawooj\u003c/a>, involving turf dancing, DJs and rappers, and a variation on the story of Orpheus and Eurydice — it’s about a girl trying to reclaim her life after the death of her boyfriend, and her journey to an underground party in search of his spirit.\u003c/span>\u003c/p>\n\u003cp>Joowan Kim told me he built the oratorio around what he called a prayer. “\u003cb>\u003ci>\u003c/i>\u003c/b>May good conquer evil, may light banish darkness and death become life,” something he said he wrote after losing his mother, grandfather and girlfriend in the same three-month period. “And we are very aware,” Kim continued, “of the environmental changes going on, and political changes, this horrible time. And we want to contribute to the positive transformation. And it’s inevitable actually, otherwise we will die, ‘we’ as in humanity.”\u003c/p>\n\u003cp>The music, including deconstructions of classic hip-hop from decades past, is more buoyant and optimistic than that description may sound. Witness the video below, or better yet, see the show at \u003ca href=\"https://proartsgallery.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Pro Arts Gallery in Oakland\u003c/a>. It’s cheap — just $5. \u003ca href=\"https://proartsgallery.org/event/ensemble-mik-nawooj-death-become-life/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q6PfGFDNGN0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Museums around the world are split on the selfie, often banning selfie sticks — fearing the damage that a \u003ca href=\"https://www.nytimes.com/2017/07/14/arts/design/oops-a-museum-selfie-gone-wrong-causes-200000-in-damage.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">careless, self-absorbed patron might cause to the artwork\u003c/a> — but encouraging hand-held selfies to entice Instagram-happy millennials. Now comes an exhibit that encourages a more creative approach. \u003cem>This is Not a Selfie\u003c/em>, running through Jan. 14 at the \u003ca href=\"http://sjmusart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Art \u003c/a>, features artists who played with self-portraits long before “selfie” was ever a word: Cindy Sherman, William Wegman, Diane Arbus and many more.\u003c/p>\n\u003cfigure id=\"attachment_13807885\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-1020x1426.jpg\" alt=\"Nadar (Gaspard-Félix Tournachon), Self-Portrait in Indian Costume, circa 1863 Nadar (Gaspard-Félix Tournachon) Self-Portrait in Indian Costume, circa 1863 Albumen silver print 6 1/8 x 4 1/16 inches Los Angeles County of Art photo @ Museum Associates/LACMA\" width=\"640\" height=\"895\" class=\"size-large wp-image-13807885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-1020x1426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-800x1118.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-768x1074.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-1180x1650.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-960x1342.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-375x524.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-520x727.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k.jpg 1465w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nadar (Gaspard-Félix Tournachon), Self-Portrait in Indian Costume, circa 1863 Nadar (Gaspard-Félix Tournachon) Self-Portrait in Indian Costume, circa 1863 Albumen silver print 6 1/8 x 4 1/16 inches Los Angeles County of Art photo @ Museum Associates/LACMA\u003c/figcaption>\u003c/figure>\n\u003cp>San Jose Museum Associate Curator Rory Padeken notes that the photographers in the show generally created self-portraits that are not a reflection of who they are but how they think about the world. “It moves beyond the artist as the self to talk about things like politics or about gender identity. The artists are sort of using their body to talk about the larger social issues of our time.“ Yet even as the show celebrates these thoughtful self-portraits, it offers a couple of selfie stations where visitors can make their own self-portraits, post them on Instagram, and get them displayed in the exhibit. Art-making has never been this easy. \u003ca href=\"http://sjmusart.org/exhibition/not-selfie-photographic-self-portraits-audrey-and-sydney-irmas-collection\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13808356\" class=\"wp-caption aligncenter\" style=\"max-width: 719px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808356\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie.jpg\" alt=\"Cy's selfie at the San Jose Museum of Art show 'This is Not a Selfie'\" width=\"719\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie.jpg 719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie-520x322.jpg 520w\" sizes=\"(max-width: 719px) 100vw, 719px\">\u003cfigcaption class=\"wp-caption-text\">Cy’s selfie at the San Jose Museum of Art show ‘This is Not a Selfie’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Museums around the world are split on the selfie, often banning selfie sticks — fearing the damage that a \u003ca href=\"https://www.nytimes.com/2017/07/14/arts/design/oops-a-museum-selfie-gone-wrong-causes-200000-in-damage.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">careless, self-absorbed patron might cause to the artwork\u003c/a> — but encouraging hand-held selfies to entice Instagram-happy millennials. Now comes an exhibit that encourages a more creative approach. \u003cem>This is Not a Selfie\u003c/em>, running through Jan. 14 at the \u003ca href=\"http://sjmusart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Art \u003c/a>, features artists who played with self-portraits long before “selfie” was ever a word: Cindy Sherman, William Wegman, Diane Arbus and many more.\u003c/p>\n\u003cfigure id=\"attachment_13807885\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-1020x1426.jpg\" alt=\"Nadar (Gaspard-Félix Tournachon), Self-Portrait in Indian Costume, circa 1863 Nadar (Gaspard-Félix Tournachon) Self-Portrait in Indian Costume, circa 1863 Albumen silver print 6 1/8 x 4 1/16 inches Los Angeles County of Art photo @ Museum Associates/LACMA\" width=\"640\" height=\"895\" class=\"size-large wp-image-13807885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-1020x1426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-800x1118.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-768x1074.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-1180x1650.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-960x1342.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-375x524.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-520x727.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k.jpg 1465w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nadar (Gaspard-Félix Tournachon), Self-Portrait in Indian Costume, circa 1863 Nadar (Gaspard-Félix Tournachon) Self-Portrait in Indian Costume, circa 1863 Albumen silver print 6 1/8 x 4 1/16 inches Los Angeles County of Art photo @ Museum Associates/LACMA\u003c/figcaption>\u003c/figure>\n\u003cp>San Jose Museum Associate Curator Rory Padeken notes that the photographers in the show generally created self-portraits that are not a reflection of who they are but how they think about the world. “It moves beyond the artist as the self to talk about things like politics or about gender identity. The artists are sort of using their body to talk about the larger social issues of our time.“ Yet even as the show celebrates these thoughtful self-portraits, it offers a couple of selfie stations where visitors can make their own self-portraits, post them on Instagram, and get them displayed in the exhibit. Art-making has never been this easy. \u003ca href=\"http://sjmusart.org/exhibition/not-selfie-photographic-self-portraits-audrey-and-sydney-irmas-collection\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13808356\" class=\"wp-caption aligncenter\" style=\"max-width: 719px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808356\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie.jpg\" alt=\"Cy's selfie at the San Jose Museum of Art show 'This is Not a Selfie'\" width=\"719\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie.jpg 719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie-520x322.jpg 520w\" sizes=\"(max-width: 719px) 100vw, 719px\">\u003cfigcaption class=\"wp-caption-text\">Cy’s selfie at the San Jose Museum of Art show ‘This is Not a Selfie’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>Sept. 12–Oct. 8:\u003c/strong> \u003ca href=\"http://variety.com/1951/film/reviews/an-american-in-paris-1200417083/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>An American in Paris\u003c/em>\u003c/a> is among the best movies of all time, a prime example of the golden age of the MGM musical. It features great Gershwin tunes, terrific dancing by Gene Kelly and Leslie Caron (Kelly did the choreography), and the acid wit of Oscar Levant. So why mess it up with a stage version? But there’s promise in the vision of playwright Craig Lucas and director and choreographer Christopher Wheeldon, who often choreographs for SF Ballet and other companies. The show won over critics in New York, and this touring production (presented here by SHN) could be a winner. \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z4B-BR2sV4Y\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cstrong>Aug. 31-Oct. 22:\u003c/strong> Both my co-host Jeffrey Edalatpour and I are keen to see the songs of The Temptations performed live by talented actors and dancers in \u003cem>Ain’t Too Proud: The Life and Times of the Temptations,\u003c/em> a world premiere about the band’s early days at Berkeley Repertory Theater. But we’ve both been underwhelmed in the past by jukebox musicals. (\u003cem>Motown\u003c/em>, the Berry Gordy produced musical, which covered some of this same ground, was hugely disappointing.) Still, we have hope, because playwright \u003ca href=\"https://www.nytimes.com/2017/08/21/theater/dominique-morisseau-the-first-time-i-imagined-i-was-pregnant.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">Dominique Morisseau\u003c/a> is writing the book, and she’s known for her three-play cycle about her hometown \u003cem>The Detroit Projects\u003c/em>. As Jeffrey notes, she’s not going to ignore the social and political context of being black in America at the height of the civil rights movement. It’s no surprise, also, that the production team is loaded with Broadway veterans like director Des McAnuff (\u003cem>Jersey Boys, Guys and Dolls, Jesus Christ Superstar\u003c/em>), and Broadway is probably where this show will go after its Berkeley run. \u003ca href=\"https://www.berkeleyrep.org/season/1718/12025.asp\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fxe60GVW034&t=121s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
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