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"content": "\u003cp>Hey, kids! Have you heard about the tech industry? Did you know that it has made a lot of people a whole bunch of money over the past decade? Did you know that many of those people are very young -- some of them still in their teens?\u003c/p>\n\u003cp>This is, ostensibly, the entire premise for a TV show currently in the works called \u003cem>In the Wild\u003c/em>, which promises to chronicle \"the almost-adult lives of the industry’s newest recruits as they learn how to live on their own for the first time while navigating the high stakes VC tech world,\" \u003ca href=\"http://deadline.com/2015/10/matt-reeves-20th-tv-overall-deal-in-the-wild-fox-drama-natalie-krinsky-1201587937/\" target=\"_blank\">according to \u003cem>Deadline\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The series is brought to you by showrunner Matthew Reeves -- a co-creator, alongside J.J. Abrams, of the late, great love-triangle-and-drastic-haircut vehicle known as \u003cem>Felicity \u003c/em>-- and will be based in part on a story that California Sunday magazine published this past June, \u003ca href=\"https://stories.californiasunday.com/2015-06-07/real-teenagers-silicon-valley/\" target=\"_blank\">titled \u003c/a>\u003cem>\u003ca href=\"https://stories.californiasunday.com/2015-06-07/real-teenagers-silicon-valley/\" target=\"_blank\">The Real Teens of Silicon Valley\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Now, that story was well-written, a sharp-eyed look at some of the youngest players in tech -- many of them high-school dropouts -- and the bubble-ensconced, frat-like San Francisco they inhabit. Tech writer Nellie Bowles documented these kids' more noxious behaviors as well as their potential for being taken advantage of and their lack of self-awareness, in many instances, with empathy and understanding. She deftly identified that \"There is something odd about this fetishization of teen talent and how far venture capitalists will go to get it, as well as how skeptical they can be of anyone over 25, given the fact that most billion-dollar startups today — Uber, WhatsApp, Slack — were founded by seasoned adults.\"\u003c/p>\n\u003cp>It's a good story, but somehow, I'm not seeing that nuance translating so easily into a TV show. For one, doesn't the fact that the entertainment industry even has the demand for yet another show about tech workers smack of fetishization? \u003ca href=\"https://www.amazon.com/gp/product/B00CDBX1PA/?ie=UTF8&redirect=true\" target=\"_blank\">Amazon's \u003cem>Betas\u003c/em>\u003c/a> lasted a whopping 11 episodes before getting canned, while the jury's still out on whether or not \u003ca href=\"http://ww2.kqed.org/arts/2015/06/04/is-94110-san-franciscos-techie-tv-drama-just-performance-art/\" target=\"_blank\">\u003cem>94110\u003c/em> is high-concept trolling or an actual show\u003c/a>. Meanwhile, \u003cem>Silicon Valley\u003c/em> is a success mainly, arguably, because Mike Judge is a genius of a talent, and has crafted \u003ca href=\"http://www.modernluxury.com/san-francisco/story/freaks-of-the-industry\" target=\"_blank\">a universe that reads to tech outsiders like mockery and to insiders like, well, in-jokes\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More to the point: Is anyone else just a little bit perplexed by what seems like this mass assumption that we all find the lives of startup workers inherently fascinating? They're making money, yes, which is one ingredient for good drama. And this show, in particular, is focusing on the youth element -- always nice for ratings. But beyond that, truly, what gives? It's a profession that literally involves staring at a screen all day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you have an insatiable need for shows about tech bros, and would like to explain it to me, I'm all ears. Until then: Here's hoping Reeves finds the tech equivalent of a \u003ca href=\"http://ww2.kqed.org/pop/2014/04/29/felicitys-ben-or-noel-conundrum-how-the-side-you-took-predicted-your-entire-love-life/\" target=\"_blank\">Ben/Noel dichotomy\u003c/a> to play with. I ain't holdin' my breath.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hey, kids! Have you heard about the tech industry? Did you know that it has made a lot of people a whole bunch of money over the past decade? Did you know that many of those people are very young -- some of them still in their teens?\u003c/p>\n\u003cp>This is, ostensibly, the entire premise for a TV show currently in the works called \u003cem>In the Wild\u003c/em>, which promises to chronicle \"the almost-adult lives of the industry’s newest recruits as they learn how to live on their own for the first time while navigating the high stakes VC tech world,\" \u003ca href=\"http://deadline.com/2015/10/matt-reeves-20th-tv-overall-deal-in-the-wild-fox-drama-natalie-krinsky-1201587937/\" target=\"_blank\">according to \u003cem>Deadline\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The series is brought to you by showrunner Matthew Reeves -- a co-creator, alongside J.J. Abrams, of the late, great love-triangle-and-drastic-haircut vehicle known as \u003cem>Felicity \u003c/em>-- and will be based in part on a story that California Sunday magazine published this past June, \u003ca href=\"https://stories.californiasunday.com/2015-06-07/real-teenagers-silicon-valley/\" target=\"_blank\">titled \u003c/a>\u003cem>\u003ca href=\"https://stories.californiasunday.com/2015-06-07/real-teenagers-silicon-valley/\" target=\"_blank\">The Real Teens of Silicon Valley\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Now, that story was well-written, a sharp-eyed look at some of the youngest players in tech -- many of them high-school dropouts -- and the bubble-ensconced, frat-like San Francisco they inhabit. Tech writer Nellie Bowles documented these kids' more noxious behaviors as well as their potential for being taken advantage of and their lack of self-awareness, in many instances, with empathy and understanding. She deftly identified that \"There is something odd about this fetishization of teen talent and how far venture capitalists will go to get it, as well as how skeptical they can be of anyone over 25, given the fact that most billion-dollar startups today — Uber, WhatsApp, Slack — were founded by seasoned adults.\"\u003c/p>\n\u003cp>It's a good story, but somehow, I'm not seeing that nuance translating so easily into a TV show. For one, doesn't the fact that the entertainment industry even has the demand for yet another show about tech workers smack of fetishization? \u003ca href=\"https://www.amazon.com/gp/product/B00CDBX1PA/?ie=UTF8&redirect=true\" target=\"_blank\">Amazon's \u003cem>Betas\u003c/em>\u003c/a> lasted a whopping 11 episodes before getting canned, while the jury's still out on whether or not \u003ca href=\"http://ww2.kqed.org/arts/2015/06/04/is-94110-san-franciscos-techie-tv-drama-just-performance-art/\" target=\"_blank\">\u003cem>94110\u003c/em> is high-concept trolling or an actual show\u003c/a>. Meanwhile, \u003cem>Silicon Valley\u003c/em> is a success mainly, arguably, because Mike Judge is a genius of a talent, and has crafted \u003ca href=\"http://www.modernluxury.com/san-francisco/story/freaks-of-the-industry\" target=\"_blank\">a universe that reads to tech outsiders like mockery and to insiders like, well, in-jokes\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>Update (January 29, 2016):\u003c/strong> It's official!!! Netflix just confirmed this poorly held secret by tweeting a Gilmore Girls meme.\u003c/p>\n\u003cp>https://twitter.com/netflix/status/693193719046995968\u003c/p>\n\u003cp>And Lauren Graham a.k.a. Lorelai a.k.a. small-time klepto also confirmed the good news:\u003c/p>\n\u003cp>https://twitter.com/thelaurengraham/status/693193513287049216\u003c/p>\n\u003cp>The brand new four-episode series tentatively titled \u003cem>Gilmore Girls: Seasons\u003c/em> begins filming next week!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>The day \u003cem>Gilmore Girls\u003c/em> fans have waited for is here at last! \u003ca href=\"http://tvline.com/2015/10/19/gilmore-girls-revival-netflix-new-episodes/\" target=\"_blank\">Netflix is bringing\u003c/a> the beloved series back for a limited run. I repeat, NETFLIX IS BRINGING \u003cem>GILMORE GIRLS\u003c/em> BACK!!!\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/gilmoregirlsgif.gif\">\u003cimg class=\"aligncenter size-full wp-image-18588\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/gilmoregirlsgif.gif\" alt=\"gilmoregirlsgif\" width=\"317\" height=\"183\">\u003c/a>\u003c/p>\n\u003cp>Word on the street is that it'll be in the form of four 90 minute mini-movies. And show-runner Amy Sherman-Palladino will return to pen the proper ending (due to contract drama, she did not work on the show's final (wack) season). This means that fans will finally get to hear the fabled last four words, which Sherman-Palladino knew would end the show from before it even made it on air.\u003c/p>\n\u003cp>Someone pinch me! Or, better yet, get me a paper bag to breathe into.\u003c/p>\n\u003cp>If you don't know what to do with all the\u003cem> Gilmore Girls\u003c/em> love coursing through your veins right now, consider binge watching the best episodes of the show:\u003c/p>\n\u003cp>\u003ca class=\"embedly-card\" href=\"http://ww2.kqed.org/pop/2014/10/01/gilmore-girls-netflix-10-best-episodes-binge-watch-marathon/\">Gilmore Girls On Netflix: 10 Best Episodes to Binge Watch\u003c/a>\u003c/p>\n\u003cp>Or read all about how I travelled almost 2,000 miles to see the cast reunite at this year's ATX Festival:\u003c/p>\n\u003cp>\u003ca class=\"embedly-card\" href=\"http://ww2.kqed.org/pop/2015/06/08/gilmore-girls-everything-you-missed-at-the-atx-festival-reunion/\">Gilmore Girls: Everything You Missed at the ATX Festival Reunion\u003c/a>\u003c/p>\n\u003cp>And, if you're one of the writers on this new mini-season, you can find my notes on what should and shouldn't happen here:\u003c/p>\n\u003cp>\u003ca class=\"embedly-card\" href=\"http://ww2.kqed.org/pop/2015/05/29/gilmore-girls-what-we-need-from-the-rumored-new-season-or-movie/\">Gilmore Girls: What the Rumored New Season or Movie Should & Shouldn't Do\u003c/a>\u003c/p>\n\u003cp>And this post would not be complete without this gif:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/08/tumblr_ml252mhGRm1qedlsro1_250.gif\">\u003cimg class=\"aligncenter size-full wp-image-7698\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/08/tumblr_ml252mhGRm1qedlsro1_250.gif\" alt=\"beyonce god is real\" width=\"245\" height=\"193\">\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>The day \u003cem>Gilmore Girls\u003c/em> fans have waited for is here at last! \u003ca href=\"http://tvline.com/2015/10/19/gilmore-girls-revival-netflix-new-episodes/\" target=\"_blank\">Netflix is bringing\u003c/a> the beloved series back for a limited run. I repeat, NETFLIX IS BRINGING \u003cem>GILMORE GIRLS\u003c/em> BACK!!!\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/gilmoregirlsgif.gif\">\u003cimg class=\"aligncenter size-full wp-image-18588\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/gilmoregirlsgif.gif\" alt=\"gilmoregirlsgif\" width=\"317\" height=\"183\">\u003c/a>\u003c/p>\n\u003cp>Word on the street is that it'll be in the form of four 90 minute mini-movies. And show-runner Amy Sherman-Palladino will return to pen the proper ending (due to contract drama, she did not work on the show's final (wack) season). This means that fans will finally get to hear the fabled last four words, which Sherman-Palladino knew would end the show from before it even made it on air.\u003c/p>\n\u003cp>Someone pinch me! Or, better yet, get me a paper bag to breathe into.\u003c/p>\n\u003cp>If you don't know what to do with all the\u003cem> Gilmore Girls\u003c/em> love coursing through your veins right now, consider binge watching the best episodes of the show:\u003c/p>\n\u003cp>\u003ca class=\"embedly-card\" href=\"http://ww2.kqed.org/pop/2014/10/01/gilmore-girls-netflix-10-best-episodes-binge-watch-marathon/\">Gilmore Girls On Netflix: 10 Best Episodes to Binge Watch\u003c/a>\u003c/p>\n\u003cp>Or read all about how I travelled almost 2,000 miles to see the cast reunite at this year's ATX Festival:\u003c/p>\n\u003cp>\u003ca class=\"embedly-card\" href=\"http://ww2.kqed.org/pop/2015/06/08/gilmore-girls-everything-you-missed-at-the-atx-festival-reunion/\">Gilmore Girls: Everything You Missed at the ATX Festival Reunion\u003c/a>\u003c/p>\n\u003cp>And, if you're one of the writers on this new mini-season, you can find my notes on what should and shouldn't happen here:\u003c/p>\n\u003cp>\u003ca class=\"embedly-card\" href=\"http://ww2.kqed.org/pop/2015/05/29/gilmore-girls-what-we-need-from-the-rumored-new-season-or-movie/\">Gilmore Girls: What the Rumored New Season or Movie Should & Shouldn't Do\u003c/a>\u003c/p>\n\u003cp>And this post would not be complete without this gif:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/08/tumblr_ml252mhGRm1qedlsro1_250.gif\">\u003cimg class=\"aligncenter size-full wp-image-7698\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/08/tumblr_ml252mhGRm1qedlsro1_250.gif\" alt=\"beyonce god is real\" width=\"245\" height=\"193\">\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "R.I.P. ANTM: 14 Moments I'll Never Forget from the Last 22 Seasons",
"title": "R.I.P. ANTM: 14 Moments I'll Never Forget from the Last 22 Seasons",
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"content": "\u003cp>For the past 12 years, I've had a love/hate/love again relationship with \u003cem>America's Next Top Model\u003c/em>. It was pure head-over-ten-inch-heels love in the beginning. I learned how to not look super ugly in photographs. I worked on my signature walk. I mastered the art of smizing. But then Tyra and the judges started making decisions that made no sense (never bring up Saleisha's win to me because I will probably throw something or cry or both). I took to calling Ms. Banks Tyrant. For mental health reasons, I had to quit the show for some time.\u003c/p>\n\u003cp>I eventually made peace with the fact that \u003cem>ANTM\u003c/em> isn't really about who's the best at modeling. With a few exceptions (Analeigh and YaYa, I see you), most contestants don't really go on to do much. Once I stopped taking the competition so seriously and embraced it for what it is — a fun, cheesy visual morsel of escapism—I was back in love.\u003c/p>\n\u003cp>So I was pretty devastated when I found out (in a sad post office of all places!) that the current season would be the show's last. After spending the last day or so smizing into the sky and yelling WHY?!?, I am finally ready to move to the next stage of grief: thankful acceptance.\u003c/p>\n\u003cp>Here are 14 \u003cem>ANTM\u003c/em> moments from the last 22 seasons that will live in my heart forever and ever:\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-18513\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/denzel2.jpg\" alt=\"denzel2\" width=\"560\" height=\"375\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/10/denzel2.jpg 560w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/denzel2-400x268.jpg 400w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Denzel's weave beard. Yep, you read that corrently. Tyra gave this dude a weave...on his face! Later on in the season, he turned out to be \u003ca href=\"https://www.youtube.com/watch?v=SUDSaRXng9I\" target=\"_blank\">pretty homophobic\u003c/a> so he had it coming!\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/tumblr_mvx02kmmpo1r4ak4to1_250.gif\">\u003cimg class=\"aligncenter size-medium wp-image-18516\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/tumblr_mvx02kmmpo1r4ak4to1_250.gif\" alt=\"tumblr_mvx02kmmpo1r4ak4to1_250\" width=\"245\" height=\"184\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/tumblr_m7qz1xc6Jr1r1okmxo4_250.gif\">\u003cimg class=\"aligncenter size-full wp-image-18515\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/tumblr_m7qz1xc6Jr1r1okmxo4_250.gif\" alt=\"tumblr_m7qz1xc6Jr1r1okmxo4_250\" width=\"245\" height=\"184\">\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lKd5heULJGY\u003c/p>\n\u003cp>Jade, the self-professed \"biracial butterfly\" / \"undiscovered supermodel,\" was the love-to-hate villain of her season. She was constantly feeling herself and nobody else. Her delusion and unshakable confidence were troubling and inspiring at the same time. I will always be thankful to Tyra for bringing her into my life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yhnL5Zi1zGM\u003c/p>\n\u003cp>There are two ways to announce an acting challenge. A. Just say \"Hey, your next challenge is acting!\" B. Pretend to collapse and freak everyone out. Which option do you think Tyra went for?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WrjDzgBxHNI\u003c/p>\n\u003cp>Actually, basically any time Tyra acted was pretty great, like when she pretended to be a deranged diva (Naomi shade, anyone?).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/war.jpg.gif\">\u003cimg class=\"aligncenter size-full wp-image-18518\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/war.jpg.gif\" alt=\"war.jpg\" width=\"350\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>When Russian Natasha brought her tantrum-throwing American competitor down to Earth by reminding her that some people have war in their countries.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sc54Vu22RYE\u003c/p>\n\u003cp>The models travel to an exotic location every season. During All Stars, they flew to Greece, where the contestants were forced to lie under the hot burning sun in a huge salad bowl of tomatoes, cucumbers and huge blocks of feta cheese, while dousing themselves in olive oil. Only a mad genius could come up with such a bizarre/brilliant concept. Bless you, Tyra and/or random under-appreciated \u003cem>ANTM\u003c/em> producer.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gtFwT5IteLo\u003c/p>\n\u003cp>If hangry was personified into a minute and a half YouTube clip, it would be this one.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IdUF53bHXGM\u003c/p>\n\u003cp>\u003cem>ANTM\u003c/em> tried to spice up their template a few times. Short girls! College girls! British girls! One of the contestants from the latter category couldn't stand the heat and stormed out of that kitchen in an expletive blaze of glory and waltzed right into \u003cem>Top Model\u003c/em> herstory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IxcCvtlPPgs\u003c/p>\n\u003cp>I don't like this moment one bit, but it's one I'll never forget. A contestant is taking the judges' feedback in and then faints backward really hard, spooking even Tyra.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EfV5UZjpog0\u003c/p>\n\u003cp>Sobbing when anyone mentions your mom who's completely fine and just chilling at home is normal, right? For Victoria, it is.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZCzNbeb4hYM\u003c/p>\n\u003cp>I still have PTSD from watching Shandi have to tell her boyfriend that she cheated on him with some hot Italian dude.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Yq8bxiN90ho\u003c/p>\n\u003cp>Tyra forced the models to write original songs and work in the term \"Potledom\" (Top Model smelled backwards). Despite that tall order, Allison produced a legit bop.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/p5kFddX.gif\">\u003cimg class=\"aligncenter size-full wp-image-18519\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/p5kFddX.gif\" alt=\"p5kFddX\" width=\"160\" height=\"200\">\u003c/a>\u003c/p>\n\u003cp>When Lisa peed in a diaper for no good reason.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=m6Shpn5WCFs\u003c/p>\n\u003cp>And obviously the single most important moment in \u003cem>ANTM\u003c/em> history—and maybe U.S. history in general—is when Tyra snapped and let Tiffany have it, launching more gifs than the Internet even knows what to do with.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thanks for the memories, Tyra. We will miss you and \u003cem>ANTM\u003c/em> always.\u003c/p>\n\n",
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"excerpt": "After spending the last day smizing into the sky and yelling WHY?!?, I am finally ready to relive some of ANTM's most memorable moments.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the past 12 years, I've had a love/hate/love again relationship with \u003cem>America's Next Top Model\u003c/em>. It was pure head-over-ten-inch-heels love in the beginning. I learned how to not look super ugly in photographs. I worked on my signature walk. I mastered the art of smizing. But then Tyra and the judges started making decisions that made no sense (never bring up Saleisha's win to me because I will probably throw something or cry or both). I took to calling Ms. Banks Tyrant. For mental health reasons, I had to quit the show for some time.\u003c/p>\n\u003cp>I eventually made peace with the fact that \u003cem>ANTM\u003c/em> isn't really about who's the best at modeling. With a few exceptions (Analeigh and YaYa, I see you), most contestants don't really go on to do much. Once I stopped taking the competition so seriously and embraced it for what it is — a fun, cheesy visual morsel of escapism—I was back in love.\u003c/p>\n\u003cp>So I was pretty devastated when I found out (in a sad post office of all places!) that the current season would be the show's last. After spending the last day or so smizing into the sky and yelling WHY?!?, I am finally ready to move to the next stage of grief: thankful acceptance.\u003c/p>\n\u003cp>Here are 14 \u003cem>ANTM\u003c/em> moments from the last 22 seasons that will live in my heart forever and ever:\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-18513\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/denzel2.jpg\" alt=\"denzel2\" width=\"560\" height=\"375\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/10/denzel2.jpg 560w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/denzel2-400x268.jpg 400w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Denzel's weave beard. Yep, you read that corrently. Tyra gave this dude a weave...on his face! Later on in the season, he turned out to be \u003ca href=\"https://www.youtube.com/watch?v=SUDSaRXng9I\" target=\"_blank\">pretty homophobic\u003c/a> so he had it coming!\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/tumblr_mvx02kmmpo1r4ak4to1_250.gif\">\u003cimg class=\"aligncenter size-medium wp-image-18516\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/tumblr_mvx02kmmpo1r4ak4to1_250.gif\" alt=\"tumblr_mvx02kmmpo1r4ak4to1_250\" width=\"245\" height=\"184\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/tumblr_m7qz1xc6Jr1r1okmxo4_250.gif\">\u003cimg class=\"aligncenter size-full wp-image-18515\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/tumblr_m7qz1xc6Jr1r1okmxo4_250.gif\" alt=\"tumblr_m7qz1xc6Jr1r1okmxo4_250\" width=\"245\" height=\"184\">\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/lKd5heULJGY'\n title='//www.youtube.com/embed/lKd5heULJGY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jade, the self-professed \"biracial butterfly\" / \"undiscovered supermodel,\" was the love-to-hate villain of her season. She was constantly feeling herself and nobody else. Her delusion and unshakable confidence were troubling and inspiring at the same time. I will always be thankful to Tyra for bringing her into my life.\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/yhnL5Zi1zGM'\n title='//www.youtube.com/embed/yhnL5Zi1zGM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are two ways to announce an acting challenge. A. Just say \"Hey, your next challenge is acting!\" B. Pretend to collapse and freak everyone out. Which option do you think Tyra went for?\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/WrjDzgBxHNI'\n title='//www.youtube.com/embed/WrjDzgBxHNI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Actually, basically any time Tyra acted was pretty great, like when she pretended to be a deranged diva (Naomi shade, anyone?).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/war.jpg.gif\">\u003cimg class=\"aligncenter size-full wp-image-18518\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/war.jpg.gif\" alt=\"war.jpg\" width=\"350\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>When Russian Natasha brought her tantrum-throwing American competitor down to Earth by reminding her that some people have war in their countries.\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/sc54Vu22RYE'\n title='//www.youtube.com/embed/sc54Vu22RYE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The models travel to an exotic location every season. During All Stars, they flew to Greece, where the contestants were forced to lie under the hot burning sun in a huge salad bowl of tomatoes, cucumbers and huge blocks of feta cheese, while dousing themselves in olive oil. Only a mad genius could come up with such a bizarre/brilliant concept. Bless you, Tyra and/or random under-appreciated \u003cem>ANTM\u003c/em> producer.\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/gtFwT5IteLo'\n title='//www.youtube.com/embed/gtFwT5IteLo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If hangry was personified into a minute and a half YouTube clip, it would be this one.\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/IdUF53bHXGM'\n title='//www.youtube.com/embed/IdUF53bHXGM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>ANTM\u003c/em> tried to spice up their template a few times. Short girls! College girls! British girls! One of the contestants from the latter category couldn't stand the heat and stormed out of that kitchen in an expletive blaze of glory and waltzed right into \u003cem>Top Model\u003c/em> herstory.\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/IxcCvtlPPgs'\n title='//www.youtube.com/embed/IxcCvtlPPgs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I don't like this moment one bit, but it's one I'll never forget. A contestant is taking the judges' feedback in and then faints backward really hard, spooking even Tyra.\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/EfV5UZjpog0'\n title='//www.youtube.com/embed/EfV5UZjpog0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sobbing when anyone mentions your mom who's completely fine and just chilling at home is normal, right? For Victoria, it is.\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/ZCzNbeb4hYM'\n title='//www.youtube.com/embed/ZCzNbeb4hYM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I still have PTSD from watching Shandi have to tell her boyfriend that she cheated on him with some hot Italian dude.\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/Yq8bxiN90ho'\n title='//www.youtube.com/embed/Yq8bxiN90ho'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tyra forced the models to write original songs and work in the term \"Potledom\" (Top Model smelled backwards). Despite that tall order, Allison produced a legit bop.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/p5kFddX.gif\">\u003cimg class=\"aligncenter size-full wp-image-18519\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/p5kFddX.gif\" alt=\"p5kFddX\" width=\"160\" height=\"200\">\u003c/a>\u003c/p>\n\u003cp>When Lisa peed in a diaper for no good reason.\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/m6Shpn5WCFs'\n title='//www.youtube.com/embed/m6Shpn5WCFs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And obviously the single most important moment in \u003cem>ANTM\u003c/em> history—and maybe U.S. history in general—is when Tyra snapped and let Tiffany have it, launching more gifs than the Internet even knows what to do with.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thanks for the memories, Tyra. We will miss you and \u003cem>ANTM\u003c/em> always.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Listen to Weekend Edition Saturday:\u003c/strong>\u003cbr>\nhttp://pd.npr.org/anon.npr-mp3/npr/wesat/2015/10/20151003_wesat_what_would_julia_child_do_jacques_pepin_says_add_more_butter.mp3\u003c/p>\n\u003cp>Jacques Pépin says his new cookbook, \u003cem>Jacques Pépin: Heart and Soul in the Kitchen\u003c/em>, is an invitation to join him for dinner at his house. Of course, you'll have to do all the cooking — but you can use his recipes.\u003c/p>\n\u003cp>Pépin will turn 80 years old this year. He says this is one of his last cookbooks, and it's timed to coincide what he says is his final PBS show, airing this fall: \u003ca href=\"http://ww2.kqed.org/jpepinheart/\" target=\"_blank\">\u003cem>Jacques Pépin: Heart and Soul.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>NPR's Scott Simon recently spoke with Pépin about his extraordinary and wide-ranging 60-year career: He was a personal chef to Charles de Gaulle and a longtime friend and collaborator of Julia Child. In the 1960s he left a job at Le Pavillon, an iconic French restaurant in New York, to join Howard Johnson's — a chain associated more with turnpikes than fine dining — as head of research and development.\u003c/p>\n\u003cp>And Pépin still can surprise: His new cookbook includes a recipe for tuna tartare and bagel chips. How did it end up there?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"You know, I may be considered the quintessential French chef by many people, but I do what I like to do,\" Pépin tells Simon. \"And the way I cooked, I don't think that I was ever very chauvinistically French. And I do dishes which I like to eat and sometimes they are more French than others, but it really doesn't matter to me.\"\u003c/p>\n\u003cp>A transcript of their conversation, edited for clarity and brevity, is below.\u003c/p>\n\u003cp>\u003cstrong>I don't get the chance to ask a lot of people: What was Charles de Gaulle really like? I mean, did he like to have a burrito occasionally or something? \u003c/strong>\u003c/p>\n\u003cp>No burrito. Everything was very classic French. More like bourgeois French, like a leg of lamb properly roasted. ... scalloped potatoes with some cream and garlic baked in the oven. ... And grated cheese around maybe an apple tart or a caramel custard. Very simple, straightforward. Good food done with great-quality ingredients. You know, that's what's great food is all about.\u003c/p>\n\u003cp>\u003cstrong>You're a frugal man in the kitchen.\u003c/strong>\u003c/p>\n\u003cp>Yes.\u003c/p>\n\u003cp>\u003cstrong>Does that come from growing up during the war?\u003c/strong>\u003c/p>\n\u003cp>Probably, yes. I mean, this is ... you know, what I inherited from my mother. I am very miserly, yes, in the kitchen. During the war, we didn't have that much to eat. And the woman cooking is usually more economical than men's cooking. It's done in a different way. So certainly, that's my influence.\u003c/p>\n\u003cp>\u003cstrong>Well I ask because, tell us, please, what you do with old cheese.\u003c/strong>\u003c/p>\n\u003cp>Oh yes, old cheese, we do a \u003cem>fromage fort \u003c/em>[\u003ca href=\"http://www.foodandwine.com/recipes/fromage-fort\" target=\"_blank\">a French cheese spread\u003c/a> made by blending together pieces of assorted leftover cheeses, white wine, garlic and herbs.] ... It can include from Camembert to goat cheese or bleu cheese. ... My father would put it into a jar and put white wine on top of it and let it ferment it even more, with the rind and all....\u003c/p>\n\u003cp>If there is mold on top, I scrape it off, but I still use it. I scrape it off, cut everything, put it in the food processor, [add] a couple of cloves of garlic, some white wine, a lot of ground pepper, and we make into a paste that we call \u003cem>fromage fort\u003c/em>: strong cheese that you serve on bread with a salad. Or you put it on bread and put it under the broiler to beautifully glaze it, too.\u003c/p>\n\u003cp>And certainly it's very important, because cheese are very expensive. So if you have at least a few recipes like this, where you can use those leftovers ... you can continue serving cheeses when they are at their best, and using the leftover to do one dish or another. So that's part of the proper management of a kitchen, you know.\u003c/p>\n\u003cp>\u003cstrong>Mr. Pépin, what do you think of what they now call molecular cooking, or what you seem to call punctuation cuisine?\u003c/strong>\u003c/p>\n\u003cp>Well, punctuation cooking may be a bit different. But I call it — a great deal of those dishes where people have a little bottle and they do little dots and little comma and question marks all around, and basically there is no sauce to dip your bread in it. You don't really know what those things have to do with the food.\u003c/p>\n\u003cp>When I cook, I like people to be able to identify the food. I like people to feel comfortable. I want people to look at my food and start salivating and starting thinking of marriage of that food with a certain type of wine, and so forth. But in molecular cuisine — this is fine, I mean, up to a certain extent, a meal or two this way — but after a while I just want to go out and have a taco and a beer.\u003c/p>\n\u003cp>\u003cstrong>As I was reading your book, you know, Julia Child your friend and co-conspirator of many years, was famous for telling us, \"remember, nobody sees you in the kitchen.\" But you saw her in the kitchen all the time. \u003c/strong>\u003c/p>\n\u003cp>Oh, yes. We had a good time.\u003c/p>\n\u003cp>I mean, I met Julia in 1960. Six-oh. So I came to the U.S. at the end of 1959. And then I walked out of The Pavillon [an iconic French restaurant] in New York, and I met \u003ca href=\"http://topics.nytimes.com/top/reference/timestopics/people/c/craig_claiborne/index.html\">Craig Claiborne\u003c/a>, who just started at The \u003cem>New York Times\u003c/em> — he came to The Pavillon to do a piece on Pierre Franey and me at The Pavillon.\u003c/p>\n\u003cp>And through Craig I met Helen McCullough, who was the food editor of \u003cem>House Beautiful\u003c/em>. And she introduced me to James Beard, because she spoke with James Beard every day for like a couple of hours. And then in the spring of 1960, she said, \"I have that manuscript here, can you look at it? On French cooking? What do you think of it?\" And I said, well I think it's very good. And she said, \"Well the woman is from California. She's coming to New York next week — let's cook for her.\"\u003c/p>\n\u003cp>It's a big, tall woman with a terrible voice. And of course, that was Julia.\u003c/p>\n\u003cp>My point is that I was here like six months and I knew the trinity of cooking: Craig Claiborne, James Beard and Julia Child. So you can see that the food world was very, very small. Totally different than what it is now.\u003c/p>\n\u003cp>\u003cstrong>Do you hear her voice, that distinctive voice, every now and then, even now? \u003c/strong>\u003c/p>\n\u003cp>Oh yes, oh yes. Very often — when I don't put enough butter in the dish. There can be plenty more butter!\u003c/p>\n\u003cp>\u003cstrong>Mr. Pépin, as you approach 80, how are you feeling? \u003c/strong>\u003c/p>\n\u003cp>Uh ... tired, sometimes?\u003c/p>\n\u003cp>No, I feel OK. I mean, I feel good. I mean, I thank God that I'm still walking around and drinking a lot of wine.\u003c/p>\n\u003cp>\u003cstrong>I ask because you say that this is probably your last cookbook. \u003c/strong>\u003c/p>\n\u003cp>Well, yes and no. Last cookbook like this, which takes a long time to do.\u003c/p>\n\u003cp>But I still hope to do some little thing with my granddaughter. Maybe the lessons of a grandfather, showing her how to do simple things that we've done together. I have a great deal of fun cooking with her.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So maybe a little book. Certainly some video will come with that, hopefully.\u003cbr>\n\u003cem>\u003cbr>\nCopyright 2015 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Listen to Weekend Edition Saturday:\u003c/strong>\u003cbr>\nhttp://pd.npr.org/anon.npr-mp3/npr/wesat/2015/10/20151003_wesat_what_would_julia_child_do_jacques_pepin_says_add_more_butter.mp3\u003c/p>\n\u003cp>Jacques Pépin says his new cookbook, \u003cem>Jacques Pépin: Heart and Soul in the Kitchen\u003c/em>, is an invitation to join him for dinner at his house. Of course, you'll have to do all the cooking — but you can use his recipes.\u003c/p>\n\u003cp>Pépin will turn 80 years old this year. He says this is one of his last cookbooks, and it's timed to coincide what he says is his final PBS show, airing this fall: \u003ca href=\"http://ww2.kqed.org/jpepinheart/\" target=\"_blank\">\u003cem>Jacques Pépin: Heart and Soul.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>NPR's Scott Simon recently spoke with Pépin about his extraordinary and wide-ranging 60-year career: He was a personal chef to Charles de Gaulle and a longtime friend and collaborator of Julia Child. In the 1960s he left a job at Le Pavillon, an iconic French restaurant in New York, to join Howard Johnson's — a chain associated more with turnpikes than fine dining — as head of research and development.\u003c/p>\n\u003cp>And Pépin still can surprise: His new cookbook includes a recipe for tuna tartare and bagel chips. How did it end up there?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"You know, I may be considered the quintessential French chef by many people, but I do what I like to do,\" Pépin tells Simon. \"And the way I cooked, I don't think that I was ever very chauvinistically French. And I do dishes which I like to eat and sometimes they are more French than others, but it really doesn't matter to me.\"\u003c/p>\n\u003cp>A transcript of their conversation, edited for clarity and brevity, is below.\u003c/p>\n\u003cp>\u003cstrong>I don't get the chance to ask a lot of people: What was Charles de Gaulle really like? I mean, did he like to have a burrito occasionally or something? \u003c/strong>\u003c/p>\n\u003cp>No burrito. Everything was very classic French. More like bourgeois French, like a leg of lamb properly roasted. ... scalloped potatoes with some cream and garlic baked in the oven. ... And grated cheese around maybe an apple tart or a caramel custard. Very simple, straightforward. Good food done with great-quality ingredients. You know, that's what's great food is all about.\u003c/p>\n\u003cp>\u003cstrong>You're a frugal man in the kitchen.\u003c/strong>\u003c/p>\n\u003cp>Yes.\u003c/p>\n\u003cp>\u003cstrong>Does that come from growing up during the war?\u003c/strong>\u003c/p>\n\u003cp>Probably, yes. I mean, this is ... you know, what I inherited from my mother. I am very miserly, yes, in the kitchen. During the war, we didn't have that much to eat. And the woman cooking is usually more economical than men's cooking. It's done in a different way. So certainly, that's my influence.\u003c/p>\n\u003cp>\u003cstrong>Well I ask because, tell us, please, what you do with old cheese.\u003c/strong>\u003c/p>\n\u003cp>Oh yes, old cheese, we do a \u003cem>fromage fort \u003c/em>[\u003ca href=\"http://www.foodandwine.com/recipes/fromage-fort\" target=\"_blank\">a French cheese spread\u003c/a> made by blending together pieces of assorted leftover cheeses, white wine, garlic and herbs.] ... It can include from Camembert to goat cheese or bleu cheese. ... My father would put it into a jar and put white wine on top of it and let it ferment it even more, with the rind and all....\u003c/p>\n\u003cp>If there is mold on top, I scrape it off, but I still use it. I scrape it off, cut everything, put it in the food processor, [add] a couple of cloves of garlic, some white wine, a lot of ground pepper, and we make into a paste that we call \u003cem>fromage fort\u003c/em>: strong cheese that you serve on bread with a salad. Or you put it on bread and put it under the broiler to beautifully glaze it, too.\u003c/p>\n\u003cp>And certainly it's very important, because cheese are very expensive. So if you have at least a few recipes like this, where you can use those leftovers ... you can continue serving cheeses when they are at their best, and using the leftover to do one dish or another. So that's part of the proper management of a kitchen, you know.\u003c/p>\n\u003cp>\u003cstrong>Mr. Pépin, what do you think of what they now call molecular cooking, or what you seem to call punctuation cuisine?\u003c/strong>\u003c/p>\n\u003cp>Well, punctuation cooking may be a bit different. But I call it — a great deal of those dishes where people have a little bottle and they do little dots and little comma and question marks all around, and basically there is no sauce to dip your bread in it. You don't really know what those things have to do with the food.\u003c/p>\n\u003cp>When I cook, I like people to be able to identify the food. I like people to feel comfortable. I want people to look at my food and start salivating and starting thinking of marriage of that food with a certain type of wine, and so forth. But in molecular cuisine — this is fine, I mean, up to a certain extent, a meal or two this way — but after a while I just want to go out and have a taco and a beer.\u003c/p>\n\u003cp>\u003cstrong>As I was reading your book, you know, Julia Child your friend and co-conspirator of many years, was famous for telling us, \"remember, nobody sees you in the kitchen.\" But you saw her in the kitchen all the time. \u003c/strong>\u003c/p>\n\u003cp>Oh, yes. We had a good time.\u003c/p>\n\u003cp>I mean, I met Julia in 1960. Six-oh. So I came to the U.S. at the end of 1959. And then I walked out of The Pavillon [an iconic French restaurant] in New York, and I met \u003ca href=\"http://topics.nytimes.com/top/reference/timestopics/people/c/craig_claiborne/index.html\">Craig Claiborne\u003c/a>, who just started at The \u003cem>New York Times\u003c/em> — he came to The Pavillon to do a piece on Pierre Franey and me at The Pavillon.\u003c/p>\n\u003cp>And through Craig I met Helen McCullough, who was the food editor of \u003cem>House Beautiful\u003c/em>. And she introduced me to James Beard, because she spoke with James Beard every day for like a couple of hours. And then in the spring of 1960, she said, \"I have that manuscript here, can you look at it? On French cooking? What do you think of it?\" And I said, well I think it's very good. And she said, \"Well the woman is from California. She's coming to New York next week — let's cook for her.\"\u003c/p>\n\u003cp>It's a big, tall woman with a terrible voice. And of course, that was Julia.\u003c/p>\n\u003cp>My point is that I was here like six months and I knew the trinity of cooking: Craig Claiborne, James Beard and Julia Child. So you can see that the food world was very, very small. Totally different than what it is now.\u003c/p>\n\u003cp>\u003cstrong>Do you hear her voice, that distinctive voice, every now and then, even now? \u003c/strong>\u003c/p>\n\u003cp>Oh yes, oh yes. Very often — when I don't put enough butter in the dish. There can be plenty more butter!\u003c/p>\n\u003cp>\u003cstrong>Mr. Pépin, as you approach 80, how are you feeling? \u003c/strong>\u003c/p>\n\u003cp>Uh ... tired, sometimes?\u003c/p>\n\u003cp>No, I feel OK. I mean, I feel good. I mean, I thank God that I'm still walking around and drinking a lot of wine.\u003c/p>\n\u003cp>\u003cstrong>I ask because you say that this is probably your last cookbook. \u003c/strong>\u003c/p>\n\u003cp>Well, yes and no. Last cookbook like this, which takes a long time to do.\u003c/p>\n\u003cp>But I still hope to do some little thing with my granddaughter. Maybe the lessons of a grandfather, showing her how to do simple things that we've done together. I have a great deal of fun cooking with her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Nostalgia is a powerful drug, as we've \u003ca href=\"http://ww2.kqed.org/pop/2015/09/15/the-last-cassette-tape-factory-in-the-u-s-is-doing-better-than-ever/\" target=\"_blank\">previously discussed in this space\u003c/a> -- and, as any child of the ‘90s who has been compelled by some unseen force to click on literally any Buzzfeed-like list of \"things only children of the ‘90s understand\" can attest to, it's a powerful selling tool as well. It doesn't matter if your remake of a beloved movie is absolutely \u003cem>terrible\u003c/em>: People are gonna go see it.\u003c/p>\n\u003cp>You know what's easier than \u003ca href=\"http://www.avclub.com/article/sigourney-weaver-has-also-joined-cast-new-ghostbus-225909\" target=\"_blank\">rebooting a popular \u003c/a>\u003ca href=\"http://www.avclub.com/article/sigourney-weaver-has-also-joined-cast-new-ghostbus-225909\" target=\"_blank\">franchise\u003c/a> or building a whole new one around a perennially popular \u003ca href=\"http://ww2.kqed.org/pop/2015/05/13/look-away-80s-kids-jem-and-the-holograms-trailer-is-so-bad-even-william-shatner-is-pissed/\" target=\"_blank\">throwback brand\u003c/a>? Just plain giving the people what they want: Reruns of classic Nickelodeon shows from the ‘90s. Around the clock. On a multi-platform channel/alternative universe in which 9/11 hasn't happened yet, no one has cell phones, and those precious hours between the end of the school day and dinnertime stretch before you like so many lazy, possibility-filled fields of responsibility-free gold.\u003c/p>\n\u003cp>Yes, it's \u003ca href=\"http://www.thesplat.com/\" target=\"_blank\">The Splat\u003c/a>, a new programming block from Nickelodeon that consists of all your favorite throwback shows: \u003cem>All That, The Angry Beavers, Are You Afraid of the Dark?, CatDog, Clarissa Explains It All, Hey Arnold!, Hey Dude, Kenan & Kel, The Ren & Stimpy Show, Legends of the Hidden Temple, Rocko’s Modern Life, Rugrats, Salute Your Shorts,\u003c/em> and \u003cem>The Wild Thornberrys.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2Bj-h9EfeJ0\u003c/p>\n\u003cp>Said nostalgia-fest will take over TeenNick from 10 p.m. to 6 a.m. every night starting Oct. 5, and will also be online at \u003ca href=\"http://www.thesplat.com/\">TheSplat.com\u003c/a>, which is good, because not a single ‘90s kid we know actually has a regular TV. There will also be an \"emoji keyboard,\" so get ready for text-images of Melissa Joan Hart in wacky outfits, I guess?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Our personal favorite,\u003cem> The Adventures of Pete & Pete, \u003c/em>isn't part of the lineup for now -- but a Nickelodeon rep told t\u003ca href=\"http://www.avclub.com/article/nickelodeon-finally-reveals-what-splat-actually-wh-225837\" target=\"_blank\">he A.V. Club that could change.\u003c/a> Until then: We're just going to tamp down all of our unease about being blatantly pandered to as #millennials, the constant monetizing of our wistfulness and the sense of loss that comes with growing up, and not ruminate on what it says about this cultural moment that we currently have access to more incredibly sophisticated TV programming and unlimited entertainment options than ever and\u003cem> all anybody really wants is a whole damn channel that plays \u003c/em>Ren & Stimpy\u003cem> reruns around the clock. \u003c/em>\u003c/p>\n\u003cp>To these feelings we say: \u003cem>Sssshhh\u003c/em>. I'll start my homework after \u003cem>Legends of the Hidden Temple\u003c/em> is over.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DTYZADhG-rQ\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nostalgia is a powerful drug, as we've \u003ca href=\"http://ww2.kqed.org/pop/2015/09/15/the-last-cassette-tape-factory-in-the-u-s-is-doing-better-than-ever/\" target=\"_blank\">previously discussed in this space\u003c/a> -- and, as any child of the ‘90s who has been compelled by some unseen force to click on literally any Buzzfeed-like list of \"things only children of the ‘90s understand\" can attest to, it's a powerful selling tool as well. It doesn't matter if your remake of a beloved movie is absolutely \u003cem>terrible\u003c/em>: People are gonna go see it.\u003c/p>\n\u003cp>You know what's easier than \u003ca href=\"http://www.avclub.com/article/sigourney-weaver-has-also-joined-cast-new-ghostbus-225909\" target=\"_blank\">rebooting a popular \u003c/a>\u003ca href=\"http://www.avclub.com/article/sigourney-weaver-has-also-joined-cast-new-ghostbus-225909\" target=\"_blank\">franchise\u003c/a> or building a whole new one around a perennially popular \u003ca href=\"http://ww2.kqed.org/pop/2015/05/13/look-away-80s-kids-jem-and-the-holograms-trailer-is-so-bad-even-william-shatner-is-pissed/\" target=\"_blank\">throwback brand\u003c/a>? Just plain giving the people what they want: Reruns of classic Nickelodeon shows from the ‘90s. Around the clock. On a multi-platform channel/alternative universe in which 9/11 hasn't happened yet, no one has cell phones, and those precious hours between the end of the school day and dinnertime stretch before you like so many lazy, possibility-filled fields of responsibility-free gold.\u003c/p>\n\u003cp>Yes, it's \u003ca href=\"http://www.thesplat.com/\" target=\"_blank\">The Splat\u003c/a>, a new programming block from Nickelodeon that consists of all your favorite throwback shows: \u003cem>All That, The Angry Beavers, Are You Afraid of the Dark?, CatDog, Clarissa Explains It All, Hey Arnold!, Hey Dude, Kenan & Kel, The Ren & Stimpy Show, Legends of the Hidden Temple, Rocko’s Modern Life, Rugrats, Salute Your Shorts,\u003c/em> and \u003cem>The Wild Thornberrys.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2Bj-h9EfeJ0'\n title='//www.youtube.com/embed/2Bj-h9EfeJ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Said nostalgia-fest will take over TeenNick from 10 p.m. to 6 a.m. every night starting Oct. 5, and will also be online at \u003ca href=\"http://www.thesplat.com/\">TheSplat.com\u003c/a>, which is good, because not a single ‘90s kid we know actually has a regular TV. There will also be an \"emoji keyboard,\" so get ready for text-images of Melissa Joan Hart in wacky outfits, I guess?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The man who made a mark in Baby Boom America as a cub reporter has died: Actor Jack Larson, who played a sidekick to Superman's alter ego Clark Kent at the fictional Daily Planet newspaper, was 87.\u003c/p>\n\u003cp>The actor and playwright died at his home in the Los Angeles community of Brentwood, according to \u003ca href=\"http://losangeles.cbslocal.com/2015/09/21/actor-playwright-jack-larson-dies-at-87/\">CBS Los Angeles\u003c/a>, \u003cem>Variety \u003c/em>and multiple news outlets. A cause of death was not mentioned.\u003c/p>\n\u003cp>Larson rose to prominence in the 1950s, when \"The Adventures of Superman\" sidetracked his dreams of being a stage actor on Broadway. The runaway success of that show, starring George Reeves, made it hard for Larson to find new work; he eventually found success in writing plays and librettos.\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2015/09/21/arts/television/jack-larson-a-playwright-better-known-as-jimmy-olsen-in-superman-dies-at-87.html\">The New York Times\u003c/a> reports:\u003c/p>\n\u003cblockquote>\u003cp>\"Although Mr. Larson was pleased that Jimmy Olsen developed into a comic role, his fears of being typecast were realized. After a particularly upsetting encounter with the producer Mervyn LeRoy, he was advised by the actor Montgomery Clift, with whom Mr. Larson was having a romantic relationship, to stop putting himself in those casting situations. So Mr. Larson gave up acting and made a new career.\"\u003c/p>\u003c/blockquote>\n\u003cp>That new career saw Larson write librettos and plays, including \"The Candied House\" (1966) and \"Chuck\" (1968), as well as helping produce films such as \"Perfect\" (1985) and \"Bright Lights, Big City\" (1988). On both plays and films, he often collaborated with his longtime partner, James Bridges.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In turning to writing, Larson was also returning to the thing that had first brought him to the world of theater, when his instructors at Pasadena Junior College encouraged him to write.\u003c/p>\n\u003cp>Born in Los Angeles in 1928, Larson grew up in the Los Angeles suburb of Montebello. His mother worked as a Western Union clerk, and his father drove a milk truck and bowled -- something he passed along to his son.\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.supermanhomepage.com/tv/tv.php?topic=cast-crew/jack-larson\">Superman Homepage\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\"While he did not enjoy school, Larson did like to bowl. By the age of 14, he had become the California state champion for his age group and was good enough to think that he would eventually turn professional. But, in the fall of 1945, Larson enrolled in the Pasadena Junior College (now known as Pasadena City College), an event that would drastically change his life. Larson said, 'My instructors discovered that I had a gift for writing and motivated me to write plays, and to be in plays as well.'\"\u003c/p>\u003c/blockquote>\n\u003cp>When he first started auditioning for parts in film studio projects, Larson later recounted, he lost out on one early job (portraying a kid on a bike) to a young woman who would go on to be a star.\u003c/p>\n\u003cp>\"Marilyn Monroe got that part. It was her first part,\" he said in an interview for David Poland's \"\u003ca href=\"https://www.youtube.com/watch?v=AA7n8Xszg08\">Oral History of Hollywood\u003c/a>\" series. With a laugh, he added, \"We wonder how she got it. But they changed it from a boy on a bicycle to a girl on a bicycle.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the 1990s, Larson appeared in episodes of \"Superboy\" and \"Lois and Clark: The New Adventures of Superman.\" In the latter, he portrayed an older version of Jimmy Olsen.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jack+Larson%2C+Jimmy+Olsen+From+%27Superman%27+TV+Shows%2C+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"excerpt": "Actor Jack Larson, who played a sidekick to Clark Kent in the early 'Superman' TV series, has died at age 87.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The man who made a mark in Baby Boom America as a cub reporter has died: Actor Jack Larson, who played a sidekick to Superman's alter ego Clark Kent at the fictional Daily Planet newspaper, was 87.\u003c/p>\n\u003cp>The actor and playwright died at his home in the Los Angeles community of Brentwood, according to \u003ca href=\"http://losangeles.cbslocal.com/2015/09/21/actor-playwright-jack-larson-dies-at-87/\">CBS Los Angeles\u003c/a>, \u003cem>Variety \u003c/em>and multiple news outlets. A cause of death was not mentioned.\u003c/p>\n\u003cp>Larson rose to prominence in the 1950s, when \"The Adventures of Superman\" sidetracked his dreams of being a stage actor on Broadway. The runaway success of that show, starring George Reeves, made it hard for Larson to find new work; he eventually found success in writing plays and librettos.\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2015/09/21/arts/television/jack-larson-a-playwright-better-known-as-jimmy-olsen-in-superman-dies-at-87.html\">The New York Times\u003c/a> reports:\u003c/p>\n\u003cblockquote>\u003cp>\"Although Mr. Larson was pleased that Jimmy Olsen developed into a comic role, his fears of being typecast were realized. After a particularly upsetting encounter with the producer Mervyn LeRoy, he was advised by the actor Montgomery Clift, with whom Mr. Larson was having a romantic relationship, to stop putting himself in those casting situations. So Mr. Larson gave up acting and made a new career.\"\u003c/p>\u003c/blockquote>\n\u003cp>That new career saw Larson write librettos and plays, including \"The Candied House\" (1966) and \"Chuck\" (1968), as well as helping produce films such as \"Perfect\" (1985) and \"Bright Lights, Big City\" (1988). On both plays and films, he often collaborated with his longtime partner, James Bridges.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In turning to writing, Larson was also returning to the thing that had first brought him to the world of theater, when his instructors at Pasadena Junior College encouraged him to write.\u003c/p>\n\u003cp>Born in Los Angeles in 1928, Larson grew up in the Los Angeles suburb of Montebello. His mother worked as a Western Union clerk, and his father drove a milk truck and bowled -- something he passed along to his son.\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.supermanhomepage.com/tv/tv.php?topic=cast-crew/jack-larson\">Superman Homepage\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\"While he did not enjoy school, Larson did like to bowl. By the age of 14, he had become the California state champion for his age group and was good enough to think that he would eventually turn professional. But, in the fall of 1945, Larson enrolled in the Pasadena Junior College (now known as Pasadena City College), an event that would drastically change his life. Larson said, 'My instructors discovered that I had a gift for writing and motivated me to write plays, and to be in plays as well.'\"\u003c/p>\u003c/blockquote>\n\u003cp>When he first started auditioning for parts in film studio projects, Larson later recounted, he lost out on one early job (portraying a kid on a bike) to a young woman who would go on to be a star.\u003c/p>\n\u003cp>\"Marilyn Monroe got that part. It was her first part,\" he said in an interview for David Poland's \"\u003ca href=\"https://www.youtube.com/watch?v=AA7n8Xszg08\">Oral History of Hollywood\u003c/a>\" series. With a laugh, he added, \"We wonder how she got it. But they changed it from a boy on a bicycle to a girl on a bicycle.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the 1990s, Larson appeared in episodes of \"Superboy\" and \"Lois and Clark: The New Adventures of Superman.\" In the latter, he portrayed an older version of Jimmy Olsen.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jack+Larson%2C+Jimmy+Olsen+From+%27Superman%27+TV+Shows%2C+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>In the North Bay’s arts scene, sometimes the setting is worth the price of admission. From a rustic 100-year-old barn on the side of a hill to a luxurious $140 million concert hall, discovery and enrichment in the North Bay happens in a wide variety of spaces, most of them scenic.\u003c/p>\n\u003cp>Below are our top picks for must-see events happening this fall, with the added bonus of unique venues — even a redwood-lined beach along the Russian River gets into the act.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10949328\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Buddy-Guy-Crop-400x286.jpg\" alt=\"Buddy Guy\" width=\"400\" height=\"286\" class=\"size-thumbnail wp-image-10949328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Buddy-Guy-Crop-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Buddy-Guy-Crop.jpg 700w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Buddy Guy \u003ccite>(Photo: Courtesy of Russian River Jazz and Blues Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Buddy Guy\u003c/h3>\n\u003ch5>Sept. 13\u003cbr>\nRussian River Blues and Jazz Festival\u003cbr>\n\u003ca href=\"http://www.russianriverfestivals.com/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>During the Russian River Blues and Jazz Festival, Johnson’s Beach in Guerneville serves as a living time machine, evoking the “vacation wonderland” days of west Sonoma County — redwoods along the Russian River, cheap hot dogs, a real wooden boardwalk — and Buddy Guy serves as a living connection to the history of electric blues. Together, at the Russian River Blues Festival, the two make a perfect pair. When Guy played the Johnson’s Beach stage in 2011 (opening for the late B.B. King), his lightning guitar solos and eruptive voice soared over the crowd and the river, where sunbathers floated by on innertubes and kids stomped in the shallow waters. Expect similar alchemy when the 79-year-old legend returns this year with Taj Mahal and Jackie Greene.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922862\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/bonnie-prince-billy-400x256.jpg\" alt='Bonnie \"Prince\" Billy' width=\"400\" height=\"256\" class=\"size-thumbnail wp-image-10922862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/bonnie-prince-billy-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/bonnie-prince-billy.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie “Prince” Billy \u003ccite>(Photo: Courtesy of Gundlach-Bundschu Winery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Bonnie “Prince” Billy\u003c/h3>\n\u003ch5>Sept. 27\u003cbr>\nGundlach-Bundschu Winery\u003cbr>\n\u003ca href=\"http://folkyeah.com/#/bpbsonoma2015/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Whenever Will Oldham (a.k.a. Bonnie “Prince” Billy) comes to town, the cosmic-folk icon doesn’t play standard rock venues — his prior appearances in the North Bay have included a tiny saloon in Pt. Reyes Station, a community hall in Monte Rio, and a former church in Santa Rosa. On his current tour, he’s booked dates in Felton, Big Sur, Nevada City, and Sonoma, where he plays inside a rustic 100-year-old barn at Gundlach-Bundschu winery. Surrounded by farm machinery and old wooden paneling, Oldham should be in his element and thus in top form, playing songs from his days with the Palace Brothers up to his recent solo material.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922865\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Conor-Oberst-400x225.jpg\" alt=\"Conor Oberst\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10922865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Conor-Oberst-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Conor-Oberst.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Conor Oberst \u003ccite>(Photo: Courtesy of Phoenix Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Conor Oberst and M. Ward\u003c/h3>\n\u003ch5>Oct. 1\u003cbr>\nPhoenix Theater\u003cbr>\n\u003ca href=\"http://www.thephoenixtheater.com/event/934165-conor-oberst-m-ward-felice-petaluma/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>By day, the Phoenix Theater is a bustling nonprofit teen center under the abiding mentorship of longtime manager Tom Gaffey. By night, the hall hosts a mix of young local bands and national acts like the Red Hot Chili Peppers, Metallica, the Neville Brothers and even Hilary Duff. The theater’s booking has steadily improved in the past ten years, and this night with indie-folk icon Conor Oberst playing songs from both Bright Eyes and his solo career is a definite slam dunk. Pairing the wordy, poetic Oberst with the more plaintive, atmospheric M. Ward makes for a superb bill on its own, and adding the Felice Brothers as openers makes this a must-see show.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922869\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/SinatraJr-400x283.jpg\" alt=\"Frank Sinatra Jr. \" width=\"400\" height=\"283\" class=\"size-thumbnail wp-image-10922869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SinatraJr-400x283.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SinatraJr.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra Jr. \u003ccite>(Photo: Courtesy of Wells Fargo Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Frank Sinatra, Jr.\u003c/h3>\n\u003ch5>Oct. 8\u003cbr>\nWells Fargo Center\u003cbr>\n\u003ca href=\"http://tickets.wellsfargocenterarts.org/single/eventDetail.aspx?p=1818\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Come on. We must be kidding, right? Frank Sinatra, Jr.? The son of Ol’ Blue Eyes who landed such gigs as playing a district attorney on the ’70s TV show \u003cem>Adam-12\u003c/em>? But we’re not kidding, and the fact we point it out speaks to the public’s cynicism about the offspring of celebrities who attempt their own careers (we’re looking at you, \u003ca href=\"http://gawker.com/5731689/tom-hanks-son-is-a-frat-boy-rapper\" target=\"_blank\" rel=\"noopener\">Chet Haze\u003c/a>). As the conductor for his father’s touring orchestra, Frank Jr. assimilated his dad’s music nightly; combined with an eerily similar voice and a professional background that included working with Duke Ellington, he does the music justice. But beneath this tribute to his father is a weary sadness, one used to great effect in the recent Neil Hamburger film \u003cem>Entertainment\u003c/em>. Expect plenty of ring-a-ding-ding — and a little bit of emotional sting.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922863\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/BrunoFerrandis-400x267.jpg\" alt=\"Conductor Bruno Ferrandis\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10922863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BrunoFerrandis-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BrunoFerrandis.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Conductor Bruno Ferrandis \u003ccite>(Photo: Courtesy of Santa Rosa Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Santa Rosa Symphony, \u003cem>Twin Stars\u003c/em>\u003c/h3>\n\u003ch5>Oct. 10 – 12\u003cbr>\nGreen Music Center\u003cbr>\n\u003ca href=\"http://santarosasymphony.com/EventDetail?NPath=/Events/Twin%20Stars%20-%20October%2010,%2011%20and%2012\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Under the baton of Bruno Ferrandis, the Santa Rosa Symphony has ventured into brave waters, both by performing some of Ferrandis’ favorite modern composers (Ligeti is a personal favorite) and commissioning new works. As part of the symphony’s season opener, “Pax Universalis” is a world premiere by Arab-American composer Mohammed Fairouz; it’s followed by Mozart’s Piano Concerto No. 10 and Poulenc’s Concerto for Two Pianos, performed by twin sisters Christina and Michelle Naughton. Saint-Saens’ Symphony No. 3 rounds out the program, kicking off the symphony’s 88th season and its fourth year in residence at an acoustic marvel: the Green Music Center’s main hall.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922868\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/MyMananaComes-400x208.jpg\" alt=\"Elizabeth Irwin\" width=\"400\" height=\"208\" class=\"size-thumbnail wp-image-10922868\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MyMananaComes-400x208.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MyMananaComes.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Irwin \u003ccite>(Photo: Courtesy of Marin Theatre Company )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘My Mañana Comes’\u003c/h3>\n\u003ch5>Oct. 29 – Nov. 22\u003cbr>\nMarin Theatre Company\u003cbr>\n\u003ca href=\"http://www.marintheatre.org/productions/my-ma%C3%B1ana-comes\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Between the debate over minimum-wage earnings at restaurants and photos shared on Facebook of non-tipping customer receipts, we’ve seen an increased humanization of those who wait our tables and clear our plates. Now, a new play by Elizabeth Irwin takes the discussion away from social media and into the footlights. \u003cem>My Mañana Comes\u003c/em> follows the tight connection of four busboys working in the back of an upscale New York City restaurant — two of them undocumented, all of them sharing a collegiality of hard work and inside jokes — and the unraveling of that connection when their boss decides to pay them only in tips. A hit in New York, \u003cem>My Mañana Comes\u003c/em> opens at the Marin Theatre Company for its Bay Area premiere.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922866\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Kinmont-400x414.jpg\" alt=\"Robert Kinmont, '8 Natural Handstands' (detail), 1969/2005.\" width=\"400\" height=\"414\" class=\"size-thumbnail wp-image-10922866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kinmont-400x414.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kinmont-580x600.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kinmont-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kinmont.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Robert Kinmont, ‘8 Natural Handstands’ (detail), 1969/2005. \u003ccite>(Photo: Courtesy Alexander and Bonin Gallery, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Robert Kinmont\u003c/h3>\n\u003ch5>Oct. 31–Jan. 24\u003cbr>\ndiRosa\u003cbr>\n\u003ca href=\"http://www.dirosaart.org/robert-kinmont/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>The North Bay commendably champions its own artistic legends, but even locals are forgiven if the name Robert Kinmont doesn’t ring a bell. After all, the Sonoma-based artist took a hiatus of nearly three decades to study Buddhism and work as a carpenter. Early works featured in his first Bay Area solo exhibition in over 45 years include the wry photo series \u003cem>8 Natural Handstands\u003c/em> (1969) and the wood-and-sage sculpture \u003cem>Sit on the Floor\u003c/em> (1971). But Kinmont’s sense of humor is especially on display in his later work, made after returning to art in 2005 — a copper stage hosting an argument between a pile of dirt and a pile of feathers; a large piece titled \u003cem>TWO EDUCATED 120-MILLION-YEAR-OLD BOULDERS TRYING TO ENCOURAGE 47 YOUNG WILLOWS TO BE PATIENT\u003c/em>. In diRosa’s rural setting especially, Kinmont’s work may have found its ideal site.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922867\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/LaverneCox-400x239.jpg\" alt=\"Laverne Cox\" width=\"400\" height=\"239\" class=\"size-thumbnail wp-image-10922867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/LaverneCox-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/LaverneCox.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Laverne Cox \u003ccite>(Courtesy of Sonoma State University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Laverne Cox in Conversation\u003c/h3>\n\u003ch5>Nov. 12\u003cbr>\nGreen Music Center\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/2784322-women-in-leadership-laverne-cox\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>As Sophia on the television series \u003cem>Orange is the New Black\u003c/em>, Laverne Cox has already played a role in certain social evolutions: the series is distributed through the streaming service Netflix instead of conventional network or cable channels, and the show features a predominantly female cast of inmates in a women’s prison. Cox is also the first openly transgender actor to be nominated for a Primetime Emmy Award, and in 2014, she became the first transgender person on the cover of \u003cem>Time\u003c/em> magazine. Smart and eloquent, Cox appears at the Green Music Center in a moderated discussion of her life and career with a message of personal freedom that transcends the transgender community.\n\u003c/p>\u003c/div>\n\u003ch2>Briefly Noted\u003c/h2>\n\u003ch3>Kristin Chenoweth\u003c/h3>\n\u003ch5>Sept. 25\u003cbr>\nGreen Music Center\u003c/h5>\n\u003cp>The star of stage and screen performs her Broadway hits and own recordings.\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/2613526-kristin-chenoweth\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/p>\n\u003ch3>Mill Valley Film Festival\u003c/h3>\n\u003ch5>Oct. 8–18\u003cbr>\nVarious Marin County Venues\u003c/h5>\n\u003cp>Annual festival whose lineup consistently features big stars and Oscar contenders.\u003cbr>\n\u003ca href=\"http://www.mvff.com/\">Tickets and information\u003c/a>\u003c/p>\n\u003ch3>‘Focus on Photography’\u003c/h3>\n\u003ch5>Sept. 3–Oct. 25\u003cbr>\nUniversity Art Gallery, Sonoma State University\u003c/h5>\n\u003cp>Work by Robert Mapplethorpe, Eadweard Muybridge, Carleton Watkins, Annie Leibovitz, Ansel Adams and others.\u003cbr>\n\u003ca href=\"http://www.sonoma.edu/newscenter/2015/08/ssu-art-gallery-presents-focus-on-photography.html\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/p>\n\u003ch3>Janeane Garofolo\u003c/h3>\n\u003ch5>Nov. 21\u003cbr>\nCity Winery\u003c/h5>\n\u003cp>Whip-smart comic whose underappreciated sardonic humor is featured in Netflix’s reboot of \u003cem>Wet Hot American Summer\u003c/em>.\u003cbr>\n\u003ca href=\"http://www.citywinery.com/napa/tickets/janeane-garofalo-early-show-11-21.html\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/p>\n\u003ch3>Mavis Staples and Joan Osborne\u003c/h3>\n\u003ch5>Sept. 27\u003cbr>\nUptown Theatre\u003c/h5>\n\u003cp>The gospel singer who’s made a string of excellent crossover albums appears with her sister-in-spirit.\u003cbr>\n\u003ca href=\"http://www.uptowntheatrenapa.com/event/mavis-staples-and-joan-osborne/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "In the North Bay's arts scene, sometimes the setting is worth the price of admission.",
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"title": "Across the Bridge: North Bay Arts on Tap for Fall | KQED",
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"headline": "Across the Bridge: North Bay Arts on Tap for Fall",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>In the North Bay’s arts scene, sometimes the setting is worth the price of admission. From a rustic 100-year-old barn on the side of a hill to a luxurious $140 million concert hall, discovery and enrichment in the North Bay happens in a wide variety of spaces, most of them scenic.\u003c/p>\n\u003cp>Below are our top picks for must-see events happening this fall, with the added bonus of unique venues — even a redwood-lined beach along the Russian River gets into the act.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10949328\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Buddy-Guy-Crop-400x286.jpg\" alt=\"Buddy Guy\" width=\"400\" height=\"286\" class=\"size-thumbnail wp-image-10949328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Buddy-Guy-Crop-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Buddy-Guy-Crop.jpg 700w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Buddy Guy \u003ccite>(Photo: Courtesy of Russian River Jazz and Blues Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Buddy Guy\u003c/h3>\n\u003ch5>Sept. 13\u003cbr>\nRussian River Blues and Jazz Festival\u003cbr>\n\u003ca href=\"http://www.russianriverfestivals.com/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>During the Russian River Blues and Jazz Festival, Johnson’s Beach in Guerneville serves as a living time machine, evoking the “vacation wonderland” days of west Sonoma County — redwoods along the Russian River, cheap hot dogs, a real wooden boardwalk — and Buddy Guy serves as a living connection to the history of electric blues. Together, at the Russian River Blues Festival, the two make a perfect pair. When Guy played the Johnson’s Beach stage in 2011 (opening for the late B.B. King), his lightning guitar solos and eruptive voice soared over the crowd and the river, where sunbathers floated by on innertubes and kids stomped in the shallow waters. Expect similar alchemy when the 79-year-old legend returns this year with Taj Mahal and Jackie Greene.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922862\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/bonnie-prince-billy-400x256.jpg\" alt='Bonnie \"Prince\" Billy' width=\"400\" height=\"256\" class=\"size-thumbnail wp-image-10922862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/bonnie-prince-billy-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/bonnie-prince-billy.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie “Prince” Billy \u003ccite>(Photo: Courtesy of Gundlach-Bundschu Winery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Bonnie “Prince” Billy\u003c/h3>\n\u003ch5>Sept. 27\u003cbr>\nGundlach-Bundschu Winery\u003cbr>\n\u003ca href=\"http://folkyeah.com/#/bpbsonoma2015/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Whenever Will Oldham (a.k.a. Bonnie “Prince” Billy) comes to town, the cosmic-folk icon doesn’t play standard rock venues — his prior appearances in the North Bay have included a tiny saloon in Pt. Reyes Station, a community hall in Monte Rio, and a former church in Santa Rosa. On his current tour, he’s booked dates in Felton, Big Sur, Nevada City, and Sonoma, where he plays inside a rustic 100-year-old barn at Gundlach-Bundschu winery. Surrounded by farm machinery and old wooden paneling, Oldham should be in his element and thus in top form, playing songs from his days with the Palace Brothers up to his recent solo material.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922865\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Conor-Oberst-400x225.jpg\" alt=\"Conor Oberst\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10922865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Conor-Oberst-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Conor-Oberst.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Conor Oberst \u003ccite>(Photo: Courtesy of Phoenix Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Conor Oberst and M. Ward\u003c/h3>\n\u003ch5>Oct. 1\u003cbr>\nPhoenix Theater\u003cbr>\n\u003ca href=\"http://www.thephoenixtheater.com/event/934165-conor-oberst-m-ward-felice-petaluma/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>By day, the Phoenix Theater is a bustling nonprofit teen center under the abiding mentorship of longtime manager Tom Gaffey. By night, the hall hosts a mix of young local bands and national acts like the Red Hot Chili Peppers, Metallica, the Neville Brothers and even Hilary Duff. The theater’s booking has steadily improved in the past ten years, and this night with indie-folk icon Conor Oberst playing songs from both Bright Eyes and his solo career is a definite slam dunk. Pairing the wordy, poetic Oberst with the more plaintive, atmospheric M. Ward makes for a superb bill on its own, and adding the Felice Brothers as openers makes this a must-see show.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922869\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/SinatraJr-400x283.jpg\" alt=\"Frank Sinatra Jr. \" width=\"400\" height=\"283\" class=\"size-thumbnail wp-image-10922869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SinatraJr-400x283.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SinatraJr.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra Jr. \u003ccite>(Photo: Courtesy of Wells Fargo Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Frank Sinatra, Jr.\u003c/h3>\n\u003ch5>Oct. 8\u003cbr>\nWells Fargo Center\u003cbr>\n\u003ca href=\"http://tickets.wellsfargocenterarts.org/single/eventDetail.aspx?p=1818\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Come on. We must be kidding, right? Frank Sinatra, Jr.? The son of Ol’ Blue Eyes who landed such gigs as playing a district attorney on the ’70s TV show \u003cem>Adam-12\u003c/em>? But we’re not kidding, and the fact we point it out speaks to the public’s cynicism about the offspring of celebrities who attempt their own careers (we’re looking at you, \u003ca href=\"http://gawker.com/5731689/tom-hanks-son-is-a-frat-boy-rapper\" target=\"_blank\" rel=\"noopener\">Chet Haze\u003c/a>). As the conductor for his father’s touring orchestra, Frank Jr. assimilated his dad’s music nightly; combined with an eerily similar voice and a professional background that included working with Duke Ellington, he does the music justice. But beneath this tribute to his father is a weary sadness, one used to great effect in the recent Neil Hamburger film \u003cem>Entertainment\u003c/em>. Expect plenty of ring-a-ding-ding — and a little bit of emotional sting.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922863\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/BrunoFerrandis-400x267.jpg\" alt=\"Conductor Bruno Ferrandis\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10922863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BrunoFerrandis-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BrunoFerrandis.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Conductor Bruno Ferrandis \u003ccite>(Photo: Courtesy of Santa Rosa Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Santa Rosa Symphony, \u003cem>Twin Stars\u003c/em>\u003c/h3>\n\u003ch5>Oct. 10 – 12\u003cbr>\nGreen Music Center\u003cbr>\n\u003ca href=\"http://santarosasymphony.com/EventDetail?NPath=/Events/Twin%20Stars%20-%20October%2010,%2011%20and%2012\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Under the baton of Bruno Ferrandis, the Santa Rosa Symphony has ventured into brave waters, both by performing some of Ferrandis’ favorite modern composers (Ligeti is a personal favorite) and commissioning new works. As part of the symphony’s season opener, “Pax Universalis” is a world premiere by Arab-American composer Mohammed Fairouz; it’s followed by Mozart’s Piano Concerto No. 10 and Poulenc’s Concerto for Two Pianos, performed by twin sisters Christina and Michelle Naughton. Saint-Saens’ Symphony No. 3 rounds out the program, kicking off the symphony’s 88th season and its fourth year in residence at an acoustic marvel: the Green Music Center’s main hall.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922868\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/MyMananaComes-400x208.jpg\" alt=\"Elizabeth Irwin\" width=\"400\" height=\"208\" class=\"size-thumbnail wp-image-10922868\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MyMananaComes-400x208.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MyMananaComes.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Irwin \u003ccite>(Photo: Courtesy of Marin Theatre Company )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘My Mañana Comes’\u003c/h3>\n\u003ch5>Oct. 29 – Nov. 22\u003cbr>\nMarin Theatre Company\u003cbr>\n\u003ca href=\"http://www.marintheatre.org/productions/my-ma%C3%B1ana-comes\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Between the debate over minimum-wage earnings at restaurants and photos shared on Facebook of non-tipping customer receipts, we’ve seen an increased humanization of those who wait our tables and clear our plates. Now, a new play by Elizabeth Irwin takes the discussion away from social media and into the footlights. \u003cem>My Mañana Comes\u003c/em> follows the tight connection of four busboys working in the back of an upscale New York City restaurant — two of them undocumented, all of them sharing a collegiality of hard work and inside jokes — and the unraveling of that connection when their boss decides to pay them only in tips. A hit in New York, \u003cem>My Mañana Comes\u003c/em> opens at the Marin Theatre Company for its Bay Area premiere.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922866\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Kinmont-400x414.jpg\" alt=\"Robert Kinmont, '8 Natural Handstands' (detail), 1969/2005.\" width=\"400\" height=\"414\" class=\"size-thumbnail wp-image-10922866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kinmont-400x414.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kinmont-580x600.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kinmont-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Kinmont.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Robert Kinmont, ‘8 Natural Handstands’ (detail), 1969/2005. \u003ccite>(Photo: Courtesy Alexander and Bonin Gallery, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Robert Kinmont\u003c/h3>\n\u003ch5>Oct. 31–Jan. 24\u003cbr>\ndiRosa\u003cbr>\n\u003ca href=\"http://www.dirosaart.org/robert-kinmont/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>The North Bay commendably champions its own artistic legends, but even locals are forgiven if the name Robert Kinmont doesn’t ring a bell. After all, the Sonoma-based artist took a hiatus of nearly three decades to study Buddhism and work as a carpenter. Early works featured in his first Bay Area solo exhibition in over 45 years include the wry photo series \u003cem>8 Natural Handstands\u003c/em> (1969) and the wood-and-sage sculpture \u003cem>Sit on the Floor\u003c/em> (1971). But Kinmont’s sense of humor is especially on display in his later work, made after returning to art in 2005 — a copper stage hosting an argument between a pile of dirt and a pile of feathers; a large piece titled \u003cem>TWO EDUCATED 120-MILLION-YEAR-OLD BOULDERS TRYING TO ENCOURAGE 47 YOUNG WILLOWS TO BE PATIENT\u003c/em>. In diRosa’s rural setting especially, Kinmont’s work may have found its ideal site.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922867\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/LaverneCox-400x239.jpg\" alt=\"Laverne Cox\" width=\"400\" height=\"239\" class=\"size-thumbnail wp-image-10922867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/LaverneCox-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/LaverneCox.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Laverne Cox \u003ccite>(Courtesy of Sonoma State University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Laverne Cox in Conversation\u003c/h3>\n\u003ch5>Nov. 12\u003cbr>\nGreen Music Center\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/2784322-women-in-leadership-laverne-cox\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>As Sophia on the television series \u003cem>Orange is the New Black\u003c/em>, Laverne Cox has already played a role in certain social evolutions: the series is distributed through the streaming service Netflix instead of conventional network or cable channels, and the show features a predominantly female cast of inmates in a women’s prison. Cox is also the first openly transgender actor to be nominated for a Primetime Emmy Award, and in 2014, she became the first transgender person on the cover of \u003cem>Time\u003c/em> magazine. Smart and eloquent, Cox appears at the Green Music Center in a moderated discussion of her life and career with a message of personal freedom that transcends the transgender community.\n\u003c/p>\u003c/div>\n\u003ch2>Briefly Noted\u003c/h2>\n\u003ch3>Kristin Chenoweth\u003c/h3>\n\u003ch5>Sept. 25\u003cbr>\nGreen Music Center\u003c/h5>\n\u003cp>The star of stage and screen performs her Broadway hits and own recordings.\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/2613526-kristin-chenoweth\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/p>\n\u003ch3>Mill Valley Film Festival\u003c/h3>\n\u003ch5>Oct. 8–18\u003cbr>\nVarious Marin County Venues\u003c/h5>\n\u003cp>Annual festival whose lineup consistently features big stars and Oscar contenders.\u003cbr>\n\u003ca href=\"http://www.mvff.com/\">Tickets and information\u003c/a>\u003c/p>\n\u003ch3>‘Focus on Photography’\u003c/h3>\n\u003ch5>Sept. 3–Oct. 25\u003cbr>\nUniversity Art Gallery, Sonoma State University\u003c/h5>\n\u003cp>Work by Robert Mapplethorpe, Eadweard Muybridge, Carleton Watkins, Annie Leibovitz, Ansel Adams and others.\u003cbr>\n\u003ca href=\"http://www.sonoma.edu/newscenter/2015/08/ssu-art-gallery-presents-focus-on-photography.html\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/p>\n\u003ch3>Janeane Garofolo\u003c/h3>\n\u003ch5>Nov. 21\u003cbr>\nCity Winery\u003c/h5>\n\u003cp>Whip-smart comic whose underappreciated sardonic humor is featured in Netflix’s reboot of \u003cem>Wet Hot American Summer\u003c/em>.\u003cbr>\n\u003ca href=\"http://www.citywinery.com/napa/tickets/janeane-garofalo-early-show-11-21.html\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/p>\n\u003ch3>Mavis Staples and Joan Osborne\u003c/h3>\n\u003ch5>Sept. 27\u003cbr>\nUptown Theatre\u003c/h5>\n\u003cp>The gospel singer who’s made a string of excellent crossover albums appears with her sister-in-spirit.\u003cbr>\n\u003ca href=\"http://www.uptowntheatrenapa.com/event/mavis-staples-and-joan-osborne/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "This Week in Pop Culture: #BeyDay, A Daring Rib Rescue, Wes Craven Will Haunt Us Forever, and More",
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"content": "\u003cp>Dear reader! We find ourselves on a Friday afternoon before Labor Day weekend, perched on the precipice of three long days of freedom, cookouts and \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/hiero-day/\" target=\"_blank\">massive block parties\u003c/a>.\u003c/p>\n\u003cp>You're not doing any \u003cem>actual work\u003c/em>, are you? Of course not. So there's no time like the present to catch up on what you missed this week in pop culture.\u003c/p>\n\u003cp>\u003cstrong>1. American hero Robert Wright ran back into a burning building in Fresno, after making sure his family was okay, to save a rack of barbecued ribs.\u003c/strong>\u003c/p>\n\u003cp>“First thing, I got my kids, and I thought about my ribs. Like, I didn’t want my ribs to burn and stuff because I take pride in what I do, man,” \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-fresno-ribs-man-interview-html-20150903-htmlstory.html\" target=\"_blank\">said the West Oakland native and instantaneous worldwide role model\u003c/a>. Something to think about at your BBQs this weekend.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zCLpRR-wVo0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>2. Director/writer/producer/man responsible for all your childhood nightmares Wes Craven died this week at the age of 76.\u003c/strong>\u003c/p>\n\u003cp>Here's a great video essay from RogerEbert.com, featuring audio of Craven speaking about his work and, naturally, what the filmmaker wanted on his gravestone.\u003c/p>\n\u003cp>https://vimeo.com/138055103\u003c/p>\n\u003cp>\u003cstrong>3. Today, Sept. 4th, is Beyoncé's birthday, otherwise known as \u003ca href=\"https://twitter.com/hashtag/beyday?vertical=default&src=tren\" target=\"_blank\">#BeyDay\u003c/a>, and the Internet is celebrating as only the Internet can: with photos, gifs, and think pieces until the end of time. \u003c/strong>\u003c/p>\n\u003cp>Beyoncé returned the favor by releasing this super-heavy, slowed down remix of \"Crazy In Love\" -- which is apparently on the \u003cem>Fifty Shades of Grey\u003c/em> soundtrack, but that's not her fault. It's an interesting sound for her and the lyrics take on a new desperation. But we're not gonna lie, Jay-Z's \u003ca href=\"http://genius.com/385274\" target=\"_blank\">chinchilla line\u003c/a> really makes this song. Compare and contrast:\u003c/p>\n\u003cp>https://play.spotify.com/album/1JSCfr9YFx7SAP8sAYS5vx\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ViwtNLUqkMY\u003c/p>\n\u003cp>\u003cstrong>4. The soundtrack to \u003cem>Angus, \u003c/em>a severely underrated coming-of-age film, \u003ca href=\"http://www.deathandtaxesmag.com/261947/angus-soundtrack-to-be-released-on-vinyl-for-20th-anniversary/\" target=\"_blank\">will be re-issued on vinyl for its 20th anniversary\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>This is excellent news for me and the maybe 100 or so other people in the world who firmly believe this to be one of the best soundtracks of all time.\u003ca href=\"https://twitter.com/emmaruthless/status/529345827290898432\" target=\"_blank\"> The thing is perfect. I have said this elsewhere.\u003c/a> Tilt, the Muffs, Weezer when they were not-annoying, one of the most underrated \u003ca href=\"https://www.youtube.com/watch?v=q6kRM-rX0Gw\" target=\"_blank\">Green Day gems\u003c/a> from back when \u003cem>they\u003c/em> were not-annoying: it's just the sweetest gut-punch combination of adolescent '90s angst, hope and heartache. It also has this excellent version of Love Spit Love's \"Am I Wrong?\" with high school marching band horns and drums mixed in. Have I mentioned this album is underrated?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rGxHBjVc4Rw\u003c/p>\n\u003cp>\u003cstrong>5. Indie-pop duo Diet Cig, who are from New York but recently signed to Oakland/Portland label Father/Daughter records, are playing the \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/diet-cig/\" target=\"_blank\">Hemlock Tavern tomorrow night\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>But if you can't make that, they'll be at \u003ca href=\"https://twitter.com/differentfur/status/639868354543554560\" target=\"_blank\">Different Fur studios in the Mission tonight for free\u003c/a> at 7pm. Here's a fun dancy video from this year's \u003cem>Over Easy:\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qQNY_nihI90\u003c/p>\n\u003cp>\u003cstrong>6. \u003ca href=\"http://www.hopesandfears.com/hopes/culture/film/216433-history-of-pie-fights\" target=\"_blank\">This here is an oral history of pie fights. \u003c/a>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy long weekend!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>2. Director/writer/producer/man responsible for all your childhood nightmares Wes Craven died this week at the age of 76.\u003c/strong>\u003c/p>\n\u003cp>Here's a great video essay from RogerEbert.com, featuring audio of Craven speaking about his work and, naturally, what the filmmaker wanted on his gravestone.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>3. Today, Sept. 4th, is Beyoncé's birthday, otherwise known as \u003ca href=\"https://twitter.com/hashtag/beyday?vertical=default&src=tren\" target=\"_blank\">#BeyDay\u003c/a>, and the Internet is celebrating as only the Internet can: with photos, gifs, and think pieces until the end of time. \u003c/strong>\u003c/p>\n\u003cp>Beyoncé returned the favor by releasing this super-heavy, slowed down remix of \"Crazy In Love\" -- which is apparently on the \u003cem>Fifty Shades of Grey\u003c/em> soundtrack, but that's not her fault. It's an interesting sound for her and the lyrics take on a new desperation. But we're not gonna lie, Jay-Z's \u003ca href=\"http://genius.com/385274\" target=\"_blank\">chinchilla line\u003c/a> really makes this song. Compare and contrast:\u003c/p>\n\u003cp>https://play.spotify.com/album/1JSCfr9YFx7SAP8sAYS5vx\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/ViwtNLUqkMY'\n title='//www.youtube.com/embed/ViwtNLUqkMY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>4. The soundtrack to \u003cem>Angus, \u003c/em>a severely underrated coming-of-age film, \u003ca href=\"http://www.deathandtaxesmag.com/261947/angus-soundtrack-to-be-released-on-vinyl-for-20th-anniversary/\" target=\"_blank\">will be re-issued on vinyl for its 20th anniversary\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>This is excellent news for me and the maybe 100 or so other people in the world who firmly believe this to be one of the best soundtracks of all time.\u003ca href=\"https://twitter.com/emmaruthless/status/529345827290898432\" target=\"_blank\"> The thing is perfect. I have said this elsewhere.\u003c/a> Tilt, the Muffs, Weezer when they were not-annoying, one of the most underrated \u003ca href=\"https://www.youtube.com/watch?v=q6kRM-rX0Gw\" target=\"_blank\">Green Day gems\u003c/a> from back when \u003cem>they\u003c/em> were not-annoying: it's just the sweetest gut-punch combination of adolescent '90s angst, hope and heartache. It also has this excellent version of Love Spit Love's \"Am I Wrong?\" with high school marching band horns and drums mixed in. Have I mentioned this album is underrated?\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/rGxHBjVc4Rw'\n title='//www.youtube.com/embed/rGxHBjVc4Rw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>5. Indie-pop duo Diet Cig, who are from New York but recently signed to Oakland/Portland label Father/Daughter records, are playing the \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/diet-cig/\" target=\"_blank\">Hemlock Tavern tomorrow night\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>But if you can't make that, they'll be at \u003ca href=\"https://twitter.com/differentfur/status/639868354543554560\" target=\"_blank\">Different Fur studios in the Mission tonight for free\u003c/a> at 7pm. Here's a fun dancy video from this year's \u003cem>Over Easy:\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qQNY_nihI90'\n title='//www.youtube.com/embed/qQNY_nihI90'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>6. \u003ca href=\"http://www.hopesandfears.com/hopes/culture/film/216433-history-of-pie-fights\" target=\"_blank\">This here is an oral history of pie fights. \u003c/a>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy long weekend!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://web.stanford.edu/group/religiouslife/cgi-bin/wordpress/about-orl/orl-staff/the-very-rev-dr-jane-shaw/\" target=\"_blank\" rel=\"noopener\">Stanford University’s Jane Shaw \u003c/a>is a kind of empathy activist.\u003c/p>\n\u003cp>“How do you make the leap,” she said a few days ago, “to understand the experience of another person is really what empathy’s about.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/222258730″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Shaw, Stanford’s Dean for Religious Life, was showing me around a small-but-choice exhibit called \u003ca href=\"http://museum.stanford.edu/view/exhibition_sched_new.html#Empathy\" target=\"_blank\" rel=\"noopener\">\u003cem>Empathy\u003c/em>, \u003c/a>at Stanford’s \u003ca href=\"http://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10933933\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jane-Shaw-e1441297287793-400x364.jpg\" alt=\"Jane Shaw, Dean for Religious Life at Stanford University\" width=\"400\" height=\"364\" class=\"size-thumbnail wp-image-10933933\">\u003cfigcaption class=\"wp-caption-text\">Jane Shaw, Dean for Religious Life at Stanford University \u003ccite>(Courtesy: Jane Shaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is a companion piece to a class on empathy Shaw is teaching this fall, and a way for any museum goer to engage with a hot topic these days for religious scholars, neuroscientists, artists and politicians.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Everyone from President Barack Obama to social psychologists are reporting a deficit in empathy and or a lack of compassion among college students, and a corresponding rise in narcissism.\u003c/p>\n\u003cp>“We live in a pretty individualistic society,” Shaw said, “It’s all about the selfie… which is me, me, me, right?”\u003c/p>\n\u003cp>But Bay Area residents have a surprising number of ways to refresh their empathy skills through the arts, including Shaw’s exhibit.\u003c/p>\n\u003cp>There’s a pair of Diane Arbus photos: one of a tattooed man and another of female impersonator that Shaw notes raise issues about “the difference between objectifying the strange, and empathizing with the strange.”\u003c/p>\n\u003cp>The key images in the show may be a series of four etchings by Hans Beham, based on Jesus’ parable about the Prodigal Son.\u003c/p>\n\u003cp>The parable describes how the younger of two sons demands his inheritance, wastes it in wild living, then returns home, expecting to be punished. To his and his older brother’s surprise, the father greets the prodigal with open arms.\u003c/p>\n\u003cp>“I think the prodigal son story is important,” Shaw said, “because at different times we can all relate to all of the characters.\u003c/p>\n\u003cp>“Are we the father distraught by the son who’s gone off, and just unbelievably thrilled that the younger son has come home?” Shaw asks. “Or are we the older son who’s been good and dutiful, then when the younger son comes back, he’s the one who gets the fatted calf for him?”\u003c/p>\n\u003cp>The point, Shaw says, is not to judge, but to empathize — to put oneself in someone else’s shoes.\u003c/p>\n\u003cp>That’s an apt metaphor for the actress and playwright \u003ca href=\"https://live.stanford.edu/calendar/October-2015/all/all/all/Theater\" target=\"_blank\" rel=\"noopener\">Anna Deveare Smith\u003c/a>, who’ll be a guest lecturer for Shaw’s class. Smith is known for her documentary theater work about class and race, in which she embodies the words and physical tics of the people she interviews. She often works barefoot so she can better “walk in the words,” she says, “of her subjects.”\u003c/p>\n\u003cp>It’s a sign of the power of art, especially theater, to inspire empathy.\u003c/p>\n\u003cp>In fact Shaw’s class made me think about the preshow welcome I’ve often heard from Bill English, Artistic Director for San Francisco Playhouse.\u003c/p>\n\u003cp>“We like to think of ourselves as our community’s empathy gym,” is how Bill English opened a recent performance. “It’s a place where we come to work out our powers of compassion.\u003c/p>\n\u003cfigure id=\"attachment_10933935\" class=\"wp-caption alignright\" style=\"max-width: 361px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Bill-English-and-Susi-Damilano-e1441303876539.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10933935\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Bill-English-and-Susi-Damilano-e1441303876539.png\" alt=\"San Francisco Playhouse Artistic Director Bill English and Executive Director Susi Damilano\" width=\"361\" height=\"216\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Playhouse Artistic Director Bill English and Executive Director Susi Damilano \u003ccite>(Courtesy San Francisco Playhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We identify with these actors up here. And we feel what they feel, we love what they love, and we hope what they hope for. And it’s our belief we can take that spirit of unity that we build together in the dark, out into the streets, and make our world a better place one play at a time.”\u003c/p>\n\u003cp>A comment that draws both laughs and applause for its heartfelt idealism.\u003c/p>\n\u003cp>The funny thing is when English talks about theater as an empathy gym, he sounds like \u003ca href=\"http://ssnl.stanford.edu/people\" target=\"_blank\" rel=\"noopener\">Jamil Zaki,\u003c/a> a Stanford professor and neuropsychologist doing research on empathy using new tools like brain scans from an MRI.\u003c/p>\n\u003cp>“I think of lots of different forms of art as empathy boot camp,” Zaki said.\u003c/p>\n\u003cp>A few years ago Zaki looked at that \u003ca href=\"http://www.scientificamerican.com/article/what-me-care/\" target=\"_blank\" rel=\"noopener\">research showing that college students are less empathetic today than 30 years ago.\u003c/a>\u003c/p>\n\u003cp>“It’s a lot easier to insult someone in a YouTube comment section when you’re anonymous and they’re anonymous, and you don’t have to see their reaction, than when you’re right in front of them,” Zaki said.\u003c/p>\n\u003cp>“The arts act as an antidote to that estrangement,” Zaki added, “[and] provide you with a very low risk way of entering worlds and lives and minds that are far from what you would normally experience.”\u003c/p>\n\u003cp>One study found that reading literature, but not junk fiction, increases a person’s ability to be empathetic. Though Zaki wondered “does reading make you more empathetic, or does being more empathetic make you want to read more fiction?”\u003c/p>\n\u003cp>People, and some animals, come into the world ready for empathy, because we’re born with what are called mirror neurons. And Zaki believes the arts can stimulate those neurons.\u003c/p>\n\u003cp>“So if you see a painting of someone being whipped,” Zaki said. “Or they’re weeping profusely. Then you take on that state. I’m sure that applies to visual art. I’m absolutely sure it applies to performance art where they’re actually posing expressions and experiencing things in front of you.”\u003c/p>\n\u003cp>Zaki said he had that experience when he and his research team, took in the Pixar film \u003ca href=\"http://www.pixar.com/features_films/Inside-Out\" target=\"_blank\" rel=\"noopener\">“Inside Out.”\u003c/a>\u003c/p>\n\u003cp>The movie gives voice to the turbulent emotional life of a young girl whose parents move to San Francisco so her dad can join a startup.\u003c/p>\n\u003cp>Zaki said he made a connection he didn’t expect, because he and his wife are about to have a daughter.\u003c/p>\n\u003cp>“And I’m thinking about that little girl (in the movie) and her connection to her parents,” Zaki said. “I felt I connected with that at a much deeper level, than I would have before when we didn’t know we were having a kid. ”\u003c/p>\n\u003cp>That’s an easy form of empathy for us, Zaki said. But people can make far greater empathetic leaps.\u003c/p>\n\u003cp>“Empathy is often work,” said Zaki. “It’s an effort that we make to find the commonalities between yourself and someone else.”\u003c/p>\n\u003cp>That’s something University of San Francisco theater professor Christine Young observed when she used to teach in Iowa. She’d assign her students Tony Kushner’s Pulitzer Prize winning play \u003ca href=\"https://en.wikipedia.org/wiki/Angels_in_America:_A_Gay_Fantasia_on_National_Themes\" target=\"_blank\" rel=\"noopener\">Angels in America\u003c/a>, about the AIDS crisis, a gay Mormon, and many other things.\u003c/p>\n\u003cp>“And the same thing would happen every time,” she said. “Many of the students who had come from a conservative Christian background would initially object to the subject matter.”\u003c/p>\n\u003cp>But Young says, people would come to empathize with the struggles of the character of Louis, who abandons his lover when he learns he has AIDS.\u003c/p>\n\u003cp>“That’s one of the great gifts of that play is it helped a whole generation of people realize that the lives of gay people are just like the lives of heterosexual people. That the loss of a loved one is the same no matter who they are,” Young said.\u003c/p>\n\u003cp>And that sense that we’re all connected in some way is what Stanford’s Jane Shaw hopes to explore in her her empathy class and exhibit.\u003c/p>\n\u003cp>“The world’s problems,” Shaw said, “the world’s wars are because we don’t understand each other. So the more we can understand each other the better. The more we can step into each other’s shoes the better.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Cantor Arts Center show, \u003cem>Empathy\u003c/em>, continues through Jan. 25. Anna Deveare Smith does her residency as Stanford in October.\u003c/p>\n\n",
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"title": "Fighting the Empathy Deficit: How the Arts Can Make Us More Compassionate | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://web.stanford.edu/group/religiouslife/cgi-bin/wordpress/about-orl/orl-staff/the-very-rev-dr-jane-shaw/\" target=\"_blank\" rel=\"noopener\">Stanford University’s Jane Shaw \u003c/a>is a kind of empathy activist.\u003c/p>\n\u003cp>“How do you make the leap,” she said a few days ago, “to understand the experience of another person is really what empathy’s about.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/222258730″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/222258730″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Shaw, Stanford’s Dean for Religious Life, was showing me around a small-but-choice exhibit called \u003ca href=\"http://museum.stanford.edu/view/exhibition_sched_new.html#Empathy\" target=\"_blank\" rel=\"noopener\">\u003cem>Empathy\u003c/em>, \u003c/a>at Stanford’s \u003ca href=\"http://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10933933\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jane-Shaw-e1441297287793-400x364.jpg\" alt=\"Jane Shaw, Dean for Religious Life at Stanford University\" width=\"400\" height=\"364\" class=\"size-thumbnail wp-image-10933933\">\u003cfigcaption class=\"wp-caption-text\">Jane Shaw, Dean for Religious Life at Stanford University \u003ccite>(Courtesy: Jane Shaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is a companion piece to a class on empathy Shaw is teaching this fall, and a way for any museum goer to engage with a hot topic these days for religious scholars, neuroscientists, artists and politicians.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Everyone from President Barack Obama to social psychologists are reporting a deficit in empathy and or a lack of compassion among college students, and a corresponding rise in narcissism.\u003c/p>\n\u003cp>“We live in a pretty individualistic society,” Shaw said, “It’s all about the selfie… which is me, me, me, right?”\u003c/p>\n\u003cp>But Bay Area residents have a surprising number of ways to refresh their empathy skills through the arts, including Shaw’s exhibit.\u003c/p>\n\u003cp>There’s a pair of Diane Arbus photos: one of a tattooed man and another of female impersonator that Shaw notes raise issues about “the difference between objectifying the strange, and empathizing with the strange.”\u003c/p>\n\u003cp>The key images in the show may be a series of four etchings by Hans Beham, based on Jesus’ parable about the Prodigal Son.\u003c/p>\n\u003cp>The parable describes how the younger of two sons demands his inheritance, wastes it in wild living, then returns home, expecting to be punished. To his and his older brother’s surprise, the father greets the prodigal with open arms.\u003c/p>\n\u003cp>“I think the prodigal son story is important,” Shaw said, “because at different times we can all relate to all of the characters.\u003c/p>\n\u003cp>“Are we the father distraught by the son who’s gone off, and just unbelievably thrilled that the younger son has come home?” Shaw asks. “Or are we the older son who’s been good and dutiful, then when the younger son comes back, he’s the one who gets the fatted calf for him?”\u003c/p>\n\u003cp>The point, Shaw says, is not to judge, but to empathize — to put oneself in someone else’s shoes.\u003c/p>\n\u003cp>That’s an apt metaphor for the actress and playwright \u003ca href=\"https://live.stanford.edu/calendar/October-2015/all/all/all/Theater\" target=\"_blank\" rel=\"noopener\">Anna Deveare Smith\u003c/a>, who’ll be a guest lecturer for Shaw’s class. Smith is known for her documentary theater work about class and race, in which she embodies the words and physical tics of the people she interviews. She often works barefoot so she can better “walk in the words,” she says, “of her subjects.”\u003c/p>\n\u003cp>It’s a sign of the power of art, especially theater, to inspire empathy.\u003c/p>\n\u003cp>In fact Shaw’s class made me think about the preshow welcome I’ve often heard from Bill English, Artistic Director for San Francisco Playhouse.\u003c/p>\n\u003cp>“We like to think of ourselves as our community’s empathy gym,” is how Bill English opened a recent performance. “It’s a place where we come to work out our powers of compassion.\u003c/p>\n\u003cfigure id=\"attachment_10933935\" class=\"wp-caption alignright\" style=\"max-width: 361px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Bill-English-and-Susi-Damilano-e1441303876539.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10933935\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Bill-English-and-Susi-Damilano-e1441303876539.png\" alt=\"San Francisco Playhouse Artistic Director Bill English and Executive Director Susi Damilano\" width=\"361\" height=\"216\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Playhouse Artistic Director Bill English and Executive Director Susi Damilano \u003ccite>(Courtesy San Francisco Playhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We identify with these actors up here. And we feel what they feel, we love what they love, and we hope what they hope for. And it’s our belief we can take that spirit of unity that we build together in the dark, out into the streets, and make our world a better place one play at a time.”\u003c/p>\n\u003cp>A comment that draws both laughs and applause for its heartfelt idealism.\u003c/p>\n\u003cp>The funny thing is when English talks about theater as an empathy gym, he sounds like \u003ca href=\"http://ssnl.stanford.edu/people\" target=\"_blank\" rel=\"noopener\">Jamil Zaki,\u003c/a> a Stanford professor and neuropsychologist doing research on empathy using new tools like brain scans from an MRI.\u003c/p>\n\u003cp>“I think of lots of different forms of art as empathy boot camp,” Zaki said.\u003c/p>\n\u003cp>A few years ago Zaki looked at that \u003ca href=\"http://www.scientificamerican.com/article/what-me-care/\" target=\"_blank\" rel=\"noopener\">research showing that college students are less empathetic today than 30 years ago.\u003c/a>\u003c/p>\n\u003cp>“It’s a lot easier to insult someone in a YouTube comment section when you’re anonymous and they’re anonymous, and you don’t have to see their reaction, than when you’re right in front of them,” Zaki said.\u003c/p>\n\u003cp>“The arts act as an antidote to that estrangement,” Zaki added, “[and] provide you with a very low risk way of entering worlds and lives and minds that are far from what you would normally experience.”\u003c/p>\n\u003cp>One study found that reading literature, but not junk fiction, increases a person’s ability to be empathetic. Though Zaki wondered “does reading make you more empathetic, or does being more empathetic make you want to read more fiction?”\u003c/p>\n\u003cp>People, and some animals, come into the world ready for empathy, because we’re born with what are called mirror neurons. And Zaki believes the arts can stimulate those neurons.\u003c/p>\n\u003cp>“So if you see a painting of someone being whipped,” Zaki said. “Or they’re weeping profusely. Then you take on that state. I’m sure that applies to visual art. I’m absolutely sure it applies to performance art where they’re actually posing expressions and experiencing things in front of you.”\u003c/p>\n\u003cp>Zaki said he had that experience when he and his research team, took in the Pixar film \u003ca href=\"http://www.pixar.com/features_films/Inside-Out\" target=\"_blank\" rel=\"noopener\">“Inside Out.”\u003c/a>\u003c/p>\n\u003cp>The movie gives voice to the turbulent emotional life of a young girl whose parents move to San Francisco so her dad can join a startup.\u003c/p>\n\u003cp>Zaki said he made a connection he didn’t expect, because he and his wife are about to have a daughter.\u003c/p>\n\u003cp>“And I’m thinking about that little girl (in the movie) and her connection to her parents,” Zaki said. “I felt I connected with that at a much deeper level, than I would have before when we didn’t know we were having a kid. ”\u003c/p>\n\u003cp>That’s an easy form of empathy for us, Zaki said. But people can make far greater empathetic leaps.\u003c/p>\n\u003cp>“Empathy is often work,” said Zaki. “It’s an effort that we make to find the commonalities between yourself and someone else.”\u003c/p>\n\u003cp>That’s something University of San Francisco theater professor Christine Young observed when she used to teach in Iowa. She’d assign her students Tony Kushner’s Pulitzer Prize winning play \u003ca href=\"https://en.wikipedia.org/wiki/Angels_in_America:_A_Gay_Fantasia_on_National_Themes\" target=\"_blank\" rel=\"noopener\">Angels in America\u003c/a>, about the AIDS crisis, a gay Mormon, and many other things.\u003c/p>\n\u003cp>“And the same thing would happen every time,” she said. “Many of the students who had come from a conservative Christian background would initially object to the subject matter.”\u003c/p>\n\u003cp>But Young says, people would come to empathize with the struggles of the character of Louis, who abandons his lover when he learns he has AIDS.\u003c/p>\n\u003cp>“That’s one of the great gifts of that play is it helped a whole generation of people realize that the lives of gay people are just like the lives of heterosexual people. That the loss of a loved one is the same no matter who they are,” Young said.\u003c/p>\n\u003cp>And that sense that we’re all connected in some way is what Stanford’s Jane Shaw hopes to explore in her her empathy class and exhibit.\u003c/p>\n\u003cp>“The world’s problems,” Shaw said, “the world’s wars are because we don’t understand each other. So the more we can understand each other the better. The more we can step into each other’s shoes the better.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Cantor Arts Center show, \u003cem>Empathy\u003c/em>, continues through Jan. 25. Anna Deveare Smith does her residency as Stanford in October.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Interview: Henry Lloyd-Hughes in Indian Summers on Masterpiece",
"title": "Interview: Henry Lloyd-Hughes in Indian Summers on Masterpiece",
"headTitle": "Behind the Scenes | About KQED",
"content": "\u003cp>Ralph Whelan is a complicated man. English by birth, he’s a well-placed civil servant in India in the final years of the British Raj. Whelan’s psychological ties to India are at war with his professional loyalties to England. He might just represent the British colonial conscience abroad — entrenched and divided, in denial and guilt-ridden.\u003c/p>\n\u003cp>You may not recognize the name of the actor who plays him: Henry Lloyd-Hughes. After tuning in to the first episode of \u003cem>\u003ca href=\"http://video.kqed.org/video/2365523738/\" target=\"_blank\">Indian Summers\u003c/a>,\u003c/em> putting that name to his face will no longer present a problem. With this role, Lloyd-Hughes makes a commanding impression as a leading man. He embodies the might and vulnerability of an empire in decline.\u003c/p>\n\u003cp>I spoke with Lloyd-Hughes about \u003ci>Indian Summers, \u003c/i>his career in the U.K. and the independent film shorts he’s written.\u003c/p>\n\u003cp>\u003cb>It's 1932 when \u003c/b>\u003cb>\u003ci>Indian Summers\u003c/i>\u003c/b>\u003cb> begins, about 15 years before India gains independence from the British Empire. Can you place your character and his position there?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> My character is in the Indian civil service, which is part of the governing body that England has put in place as part of the empire. Paul Rutman [the screenwriter] is very deliberate in the timing of when the show is set. He could have set it at any time in the previous 50 or 60 years and it would have been about the good old days, but the point is that for those who are connected to power, as my character is, because he's the private secretary to the Viceroy of India, who is the kind of King-like figure, the king-emperors of India, he is treated with that level of status.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I am the person who is the controller of all information that comes from and to the Viceroy, from the rulers in England, and back and forth. On one level, it's a role that is invisible with a ringside seat to power, but at the same time, it's incredibly influential. That person has an amazing reach of influence right across to the highest level.\u003c/p>\n\u003cp>\u003cb>There's a line that Ralph says to his sister when she arrives in India, “I just want everything to be perfect.” Do you feel that statement defines his character?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> I wouldn't say it's a map, but I would go so far as to say he may be brainwashed himself for, or, rather that's the role that he plays in his job, so far that it has bled into his personal life, does that make sense? I often think about Ralph — one of the fascinating things to play him, as an actor, is that he \u003ci>is\u003c/i> an actor. He is acting a lot of his life. Superficially, he represents the establishment, but there's something much more complicated and conflicted about him. A white man born and trained for the job, family have been in India — his heritage is there in terms of being part of the civil service and yet, he is not like that, he is twisted inside because his love of India is emotional. It's molecular.\u003c/p>\n\u003cp>\u003cb>How do you think living abroad in their colonial outposts affected the English psyche?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>To my understanding, the notion of Englishness that the people took with them when they went out to these places (Kenya and India as two examples), everything that was inside the people in terms of their ambitions, their hopes, their ideas about the kind of person they wanted to be, was amplified the minute they left England. You get all these people who were maybe lower-class when they left England and they arrive somewhere else, and you know what? “I'm middle-class.”' If you were middle class or upper middle class to begin with, by the time you got off the boat, you were upper-class. You were like, “Oh, did I forget to mention? I'm basically aristocracy” because no one was there to check your back story, and that went the same way as far as flirtations, and trying to have your cake and eat it because there was this sense of mischief, of reckless abandon, of reinvention.\u003c/p>\n\u003cp>There are very few people who are trying to maintain a status quo that is tied to the past. Almost everyone is having to embrace a new type of future like Julie Walter's character, Cynthia. She is a dinosaur in her refusal to acknowledge that the times are changing. Ralph may appear to \u003ci>not\u003c/i> acknowledge that the times are changing but in his soul, of course, he knows they are.\u003c/p>\n\u003cfigure id=\"attachment_5070\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/walters_hughes.jpg\">\u003cimg class=\"size-full wp-image-5070\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/walters_hughes.jpg\" alt=\"Left to right: Julie Walters as Cynthia Coffin and Henry Lloyd-Hughes as Ralph Whelan. ((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International) \" width=\"640\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/08/walters_hughes.jpg 640w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/walters_hughes-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Julie Walters as Cynthia Coffin and Henry Lloyd-Hughes as Ralph Whelan.\u003cbr>((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>But Julie Walter's character seems to have carved out her own personal fiefdom, one that she might not ever have had in England.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> Exactly right. She's an embodiment of the kind of person that made a richer and, like you say, a little private universe of her own devising that wouldn't have been possible to any degree in England, which is why of course she wants to cling on to India until her dying breath, because why wouldn't you if you could reinvent yourself, make yourself grand and powerful when you weren't powerful. It incentivizes you almost above and beyond your actual political leanings, your actual racial prejudices because what you want is to cling on to what you've got.\u003c/p>\n\u003cp>\u003cb>When you’re acting in a period piece like this, how do you go about erasing the modern world?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> There are certain things, in terms of dialogue, in terms of dialect, it's hard to explain but once you get into the rhythm of a period scene, the words and the rhythm of what you're doing will transport you somewhere. There are drawbacks to filming on location on the other side of the world. I don't see my wife, I don't see my friends, I don't see anyone I know, but having said that, the one value added, you are transported. You are transported to a place that feels other, and it feels like you are in a different place and maybe even in a different time.\u003c/p>\n\u003cp>\u003cspan style=\"font-family: Arial, sans-serif\">\u003cspan style=\"font-family: Arial, sans-serif\">\u003cbr>\n\u003c/span>\u003c/span>\u003cb>For American audiences who aren’t familiar with your work, I wanted to talk about your filmography, starting with a short film you wrote \u003c/b>\u003ca href=\"http://www.funnyordie.com/videos/fabe616aef/acting-intensity-rebellion?_cc=__d___&_ccid=elm89o.nsj3qn\" target=\"_blank\">\u003cb>“Acting = Intensity + Rebellion.”\u003c/b>\u003c/a>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>I'm not someone who sits at the typewriter with a blank screen and goes, “oh, what could I possibly cook up?” Occasionally, for example, I have a very specific idea that comes to me fully formed. I wrote \u003ci>Acting\u003c/i> in maybe 24 hours. A week later I was shooting it in L.A. As an idea, it was inspired by moody teenage heartthrob actors that maybe weren't necessarily that good. The idea that one could come up with a formula for acting was really funny to me. What's interesting is that you can be incredibly pretentious and still be a really good actor. In a way, that's what's frustrating about it.\u003c/p>\n\u003cp>\u003cb>Looking at your biography, you come from a family of actors. \u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> I guess on paper, but it wasn't a foregone conclusion. It just meant that when that conversation came, there was a bit of, “We thought we'd exorcised this ghost and suddenly, we find that the house is haunted again.” My family was unsurprised, shall we say, that that particular gene had come back and come back with a vengeance.\u003c/p>\n\u003cfigure id=\"attachment_5071\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/hughes_dinner.jpg\">\u003cimg class=\"size-full wp-image-5071\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/hughes_dinner.jpg\" alt=\"Left to right: Jemima West as Alice Whelan and Henry Lloyd-Hughes as Ralph Whelan. ((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International) \" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/08/hughes_dinner.jpg 640w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/hughes_dinner-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Jemima West as Alice Whelan and Henry Lloyd-Hughes as Ralph Whelan.\u003cbr>((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You also appeared in a popular British series \u003c/b>\u003cb>\u003ci>The Inbetweeners. \u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>It's a huge show in England, and has such a cult following that the minute they finish a show there's a huge appetite for more. I think there will be more. I was the anti-hero, the baddie in that show as well, unfortunately. As much as I love doing comedies — and that was so satisfying doing a funny show with so many great comic actors — but I always play the straight guy.\u003c/p>\n\u003cp>Weirdly, I didn't get to flex my comic muscles as much as you would expect given that it's a very successful comedy, but I love the show, it's very English. I don't know whether viewers from America, if they want to watch it whether or not it might resonate in the same way because it's about a particular type of English suburbia, but I would say a companion piece, an easy comparison, would be something like \u003ca href=\"http://www.vanityfair.com/unchanged/2013/01/freaks-and-geeks-oral-history\" target=\"_blank\">\u003ci>Freaks and Geeks.\u003c/i>\u003c/a> It's not about the cool kids.\u003c/p>\n\u003cp>\u003cb>In 2016, you’re going to be in a Hollywood film, \u003c/b>\u003cb>\u003ci>Now You See Me: The Second Act. \u003c/i>\u003c/b>\u003cb>What’s the difference between working in America vs. the U.K.?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> The thing is: L.A. has its own language and rhythm. I almost feel like it's a separate state. I think if you were to transplant someone from Iowa and take them into a restaurant in L.A. and overheard the conversations, I think it would feel pretty weird for them as well. There is a rhythm and a pitch to which people can make a deal, come after the deal, make a new deal. That is, in and of itself, some kind of magisterial dance that is both beautiful and incredibly ugly all at once.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Indian Summers on Masterpiece\u003c/i> premieres on KQED 9 Sunday, September 27.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ralph Whelan is a complicated man. English by birth, he’s a well-placed civil servant in India in the final years of the British Raj. Whelan’s psychological ties to India are at war with his professional loyalties to England. He might just represent the British colonial conscience abroad — entrenched and divided, in denial and guilt-ridden.\u003c/p>\n\u003cp>You may not recognize the name of the actor who plays him: Henry Lloyd-Hughes. After tuning in to the first episode of \u003cem>\u003ca href=\"http://video.kqed.org/video/2365523738/\" target=\"_blank\">Indian Summers\u003c/a>,\u003c/em> putting that name to his face will no longer present a problem. With this role, Lloyd-Hughes makes a commanding impression as a leading man. He embodies the might and vulnerability of an empire in decline.\u003c/p>\n\u003cp>I spoke with Lloyd-Hughes about \u003ci>Indian Summers, \u003c/i>his career in the U.K. and the independent film shorts he’s written.\u003c/p>\n\u003cp>\u003cb>It's 1932 when \u003c/b>\u003cb>\u003ci>Indian Summers\u003c/i>\u003c/b>\u003cb> begins, about 15 years before India gains independence from the British Empire. Can you place your character and his position there?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> My character is in the Indian civil service, which is part of the governing body that England has put in place as part of the empire. Paul Rutman [the screenwriter] is very deliberate in the timing of when the show is set. He could have set it at any time in the previous 50 or 60 years and it would have been about the good old days, but the point is that for those who are connected to power, as my character is, because he's the private secretary to the Viceroy of India, who is the kind of King-like figure, the king-emperors of India, he is treated with that level of status.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I am the person who is the controller of all information that comes from and to the Viceroy, from the rulers in England, and back and forth. On one level, it's a role that is invisible with a ringside seat to power, but at the same time, it's incredibly influential. That person has an amazing reach of influence right across to the highest level.\u003c/p>\n\u003cp>\u003cb>There's a line that Ralph says to his sister when she arrives in India, “I just want everything to be perfect.” Do you feel that statement defines his character?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> I wouldn't say it's a map, but I would go so far as to say he may be brainwashed himself for, or, rather that's the role that he plays in his job, so far that it has bled into his personal life, does that make sense? I often think about Ralph — one of the fascinating things to play him, as an actor, is that he \u003ci>is\u003c/i> an actor. He is acting a lot of his life. Superficially, he represents the establishment, but there's something much more complicated and conflicted about him. A white man born and trained for the job, family have been in India — his heritage is there in terms of being part of the civil service and yet, he is not like that, he is twisted inside because his love of India is emotional. It's molecular.\u003c/p>\n\u003cp>\u003cb>How do you think living abroad in their colonial outposts affected the English psyche?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>To my understanding, the notion of Englishness that the people took with them when they went out to these places (Kenya and India as two examples), everything that was inside the people in terms of their ambitions, their hopes, their ideas about the kind of person they wanted to be, was amplified the minute they left England. You get all these people who were maybe lower-class when they left England and they arrive somewhere else, and you know what? “I'm middle-class.”' If you were middle class or upper middle class to begin with, by the time you got off the boat, you were upper-class. You were like, “Oh, did I forget to mention? I'm basically aristocracy” because no one was there to check your back story, and that went the same way as far as flirtations, and trying to have your cake and eat it because there was this sense of mischief, of reckless abandon, of reinvention.\u003c/p>\n\u003cp>There are very few people who are trying to maintain a status quo that is tied to the past. Almost everyone is having to embrace a new type of future like Julie Walter's character, Cynthia. She is a dinosaur in her refusal to acknowledge that the times are changing. Ralph may appear to \u003ci>not\u003c/i> acknowledge that the times are changing but in his soul, of course, he knows they are.\u003c/p>\n\u003cfigure id=\"attachment_5070\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/walters_hughes.jpg\">\u003cimg class=\"size-full wp-image-5070\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/walters_hughes.jpg\" alt=\"Left to right: Julie Walters as Cynthia Coffin and Henry Lloyd-Hughes as Ralph Whelan. ((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International) \" width=\"640\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/08/walters_hughes.jpg 640w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/walters_hughes-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Julie Walters as Cynthia Coffin and Henry Lloyd-Hughes as Ralph Whelan.\u003cbr>((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>But Julie Walter's character seems to have carved out her own personal fiefdom, one that she might not ever have had in England.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> Exactly right. She's an embodiment of the kind of person that made a richer and, like you say, a little private universe of her own devising that wouldn't have been possible to any degree in England, which is why of course she wants to cling on to India until her dying breath, because why wouldn't you if you could reinvent yourself, make yourself grand and powerful when you weren't powerful. It incentivizes you almost above and beyond your actual political leanings, your actual racial prejudices because what you want is to cling on to what you've got.\u003c/p>\n\u003cp>\u003cb>When you’re acting in a period piece like this, how do you go about erasing the modern world?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> There are certain things, in terms of dialogue, in terms of dialect, it's hard to explain but once you get into the rhythm of a period scene, the words and the rhythm of what you're doing will transport you somewhere. There are drawbacks to filming on location on the other side of the world. I don't see my wife, I don't see my friends, I don't see anyone I know, but having said that, the one value added, you are transported. You are transported to a place that feels other, and it feels like you are in a different place and maybe even in a different time.\u003c/p>\n\u003cp>\u003cspan style=\"font-family: Arial, sans-serif\">\u003cspan style=\"font-family: Arial, sans-serif\">\u003cbr>\n\u003c/span>\u003c/span>\u003cb>For American audiences who aren’t familiar with your work, I wanted to talk about your filmography, starting with a short film you wrote \u003c/b>\u003ca href=\"http://www.funnyordie.com/videos/fabe616aef/acting-intensity-rebellion?_cc=__d___&_ccid=elm89o.nsj3qn\" target=\"_blank\">\u003cb>“Acting = Intensity + Rebellion.”\u003c/b>\u003c/a>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>I'm not someone who sits at the typewriter with a blank screen and goes, “oh, what could I possibly cook up?” Occasionally, for example, I have a very specific idea that comes to me fully formed. I wrote \u003ci>Acting\u003c/i> in maybe 24 hours. A week later I was shooting it in L.A. As an idea, it was inspired by moody teenage heartthrob actors that maybe weren't necessarily that good. The idea that one could come up with a formula for acting was really funny to me. What's interesting is that you can be incredibly pretentious and still be a really good actor. In a way, that's what's frustrating about it.\u003c/p>\n\u003cp>\u003cb>Looking at your biography, you come from a family of actors. \u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> I guess on paper, but it wasn't a foregone conclusion. It just meant that when that conversation came, there was a bit of, “We thought we'd exorcised this ghost and suddenly, we find that the house is haunted again.” My family was unsurprised, shall we say, that that particular gene had come back and come back with a vengeance.\u003c/p>\n\u003cfigure id=\"attachment_5071\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/hughes_dinner.jpg\">\u003cimg class=\"size-full wp-image-5071\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/hughes_dinner.jpg\" alt=\"Left to right: Jemima West as Alice Whelan and Henry Lloyd-Hughes as Ralph Whelan. ((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International) \" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/08/hughes_dinner.jpg 640w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/hughes_dinner-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Jemima West as Alice Whelan and Henry Lloyd-Hughes as Ralph Whelan.\u003cbr>((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You also appeared in a popular British series \u003c/b>\u003cb>\u003ci>The Inbetweeners. \u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>It's a huge show in England, and has such a cult following that the minute they finish a show there's a huge appetite for more. I think there will be more. I was the anti-hero, the baddie in that show as well, unfortunately. As much as I love doing comedies — and that was so satisfying doing a funny show with so many great comic actors — but I always play the straight guy.\u003c/p>\n\u003cp>Weirdly, I didn't get to flex my comic muscles as much as you would expect given that it's a very successful comedy, but I love the show, it's very English. I don't know whether viewers from America, if they want to watch it whether or not it might resonate in the same way because it's about a particular type of English suburbia, but I would say a companion piece, an easy comparison, would be something like \u003ca href=\"http://www.vanityfair.com/unchanged/2013/01/freaks-and-geeks-oral-history\" target=\"_blank\">\u003ci>Freaks and Geeks.\u003c/i>\u003c/a> It's not about the cool kids.\u003c/p>\n\u003cp>\u003cb>In 2016, you’re going to be in a Hollywood film, \u003c/b>\u003cb>\u003ci>Now You See Me: The Second Act. \u003c/i>\u003c/b>\u003cb>What’s the difference between working in America vs. the U.K.?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> The thing is: L.A. has its own language and rhythm. I almost feel like it's a separate state. I think if you were to transplant someone from Iowa and take them into a restaurant in L.A. and overheard the conversations, I think it would feel pretty weird for them as well. There is a rhythm and a pitch to which people can make a deal, come after the deal, make a new deal. That is, in and of itself, some kind of magisterial dance that is both beautiful and incredibly ugly all at once.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Indian Summers on Masterpiece\u003c/i> premieres on KQED 9 Sunday, September 27.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 8
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
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