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"content": "\u003cp>When I was a child growing up in the 1980s, the most common thing I heard about feminists was that they were ugly, man-hating, sex-phobic shrews with no sense of humor.\u003c/p>\n\u003cp>Kathleen Hanna has long stood as a glaring repudiation of that lazy old stereotype on every level. There wasn’t a lot about \u003ca href=\"https://www.kqed.org/pop/14084/90s-nostalgia-a-look-at-how-our-lives-do-and-dont-matter\">riot grrrl\u003c/a> that was comedic, but from the moment the now-55-year-old arrived in the public eye, hers was always a biting, sarcastic wit with a healthy underbelly of goofiness. For the last 20 years, though, it would appear the Bikini Kill/Le Tigre/Julie Ruin frontwoman has only been getting more hilarious. (That much is evident in the ridiculous social media \u003ca href=\"https://www.tiktok.com/@thekathleenhanna/video/7368929147986529582\">videos Hanna has recently been posting\u003c/a> to promote the release of her \u003ca href=\"https://www.kqed.org/arts/13957749/kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl\">new autobiography, \u003c/a>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13957749/kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl\">Rebel Girl\u003c/a>.\u003c/em>)\u003c/p>\n\u003cp>[aside postid='arts_13957749']That said, even avid followers of the singer were treated to a side-splitting surprise Tuesday night in San Francisco, when Hanna sat down in conversation with Oakland musician and author \u003ca href=\"https://www.kqed.org/forum/2010101904684/brontez-purnell-on-his-memoir-in-verse-and-a-life-of-making-transgressive-art\">Brontez Purnell\u003c/a>\u003cem>, \u003c/em>as part of the \u003ca href=\"https://www.cityarts.net/\">City Arts & Lectures\u003c/a> series.\u003c/p>\n\u003cp>The way these conversational events so often go is that only one person at a time is allowed to be unfiltered and unhinged onstage. The joy of seeing Hanna and Purnell in action together is that neither one of them is willing or able to play the “straight man” role. (Pun intended.) The pair have also been friends for many years, having first exchanged mail back when Purnell was a 15-year-old Bikini Kill fan who sent Hanna a selfie he took on a disposable camera. To say these two have a good rapport at this point is a gross understatement.\u003c/p>\n\u003cp>Every member of the Sydney Goldstein Theater audience benefitted from that chemistry, treated to a magnificent zig-zag of subject matters, occasionally landing on the audience at a dizzying — and very funny — pace. Here are just some of the very strange things that came up in the course of Hanna and Purnell’s conversation:\u003c/p>\n\u003cul>\n\u003cli>The fact that Hanna’s mom refers to vaginas as “front bottoms” and to actual rear ends as “back bottoms”\u003c/li>\n\u003cli>The fact that Hanna once tried to get a role in a terrible \u003cem>Less Than Zero\u003c/em> musical, even though she had literally just started Le Tigre\u003c/li>\n\u003cli>Purnell’s repeated assertion that the future of punk rock lies in DJing\u003c/li>\n\u003cli>Hanna’s onstage cover of \u003ca href=\"https://www.youtube.com/watch?v=OqeKV2UYq1Q\">“Harden My Heart” by Quarterflash\u003c/a>, performed in the style of the musical \u003cem>Oklahoma\u003c/em>\u003c/li>\n\u003cli>Purnell and Hanna realizing in real time that they both spent their youths lusting after the same member of obscure Portland band Dead Moon\u003c/li>\n\u003cli>The pride Hanna feels about sharing a birthday (and birth hospital) with 1990s ice skating icon Tonya Harding\u003c/li>\n\u003cli>The fact that both Hanna and Purnell still obsess about folk tales in which major characters are rescued by insects (Purnell’s is \u003cem>Cupid and Psyche\u003c/em>, Hanna’s is \u003cem>Pinocchio\u003c/em>)\u003c/li>\n\u003cli>The news that Hanna’s second cousin was an Oregon drag legend known as Darcelle XV — and that she’s currently making a documentary about them\u003c/li>\n\u003cli>Purnell’s opinion that every tour Iggy Pop performs from here on out should just be referred to as “The Jim Crow Revival Fest”\u003c/li>\n\u003cli>The revelation that the 10-year-old son Hanna shares with husband Ad-Rock (of the Beastie Boys) is a fan of “fairy porn” book series \u003cem>A Court of Thorns and Roses —\u003c/em> but “at least he’s reading!”\u003c/li>\n\u003c/ul>\n\u003cp>Sure, Hanna and Purnell talked about all manner of serious things too, including the ways both have dealt with and healed from trauma. The two also touched on a “kidnapping” and one violent sexual assault that Hanna removed from the \u003cem>Rebel Girl\u003c/em> manuscript when early readers and editors told her it was too dark. (Reader be advised: The book still contains several descriptions of assault.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The difficulty of financially surviving as an artist also came up — though that, too, got funny. (“I married someone rich,” Hanna smiled without missing a beat, then sang dramatically: “I live off him!”)\u003c/p>\n\u003cp>Together, Purnell and Hanna delivered a City Arts & Lecture appointment that perfectly encapsulated the subject of the evening: an artist who has always found a way to take the most painful elements of her life and transform them into something engaging and enjoyable and useful. Hanna did that in her bands, she did that in 2013 documentary \u003cem>The Punk Singer, \u003c/em>she’s done that in her new book —\u003cem> \u003c/em>and she certainly did that last night.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://www.harpercollins.com/products/rebel-girl-kathleen-hanna?variant=41096269103138\">‘Rebel Girl’ by Kathleen Hanna (Ecco) is out now\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanna and Brontez Purnell’s conversation from City Arts & Lectures will premiere on KQED, 88.5 FM, on Sept. 1, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That said, even avid followers of the singer were treated to a side-splitting surprise Tuesday night in San Francisco, when Hanna sat down in conversation with Oakland musician and author \u003ca href=\"https://www.kqed.org/forum/2010101904684/brontez-purnell-on-his-memoir-in-verse-and-a-life-of-making-transgressive-art\">Brontez Purnell\u003c/a>\u003cem>, \u003c/em>as part of the \u003ca href=\"https://www.cityarts.net/\">City Arts & Lectures\u003c/a> series.\u003c/p>\n\u003cp>The way these conversational events so often go is that only one person at a time is allowed to be unfiltered and unhinged onstage. The joy of seeing Hanna and Purnell in action together is that neither one of them is willing or able to play the “straight man” role. (Pun intended.) The pair have also been friends for many years, having first exchanged mail back when Purnell was a 15-year-old Bikini Kill fan who sent Hanna a selfie he took on a disposable camera. To say these two have a good rapport at this point is a gross understatement.\u003c/p>\n\u003cp>Every member of the Sydney Goldstein Theater audience benefitted from that chemistry, treated to a magnificent zig-zag of subject matters, occasionally landing on the audience at a dizzying — and very funny — pace. Here are just some of the very strange things that came up in the course of Hanna and Purnell’s conversation:\u003c/p>\n\u003cul>\n\u003cli>The fact that Hanna’s mom refers to vaginas as “front bottoms” and to actual rear ends as “back bottoms”\u003c/li>\n\u003cli>The fact that Hanna once tried to get a role in a terrible \u003cem>Less Than Zero\u003c/em> musical, even though she had literally just started Le Tigre\u003c/li>\n\u003cli>Purnell’s repeated assertion that the future of punk rock lies in DJing\u003c/li>\n\u003cli>Hanna’s onstage cover of \u003ca href=\"https://www.youtube.com/watch?v=OqeKV2UYq1Q\">“Harden My Heart” by Quarterflash\u003c/a>, performed in the style of the musical \u003cem>Oklahoma\u003c/em>\u003c/li>\n\u003cli>Purnell and Hanna realizing in real time that they both spent their youths lusting after the same member of obscure Portland band Dead Moon\u003c/li>\n\u003cli>The pride Hanna feels about sharing a birthday (and birth hospital) with 1990s ice skating icon Tonya Harding\u003c/li>\n\u003cli>The fact that both Hanna and Purnell still obsess about folk tales in which major characters are rescued by insects (Purnell’s is \u003cem>Cupid and Psyche\u003c/em>, Hanna’s is \u003cem>Pinocchio\u003c/em>)\u003c/li>\n\u003cli>The news that Hanna’s second cousin was an Oregon drag legend known as Darcelle XV — and that she’s currently making a documentary about them\u003c/li>\n\u003cli>Purnell’s opinion that every tour Iggy Pop performs from here on out should just be referred to as “The Jim Crow Revival Fest”\u003c/li>\n\u003cli>The revelation that the 10-year-old son Hanna shares with husband Ad-Rock (of the Beastie Boys) is a fan of “fairy porn” book series \u003cem>A Court of Thorns and Roses —\u003c/em> but “at least he’s reading!”\u003c/li>\n\u003c/ul>\n\u003cp>Sure, Hanna and Purnell talked about all manner of serious things too, including the ways both have dealt with and healed from trauma. The two also touched on a “kidnapping” and one violent sexual assault that Hanna removed from the \u003cem>Rebel Girl\u003c/em> manuscript when early readers and editors told her it was too dark. (Reader be advised: The book still contains several descriptions of assault.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Janelle Monáe made a classic with her visual album \u003ca href=\"https://youtu.be/jdH2Sy-BlNE\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Dirty Computer\u003c/i>\u003c/a>, where she plays a queer android resisting against a dystopian regime. As punishment, the authoritarian government deems her “unclean” and decides she must have her memories erased. When the project came out in 2018—before artists like Lil Nas X moved the needle on LGBTQ+ inclusion in the mainstream music industry—\u003ci>Dirty Computer\u003c/i> made a generation of queer people feel seen and heard.\u003c/p>\n\u003cp>Monáe is an accomplished actor on top of being a forward-thinking pop star, and now she’s also about to become a published author. She expands upon the Afrofuturist themes of \u003ci>Dirty Computer\u003c/i> in her new book \u003ca href=\"https://www.harpercollins.com/pages/the-memory-librarian\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Memory Librarian\u003c/i>\u003c/a>, a collection of five short stories each written with a different co-author: Alaya Dawn Johnson, Danny Lore, Eve L. Ewing, Yohanca Delgado and Sheree Renée Thomas. Surveillance, artificial intelligence, queerness, memory and power are all themes in these stories of self-discovery and rebellion.\u003c/p>\n\u003cp>Monáe and \u003ca href=\"https://yohanca.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Delgado\u003c/a>, who is a Stanford fellow with work published in \u003ca href=\"http://www.johnjosephadams.com/best-american/projects/best-american-science-fiction-and-fantasy-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Best American Science Fiction and Fantasy\u003c/i>\u003c/a>, will present \u003ci>The Memory Librarian\u003c/i> at City Arts & Lectures in San Francisco’s Sydney Goldstein Theater on April 24. They’ll be in conversation with George M. Johnson, a journalist, activist and author of \u003ca href=\"https://time.com/6120915/george-m-johnson-all-boys-arent-blue-book-bans/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>All Boys Aren’t Blue\u003c/i>\u003c/a>, which has been banned in school libraries in at least eight states because of anti-LGBTQ+ and anti-critical race theory laws. The evening is co-presented by Oakland’s \u003ca href=\"https://www.marcusbooks.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marcus Books\u003c/a>, the nation’s oldest Black-owned bookstore, and Philadelphia’s \u003ca href=\"https://sistahscifi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sistah Scifi\u003c/a>, the first Black sci-fi and fantasy bookstore in the country.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.cityarts.net/event/janelle-monae/\" target=\"_blank\" rel=\"noopener noreferrer\">ticket pre-sale for City Arts & Lectures members\u003c/a> starts today, March 15, and goes for 24 hours before becoming available to the general public. After the event on April 24, the \u003ca href=\"https://www.cityarts.net/radio/\" target=\"_blank\" rel=\"noopener noreferrer\">conversation will broadcast on KQED at 88.5 FM\u003c/a> and other public radio stations across the country.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>A couple of nights ago, I ventured out to the \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie\u003c/a> movie theater in San Francisco’s Mission District to catch a screening of\u003ca href=\"https://www.imdb.com/title/tt5974030/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> The Jesus Rolls\u003c/em>\u003c/a>, starring John Turturro. It felt liberating, at this moment of hyper-hygiene-awareness, to see a film whose protagonist is oblivious to the concept of personal space and \u003ca href=\"https://www.youtube.com/watch?v=rLAmpku4fyg\" target=\"_blank\" rel=\"noopener noreferrer\">licks his bowling ball\u003c/a> before rolling a strike.\u003c/p>\n\u003cp>When I sat down, I noticed that my nearest neighbor was sitting very far away from me, due to the Roxie’s then-newly-instituted-policy to limit contact between patrons by restricting sales to a third of capacity.\u003c/p>\n\u003cp>“There are people that still want to come out to the movies,” Lex Sloan, the Roxie’s executive director, told me over the phone the next day. “The inspiration was just the idea that the six-foot-distance will help keep you safe. And so we grabbed a tape measure and measured the seats.”\u003c/p>\n\u003cfigure id=\"attachment_13818321\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818321\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/12/Night-1-e1514587755890-800x451.jpg\" alt=\"The Roxie Theater in San Francisco by night. The indie theater has seen an uptick in business in recent months, thanks, in part to the dirt-cheap subscription service, MoviePass.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Night-1-e1514587755890-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Night-1-e1514587755890-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Night-1-e1514587755890-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Night-1-e1514587755890-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Night-1-e1514587755890-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Night-1-e1514587755890-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Night-1-e1514587755890-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Night-1-e1514587755890-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Night-1-e1514587755890-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Night-1-e1514587755890.jpg 1704w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Roxie Theater in San Francisco by night. \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With an order Friday \u003ca href=\"https://www.sfdph.org/dph/alerts/files/Order-Prohibiting-Large-Gatherings(Order%20C19-05b)-031320.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">barring all gatherings in San Francisco venues with a capacity of 100 or more\u003c/a>, and with social distancing under COVID-19 applying to even the supermarket checkout or waiting for the bus, some live events spaces are figuring out how to share their work even as they struggle to stay open.\u003c/p>\n\u003cp>Enabling patrons to keep at a safe distance from one another by reducing seat sales is one solution.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another is livestreaming, or broadcasting performances online.\u003c/p>\n\u003cp>\u003ca href=\"https://www.cityarts.net/\" target=\"_blank\" rel=\"noopener noreferrer\">City Arts and Lectures\u003c/a> and \u003ca href=\"http://www.leftcoastensemble.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Left Coast Chamber Ensemble\u003c/a> are among the local cultural presenters to have experimented with this format for the very first time over the past week.\u003c/p>\n\u003cp>I caught the March 12 livestream of a City Arts and Lectures event featuring writers Robin Sloan and Anna Wiener. The conversation began with a nod to the weirdness of the situation.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"City Arts & Lectures presents Anna Wiener in conversation with Robin Sloan\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Lri9kcova3U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“This is a very unconventional City Arts and Lectures interview,” Sloan said. “Because in response to public health concerns about the spread of the novel coronavirus, Anna and I are actually sitting together onstage in a totally empty theater.”\u003c/p>\n\u003cp>City Arts co-director Kate Goldstein-Breyer said around 200 people tuned into the livestream, which her organization offered for free to both ticket holders and anyone else who felt like tuning in. By midday on Saturday, the video had garnered 670 views.\u003c/p>\n\u003cp>“We’re trying to give them the same conversation they would have experienced in the theater, albeit in a different form,” Goldstein-Breyer said. “One that is concerned with their health.”\u003c/p>\n\u003cp>Left Coast Chamber Ensemble performed its March 9 concert at the \u003ca href=\"https://sfcm.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Conservatory of Music\u003c/a> via YouTube instead of live, as previously planned. The musical group’s artistic director, Anna Presler, called the livestreamed event a “very strange experience.” She said it took the musicians a while to decide if they should take the customary bow at the end or not. They ultimately decided yes.\u003c/p>\n\u003cp>“There’s no escaping that a live performance is so much more entrancing and wonderful, for everyone involved, than one done at a safe distance,” Presler said. “But under the circumstances, the broadcast was the best we could do.”\u003c/p>\n\u003cp>Presler said some patrons reported piping the concert into their homes over dinner and a bottle of wine. “They said they had a really nice evening.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Left Coast Ensemble\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ba3MVhuIRaw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>It’s one thing to transfer relatively sedentary live experiences like talking heads and chamber music to video, but quite another to do the same for a fully staged musical or play.\u003c/p>\n\u003cp>Nevertheless, a growing number of theater companies, including the \u003ca href=\"https://hammertheatre.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hammer Theatre Center\u003c/a> and Naatak Theatre in San Jose, San Francisco’s \u003ca href=\"https://www.act-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">American Conservatory Theater\u003c/a> and \u003ca href=\"https://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Repertory Theatre\u003c/a>, are taking up the challenge.\u003c/p>\n\u003cp>Berkeley Repertory Theatre was about halfway through its run of \u003cem>Culture Clash (Still) in America\u003c/em> when it had to cancel all remaining performances owing to safety concerns around COVID-19.[aside postid='arts_13876160']\u003c/p>\n\u003cp>Managing director Susie Medak said her company scrambled to put together a presentable recording of the show in collaboration with the streaming service \u003ca href=\"https://www.broadwayhd.com/\" target=\"_blank\" rel=\"noopener noreferrer\">BroadwayHD\u003c/a>.\u003c/p>\n\u003cp>“I wish that we could do the six-camera shoots like the \u003ca href=\"http://ntlive.nationaltheatre.org.uk/\" target=\"_blank\" rel=\"noopener noreferrer\">National Theatre Live\u003c/a> does,” she said. “Not only is it cost-prohibitive to us, but we also really don’t have the capacity to do that right now and under these circumstances.”\u003c/p>\n\u003cp>Ticket buyers will be sent a code which they can use to watch the Culture Clash show, as well as another upcoming production, likely starting sometime next week. Medak said patrons will also have access to the entire BroadwayHD archive for a month. (ACT and the Hammer Theatre are also offering a similar access code arrangement for recordings of their productions.)\u003c/p>\n\u003cp>But Medak said Berkeley Rep is still committed to making \u003cem>live\u003c/em> theater. “This is a stop-gap measure that helps us continue to support the artists,” she said. “And to fulfill the obligations we feel to our audiences.”\u003c/p>\n\u003cp>But just how obliged audiences feel to arts groups at this time is an open question.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘We are in extraordinary and challenging times. It’s now more important than ever that we recognize the role art plays in our economy and our daily lives.’\u003c/aside>\n\u003cp>Every group contacted for this story reported losing money as a result of seeking alternative ways of delivering their content to audiences beyond their habitual live performance spaces.\u003c/p>\n\u003cp>“We aren’t going to be making money on this; we’re spending money,” said City Arts’ Goldstein-Breyer. “But we are trying to minimize the impact on people who would have been working these shows. So we are still paying front of house staff for our theater, even though we don’t actually need a custodian and we don’t actually need ushers.”\u003c/p>\n\u003cp>Many cultural presenters are trying to cut their losses by asking ticket holders not to file for refunds, in order to support the theater or arts organization.\u003c/p>\n\u003cp>So far, these requests have been getting a mixed response.\u003c/p>\n\u003cp>“There’s the option to donate your tickets back to the theater and that can be a tax-deductible donation,” said ACT executive director Jennifer Bielstein. The company is offering videos of two of its shows, \u003cem>Gloria\u003c/em> and \u003cem>Toni Stone\u003c/em>, also in collaboration with BroadwayHD. “We’re hoping that people will do that, because I know a lot of small businesses such as ourselves are taking a tremendous hit because of this.”\u003c/p>\n\u003cp>Bielstein estimates around 60 percent of ACT ticket holders have requested refunds or exchanges, while 40 percent have offered to donate the cost of their tickets back to the company.[aside postid='science_1957877']\u003c/p>\n\u003cp>As COVID-19 continues to deepen the economic strain on the region’s arts and culture community as a result of lost ticket and rental income, and other longer-term factors, cultural groups are turning to funders and state legislators for financial aid.\u003c/p>\n\u003cp>“We are in extraordinary and challenging times,” said Julie Baker, executive director for \u003ca href=\"https://www.californiansforthearts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Californians for the Arts\u003c/a>, a statewide arts lobbying group. “It’s now more important than ever that we recognize the role art plays in our economy and our daily lives. We must all harness our partnerships with elected officials and private funders to ensure that this critical segment of the population can continue to contribute to our culture and our future. Right now, that means finding innovative ways for artists and arts organizations to deliver in a safe and compensated manner as we transition from live gatherings to virtual forums.”\u003c/p>\n\u003cp>The help cannot come soon enough.\u003c/p>\n\u003cp>Despite offering patrons antibacterial wipes at the box office and reducing seating capacity to give them more space, the Roxie couldn’t keep its doors open. The day after my visit to see \u003cem>The Jesus Rolls\u003c/em>, the movie theater announced a temporary COVID-19-related closure.\u003c/p>\n\u003cp>I’ll have to get used to the fact it could be quite a while before culture fans such as myself get to sit shoulder-to-shoulder in a darkened theater again.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A couple of nights ago, I ventured out to the \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie\u003c/a> movie theater in San Francisco’s Mission District to catch a screening of\u003ca href=\"https://www.imdb.com/title/tt5974030/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> The Jesus Rolls\u003c/em>\u003c/a>, starring John Turturro. It felt liberating, at this moment of hyper-hygiene-awareness, to see a film whose protagonist is oblivious to the concept of personal space and \u003ca href=\"https://www.youtube.com/watch?v=rLAmpku4fyg\" target=\"_blank\" rel=\"noopener noreferrer\">licks his bowling ball\u003c/a> before rolling a strike.\u003c/p>\n\u003cp>When I sat down, I noticed that my nearest neighbor was sitting very far away from me, due to the Roxie’s then-newly-instituted-policy to limit contact between patrons by restricting sales to a third of capacity.\u003c/p>\n\u003cp>“There are people that still want to come out to the movies,” Lex Sloan, the Roxie’s executive director, told me over the phone the next day. “The inspiration was just the idea that the six-foot-distance will help keep you safe. And so we grabbed a tape measure and measured the seats.”\u003c/p>\n\u003cfigure id=\"attachment_13818321\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818321\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/12/Night-1-e1514587755890-800x451.jpg\" alt=\"The Roxie Theater in San Francisco by night. The indie theater has seen an uptick in business in recent months, thanks, in part to the dirt-cheap subscription service, MoviePass.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Night-1-e1514587755890-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Night-1-e1514587755890-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Night-1-e1514587755890-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Night-1-e1514587755890-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Night-1-e1514587755890-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Night-1-e1514587755890-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Night-1-e1514587755890-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Night-1-e1514587755890-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Night-1-e1514587755890-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Night-1-e1514587755890.jpg 1704w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Roxie Theater in San Francisco by night. \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With an order Friday \u003ca href=\"https://www.sfdph.org/dph/alerts/files/Order-Prohibiting-Large-Gatherings(Order%20C19-05b)-031320.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">barring all gatherings in San Francisco venues with a capacity of 100 or more\u003c/a>, and with social distancing under COVID-19 applying to even the supermarket checkout or waiting for the bus, some live events spaces are figuring out how to share their work even as they struggle to stay open.\u003c/p>\n\u003cp>Enabling patrons to keep at a safe distance from one another by reducing seat sales is one solution.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another is livestreaming, or broadcasting performances online.\u003c/p>\n\u003cp>\u003ca href=\"https://www.cityarts.net/\" target=\"_blank\" rel=\"noopener noreferrer\">City Arts and Lectures\u003c/a> and \u003ca href=\"http://www.leftcoastensemble.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Left Coast Chamber Ensemble\u003c/a> are among the local cultural presenters to have experimented with this format for the very first time over the past week.\u003c/p>\n\u003cp>I caught the March 12 livestream of a City Arts and Lectures event featuring writers Robin Sloan and Anna Wiener. The conversation began with a nod to the weirdness of the situation.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"City Arts & Lectures presents Anna Wiener in conversation with Robin Sloan\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Lri9kcova3U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“This is a very unconventional City Arts and Lectures interview,” Sloan said. “Because in response to public health concerns about the spread of the novel coronavirus, Anna and I are actually sitting together onstage in a totally empty theater.”\u003c/p>\n\u003cp>City Arts co-director Kate Goldstein-Breyer said around 200 people tuned into the livestream, which her organization offered for free to both ticket holders and anyone else who felt like tuning in. By midday on Saturday, the video had garnered 670 views.\u003c/p>\n\u003cp>“We’re trying to give them the same conversation they would have experienced in the theater, albeit in a different form,” Goldstein-Breyer said. “One that is concerned with their health.”\u003c/p>\n\u003cp>Left Coast Chamber Ensemble performed its March 9 concert at the \u003ca href=\"https://sfcm.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Conservatory of Music\u003c/a> via YouTube instead of live, as previously planned. The musical group’s artistic director, Anna Presler, called the livestreamed event a “very strange experience.” She said it took the musicians a while to decide if they should take the customary bow at the end or not. They ultimately decided yes.\u003c/p>\n\u003cp>“There’s no escaping that a live performance is so much more entrancing and wonderful, for everyone involved, than one done at a safe distance,” Presler said. “But under the circumstances, the broadcast was the best we could do.”\u003c/p>\n\u003cp>Presler said some patrons reported piping the concert into their homes over dinner and a bottle of wine. “They said they had a really nice evening.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Left Coast Ensemble\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ba3MVhuIRaw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>It’s one thing to transfer relatively sedentary live experiences like talking heads and chamber music to video, but quite another to do the same for a fully staged musical or play.\u003c/p>\n\u003cp>Nevertheless, a growing number of theater companies, including the \u003ca href=\"https://hammertheatre.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hammer Theatre Center\u003c/a> and Naatak Theatre in San Jose, San Francisco’s \u003ca href=\"https://www.act-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">American Conservatory Theater\u003c/a> and \u003ca href=\"https://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Repertory Theatre\u003c/a>, are taking up the challenge.\u003c/p>\n\u003cp>Berkeley Repertory Theatre was about halfway through its run of \u003cem>Culture Clash (Still) in America\u003c/em> when it had to cancel all remaining performances owing to safety concerns around COVID-19.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Managing director Susie Medak said her company scrambled to put together a presentable recording of the show in collaboration with the streaming service \u003ca href=\"https://www.broadwayhd.com/\" target=\"_blank\" rel=\"noopener noreferrer\">BroadwayHD\u003c/a>.\u003c/p>\n\u003cp>“I wish that we could do the six-camera shoots like the \u003ca href=\"http://ntlive.nationaltheatre.org.uk/\" target=\"_blank\" rel=\"noopener noreferrer\">National Theatre Live\u003c/a> does,” she said. “Not only is it cost-prohibitive to us, but we also really don’t have the capacity to do that right now and under these circumstances.”\u003c/p>\n\u003cp>Ticket buyers will be sent a code which they can use to watch the Culture Clash show, as well as another upcoming production, likely starting sometime next week. Medak said patrons will also have access to the entire BroadwayHD archive for a month. (ACT and the Hammer Theatre are also offering a similar access code arrangement for recordings of their productions.)\u003c/p>\n\u003cp>But Medak said Berkeley Rep is still committed to making \u003cem>live\u003c/em> theater. “This is a stop-gap measure that helps us continue to support the artists,” she said. “And to fulfill the obligations we feel to our audiences.”\u003c/p>\n\u003cp>But just how obliged audiences feel to arts groups at this time is an open question.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘We are in extraordinary and challenging times. It’s now more important than ever that we recognize the role art plays in our economy and our daily lives.’\u003c/aside>\n\u003cp>Every group contacted for this story reported losing money as a result of seeking alternative ways of delivering their content to audiences beyond their habitual live performance spaces.\u003c/p>\n\u003cp>“We aren’t going to be making money on this; we’re spending money,” said City Arts’ Goldstein-Breyer. “But we are trying to minimize the impact on people who would have been working these shows. So we are still paying front of house staff for our theater, even though we don’t actually need a custodian and we don’t actually need ushers.”\u003c/p>\n\u003cp>Many cultural presenters are trying to cut their losses by asking ticket holders not to file for refunds, in order to support the theater or arts organization.\u003c/p>\n\u003cp>So far, these requests have been getting a mixed response.\u003c/p>\n\u003cp>“There’s the option to donate your tickets back to the theater and that can be a tax-deductible donation,” said ACT executive director Jennifer Bielstein. The company is offering videos of two of its shows, \u003cem>Gloria\u003c/em> and \u003cem>Toni Stone\u003c/em>, also in collaboration with BroadwayHD. “We’re hoping that people will do that, because I know a lot of small businesses such as ourselves are taking a tremendous hit because of this.”\u003c/p>\n\u003cp>Bielstein estimates around 60 percent of ACT ticket holders have requested refunds or exchanges, while 40 percent have offered to donate the cost of their tickets back to the company.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As COVID-19 continues to deepen the economic strain on the region’s arts and culture community as a result of lost ticket and rental income, and other longer-term factors, cultural groups are turning to funders and state legislators for financial aid.\u003c/p>\n\u003cp>“We are in extraordinary and challenging times,” said Julie Baker, executive director for \u003ca href=\"https://www.californiansforthearts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Californians for the Arts\u003c/a>, a statewide arts lobbying group. “It’s now more important than ever that we recognize the role art plays in our economy and our daily lives. We must all harness our partnerships with elected officials and private funders to ensure that this critical segment of the population can continue to contribute to our culture and our future. Right now, that means finding innovative ways for artists and arts organizations to deliver in a safe and compensated manner as we transition from live gatherings to virtual forums.”\u003c/p>\n\u003cp>The help cannot come soon enough.\u003c/p>\n\u003cp>Despite offering patrons antibacterial wipes at the box office and reducing seating capacity to give them more space, the Roxie couldn’t keep its doors open. The day after my visit to see \u003cem>The Jesus Rolls\u003c/em>, the movie theater announced a temporary COVID-19-related closure.\u003c/p>\n\u003cp>I’ll have to get used to the fact it could be quite a while before culture fans such as myself get to sit shoulder-to-shoulder in a darkened theater again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco Unified School District (SFUSD) officials will vote Tuesday on a motion to change the name of the Nourse Theater in Hayes Valley to the Sydney Goldstein Theater.\u003c/p>\n\u003cp>The name change seeks to honor the founder of local public talks presenter \u003ca href=\"https://www.cityarts.net/\" target=\"_blank\" rel=\"noopener\">City Arts and Lectures\u003c/a>, who passed away last September at 73.\u003c/p>\n\u003cp>Sydney Goldstein breathed new life into the SFUSD-owned Nourse Theater, renovating it after the historic building sat neglected for decades, said City Arts co-director Holly Mulder-Wollan in a phone interview.\u003c/p>\n\u003cfigure id=\"attachment_13593408\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13593408\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-800x451.jpg\" alt=\"City Arts & Lectures longtime leader Sydney Goldstein (right) with one of her main collaborators on the Nourse Theater renovation project, Moti Kazemi.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">City Arts & Lectures longtime leader Sydney Goldstein (right) pictured with one of her main collaborators on the Nourse Theatre renovation project, contractor Moti Kazemi. \u003ccite>(Drew Altizer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every detail, from the sound system, to the seats, to the sconces, to the curtains, was really a passion project that Sydney poured her life into,” Mulder-Wollan said. “And we want to honor all the work that she did there.”\u003c/p>\n\u003cp>The Nourse Theater was originally named the the Nourse Auditorium in remembrance of Joseph Nourse, a teacher, principal and superintendent who worked for the San Francisco school district for 42 years in the early part of the 20th century.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before Goldstein renovated the 1927 art deco building located on the corner of Hayes and Franklin Streets, it served many purposes.\u003c/p>\n\u003cp>Under Nourse, it originally housed the High School of Commerce.\u003c/p>\n\u003cp>When the institution closed in the 1950s, the school district started renting it out for events, including an Alcoholics Anonymous 30th anniversary party in 1965 and a poetry reading by Lawrence Ferlinghetti and Allen Ginsberg on Robert F. Kennedy’s funeral day in 1968. In 1985, it was used as a courtroom for a State Civil Court asbestos case that went on for two years.\u003c/p>\n\u003cp>After that, the theater closed its doors to the public. The school district used it as a storage space.\u003c/p>\n\u003cp>Kary Schulman, director of city culture funder Grants for the Arts, recalled visiting the abandoned theater with Goldstein soon after after City Arts’ founder learned that her longtime venue, the Herbst Theatre, was temporarily closing for seismic renovations.\u003c/p>\n\u003cp>“By great good luck, we found a kind custodian who was able to unlock the theatre, and turn on the lights revealing a scene of decay and abandonment that is difficult to describe,” wrote Schulman in an email. “There was a false floor, put in for the asbestos trials in the mid-’80s, and there was the stored detritus of decades of SFUSD discards: File boxes, old desks, piled high with computers from the Jurassic age of computers, broken office furniture, piles of lumber and building supplies, all stacked in unstable towers like those we’re used to seeing on the news after natural disasters. And all covered with dust and pigeon droppings.”\u003c/p>\n\u003cp>Schulman thought the space was unsalvageable. But Goldstein saw things differently. “Sydney could see at once that the space could be emptied, cleaned, painted, outfitted with new seats, an inviting green room, and a good sound system,” Schulman wrote. “She saw it could be an asset not only for City Arts and Lectures but for the whole arts community.”\u003c/p>\n\u003cp>City Arts started hosting events at the Nourse in April of 2013. The organization presents more than 50 shows at the theater each year.\u003c/p>\n\u003cp>Other Bay Area nonprofit organizations, including the San Francisco Gay Men’s Chorus, the San Francisco Civic Symphony, Youth Speaks and the California Institute of Integral Studies, keep the 1,800-seat space buzzing for an additional 60 nights annually.\u003c/p>\n\u003cp>KQED is the broadcast partner for the City Arts & Lectures radio series.\u003c/p>\n\u003cp>SFUSD commissioner Emily M. Murase said the school board is likely to approve the motion with no objections. She said she expects the new name to be in place on the building by sometime in the spring.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It was really precipitated by Sydney Goldstein’s very untimely death in the fall,” Murase said in a phone interview. “It’s a very fitting tribute. She took what was basically a neglected property and really transformed it and activated it into a lively space for discussion and dialogue.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Unified School District (SFUSD) officials will vote Tuesday on a motion to change the name of the Nourse Theater in Hayes Valley to the Sydney Goldstein Theater.\u003c/p>\n\u003cp>The name change seeks to honor the founder of local public talks presenter \u003ca href=\"https://www.cityarts.net/\" target=\"_blank\" rel=\"noopener\">City Arts and Lectures\u003c/a>, who passed away last September at 73.\u003c/p>\n\u003cp>Sydney Goldstein breathed new life into the SFUSD-owned Nourse Theater, renovating it after the historic building sat neglected for decades, said City Arts co-director Holly Mulder-Wollan in a phone interview.\u003c/p>\n\u003cfigure id=\"attachment_13593408\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13593408\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-800x451.jpg\" alt=\"City Arts & Lectures longtime leader Sydney Goldstein (right) with one of her main collaborators on the Nourse Theater renovation project, Moti Kazemi.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">City Arts & Lectures longtime leader Sydney Goldstein (right) pictured with one of her main collaborators on the Nourse Theatre renovation project, contractor Moti Kazemi. \u003ccite>(Drew Altizer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every detail, from the sound system, to the seats, to the sconces, to the curtains, was really a passion project that Sydney poured her life into,” Mulder-Wollan said. “And we want to honor all the work that she did there.”\u003c/p>\n\u003cp>The Nourse Theater was originally named the the Nourse Auditorium in remembrance of Joseph Nourse, a teacher, principal and superintendent who worked for the San Francisco school district for 42 years in the early part of the 20th century.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before Goldstein renovated the 1927 art deco building located on the corner of Hayes and Franklin Streets, it served many purposes.\u003c/p>\n\u003cp>Under Nourse, it originally housed the High School of Commerce.\u003c/p>\n\u003cp>When the institution closed in the 1950s, the school district started renting it out for events, including an Alcoholics Anonymous 30th anniversary party in 1965 and a poetry reading by Lawrence Ferlinghetti and Allen Ginsberg on Robert F. Kennedy’s funeral day in 1968. In 1985, it was used as a courtroom for a State Civil Court asbestos case that went on for two years.\u003c/p>\n\u003cp>After that, the theater closed its doors to the public. The school district used it as a storage space.\u003c/p>\n\u003cp>Kary Schulman, director of city culture funder Grants for the Arts, recalled visiting the abandoned theater with Goldstein soon after after City Arts’ founder learned that her longtime venue, the Herbst Theatre, was temporarily closing for seismic renovations.\u003c/p>\n\u003cp>“By great good luck, we found a kind custodian who was able to unlock the theatre, and turn on the lights revealing a scene of decay and abandonment that is difficult to describe,” wrote Schulman in an email. “There was a false floor, put in for the asbestos trials in the mid-’80s, and there was the stored detritus of decades of SFUSD discards: File boxes, old desks, piled high with computers from the Jurassic age of computers, broken office furniture, piles of lumber and building supplies, all stacked in unstable towers like those we’re used to seeing on the news after natural disasters. And all covered with dust and pigeon droppings.”\u003c/p>\n\u003cp>Schulman thought the space was unsalvageable. But Goldstein saw things differently. “Sydney could see at once that the space could be emptied, cleaned, painted, outfitted with new seats, an inviting green room, and a good sound system,” Schulman wrote. “She saw it could be an asset not only for City Arts and Lectures but for the whole arts community.”\u003c/p>\n\u003cp>City Arts started hosting events at the Nourse in April of 2013. The organization presents more than 50 shows at the theater each year.\u003c/p>\n\u003cp>Other Bay Area nonprofit organizations, including the San Francisco Gay Men’s Chorus, the San Francisco Civic Symphony, Youth Speaks and the California Institute of Integral Studies, keep the 1,800-seat space buzzing for an additional 60 nights annually.\u003c/p>\n\u003cp>KQED is the broadcast partner for the City Arts & Lectures radio series.\u003c/p>\n\u003cp>SFUSD commissioner Emily M. Murase said the school board is likely to approve the motion with no objections. She said she expects the new name to be in place on the building by sometime in the spring.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It was really precipitated by Sydney Goldstein’s very untimely death in the fall,” Murase said in a phone interview. “It’s a very fitting tribute. She took what was basically a neglected property and really transformed it and activated it into a lively space for discussion and dialogue.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In almost every way, the Beastie Boys’ appearance at City Arts & Lectures Monday night was about the person who wasn’t in the room.\u003c/p>\n\u003cp>Adam Yauch, the group’s raspy-voiced MCA who died of throat cancer in 2012, loomed large over the proceedings, from the surviving members’ opening story about Yauch’s elaborate pranking skills to a bittersweet eulogy on his friendship and dedication that closed the two-and-a-half-hour show. \u003c/p>\n\u003cp>Out on the road to promote \u003cem>Beastie Boys Book\u003c/em>, a massive 571-page retrospective, Mike D and Ad Rock did away with with City Arts & Lectures’ usual orange-chairs-and-end-table setup and instead presented a theatrical series of vignettes, complete with costume changes, lighting cues and elaborate sets.\u003c/p>\n\u003cfigure id=\"attachment_13844447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-800x469.jpg\" alt=\"The Beastie Boys' Mike D and Ad Rock at City Arts & Lectures, Nov. 6, 2018.\" width=\"800\" height=\"469\" class=\"size-medium wp-image-13844447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-800x469.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-768x450.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-1020x598.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-1200x703.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-1180x691.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-960x563.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-240x141.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-375x220.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-520x305.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Beastie Boys’ Mike D and Ad Rock at City Arts & Lectures, Nov. 6, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flanked by two giant video screens and soundtracked by a stage-right DJ Mix Master Mike, the two drank espresso at a French coffee shop one minute, and sat for a late-night talk show segment the next. At one point, Mike D appeared in a smock and red beret, painting a giant canvas of himself nude in a bathtub and getting snacks from a nearby refrigerator. \u003c/p>\n\u003cp>In other words, Ad Rock and Mike D were the same jokesters who donned wigs and walkie-talkies in the “Sabotage” video and seared themselves into 1990s culture. Often, it was hard to tell when the two were being serious—especially with an ongoing gag of the two getting into tiny arguments, which stopped being funny after the first hour and routinely threw off the pacing. But when reading from the book—or rather, from onstage teleprompters—the reflections of the Beasties’ genesis in 1980s New York and creative development in the 1990s came off as vivid and heartfelt.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among the stories: Meeting Yauch at a Bad Brains show. Hiring Rick Rubin as their DJ because he had a bubble machine. Being asked to play a “pro-smoking” benefit concert by Bob Dylan at Dolly Parton’s birthday party. Looping a reel-to-reel tape of the drums from Led Zeppelin’s “When the Levee Breaks,” the tape spooling around Yauch’s kitchen, for “Rhymin’ and Stealin’.” \u003cem>Paul’s Boutique\u003c/em> getting the brush from the president of Capitol Records, who had the entire staff in 1989 prioritizing \u003ca href=\"https://www.youtube.com/watch?v=nLKzwb2JvLo\" rel=\"noopener\" target=\"_blank\">Donnie Osmond instead\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13844448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-800x583.jpg\" alt=\"Pieces of Beastie Boys memorabilia at City Arts & Lectures, Nov. 6, 2018.\" width=\"800\" height=\"583\" class=\"size-medium wp-image-13844448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-1200x874.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-1180x859.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-960x699.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-520x379.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pieces of Beastie Boys memorabilia at City Arts & Lectures, Nov. 6, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of the evening dwelled on the early years. Naturally, the group addressed their discomfort with the \u003cem>Licensed to Ill\u003c/em> era, when they performed songs like “Girls” and kept a 20-foot hydraulic penis on stage: “It was toxic as hell,” Mike D said. The group also kicked out original drummer Kate Schellenbach “because she didn’t fit into our new tough-rapper-guy identity,” Ad Rock lamented. “It was just shitty the way it happened. And I am so sorry about it.”\u003c/p>\n\u003cp>Despite the presence of Mix Master Mike on stage, the two didn’t perform any songs; again, in apparent respect for Yauch. Outside in the courtyard before the show, however, a speaker played early hip-hop for a long line of fans eager to see over 100 pieces of group memorabilia on display: handwritten lyrics, drum machines, old sneakers, a card from Madonna, backstage passes, and yes, the walkie-talkies from Spike Jonze’s “Sabotage” video.\u003c/p>\n\u003cfigure id=\"attachment_13844449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-800x600.jpg\" alt=\"Pieces of Beastie Boys memorabilia at City Arts & Lectures, Nov. 6, 2018.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13844449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pieces of Beastie Boys memorabilia at City Arts & Lectures, Nov. 6, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crowd was mostly over the age of 40. But within that age group were a variety of people: skaters, businessmen, punks, CEOs. People checking Slack in one corner, people sneaking a joint in another. Friends singing “The Biz vs. The Nuge” at the top of their lungs in line. Celebrity chefs like Chris Cosentino, and hip-hop legends like DJ Shadow. It drove home the idea that the Beastie Boys were a social network of their day, a way for disparate subcultures to connect under the unlikely banner of a hybrid rap-rock-jazz group from New York who seemed to know things the rest of the world didn’t. \u003c/p>\n\u003cp>Which raises the question: could something like the Beastie Boys even happen today? No doubt they’d be tagged as appropriators exploiting their white privilege; even more of an obstacle may be the internet itself and its demythologizing effect.\u003c/p>\n\u003cp>It calls to mind one of the earliest web pages on the hip-hop internet, a \u003ca href=\"https://www.newsweek.com/mysterious-website-thats-been-cataloguing-beastie-boys-pauls-boutique-1993-261415\" rel=\"noopener\" target=\"_blank\">complete list of sample sources and lyrical references from \u003cem>Paul’s Boutique\u003c/em>\u003c/a>. Never before published in traditional media, it served as a Rosetta Stone for budding producers, and a treasure chest to fans. But it also took away a little bit of the Beasties’ magic.\u003c/p>\n\u003cfigure id=\"attachment_13844450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-800x471.jpg\" alt=\"The Beastie Boys' Ad Rock, Mix Master Mike and Mike D (L–R) at City Arts & Lectures, Nov. 6, 2018.\" width=\"800\" height=\"471\" class=\"size-medium wp-image-13844450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-1020x600.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-1200x706.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-1180x694.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-960x565.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-240x141.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-520x306.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Beastie Boys’ Ad Rock, Mix Master Mike and Mike D (L–R) at City Arts & Lectures, Nov. 6, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>With this current tour, the massive book and their openness about their past, the Beasties are finally fitting into the information age, warts and all. And over and over again, last night, Mike D and Ad Rock repeated variations of the same thing: “I wish Yauch were here.”\u003c/p>\n\n",
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"excerpt": "Over two and a half hours, Mike D and Ad Rock told stories, acted out vignettes, and remembered MCA, the group's heart and soul.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In almost every way, the Beastie Boys’ appearance at City Arts & Lectures Monday night was about the person who wasn’t in the room.\u003c/p>\n\u003cp>Adam Yauch, the group’s raspy-voiced MCA who died of throat cancer in 2012, loomed large over the proceedings, from the surviving members’ opening story about Yauch’s elaborate pranking skills to a bittersweet eulogy on his friendship and dedication that closed the two-and-a-half-hour show. \u003c/p>\n\u003cp>Out on the road to promote \u003cem>Beastie Boys Book\u003c/em>, a massive 571-page retrospective, Mike D and Ad Rock did away with with City Arts & Lectures’ usual orange-chairs-and-end-table setup and instead presented a theatrical series of vignettes, complete with costume changes, lighting cues and elaborate sets.\u003c/p>\n\u003cfigure id=\"attachment_13844447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-800x469.jpg\" alt=\"The Beastie Boys' Mike D and Ad Rock at City Arts & Lectures, Nov. 6, 2018.\" width=\"800\" height=\"469\" class=\"size-medium wp-image-13844447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-800x469.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-768x450.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-1020x598.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-1200x703.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-1180x691.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-960x563.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-240x141.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-375x220.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Cafe_-520x305.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Beastie Boys’ Mike D and Ad Rock at City Arts & Lectures, Nov. 6, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flanked by two giant video screens and soundtracked by a stage-right DJ Mix Master Mike, the two drank espresso at a French coffee shop one minute, and sat for a late-night talk show segment the next. At one point, Mike D appeared in a smock and red beret, painting a giant canvas of himself nude in a bathtub and getting snacks from a nearby refrigerator. \u003c/p>\n\u003cp>In other words, Ad Rock and Mike D were the same jokesters who donned wigs and walkie-talkies in the “Sabotage” video and seared themselves into 1990s culture. Often, it was hard to tell when the two were being serious—especially with an ongoing gag of the two getting into tiny arguments, which stopped being funny after the first hour and routinely threw off the pacing. But when reading from the book—or rather, from onstage teleprompters—the reflections of the Beasties’ genesis in 1980s New York and creative development in the 1990s came off as vivid and heartfelt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among the stories: Meeting Yauch at a Bad Brains show. Hiring Rick Rubin as their DJ because he had a bubble machine. Being asked to play a “pro-smoking” benefit concert by Bob Dylan at Dolly Parton’s birthday party. Looping a reel-to-reel tape of the drums from Led Zeppelin’s “When the Levee Breaks,” the tape spooling around Yauch’s kitchen, for “Rhymin’ and Stealin’.” \u003cem>Paul’s Boutique\u003c/em> getting the brush from the president of Capitol Records, who had the entire staff in 1989 prioritizing \u003ca href=\"https://www.youtube.com/watch?v=nLKzwb2JvLo\" rel=\"noopener\" target=\"_blank\">Donnie Osmond instead\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13844448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-800x583.jpg\" alt=\"Pieces of Beastie Boys memorabilia at City Arts & Lectures, Nov. 6, 2018.\" width=\"800\" height=\"583\" class=\"size-medium wp-image-13844448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-1200x874.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-1180x859.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-960x699.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.drummachine-520x379.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pieces of Beastie Boys memorabilia at City Arts & Lectures, Nov. 6, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of the evening dwelled on the early years. Naturally, the group addressed their discomfort with the \u003cem>Licensed to Ill\u003c/em> era, when they performed songs like “Girls” and kept a 20-foot hydraulic penis on stage: “It was toxic as hell,” Mike D said. The group also kicked out original drummer Kate Schellenbach “because she didn’t fit into our new tough-rapper-guy identity,” Ad Rock lamented. “It was just shitty the way it happened. And I am so sorry about it.”\u003c/p>\n\u003cp>Despite the presence of Mix Master Mike on stage, the two didn’t perform any songs; again, in apparent respect for Yauch. Outside in the courtyard before the show, however, a speaker played early hip-hop for a long line of fans eager to see over 100 pieces of group memorabilia on display: handwritten lyrics, drum machines, old sneakers, a card from Madonna, backstage passes, and yes, the walkie-talkies from Spike Jonze’s “Sabotage” video.\u003c/p>\n\u003cfigure id=\"attachment_13844449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-800x600.jpg\" alt=\"Pieces of Beastie Boys memorabilia at City Arts & Lectures, Nov. 6, 2018.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13844449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.Sab_-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pieces of Beastie Boys memorabilia at City Arts & Lectures, Nov. 6, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crowd was mostly over the age of 40. But within that age group were a variety of people: skaters, businessmen, punks, CEOs. People checking Slack in one corner, people sneaking a joint in another. Friends singing “The Biz vs. The Nuge” at the top of their lungs in line. Celebrity chefs like Chris Cosentino, and hip-hop legends like DJ Shadow. It drove home the idea that the Beastie Boys were a social network of their day, a way for disparate subcultures to connect under the unlikely banner of a hybrid rap-rock-jazz group from New York who seemed to know things the rest of the world didn’t. \u003c/p>\n\u003cp>Which raises the question: could something like the Beastie Boys even happen today? No doubt they’d be tagged as appropriators exploiting their white privilege; even more of an obstacle may be the internet itself and its demythologizing effect.\u003c/p>\n\u003cp>It calls to mind one of the earliest web pages on the hip-hop internet, a \u003ca href=\"https://www.newsweek.com/mysterious-website-thats-been-cataloguing-beastie-boys-pauls-boutique-1993-261415\" rel=\"noopener\" target=\"_blank\">complete list of sample sources and lyrical references from \u003cem>Paul’s Boutique\u003c/em>\u003c/a>. Never before published in traditional media, it served as a Rosetta Stone for budding producers, and a treasure chest to fans. But it also took away a little bit of the Beasties’ magic.\u003c/p>\n\u003cfigure id=\"attachment_13844450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-800x471.jpg\" alt=\"The Beastie Boys' Ad Rock, Mix Master Mike and Mike D (L–R) at City Arts & Lectures, Nov. 6, 2018.\" width=\"800\" height=\"471\" class=\"size-medium wp-image-13844450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-1020x600.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-1200x706.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-1180x694.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-960x565.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-240x141.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BeastieBoys.End_-520x306.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Beastie Boys’ Ad Rock, Mix Master Mike and Mike D (L–R) at City Arts & Lectures, Nov. 6, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>With this current tour, the massive book and their openness about their past, the Beasties are finally fitting into the information age, warts and all. And over and over again, last night, Mike D and Ad Rock repeated variations of the same thing: “I wish Yauch were here.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sydney Goldstein, the founder of esteemed conversation series City Arts & Lectures, died Tuesday, Sept. 25 in Los Angeles, her daughter Kate Goldstein-Breyer confirmed. She was 73.\u003c/p>\n\u003cp>The San Francisco native launched City Arts & Lectures in 1980 and oversaw programming, which involved pairing guests such as Ta Nehisi-Coates and Edward Snowden with interlocutors including Dave Eggers and Michael Krasny, until her retirement in 2017. An enduring cultural figure, Goldstein also masterminded renovation of the 1,600-seat Nourse Theater in 2013.\u003c/p>\n\u003cp>After organizing talks at College of Marin in the 1970s, Goldstein built City Arts & Lectures into a lean organization with remarkable access to leading intellectuals and celebrities and a keen sense for maintaining relevance. Yet the spartan setup—a vase of flowers between two chairs, conversation and questions from the audience—has changed little over the decades.\u003c/p>\n\u003cp>[contextly_sidebar id=”ghFWesmhzOP62dxXkfFARG12In4BF7ZA”]\u003c/p>\n\u003cp>Goldstein also partnered with KQED to broadcast the talks to the Bay Area, as well as more than 130 public radio stations nationwide. The partnership continues to this day, while the historical tapes are archived at UC Berkeley’s Bancroft Library. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2012, when the series’ longtime venue Herbst Theater closed for renovation, Goldstein oversaw refurbishment of the sleepy Nourse Theater on Hayes Street. Facing an estimated cost of some $20 million, Goldstein pulled it off for less than $2 million.\u003c/p>\n\u003cp>“It was an incredible feat,” said KQED Forum host Michael Krasny of the renovation. “And she was exactly the person to make it happen.”\u003c/p>\n\u003cp>Krasny, a regular City Arts & Lectures interviewer, remembered his longtime friend as a local institution. “She had an extraordinary talent for pairing people in conversation and she built a program that really became a model for the entire country,” he said.\u003c/p>\n\u003cp>Author-publisher Eggers, who sits on the series’ board, also credited Goldstein with forerunning the live conversation trend. “It’s almost wholly replaced the lecture as the way to know what’s on the minds of the world’s thinkers,” Eggers \u003ca href=\"https://datebook.sfchronicle.com/entertainment/sydney-goldstein-founder-of-city-arts-lectures-dies-at-73\">told\u003c/a> the \u003cem>San Francisco Chronicle\u003c/em>. \u003c/p>\n\u003cp>Goldstein was born Oct. 13, 1944 to shopkeeper parents in San Francisco, and graduated from Lowell High School before working as a writer, artist assistant, and cocktail waitress, among other gigs. In 1975, she married federal court judge Charles Breyer. Her daughter Kate was born in 1979, followed by son Joseph in 1983. Kate became co-director of City Arts & Lectures, alongside staffer Holly Mulder-Wollan, upon \u003ca href=\"https://www.kqed.org/arts/13593404/after-36-years-founder-of-city-arts-lectures-retires\" rel=\"noopener\" target=\"_blank\">Goldstein’s retirement last year\u003c/a>. \u003c/p>\n\u003cp>Goldstein is survived by her husband Charles Breyer, sister Dorian Lewis, daughter Kate Goldstein-Breyer, son Joseph Breyer, and three grandchildren. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/forum/201304291000/a-new-home-for-city-arts-lectures\" rel=\"noopener\" target=\"_blank\">Listen to Sydney Goldstein on a 2013 episode of KQED’s Forum here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sydney Goldstein, the founder of esteemed conversation series City Arts & Lectures, died Tuesday, Sept. 25 in Los Angeles, her daughter Kate Goldstein-Breyer confirmed. She was 73.\u003c/p>\n\u003cp>The San Francisco native launched City Arts & Lectures in 1980 and oversaw programming, which involved pairing guests such as Ta Nehisi-Coates and Edward Snowden with interlocutors including Dave Eggers and Michael Krasny, until her retirement in 2017. An enduring cultural figure, Goldstein also masterminded renovation of the 1,600-seat Nourse Theater in 2013.\u003c/p>\n\u003cp>After organizing talks at College of Marin in the 1970s, Goldstein built City Arts & Lectures into a lean organization with remarkable access to leading intellectuals and celebrities and a keen sense for maintaining relevance. Yet the spartan setup—a vase of flowers between two chairs, conversation and questions from the audience—has changed little over the decades.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Goldstein also partnered with KQED to broadcast the talks to the Bay Area, as well as more than 130 public radio stations nationwide. The partnership continues to this day, while the historical tapes are archived at UC Berkeley’s Bancroft Library. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2012, when the series’ longtime venue Herbst Theater closed for renovation, Goldstein oversaw refurbishment of the sleepy Nourse Theater on Hayes Street. Facing an estimated cost of some $20 million, Goldstein pulled it off for less than $2 million.\u003c/p>\n\u003cp>“It was an incredible feat,” said KQED Forum host Michael Krasny of the renovation. “And she was exactly the person to make it happen.”\u003c/p>\n\u003cp>Krasny, a regular City Arts & Lectures interviewer, remembered his longtime friend as a local institution. “She had an extraordinary talent for pairing people in conversation and she built a program that really became a model for the entire country,” he said.\u003c/p>\n\u003cp>Author-publisher Eggers, who sits on the series’ board, also credited Goldstein with forerunning the live conversation trend. “It’s almost wholly replaced the lecture as the way to know what’s on the minds of the world’s thinkers,” Eggers \u003ca href=\"https://datebook.sfchronicle.com/entertainment/sydney-goldstein-founder-of-city-arts-lectures-dies-at-73\">told\u003c/a> the \u003cem>San Francisco Chronicle\u003c/em>. \u003c/p>\n\u003cp>Goldstein was born Oct. 13, 1944 to shopkeeper parents in San Francisco, and graduated from Lowell High School before working as a writer, artist assistant, and cocktail waitress, among other gigs. In 1975, she married federal court judge Charles Breyer. Her daughter Kate was born in 1979, followed by son Joseph in 1983. Kate became co-director of City Arts & Lectures, alongside staffer Holly Mulder-Wollan, upon \u003ca href=\"https://www.kqed.org/arts/13593404/after-36-years-founder-of-city-arts-lectures-retires\" rel=\"noopener\" target=\"_blank\">Goldstein’s retirement last year\u003c/a>. \u003c/p>\n\u003cp>Goldstein is survived by her husband Charles Breyer, sister Dorian Lewis, daughter Kate Goldstein-Breyer, son Joseph Breyer, and three grandchildren. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/forum/201304291000/a-new-home-for-city-arts-lectures\" rel=\"noopener\" target=\"_blank\">Listen to Sydney Goldstein on a 2013 episode of KQED’s Forum here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The year was 2009, the Beastie Boys were scheduled to headline Outside Lands in San Francisco, and then came the announcement: MCA was sick. Throat cancer.\u003c/p>\n\u003cp>The Beastie Boys had to cancel the show. When Adam “MCA” Yauch died in 2012, at the age of 47, it officially meant no more performances from the New York-based rap group.\u003c/p>\n\u003cp>Fast-forward to 2018, and to the release of the group autobiography \u003cem>Beastie Boys Book: Live & Direct\u003c/em>, and today’s announcement: the Beastie Boys’ Mike D, Adrock and Mix Master Mike \u003ca href=\"https://www.cityarts.net/event/beastie-boys-book-live-direct-with-adam-horovitz-michael-diamond/\" rel=\"noopener\" target=\"_blank\">will appear at City Arts & Lectures\u003c/a> on Monday, Nov. 5, at the Nourse Theater. \u003c/p>\n\u003cp>There’s no official word on if the group will perform any music, but the announcement includes “readings, conversations between Mike D, Adrock and a special guest moderator, Q&A sessions—all with a live score provided by Mix Master Mike.” An art exhibit with a mixtape soundtrack is part of the event, too, and every entrant gets a free copy of the book.\u003c/p>\n\u003cp>Tickets, at $75 a pop, \u003ca href=\"https://www.cityboxoffice.com/AccessDenied.asp?p=10357&bundleId=0&a=0&backurl=\" rel=\"noopener\" target=\"_blank\">go on sale Friday, Sept, 28\u003c/a>, at 10am. (\u003ca href=\"https://www.cityboxoffice.com/AccessDenied.asp?p=10357&bundleId=0&a=0&backurl=\" rel=\"noopener\" target=\"_blank\">Members\u003c/a> of City Arts & Lectures can buy them Tuesday at 10am.) Considering that San Francisco is one of only four cities to host the tour, tickets will disappear fast. \u003ca href=\"https://www.cityarts.net/event/beastie-boys-book-live-direct-with-adam-horovitz-michael-diamond/\" rel=\"noopener\" target=\"_blank\">More details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The year was 2009, the Beastie Boys were scheduled to headline Outside Lands in San Francisco, and then came the announcement: MCA was sick. Throat cancer.\u003c/p>\n\u003cp>The Beastie Boys had to cancel the show. When Adam “MCA” Yauch died in 2012, at the age of 47, it officially meant no more performances from the New York-based rap group.\u003c/p>\n\u003cp>Fast-forward to 2018, and to the release of the group autobiography \u003cem>Beastie Boys Book: Live & Direct\u003c/em>, and today’s announcement: the Beastie Boys’ Mike D, Adrock and Mix Master Mike \u003ca href=\"https://www.cityarts.net/event/beastie-boys-book-live-direct-with-adam-horovitz-michael-diamond/\" rel=\"noopener\" target=\"_blank\">will appear at City Arts & Lectures\u003c/a> on Monday, Nov. 5, at the Nourse Theater. \u003c/p>\n\u003cp>There’s no official word on if the group will perform any music, but the announcement includes “readings, conversations between Mike D, Adrock and a special guest moderator, Q&A sessions—all with a live score provided by Mix Master Mike.” An art exhibit with a mixtape soundtrack is part of the event, too, and every entrant gets a free copy of the book.\u003c/p>\n\u003cp>Tickets, at $75 a pop, \u003ca href=\"https://www.cityboxoffice.com/AccessDenied.asp?p=10357&bundleId=0&a=0&backurl=\" rel=\"noopener\" target=\"_blank\">go on sale Friday, Sept, 28\u003c/a>, at 10am. (\u003ca href=\"https://www.cityboxoffice.com/AccessDenied.asp?p=10357&bundleId=0&a=0&backurl=\" rel=\"noopener\" target=\"_blank\">Members\u003c/a> of City Arts & Lectures can buy them Tuesday at 10am.) Considering that San Francisco is one of only four cities to host the tour, tickets will disappear fast. \u003ca href=\"https://www.cityarts.net/event/beastie-boys-book-live-direct-with-adam-horovitz-michael-diamond/\" rel=\"noopener\" target=\"_blank\">More details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "American Suburb: The Podcast",
"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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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
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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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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},
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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},
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"meta": {
"site": "radio",
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},
"link": "/radio/program/freakonomics-radio",
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},
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"id": "fresh-air",
"title": "Fresh Air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "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",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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