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"content": "\u003cp>After an awful pair of weeks, arts venues in Napa and Sonoma Counties are trying to resume programming, even as their employees mourn their losses. My co-host this week, Ariana Proehl, grew up in Santa Rosa. She said how inspiring it’s been to see the community coming together, with generous help from first responders and volunteers. “My aunt, who’s a painter living in Sebastopol immediately emailed her artist friends looking to organize an art show to raise money for victims of the fires, and I trust we’ll be seeing lots more of that spirit in the days and weeks to come,” she said.\u003c/p>\n\u003cp>Rene and Irish Mike are hosting a fundraiser Saturday afternoon Oct 21, at the Longboard Margarita Bar in Pacifica. It’s free, but they’re passing the hat for the \u003ca href=\"http://sonomahumane.org/\" target=\"_blank\" rel=\"noopener\">Sonoma Humane Society\u003c/a>, with music by The Sam Chase, wunderkind Matt Jaffe and others. \u003ca href=\"https://www.facebook.com/events/1054875204655614\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dean Biersch owns the \u003ca href=\"http://www.hopmonk.com/\" target=\"_blank\" rel=\"noopener\">The Hopmonk Taverns \u003c/a>in Sonoma, Sebastopol and Novato. He’s scheduled shows this week so his clubs can be a gathering place for the community again. \u003c/span>“And a close second for us,” Biersch told me by phone, “is to keep the staff employed. You know most of these people are working for hourly wages and tips, and this is going to hit very hard.” \u003cb>\u003ci>\u003cbr>\n\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The\u003ca href=\"http://gmc.sonoma.edu//\" target=\"_blank\" rel=\"noopener\"> Green Music Center\u003c/a> at Sonoma State in Rohnert Park plans to resume its regular schedule Sunday Oct. 22 with a \u003ca href=\"http://gmc.sonoma.edu/event/3532121-hudson-jack-dejohnette-larry-grenadier\" target=\"_blank\" rel=\"noopener\">concert by the jazz band Hudson.\u003c/a> Director Jacob Yarrow says the center is offering free tickets for the rest of October to anyone impacted by the fire: “Pay as you can, come as you are, please come and just be with your community.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13806933\" class=\"wp-caption aligncenter\" style=\"max-width: 520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13806933\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2.jpg\" alt=\"An image from the exhibit 'Bittersweet Harvest,' about the U.S. Bracero program, at the Napa Valley Museum.\" width=\"520\" height=\"235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-240x108.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-375x169.jpg 375w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">An image from the exhibit ‘Bittersweet Harvest,’ about the U.S. Bracero program, at the Napa Valley Museum. \u003ccite>(Photo Courtesy of the Smithsonian Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://lutherburbankcenter.org/\" target=\"_blank\" rel=\"noopener\">The Luther Burbank Center in Santa Rosa\u003c/a> is still standing, but the fires badly damaged the east wing, including a smaller auditorium. Luther Burbank plans to resume regular concerts\u003ca href=\"https://lutherburbankcenter.org/event/air-supply/\" target=\"_blank\" rel=\"noopener\"> Nov. 11 with a show by Air Supply\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Across the Mayacamas Range, \u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">the di Rosa Center for Contemporary Arts,\u003c/a> south of Napa, reopens Sunday October 22nd, \u003ca href=\"http://napavalleymuseum.org/\" target=\"_blank\" rel=\"noopener\">The Napa Valley Museum\u003c/a> in Yountville has just reopened. No damage there or to the \u003ca href=\"http://lincolntheater.com/\" target=\"_blank\" rel=\"noopener\">Napa Valley Performing Arts Center\u003c/a>, also in Yountville, which plans to resume shows in November. And\u003ca href=\"http://www.bluenotenapa.com/\" target=\"_blank\" rel=\"noopener\"> Blue Note Napa\u003c/a> is scheduled to reopen Nov. 7 with a show by Dennis Quaid and the Sharks. \u003c/span>\u003c/p>\n\u003cp>Now for the rest of the show:\u003c/p>\n\u003cp>\u003cstrong>Oct. 25-29:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VX84\" target=\"_blank\" rel=\"noopener\">Mariza, the queen of fado, brings her songs of longing to Bing Hall and SFJAZZ\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 28:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VX8k\" target=\"_blank\" rel=\"noopener\">The YBCA Summit is like a Ted Talk times 100 on the themes of culture, politics, truth, and equity.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 26-29:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VX8r\" target=\"_blank\" rel=\"noopener\"> Axis Dance welcomes a new artistic director and celebrates a 30th anniversary\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 26:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VX8G\" target=\"_blank\" rel=\"noopener\"> Open Mike Eagle raps about housing projects and iPads\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After an awful pair of weeks, arts venues in Napa and Sonoma Counties are trying to resume programming, even as their employees mourn their losses. My co-host this week, Ariana Proehl, grew up in Santa Rosa. She said how inspiring it’s been to see the community coming together, with generous help from first responders and volunteers. “My aunt, who’s a painter living in Sebastopol immediately emailed her artist friends looking to organize an art show to raise money for victims of the fires, and I trust we’ll be seeing lots more of that spirit in the days and weeks to come,” she said.\u003c/p>\n\u003cp>Rene and Irish Mike are hosting a fundraiser Saturday afternoon Oct 21, at the Longboard Margarita Bar in Pacifica. It’s free, but they’re passing the hat for the \u003ca href=\"http://sonomahumane.org/\" target=\"_blank\" rel=\"noopener\">Sonoma Humane Society\u003c/a>, with music by The Sam Chase, wunderkind Matt Jaffe and others. \u003ca href=\"https://www.facebook.com/events/1054875204655614\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dean Biersch owns the \u003ca href=\"http://www.hopmonk.com/\" target=\"_blank\" rel=\"noopener\">The Hopmonk Taverns \u003c/a>in Sonoma, Sebastopol and Novato. He’s scheduled shows this week so his clubs can be a gathering place for the community again. \u003c/span>“And a close second for us,” Biersch told me by phone, “is to keep the staff employed. You know most of these people are working for hourly wages and tips, and this is going to hit very hard.” \u003cb>\u003ci>\u003cbr>\n\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The\u003ca href=\"http://gmc.sonoma.edu//\" target=\"_blank\" rel=\"noopener\"> Green Music Center\u003c/a> at Sonoma State in Rohnert Park plans to resume its regular schedule Sunday Oct. 22 with a \u003ca href=\"http://gmc.sonoma.edu/event/3532121-hudson-jack-dejohnette-larry-grenadier\" target=\"_blank\" rel=\"noopener\">concert by the jazz band Hudson.\u003c/a> Director Jacob Yarrow says the center is offering free tickets for the rest of October to anyone impacted by the fire: “Pay as you can, come as you are, please come and just be with your community.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13806933\" class=\"wp-caption aligncenter\" style=\"max-width: 520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13806933\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2.jpg\" alt=\"An image from the exhibit 'Bittersweet Harvest,' about the U.S. Bracero program, at the Napa Valley Museum.\" width=\"520\" height=\"235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-240x108.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-375x169.jpg 375w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">An image from the exhibit ‘Bittersweet Harvest,’ about the U.S. Bracero program, at the Napa Valley Museum. \u003ccite>(Photo Courtesy of the Smithsonian Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://lutherburbankcenter.org/\" target=\"_blank\" rel=\"noopener\">The Luther Burbank Center in Santa Rosa\u003c/a> is still standing, but the fires badly damaged the east wing, including a smaller auditorium. Luther Burbank plans to resume regular concerts\u003ca href=\"https://lutherburbankcenter.org/event/air-supply/\" target=\"_blank\" rel=\"noopener\"> Nov. 11 with a show by Air Supply\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Across the Mayacamas Range, \u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">the di Rosa Center for Contemporary Arts,\u003c/a> south of Napa, reopens Sunday October 22nd, \u003ca href=\"http://napavalleymuseum.org/\" target=\"_blank\" rel=\"noopener\">The Napa Valley Museum\u003c/a> in Yountville has just reopened. No damage there or to the \u003ca href=\"http://lincolntheater.com/\" target=\"_blank\" rel=\"noopener\">Napa Valley Performing Arts Center\u003c/a>, also in Yountville, which plans to resume shows in November. And\u003ca href=\"http://www.bluenotenapa.com/\" target=\"_blank\" rel=\"noopener\"> Blue Note Napa\u003c/a> is scheduled to reopen Nov. 7 with a show by Dennis Quaid and the Sharks. \u003c/span>\u003c/p>\n\u003cp>Now for the rest of the show:\u003c/p>\n\u003cp>\u003cstrong>Oct. 25-29:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VX84\" target=\"_blank\" rel=\"noopener\">Mariza, the queen of fado, brings her songs of longing to Bing Hall and SFJAZZ\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 28:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VX8k\" target=\"_blank\" rel=\"noopener\">The YBCA Summit is like a Ted Talk times 100 on the themes of culture, politics, truth, and equity.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 26-29:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VX8r\" target=\"_blank\" rel=\"noopener\"> Axis Dance welcomes a new artistic director and celebrates a 30th anniversary\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 26:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VX8G\" target=\"_blank\" rel=\"noopener\"> Open Mike Eagle raps about housing projects and iPads\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Axis Dance is celebrating its 30th anniversary, with a new artistic director in charge. He’s Marc Brew, a dancer and choreographer from Glasgow, who says he feels right at home at Axis, based at Oakland’s Malonga Casquelourd Center for the Arts, because he’s worked with the company so often in the past. Axis is an integrated dance company, meaning some of its dancers have disabilities. Founding director Judith Smith uses a wheelchair, as does Brew; one of the dancers has one arm; and none of that matters when they’re moving to the music with grace and agility.\u003c/p>\n\u003cp>Brew’s calls his new dance \u003cem>Radical Impact, \u003c/em>with original music by Oakland’s Joowan Kim, the leader of the \u003ca href=\"http://www.ensemblemiknawooj.com/\" target=\"_blank\" rel=\"noopener\">Ensemble Mik Nawooj\u003c/a>. Brew says it offers a showcase for the company’s dancers to explain who they really are. “One of the tasks I gave the dancers, (when I first arrived) was a writing task, and the question I gave them was how has your identity changed or shifted during your lifetime,” Brew told me after a rehearsal in Oakland. “And they haven’t shared that response with anyone, and the second movement begins in silence with their solos when they begin to reveal who they are as people.” Also on the program a dance by the great Amy Seiwert. For the Axis Home Season, \u003ca href=\"http://www.axisdance.org/performances/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cwKEt8Q3_tQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Jill Soloway created the show \u003cem>Transparent\u003c/em> on Amazon, Abdi Soltani \u003c/span>\u003cspan style=\"font-weight: 400\">directs the ACLU of Northern California, Boots Riley is a filmmaker and lead singer for the Coup, Saul Williams is a rapper and poet. And here’s what they have in common: they’re speaking and performing at the Yerba Buena Center for the Arts 100 Summit. The Fillmore activists the Green sisters (pictured above) are also there. My guest co-host Ariana Proehl notes that o\u003c/span>ne of her former mentors, Lateefah Simon, now president of the Bay Area’s Akonadi Foundation, is at the summit, and is one of the most spirited, lyrical speakers she’s ever heard. I’m also singing the praises of pianist Samora Pinderhughes, born and raised in Berkeley, and comedian Zahra Noorbaksh a KQED Women to Watch and Do List co-host. She’s very funny. And if you go, don’t miss Lil Buck, a master of Jook dancer out of Memphis. He’s a poet with his feet. \u003ca href=\"https://www.ybca.org/whats-on/2017-ybca-100-summit\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eXfVIPqcF9I\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Victor Valle knew he had to do \u003cem>something\u003c/em>.\u003c/p>\n\u003cp>Earlier this month, when President Trump announced his plans to rescind \u003ca href=\"https://ww2.kqed.org/news/2017/08/29/anxiety-grows-as-uncertainty-clouds-the-future-of-daca/\" target=\"_blank\" rel=\"noopener\">Deferred Action for Childhood Arrivals\u003c/a> (DACA), the piece of Obama-era legislation that extends certain legal protections to high-achieving undocumented immigrants who arrived to the United States as children, Valle rallied his friends and colleagues in the local music scene to put their heads together and take action. \u003c/p>\n\u003cp>Valle manages several Bay Artists — including rapper \u003ca href=\"https://soundcloud.com/enotsyaj\" target=\"_blank\" rel=\"noopener\">Jay Stone\u003c/a> and indie rock band \u003ca href=\"https://soundcloud.com/abbotkinney\" target=\"_blank\" rel=\"noopener\">Abbot Kinney\u003c/a> — at his company, \u003ca href=\"http://counterculturegroup.com/\" target=\"_blank\" rel=\"noopener\">Counter Culture Group\u003c/a>, and works in marketing for the concert promoter Live Nation. (Full disclosure: he’s also on the board of directors of \u003ca href=\"http://thebaybridged.com/\" target=\"_blank\" rel=\"noopener\">The Bay Bridged\u003c/a>, a KQED Arts affiliate.) His call for musicians to donate their time for a DACA fundraiser circulated quickly on Twitter, and within a week he put together a two-part party series, Dance for DACA, which takes place on \u003ca href=\"https://www.eventbrite.com/e/solidarity-for-sanctuary-oakland-dance-for-daca-tickets-38049559256\" target=\"_blank\" rel=\"noopener\">Sept. 28 at Starline Social Club\u003c/a> in Oakland and \u003ca href=\"https://www.eventbrite.com/e/solidarity-for-sanctuary-san-francisco-dance-for-daca-tickets-38028962651\" target=\"_blank\" rel=\"noopener\">Sept. 29 at Standard Deviant Brewing\u003c/a> in San Francisco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/dance-for-daca-800x518.jpg\" alt=\"\" width=\"800\" height=\"518\" class=\"alignright size-medium wp-image-13809550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca-520x337.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Valle was born to Mexican parents in Los Angeles and grew up with undocumented friends and neighbors. When he heard about Trump’s DACA repeal, he immediately thought of people in his community who would be personally affected. “The idea of ICE going into my hood, going to my hometown and separating families infuriates me,” says Valle. “If we want to talk about how we can separate folks, how we can put certain folks in categories, how we can make certain communities scared for their well-being even more so than they have been the past five or ten years — that’s exactly what [Trump is] doing.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With the Dance for DACA parties, Valle sought to create a benefit that would address the issue on a local and national level. Half of the proceeds from both parties benefit \u003ca href=\"https://unitedwedream.org\" target=\"_blank\" rel=\"noopener\">United We Dream\u003c/a>, a youth-led nonprofit that advocates for immigrant rights and works with DACA recipients. The other fifty percent of proceeds from the San Francisco party will go to the \u003ca href=\"http://sfilen.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Immigrant Legal and Education Network\u003c/a>; Oakland’s event is giving its other half to \u003ca href=\"https://eastbaysanctuary.org/\" target=\"_blank\" rel=\"noopener\">East Bay Sanctuary Covenant\u003c/a>, a non-profit that offers legal assistance to immigrants, refugees, and asylum seekers escaping violence. \u003c/p>\n\u003cp>Many of the artists on the lineup for Dance for DACA come from immigrant backgrounds themselves. \u003ca href=\"https://soundcloud.com/chulitavinylclub\" target=\"_blank\" rel=\"noopener\">Chulita Vinyl Club\u003c/a>, who are playing both parties, are a group of Latina and Chicana DJs specializing in oldies; electronic producer \u003ca href=\"https://soundcloud.com/bisaria\" target=\"_blank\" rel=\"noopener\">BISARIA’s\u003c/a> parents are from India; \u003ca href=\"https://ww2.kqed.org/arts/2017/09/07/for-arumi-a-feeling-thats-more-important-than-sound/\" target=\"_blank\" rel=\"noopener\">Arumi\u003c/a>, another DJ-producer known for her dreamy remixes, is of Japanese and Korean descent. \u003c/p>\n\u003cp>“Minorities have worked extremely hard to earn respect in this country and now that we’ve made a name for ourselves in every corner in every industry, the DACA repeal and travel ban only serve to undermine that kind of progress,” says BISARIA, who’s playing the San Francisco show on Friday. “Putting on a fundraiser like this is a way to show this is not something we’re gonna let slide, especially as people from immigrant backgrounds.”\u003c/p>\n\u003cp>After announcing the initial DACA repeal, on Sept. 5, Trump tweeted that lawmakers have six months to “\u003ca href=\"https://www.nytimes.com/2017/09/05/us/politics/trump-daca-dreamers-immigration.html?mcubz=1\" target=\"_blank\" rel=\"noopener\">legalize DACA\u003c/a>” or else he’ll revisit the issue. 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How do we make it better for our loved ones, for people we care about, for the generation after us?”\u003c/p>\n\u003cp>\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=\"alignright 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Victor Valle knew he had to do \u003cem>something\u003c/em>.\u003c/p>\n\u003cp>Earlier this month, when President Trump announced his plans to rescind \u003ca href=\"https://ww2.kqed.org/news/2017/08/29/anxiety-grows-as-uncertainty-clouds-the-future-of-daca/\" target=\"_blank\" rel=\"noopener\">Deferred Action for Childhood Arrivals\u003c/a> (DACA), the piece of Obama-era legislation that extends certain legal protections to high-achieving undocumented immigrants who arrived to the United States as children, Valle rallied his friends and colleagues in the local music scene to put their heads together and take action. \u003c/p>\n\u003cp>Valle manages several Bay Artists — including rapper \u003ca href=\"https://soundcloud.com/enotsyaj\" target=\"_blank\" rel=\"noopener\">Jay Stone\u003c/a> and indie rock band \u003ca href=\"https://soundcloud.com/abbotkinney\" target=\"_blank\" rel=\"noopener\">Abbot Kinney\u003c/a> — at his company, \u003ca href=\"http://counterculturegroup.com/\" target=\"_blank\" rel=\"noopener\">Counter Culture Group\u003c/a>, and works in marketing for the concert promoter Live Nation. (Full disclosure: he’s also on the board of directors of \u003ca href=\"http://thebaybridged.com/\" target=\"_blank\" rel=\"noopener\">The Bay Bridged\u003c/a>, a KQED Arts affiliate.) His call for musicians to donate their time for a DACA fundraiser circulated quickly on Twitter, and within a week he put together a two-part party series, Dance for DACA, which takes place on \u003ca href=\"https://www.eventbrite.com/e/solidarity-for-sanctuary-oakland-dance-for-daca-tickets-38049559256\" target=\"_blank\" rel=\"noopener\">Sept. 28 at Starline Social Club\u003c/a> in Oakland and \u003ca href=\"https://www.eventbrite.com/e/solidarity-for-sanctuary-san-francisco-dance-for-daca-tickets-38028962651\" target=\"_blank\" rel=\"noopener\">Sept. 29 at Standard Deviant Brewing\u003c/a> in San Francisco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/dance-for-daca-800x518.jpg\" alt=\"\" width=\"800\" height=\"518\" class=\"alignright size-medium wp-image-13809550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca-520x337.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Valle was born to Mexican parents in Los Angeles and grew up with undocumented friends and neighbors. When he heard about Trump’s DACA repeal, he immediately thought of people in his community who would be personally affected. “The idea of ICE going into my hood, going to my hometown and separating families infuriates me,” says Valle. “If we want to talk about how we can separate folks, how we can put certain folks in categories, how we can make certain communities scared for their well-being even more so than they have been the past five or ten years — that’s exactly what [Trump is] doing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With the Dance for DACA parties, Valle sought to create a benefit that would address the issue on a local and national level. Half of the proceeds from both parties benefit \u003ca href=\"https://unitedwedream.org\" target=\"_blank\" rel=\"noopener\">United We Dream\u003c/a>, a youth-led nonprofit that advocates for immigrant rights and works with DACA recipients. The other fifty percent of proceeds from the San Francisco party will go to the \u003ca href=\"http://sfilen.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Immigrant Legal and Education Network\u003c/a>; Oakland’s event is giving its other half to \u003ca href=\"https://eastbaysanctuary.org/\" target=\"_blank\" rel=\"noopener\">East Bay Sanctuary Covenant\u003c/a>, a non-profit that offers legal assistance to immigrants, refugees, and asylum seekers escaping violence. \u003c/p>\n\u003cp>Many of the artists on the lineup for Dance for DACA come from immigrant backgrounds themselves. \u003ca href=\"https://soundcloud.com/chulitavinylclub\" target=\"_blank\" rel=\"noopener\">Chulita Vinyl Club\u003c/a>, who are playing both parties, are a group of Latina and Chicana DJs specializing in oldies; electronic producer \u003ca href=\"https://soundcloud.com/bisaria\" target=\"_blank\" rel=\"noopener\">BISARIA’s\u003c/a> parents are from India; \u003ca href=\"https://ww2.kqed.org/arts/2017/09/07/for-arumi-a-feeling-thats-more-important-than-sound/\" target=\"_blank\" rel=\"noopener\">Arumi\u003c/a>, another DJ-producer known for her dreamy remixes, is of Japanese and Korean descent. \u003c/p>\n\u003cp>“Minorities have worked extremely hard to earn respect in this country and now that we’ve made a name for ourselves in every corner in every industry, the DACA repeal and travel ban only serve to undermine that kind of progress,” says BISARIA, who’s playing the San Francisco show on Friday. “Putting on a fundraiser like this is a way to show this is not something we’re gonna let slide, especially as people from immigrant backgrounds.”\u003c/p>\n\u003cp>After announcing the initial DACA repeal, on Sept. 5, Trump tweeted that lawmakers have six months to “\u003ca href=\"https://www.nytimes.com/2017/09/05/us/politics/trump-daca-dreamers-immigration.html?mcubz=1\" target=\"_blank\" rel=\"noopener\">legalize DACA\u003c/a>” or else he’ll revisit the issue. Today, Republicans put forth a proposal for a conservative reform to the program called the \u003ca href=\"https://www.cbsnews.com/news/republicans-propose-new-daca-bill/\" target=\"_blank\" rel=\"noopener\">SUCEED Act\u003c/a>. \u003c/p>\n\u003cp>Valle is hopeful that there is still time for activists and lawmakers to mobilize around the issue and protect Dreamers and immigrant families at risk of deportation. \u003c/p>\n\u003cp>“It’s always been about family. How do we make it better for our loved ones, for people we care about, for the generation after us?”\u003c/p>\n\u003cp>\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=\"alignright 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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Around 350 people gathered in San Jose on Sunday afternoon to mourn the passing of Chinese arts impresario Ann Woo, who died rlnder mysterious circumstances in August at the age of 75.\u003c/p>\n\u003cp>In 1991, Woo co-founded \u003ca href=\"http://cpaasv.info\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Performing Arts of America\u003c/a> (CPAA), a San Jose-based cultural center focused on promoting interest in traditional Chinese and related performing arts disciplines that was integral to the creative landscape of Silicon Valley.\u003c/p>\n\u003cp>Woo’s commitment won her wide respect in the South Bay, ranging from parents grateful she provided a platform for their children to learn about their heritage, to community leaders happy she could wrangle high-quality entertainment for any civic occasion.\u003c/p>\n\u003cfigure id=\"attachment_13808056\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13808056 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-800x450.jpg\" alt=\"Representatives of Ann Woo's two families, her personal family and that of Chinese Performing Arts of America, spoke and performed at her memorial.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Representatives of Ann Woo’s two families, her personal family and that of Chinese Performing Arts of America, spoke and performed at her memorial. \u003ccite>(Photo: Courtesy of Michael M. Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I knew Ann for 27 years,” said Patrick Kwok, former mayor of Cupertino and former board chair for the CPAA. “Her dedication and passion for Chinese arts is just beyond any description.”\u003c/p>\n\u003cp>Woo’s death\u003ca href=\"http://www.mercurynews.com/2017/09/08/ann-woo-death-as-memorial-nears-case-remains-a-mystery/\" target=\"_blank\" rel=\"noopener noreferrer\"> on Aug. 25\u003c/a> occurred two weeks after she fell into a dispute with a woman who had been involved in planning a future event with Woo’s organization. Woo was found later that same day, Aug. 11, on the ground outside CPAA’s offices, bleeding from the head.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Santa Clara County medical examiner said an autopsy is complete, but the cause of death remains undetermined.\u003c/p>\n\u003cp>The homicide unit of San Jose’s police department continues to investigate, frustrated by a lack of witnesses to the incident. No arrests have yet been made, and no suspects have been publicly named.\u003c/p>\n\u003cfigure id=\"attachment_13808057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13808057 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-800x450.jpg\" alt='Zhou Hui, Christina Cheng, Virginia Jian, Allie Dong, Liu Yan, Wang Xin perform the \"Red Ribbon Dance\" at the memorial for Ann Woo on September 10, 2017.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zhou Hui, Christina Cheng, Virginia Jian, Allie Dong, Liu Yan, Wang Xin perform the “Red Ribbon Dance” at the memorial for Ann Woo on September 10, 2017. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A lifetime of achievement\u003c/h3>\n\u003cp>Woo emigrated from China to San Francisco when she was 14 years old. After graduating from UC Berkeley, she spent 30 years as an electronic design engineer, one of few women of her generation to undertake such work in Silicon Valley.\u003c/p>\n\u003cp>But Woo’s heart was always in the arts. When she retired from her tech career, she co-founded CPAA to provide low-cost dance lessons to children and adults, as well as cultivate an appreciation for Chinese culture in the wider community.\u003c/p>\n\u003cp>So great was Woo’s contribution to the South Bay arts scene that her work was the subject of \u003ca href=\"https://tely2.kqed.org/owa/redir.aspx?C=1tLv3zK35tE5CC9GwDvCk9QmYcCfXVA1v5LMLgyUgbjIoZycsvjUCA..&URL=https%3a%2f%2fww2.kqed.org%2farts%2f2014%2f03%2f20%2fsilicon-valley-businesswoman-builds-a-future-for-ancient-arts%2f\">a KQED Arts video\u003c/a> in 2014.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S219hCL9-QU\u003c/p>\n\u003cp>“When we started, our mission was to introduce Chinese culture to the mainstream through performing arts,” Woo told KQED back in 2014. “But now, we also promote multi-culture.”\u003c/p>\n\u003cp>The center is home to 10 studios, and hosts classes in Indian, Latino and European traditions, as well as Chinese.\u003c/p>\n\u003cp>Many dignitaries attended and spoke at the memorial, ranging from local and regional politicians to the Consul General of the People’s Republic of China in San Francisco, Luo Linquan. Silent videos of past performances played on a screen while one speaker after another recounted Woo’s role in building and sustaining CPAA.\u003c/p>\n\u003cfigure id=\"attachment_13808058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808058\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-800x450.jpg\" alt=\"Two memorial funds have been established to help Ann Woo's family and her passion project, Chinese Performing Arts of America.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two memorial funds have been established to help Ann Woo’s family and her passion project, Chinese Performing Arts of America. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is a testament to her impact on the community, locally and internationally,” said Woo’s daughter, Tina Fredericks, who came up from Pasadena to speak at the memorial. “My realization of her impact is still growing.”\u003c/p>\n\u003ch3>What lies ahead for CPAA\u003c/h3>\n\u003cp>At the time of Woo’s death, CPAA was struggling financially. The center’s interim director, Andy Jian, said Woo’s death occurred with the nonprofit “six figures” in debt. Jian said he is trying to negotiate with the center’s landlord and bank for a grace period as CPAA pulls itself back together.\u003c/p>\n\u003cp>There seems little question Jian and others are committed to keeping CPAA alive, not just because of Ann Woo’s lifetime of commitment to the organization, but also because of its standing in the South Bay arts community.\u003c/p>\n\u003cp>“If you’ve been to any event in Cupertino, Ann has touched your heart and soul,” said Cupertino Mayor Savita Vaidhyanathan. “I’ve been living in the city for over 20 years, and at any event I’ve been to, I’ve seen something performed by her students. Even if you do not understand Chinese — which I do not — her productions just touch your heart.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The co-founder of Chinese Performing Arts of America, who died under mysterious circumstances in August, leaves behind a beloved South Bay arts institution. ",
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"title": "Chinese Arts Impresario Ann Woo Celebrated at South Bay Memorial | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Around 350 people gathered in San Jose on Sunday afternoon to mourn the passing of Chinese arts impresario Ann Woo, who died rlnder mysterious circumstances in August at the age of 75.\u003c/p>\n\u003cp>In 1991, Woo co-founded \u003ca href=\"http://cpaasv.info\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Performing Arts of America\u003c/a> (CPAA), a San Jose-based cultural center focused on promoting interest in traditional Chinese and related performing arts disciplines that was integral to the creative landscape of Silicon Valley.\u003c/p>\n\u003cp>Woo’s commitment won her wide respect in the South Bay, ranging from parents grateful she provided a platform for their children to learn about their heritage, to community leaders happy she could wrangle high-quality entertainment for any civic occasion.\u003c/p>\n\u003cfigure id=\"attachment_13808056\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13808056 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-800x450.jpg\" alt=\"Representatives of Ann Woo's two families, her personal family and that of Chinese Performing Arts of America, spoke and performed at her memorial.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Representatives of Ann Woo’s two families, her personal family and that of Chinese Performing Arts of America, spoke and performed at her memorial. \u003ccite>(Photo: Courtesy of Michael M. Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I knew Ann for 27 years,” said Patrick Kwok, former mayor of Cupertino and former board chair for the CPAA. “Her dedication and passion for Chinese arts is just beyond any description.”\u003c/p>\n\u003cp>Woo’s death\u003ca href=\"http://www.mercurynews.com/2017/09/08/ann-woo-death-as-memorial-nears-case-remains-a-mystery/\" target=\"_blank\" rel=\"noopener noreferrer\"> on Aug. 25\u003c/a> occurred two weeks after she fell into a dispute with a woman who had been involved in planning a future event with Woo’s organization. Woo was found later that same day, Aug. 11, on the ground outside CPAA’s offices, bleeding from the head.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Santa Clara County medical examiner said an autopsy is complete, but the cause of death remains undetermined.\u003c/p>\n\u003cp>The homicide unit of San Jose’s police department continues to investigate, frustrated by a lack of witnesses to the incident. No arrests have yet been made, and no suspects have been publicly named.\u003c/p>\n\u003cfigure id=\"attachment_13808057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13808057 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-800x450.jpg\" alt='Zhou Hui, Christina Cheng, Virginia Jian, Allie Dong, Liu Yan, Wang Xin perform the \"Red Ribbon Dance\" at the memorial for Ann Woo on September 10, 2017.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zhou Hui, Christina Cheng, Virginia Jian, Allie Dong, Liu Yan, Wang Xin perform the “Red Ribbon Dance” at the memorial for Ann Woo on September 10, 2017. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A lifetime of achievement\u003c/h3>\n\u003cp>Woo emigrated from China to San Francisco when she was 14 years old. After graduating from UC Berkeley, she spent 30 years as an electronic design engineer, one of few women of her generation to undertake such work in Silicon Valley.\u003c/p>\n\u003cp>But Woo’s heart was always in the arts. When she retired from her tech career, she co-founded CPAA to provide low-cost dance lessons to children and adults, as well as cultivate an appreciation for Chinese culture in the wider community.\u003c/p>\n\u003cp>So great was Woo’s contribution to the South Bay arts scene that her work was the subject of \u003ca href=\"https://tely2.kqed.org/owa/redir.aspx?C=1tLv3zK35tE5CC9GwDvCk9QmYcCfXVA1v5LMLgyUgbjIoZycsvjUCA..&URL=https%3a%2f%2fww2.kqed.org%2farts%2f2014%2f03%2f20%2fsilicon-valley-businesswoman-builds-a-future-for-ancient-arts%2f\">a KQED Arts video\u003c/a> in 2014.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/S219hCL9-QU'\n title='//www.youtube.com/embed/S219hCL9-QU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“When we started, our mission was to introduce Chinese culture to the mainstream through performing arts,” Woo told KQED back in 2014. “But now, we also promote multi-culture.”\u003c/p>\n\u003cp>The center is home to 10 studios, and hosts classes in Indian, Latino and European traditions, as well as Chinese.\u003c/p>\n\u003cp>Many dignitaries attended and spoke at the memorial, ranging from local and regional politicians to the Consul General of the People’s Republic of China in San Francisco, Luo Linquan. Silent videos of past performances played on a screen while one speaker after another recounted Woo’s role in building and sustaining CPAA.\u003c/p>\n\u003cfigure id=\"attachment_13808058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808058\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-800x450.jpg\" alt=\"Two memorial funds have been established to help Ann Woo's family and her passion project, Chinese Performing Arts of America.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two memorial funds have been established to help Ann Woo’s family and her passion project, Chinese Performing Arts of America. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is a testament to her impact on the community, locally and internationally,” said Woo’s daughter, Tina Fredericks, who came up from Pasadena to speak at the memorial. “My realization of her impact is still growing.”\u003c/p>\n\u003ch3>What lies ahead for CPAA\u003c/h3>\n\u003cp>At the time of Woo’s death, CPAA was struggling financially. The center’s interim director, Andy Jian, said Woo’s death occurred with the nonprofit “six figures” in debt. Jian said he is trying to negotiate with the center’s landlord and bank for a grace period as CPAA pulls itself back together.\u003c/p>\n\u003cp>There seems little question Jian and others are committed to keeping CPAA alive, not just because of Ann Woo’s lifetime of commitment to the organization, but also because of its standing in the South Bay arts community.\u003c/p>\n\u003cp>“If you’ve been to any event in Cupertino, Ann has touched your heart and soul,” said Cupertino Mayor Savita Vaidhyanathan. “I’ve been living in the city for over 20 years, and at any event I’ve been to, I’ve seen something performed by her students. Even if you do not understand Chinese — which I do not — her productions just touch your heart.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Gold Rush History on the Opera Stage",
"headTitle": "A Gold Rush History on the Opera Stage | KQED",
"content": "\u003cp>This may be the classical event of the year for the Bay Area: the world premiere of a new opera about the California gold rush. \u003ci>Girls of the Golden West\u003c/i> is by \u003cspan style=\"font-weight: 400\">Berkeley composer \u003ca href=\"https://www.earbox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams \u003c/a>and librettist Peter Sellars — it’s their fourth historical opera, the most recent being \u003ca href=\"https://www.earbox.com/doctor-atomic/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Doctor Atomic\u003c/em>\u003c/a>, which also premiered in San Francisco. As Adams told me, it’s set in a mining camp, a real place called Rich Bar, and the town of Downieville, with a focus on the voices we rarely hear from gold rush days: the wife of a doctor in a mining camp (\u003ca href=\"http://historymatters.gmu.edu/d/6516/\" target=\"_blank\" rel=\"noopener noreferrer\">Dame Shirley\u003c/a>), a Hispanic dance hall owner, a Chinese prostitute, a free black wagon driver. The opera features scandal magnet Lola Montez doing her famous spider dance to Adams music. Montez, toured California gold country and settled for a time in Nevada City, \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13807066\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg\" alt=\"A model for ‘Girls of the Golden West’ by David Gropman\" width=\"800\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-960x743.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-520x402.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera.jpg 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A model for ‘Girls of the Golden West’ by David Gropman \u003ccite>(Photo:Scott Wall/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sellars has plucked the libretto, as he often does, from historical documents, this time from letters and personal accounts from the period. \u003c/span>“What people are actually singing are the words of the people who sang them,” Adams told me by phone. “And there’s a wonderful sense of humanity, the ability to laugh at oneself. And what comes through is something incredibly genuine.” The opera is close to Adams heart in more ways than one — he’s had a cabin for years near Downieville in the Sierra foothills. The premiere runs Nov. 21–Dec. 10 at the War Memorial Opera House; \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener noreferrer\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13807066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg\" alt=\"\" width=\"800\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-960x743.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-520x402.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera.jpg 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cfigure id=\"attachment_13807067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807067\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-800x558.jpg\" alt=\"Davone Tines (Ned Peters), Julia Bullock (Dame Shirley), Peter Sellars (librettist and director), Hye Jung Lee (Ah Sing), Ryan McKinny (Clarence King)\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-1920x1339.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-960x670.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-520x363.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davone Tines (Ned Peters), Julia Bullock (Dame Shirley), Peter Sellars (librettist and director), Hye Jung Lee (Ah Sing), Ryan McKinny (Clarence King) \u003ccite>(Photo: Cory Weaver/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "John Adams and Peter Sellars' 'Girls of the Golden West' may be the classical event of the year for the Bay Area.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This may be the classical event of the year for the Bay Area: the world premiere of a new opera about the California gold rush. \u003ci>Girls of the Golden West\u003c/i> is by \u003cspan style=\"font-weight: 400\">Berkeley composer \u003ca href=\"https://www.earbox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams \u003c/a>and librettist Peter Sellars — it’s their fourth historical opera, the most recent being \u003ca href=\"https://www.earbox.com/doctor-atomic/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Doctor Atomic\u003c/em>\u003c/a>, which also premiered in San Francisco. As Adams told me, it’s set in a mining camp, a real place called Rich Bar, and the town of Downieville, with a focus on the voices we rarely hear from gold rush days: the wife of a doctor in a mining camp (\u003ca href=\"http://historymatters.gmu.edu/d/6516/\" target=\"_blank\" rel=\"noopener noreferrer\">Dame Shirley\u003c/a>), a Hispanic dance hall owner, a Chinese prostitute, a free black wagon driver. The opera features scandal magnet Lola Montez doing her famous spider dance to Adams music. Montez, toured California gold country and settled for a time in Nevada City, \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13807066\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg\" alt=\"A model for ‘Girls of the Golden West’ by David Gropman\" width=\"800\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-960x743.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-520x402.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera.jpg 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A model for ‘Girls of the Golden West’ by David Gropman \u003ccite>(Photo:Scott Wall/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sellars has plucked the libretto, as he often does, from historical documents, this time from letters and personal accounts from the period. \u003c/span>“What people are actually singing are the words of the people who sang them,” Adams told me by phone. “And there’s a wonderful sense of humanity, the ability to laugh at oneself. And what comes through is something incredibly genuine.” The opera is close to Adams heart in more ways than one — he’s had a cabin for years near Downieville in the Sierra foothills. The premiere runs Nov. 21–Dec. 10 at the War Memorial Opera House; \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener noreferrer\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13807066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg\" alt=\"\" width=\"800\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-160x124.jpg 160w, 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"content": "\u003cp>It’s hard to know exactly what to expect at Ethos de Masquerade, even after attending a rehearsal of this dance-theater piece. But one thing is sure: it will be beautifully colorful.\u003c/p>\n\u003cp>Ethos de Masquerade is a co-production of the theater group \u003ca href=\"https://www.camposanto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Campo Santo\u003c/a> and \u003ca href=\"http://www.somarts.org/exhibitions/globalstreetdancemasquerade/\" target=\"_blank\" rel=\"noopener noreferrer\">Global Street Dance Masquerade \u003c/a>about the Black Lives Matter movement, the taboos placed on women, and the AIDS epidemic. There are screen projections of starry nights and pulsing blood cells. There are monologues by Campo Santo members Sean San Jose and Starr Finch, playwright Luis Alfaro, poet Chinaka Hodge and others. And then there are dancers in elaborate full-body costumes that harken back to the ancient African masquerade tradition, designed by Global Dance Street Masquerade member Rashad Pridgen and Mary Hogue.\u003c/p>\n\u003cp>The costumes, Pridgen says, conjure the ancestors or call forth the elements: “The Ethos de Masquerade is us bringing back this traditional element into urban society,” Pridgen explains, “and telling stories to express what’s happening to the community that can’t be said with words.” This week’s Do List co-host Marc Bamuthi Joseph says the rich art of Campo Santo and Global Street Dance Masquerade marks them as civic leaders, “creating context for ritual, and helping us see how we can transform our lives through music, movement, and the magic of the mask.” Ethos de Masquerade runs Aug. 16–27 at The Strand in San Francisco; \u003ca href=\"https://www.facebook.com/events/1503434013028940/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>, and \u003ca href=\"http://ethosdemasquerade.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener noreferrer\">tickets here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>There are more than 6,000 languages spoken around the world. But about every two weeks, one of them dies.\u003c/p>\n\u003cp>\u003ca href=\"http://bobholman.com/\" target=\"_blank\" rel=\"noopener\">Bob Holman\u003c/a>, a poet and filmmaker who made a \u003ca href=\"http://www.languagemattersfilm.com/\" target=\"_blank\" rel=\"noopener\">documentary about endangered languages\u003c/a> ranging from Basque (spoken in northern Spain) to the Hawaiian dialect of Ni’ihau calls this onrush of linguistic extinction “a global crisis of massive proportions.”\u003c/p>\n\u003cp>“A language is an encyclopedia of the life that’s lived in that culture, in that part of the world,” Holman says. “To lose all these languages is to lose that original vitality of being in that place on earth.”\u003c/p>\n\u003cp>About a year ago, Holman’s work caught the attention of San Francisco choreographer \u003ca href=\"https://www.linesballet.org/\" target=\"_blank\" rel=\"noopener\">Alonzo King\u003c/a>, who has a history of working with unlikely collaborators on projects for his dance company, LINES Ballet.\u003c/p>\n\u003cp>King sees language itself as a form of dance, “Listen to the way people talk, the way we’re putting emphasis,” he says. “There are voices that are erotic, there are voices that are cerebral, all of those are templates and colors.”\u003c/p>\n\u003cfigure id=\"attachment_13161688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13161688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/YujinKimRobbBeresford-800x533.jpg\" alt=\"Yujin Kim and Robb Beresford at a dress rehearsal for Alonzo King Lines Ballet 'Figures of Speech'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/YujinKimRobbBeresford-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/YujinKimRobbBeresford-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/YujinKimRobbBeresford-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/YujinKimRobbBeresford-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/YujinKimRobbBeresford-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/YujinKimRobbBeresford-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/YujinKimRobbBeresford-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/YujinKimRobbBeresford-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/YujinKimRobbBeresford-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/YujinKimRobbBeresford-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yujin Kim and Robb Beresford at a dress rehearsal for Alonzo King Lines Ballet ‘Figures of Speech’ \u003ccite>(Photo: RJ Muna/Lines Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>King’s new work, \u003cem>\u003ca href=\"https://www.linesballet.org/performances/spring-season/\" target=\"_blank\" rel=\"noopener\">Figures of Speech\u003c/a>, \u003c/em>is based on Holman’s work. It features a score in which music mixes with poetry spoken in 12 languages on the verge of vanishing. These include Native American tongues like Ohlone and Maidu (both once spoken by California Indian tribes), Cheyenne and Comanche (plains Indians), Ladino (the language of Sephardic Jews), and Basque.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The principal thing is to communicate ideas,” King says. “The dancer is using her body to create ideas.”\u003c/p>\n\u003cp>This doesn’t exactly explain how King designs the movement of a dance about a vanishing language. When he hears a word in Maidu or Basque, does King see a dance step? It’s hard to tell, as King’s attempt to communicate his dance-making process using regular English words is as engaging as it is esoteric.\u003c/p>\n\u003cp>“If I said to you ‘flower,’ that first has to be an idea in my head, called the causal world,” King says. “Then I take it into a vibration, which is energy. That’s called the astral world. And then I bring it into physical form, concrete. And that’s what we call this world. The natural world.”\u003c/p>\n\u003cfigure id=\"attachment_13154518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13154518\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/011-e1493854693274-800x451.jpg\" alt=\"Members of Alonzo King Lines Ballet rehearse their new piece 'Figures of Speech'\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/011-e1493854693274-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/011-e1493854693274-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/011-e1493854693274-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/011-e1493854693274-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/011-e1493854693274-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/011-e1493854693274-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/011-e1493854693274-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/011-e1493854693274-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/011-e1493854693274-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/011-e1493854693274-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of Alonzo King LINES Ballet rehearse their new piece about dying languages, ‘Figures of Speech.’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In rehearsal for \u003cem>Figures of Speech\u003c/em>, King directs the dancers in what’s become the LINES Ballet style, mixing classical poses with a contemporary dance physicality. He’s a burly man, but moves with grace as he shows the dancers what he wants — more oomph in one solo, a particular twist in another.\u003c/p>\n\u003cp>At one moment, a dancer bends at the waist and extends her arms, tracing a circle on the floor. The movement is a reference, perhaps, to how the disappearance of languages is a global crisis.\u003c/p>\n\u003cp>But trying to analyze the language of dance too closely, King says, “is to cut off real understanding.”\u003c/p>\n\u003cp>“Dance is thought, made visible,” King says. “And every language is a consciousness.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jTzMNNvgKAo\u003c/p>\n\u003cp>Which brings us back to Holman, who says King brilliantly communicates abstract ideas derived from their conversations about language.\u003c/p>\n\u003cp>“I’m a poet,” Holman says. “If poets don’t have language, what are we going to use to write our poems with?”\u003c/p>\n\u003cp>And how will we make, King might say, our dances?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Alonzo King LINES Ballet performs ‘Figures of Speech’ at Yerba Buena Center for the Arts in San Francisco, running Thursday, May 4, through Sunday, May 14. Tickets and more information \u003ca href=\"https://www.linesballet.org/performances/spring-season/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"excerpt": "Alonzo King LINES Ballet's new work, 'Figures of Speech,' aims to capture through movement the global crisis of disappearing tongues. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are more than 6,000 languages spoken around the world. But about every two weeks, one of them dies.\u003c/p>\n\u003cp>\u003ca href=\"http://bobholman.com/\" target=\"_blank\" rel=\"noopener\">Bob Holman\u003c/a>, a poet and filmmaker who made a \u003ca href=\"http://www.languagemattersfilm.com/\" target=\"_blank\" rel=\"noopener\">documentary about endangered languages\u003c/a> ranging from Basque (spoken in northern Spain) to the Hawaiian dialect of Ni’ihau calls this onrush of linguistic extinction “a global crisis of massive proportions.”\u003c/p>\n\u003cp>“A language is an encyclopedia of the life that’s lived in that culture, in that part of the world,” Holman says. “To lose all these languages is to lose that original vitality of being in that place on earth.”\u003c/p>\n\u003cp>About a year ago, Holman’s work caught the attention of San Francisco choreographer \u003ca href=\"https://www.linesballet.org/\" target=\"_blank\" rel=\"noopener\">Alonzo King\u003c/a>, who has a history of working with unlikely collaborators on projects for his dance company, LINES Ballet.\u003c/p>\n\u003cp>King sees language itself as a form of dance, “Listen to the way people talk, the way we’re putting emphasis,” he says. “There are voices that are erotic, there are voices that are cerebral, all of those are templates and colors.”\u003c/p>\n\u003cfigure id=\"attachment_13161688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13161688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/YujinKimRobbBeresford-800x533.jpg\" alt=\"Yujin Kim and Robb Beresford at a dress rehearsal for Alonzo King Lines Ballet 'Figures of Speech'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/YujinKimRobbBeresford-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/YujinKimRobbBeresford-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/YujinKimRobbBeresford-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/YujinKimRobbBeresford-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/YujinKimRobbBeresford-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/YujinKimRobbBeresford-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/YujinKimRobbBeresford-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/YujinKimRobbBeresford-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/YujinKimRobbBeresford-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/YujinKimRobbBeresford-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yujin Kim and Robb Beresford at a dress rehearsal for Alonzo King Lines Ballet ‘Figures of Speech’ \u003ccite>(Photo: RJ Muna/Lines Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>King’s new work, \u003cem>\u003ca href=\"https://www.linesballet.org/performances/spring-season/\" target=\"_blank\" rel=\"noopener\">Figures of Speech\u003c/a>, \u003c/em>is based on Holman’s work. It features a score in which music mixes with poetry spoken in 12 languages on the verge of vanishing. These include Native American tongues like Ohlone and Maidu (both once spoken by California Indian tribes), Cheyenne and Comanche (plains Indians), Ladino (the language of Sephardic Jews), and Basque.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The principal thing is to communicate ideas,” King says. “The dancer is using her body to create ideas.”\u003c/p>\n\u003cp>This doesn’t exactly explain how King designs the movement of a dance about a vanishing language. When he hears a word in Maidu or Basque, does King see a dance step? It’s hard to tell, as King’s attempt to communicate his dance-making process using regular English words is as engaging as it is esoteric.\u003c/p>\n\u003cp>“If I said to you ‘flower,’ that first has to be an idea in my head, called the causal world,” King says. “Then I take it into a vibration, which is energy. That’s called the astral world. And then I bring it into physical form, concrete. And that’s what we call this world. The natural world.”\u003c/p>\n\u003cfigure id=\"attachment_13154518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13154518\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/011-e1493854693274-800x451.jpg\" alt=\"Members of Alonzo King Lines Ballet rehearse their new piece 'Figures of Speech'\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/011-e1493854693274-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/011-e1493854693274-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/011-e1493854693274-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/011-e1493854693274-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/011-e1493854693274-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/011-e1493854693274-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/011-e1493854693274-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/011-e1493854693274-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/011-e1493854693274-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/011-e1493854693274-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of Alonzo King LINES Ballet rehearse their new piece about dying languages, ‘Figures of Speech.’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In rehearsal for \u003cem>Figures of Speech\u003c/em>, King directs the dancers in what’s become the LINES Ballet style, mixing classical poses with a contemporary dance physicality. He’s a burly man, but moves with grace as he shows the dancers what he wants — more oomph in one solo, a particular twist in another.\u003c/p>\n\u003cp>At one moment, a dancer bends at the waist and extends her arms, tracing a circle on the floor. The movement is a reference, perhaps, to how the disappearance of languages is a global crisis.\u003c/p>\n\u003cp>But trying to analyze the language of dance too closely, King says, “is to cut off real understanding.”\u003c/p>\n\u003cp>“Dance is thought, made visible,” King says. “And every language is a consciousness.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jTzMNNvgKAo'\n title='//www.youtube.com/embed/jTzMNNvgKAo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Which brings us back to Holman, who says King brilliantly communicates abstract ideas derived from their conversations about language.\u003c/p>\n\u003cp>“I’m a poet,” Holman says. “If poets don’t have language, what are we going to use to write our poems with?”\u003c/p>\n\u003cp>And how will we make, King might say, our dances?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Alonzo King LINES Ballet performs ‘Figures of Speech’ at Yerba Buena Center for the Arts in San Francisco, running Thursday, May 4, through Sunday, May 14. Tickets and more information \u003ca href=\"https://www.linesballet.org/performances/spring-season/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco Bay Area arts organizations celebrated a victory Monday after months of worry.\u003c/p>\n\u003cp>Today’s \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-cm-nea-stopgap-budget-20170501-story.html\" target=\"_blank\" rel=\"noopener\">bipartisan Congressional agreement funding the government\u003c/a> for the rest of 2017 preserves the National Endowment for the Arts (NEA), the National Endowment for the Humanities (NEH), and other cultural agencies, despite \u003ca href=\"https://www.nytimes.com/2017/03/17/arts/nea-neh-trump-congress.html?_r=0\" target=\"_blank\" rel=\"noopener\">President Trump’s effort\u003c/a> to zero out their budgets and kill the agencies.\u003c/p>\n\u003cp>In fact, the Republican-controlled Congress increased funding for the NEA and the NEH by $2 million each, to $150 million dollars.\u003c/p>\n\u003cfigure id=\"attachment_12969686\" class=\"wp-caption alignright\" style=\"max-width: 316px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12969686 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Brad-Erickson-e1493692042778.jpg\" alt=\"Californians for the Arts Board Member Brad Erickson\" width=\"316\" height=\"263\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Brad-Erickson-e1493692042778.jpg 316w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Brad-Erickson-e1493692042778-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Brad-Erickson-e1493692042778-240x200.jpg 240w\" sizes=\"(max-width: 316px) 100vw, 316px\">\u003cfigcaption class=\"wp-caption-text\">Californians for the Arts Board Member Brad Erickson. \u003ccite>(Courtesy California Arts Advocates)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Just got this update from Americans for the Arts,” wrote \u003ca href=\"http://www.theatrebayarea.org/?page=WhoWeAre\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a> Executive Director Brad Erickson in an email. “Astounding.”\u003c/p>\n\u003cp>Erickson, a board member for \u003ca href=\"https://californiansforthearts.org/\" target=\"_blank\" rel=\"noopener\">Californians for the Arts\u003c/a>, led a team of artists and arts administrators on a lobbying trip to Washington on Arts Advocacy Day in March.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I have to think that all the advocacy is what made the difference,” Erickson said in an phone interview. “More than 700 people lobbied in Washington this year, and staff for members of Congress said they got an astounding amount of emails and letters supporting funding for the arts.”\u003c/p>\n\u003cp>California arts groups split a total of roughly nine million dollars last year from the NEA.\u003c/p>\n\u003cfigure id=\"attachment_11505992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11505992\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/008-e1461025134129-800x457.jpg\" alt=\"Disabled dancers are made very welcome at the monthly Community Dance Jams at AXIS Dance in Oakland\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-1920x1097.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-960x548.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Disabled dancers are made very welcome at the monthly Community Dance Jams at AXIS Dance in Oakland. \u003ccite>(Photo: Cy Musiker/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s \u003ca href=\"http://www.axisdance.org/\" target=\"_blank\" rel=\"noopener\">Axis Dance Company\u003c/a> receives about $20,000 each year from the NEA for outreach to the disabled community. Director Judith Smith said she’s relieved about the news. “But the thing we all have to remember,” she added, “is not to get complacent. Because the funding is there now, but don’t think the attacks are going to stop. Because they won’t.”\u003c/p>\n\u003cp>Smith thinks President Trump will try to kill the NEA and other cultural agencies again when negotiations begin this fall for the 2018 fiscal year.\u003c/p>\n\u003cp>Erickson agreed with that prediction. “We’re on to the next battle,” he said. “But it’s encouraging to be where we are today.”\u003c/p>\n\u003cp>\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Bay Area arts organizations celebrated a victory Monday after months of worry.\u003c/p>\n\u003cp>Today’s \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-cm-nea-stopgap-budget-20170501-story.html\" target=\"_blank\" rel=\"noopener\">bipartisan Congressional agreement funding the government\u003c/a> for the rest of 2017 preserves the National Endowment for the Arts (NEA), the National Endowment for the Humanities (NEH), and other cultural agencies, despite \u003ca href=\"https://www.nytimes.com/2017/03/17/arts/nea-neh-trump-congress.html?_r=0\" target=\"_blank\" rel=\"noopener\">President Trump’s effort\u003c/a> to zero out their budgets and kill the agencies.\u003c/p>\n\u003cp>In fact, the Republican-controlled Congress increased funding for the NEA and the NEH by $2 million each, to $150 million dollars.\u003c/p>\n\u003cfigure id=\"attachment_12969686\" class=\"wp-caption alignright\" style=\"max-width: 316px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12969686 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Brad-Erickson-e1493692042778.jpg\" alt=\"Californians for the Arts Board Member Brad Erickson\" width=\"316\" height=\"263\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Brad-Erickson-e1493692042778.jpg 316w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Brad-Erickson-e1493692042778-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Brad-Erickson-e1493692042778-240x200.jpg 240w\" sizes=\"(max-width: 316px) 100vw, 316px\">\u003cfigcaption class=\"wp-caption-text\">Californians for the Arts Board Member Brad Erickson. \u003ccite>(Courtesy California Arts Advocates)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Just got this update from Americans for the Arts,” wrote \u003ca href=\"http://www.theatrebayarea.org/?page=WhoWeAre\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a> Executive Director Brad Erickson in an email. “Astounding.”\u003c/p>\n\u003cp>Erickson, a board member for \u003ca href=\"https://californiansforthearts.org/\" target=\"_blank\" rel=\"noopener\">Californians for the Arts\u003c/a>, led a team of artists and arts administrators on a lobbying trip to Washington on Arts Advocacy Day in March.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I have to think that all the advocacy is what made the difference,” Erickson said in an phone interview. “More than 700 people lobbied in Washington this year, and staff for members of Congress said they got an astounding amount of emails and letters supporting funding for the arts.”\u003c/p>\n\u003cp>California arts groups split a total of roughly nine million dollars last year from the NEA.\u003c/p>\n\u003cfigure id=\"attachment_11505992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11505992\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/008-e1461025134129-800x457.jpg\" alt=\"Disabled dancers are made very welcome at the monthly Community Dance Jams at AXIS Dance in Oakland\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-1920x1097.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-960x548.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Disabled dancers are made very welcome at the monthly Community Dance Jams at AXIS Dance in Oakland. \u003ccite>(Photo: Cy Musiker/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s \u003ca href=\"http://www.axisdance.org/\" target=\"_blank\" rel=\"noopener\">Axis Dance Company\u003c/a> receives about $20,000 each year from the NEA for outreach to the disabled community. Director Judith Smith said she’s relieved about the news. “But the thing we all have to remember,” she added, “is not to get complacent. Because the funding is there now, but don’t think the attacks are going to stop. Because they won’t.”\u003c/p>\n\u003cp>Smith thinks President Trump will try to kill the NEA and other cultural agencies again when negotiations begin this fall for the 2018 fiscal year.\u003c/p>\n\u003cp>Erickson agreed with that prediction. “We’re on to the next battle,” he said. “But it’s encouraging to be where we are today.”\u003c/p>\n\u003cp>\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You don’t need us to tell you that the Bay Area is a hotbed for creativity — but it’s particularly true in the medium of dance.\u003c/p>\n\u003cp>In honor of \u003ca href=\"http://bayareadance.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Dance Week\u003c/a>, a 10-day celebration running April 21–30, we’ve curated a few of our most memorable videos. Watch dancers swoop and soar on the cliffs of Marin; meet Antione Hunter, a dancer empowering the deaf community; see how Oakland turfers marry their craft with ballet; watch the co-founder of Dance Brigade reflect on 40 years of artivism, and more.\u003c/p>\n\u003cp>Once you’re inspired, learn how you can take part in \u003ca href=\"http://bayareadance.org/\">free dance workshops\u003c/a> throughout the week.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-thumbnail wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg\" alt=\"Q.Logo.Break\" width=\"160\" height=\"16\" srcset=\"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_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003ci>To see more videos from KQED Arts, visit \u003ca href=\"https://ww2.kqed.org/arts/videos/\" target=\"_blank\" rel=\"noopener\">our video page\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" class=\"hzframe\" src=\"https://huzzaz.com/proembed/kqed-arts-dance-week?layout=side\" width=\"100%\" height=\"0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allowtransparency=\"true\" scrolling=\"yes\">\u003c/iframe>\u003cbr>\n[huzzaz_js]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You don’t need us to tell you that the Bay Area is a hotbed for creativity — but it’s particularly true in the medium of dance.\u003c/p>\n\u003cp>In honor of \u003ca href=\"http://bayareadance.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Dance Week\u003c/a>, a 10-day celebration running April 21–30, we’ve curated a few of our most memorable videos. Watch dancers swoop and soar on the cliffs of Marin; meet Antione Hunter, a dancer empowering the deaf community; see how Oakland turfers marry their craft with ballet; watch the co-founder of Dance Brigade reflect on 40 years of artivism, and more.\u003c/p>\n\u003cp>Once you’re inspired, learn how you can take part in \u003ca href=\"http://bayareadance.org/\">free dance workshops\u003c/a> throughout the week.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-thumbnail wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg\" alt=\"Q.Logo.Break\" width=\"160\" height=\"16\" srcset=\"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_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003ci>To see more videos from KQED Arts, visit \u003ca href=\"https://ww2.kqed.org/arts/videos/\" target=\"_blank\" rel=\"noopener\">our video page\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
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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.",
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"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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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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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",
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"order": 9
},
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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},
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"id": "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": {
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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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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"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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},
"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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