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"content": "\u003cp>Depending on which estimate you prefer, \u003cspan style=\"font-weight: 400\">10-23 percent of the people who collectively edit Wikipedia identify as women, according to the non-profit that runs the digital resource, the \u003ca href=\"https://blog.wikimedia.org/2015/04/30/how-many-women-edit-wikipedia/\" target=\"_blank\" rel=\"noopener\">Wikimedia Foundation\u003c/a>\u003c/span>.\u003c/p>\n\u003cp>When you consider how many of us \u003ci>use\u003c/i> Wikipedia as a reference, even Wikipedia agrees that’s a \u003ca href=\"https://en.wikipedia.org/wiki/Gender_bias_on_Wikipedia#cite_note-Cohen110130-8\" target=\"_blank\" rel=\"noopener\">problem\u003c/a>. \u003cspan style=\"font-weight: 400\">When the vast majority of people who contribute to Wikipedia are male, you’re going to see bizarre gaps in what’s covered and how. \u003c/span>\u003c/p>\n\u003cp>In recent years, a group called \u003ca href=\"http://www.artandfeminism.org/\" target=\"_blank\" rel=\"noopener\">Art + Feminism\u003c/a> has been trying to make an art-sized dent in that problem by hosting “edit-a-thons.”\u003c/p>\n\u003cp>This month alone, there are four Art + Feminism edit-a-thons in the Bay Area, including \u003ca href=\"http://events.stanford.edu/events/758/75837/\" target=\"_blank\" rel=\"noopener\">one at Stanford’s Bowes Art and Architecture Library\u003c/a> on International Women’s Day.\u003c/p>\n\u003cp>Organizer Vanessa Kam says it makes a lot of sense to host an edit-a-thon in a library. “Lots of reference materials: encyclopedias, dictionaries, wonderful exhibit catalogues, as well as books on feminist art and art history around the world, in multiple languages,” Kam says.\u003c/p>\n\u003cfigure id=\"attachment_13826161\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826161\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-800x800.jpg\" alt=\"Solid citations are key to making sure your contributions “stick” on Wikipedia, where collective re-editing is par for the course.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solid citations are key to making sure your contributions “stick” on Wikipedia, where collective re-editing is par for the course. \u003ccite>(Photo: Courtesy of Gabrielle Karampelas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Opinions vary as to why women haven’t entered the editorial fray in larger numbers, but one theory holds many women find bro-culture of any kind off-putting. Hence the appeal of a group effort in real time and space.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s nothing like the feeling of collaborating with people, you now, arm to arm, shoulder to shoulder, trying to make a difference,” Kam says.\u003c/p>\n\u003cp>Eleven people came to the first edit-a-thon. More are expected this year, from on and off campus. “The sky’s the limit.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Kam is hoping for as many new entries about female Bay Area artists as possible Thursday, (especially if Stanford houses archival materials for them as it does with, say, the sculptor \u003ca href=\"http://library.stanford.edu/blogs/special-collections-unbound/2015/03/ruth-asawa-papers-now-available\" target=\"_blank\" rel=\"noopener\">Ruth Asawa\u003c/a>). But the edit-a-thon welcomes all comers, of all genders, with all interests. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Depending on which estimate you prefer, \u003cspan style=\"font-weight: 400\">10-23 percent of the people who collectively edit Wikipedia identify as women, according to the non-profit that runs the digital resource, the \u003ca href=\"https://blog.wikimedia.org/2015/04/30/how-many-women-edit-wikipedia/\" target=\"_blank\" rel=\"noopener\">Wikimedia Foundation\u003c/a>\u003c/span>.\u003c/p>\n\u003cp>When you consider how many of us \u003ci>use\u003c/i> Wikipedia as a reference, even Wikipedia agrees that’s a \u003ca href=\"https://en.wikipedia.org/wiki/Gender_bias_on_Wikipedia#cite_note-Cohen110130-8\" target=\"_blank\" rel=\"noopener\">problem\u003c/a>. \u003cspan style=\"font-weight: 400\">When the vast majority of people who contribute to Wikipedia are male, you’re going to see bizarre gaps in what’s covered and how. \u003c/span>\u003c/p>\n\u003cp>In recent years, a group called \u003ca href=\"http://www.artandfeminism.org/\" target=\"_blank\" rel=\"noopener\">Art + Feminism\u003c/a> has been trying to make an art-sized dent in that problem by hosting “edit-a-thons.”\u003c/p>\n\u003cp>This month alone, there are four Art + Feminism edit-a-thons in the Bay Area, including \u003ca href=\"http://events.stanford.edu/events/758/75837/\" target=\"_blank\" rel=\"noopener\">one at Stanford’s Bowes Art and Architecture Library\u003c/a> on International Women’s Day.\u003c/p>\n\u003cp>Organizer Vanessa Kam says it makes a lot of sense to host an edit-a-thon in a library. “Lots of reference materials: encyclopedias, dictionaries, wonderful exhibit catalogues, as well as books on feminist art and art history around the world, in multiple languages,” Kam says.\u003c/p>\n\u003cfigure id=\"attachment_13826161\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826161\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-800x800.jpg\" alt=\"Solid citations are key to making sure your contributions “stick” on Wikipedia, where collective re-editing is par for the course.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solid citations are key to making sure your contributions “stick” on Wikipedia, where collective re-editing is par for the course. \u003ccite>(Photo: Courtesy of Gabrielle Karampelas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Opinions vary as to why women haven’t entered the editorial fray in larger numbers, but one theory holds many women find bro-culture of any kind off-putting. Hence the appeal of a group effort in real time and space.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This week, we welcome back co-host and playwright A-lan Holt to begin a new year of The Do List — and we’re championing some smaller arts organizations doing exciting work. They include the Oakland Symphony with a killer program of songs, Opera Parallèle with a production for kids and adults, and Marin’s Alter Theater with two new plays.\u003c/p>\n\u003cp>Thanks so much to our South Bay Arts Reporter Rachael Myrow for filling in for me last week, as I finished a much-needed break. Enjoy the show!\u003c/p>\n\u003cp>\u003cstrong>Jan. 19\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/a-playlist-to-entice-new-listeners-to-the-oakland-symphony/\" target=\"_blank\" rel=\"noopener\">The Oakland Symphony invites W. Kamau Bell to curate a concert mixing jazz, rock and classical\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12-15\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-colorful-world-of-comic-books-discovers-the-power-of-black/\" target=\"_blank\" rel=\"noopener\">The Black Comix Arts Festival opens just as buzz builds for the Black Panther movie. \u003cem>KAPOW\u003c/em>\u003c/a>!\u003c/p>\n\u003cp>\u003cstrong>Jan. 18 & 20\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/11/an-opera-about-bullying-draws-advice-from-harriet-tubmans-spirit/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle offers a world premiere about Harriet Tubman’s spirit, with music by the Bay Area’s Marcus Shelby\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 11-21\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/radically-political-new-plays-from-writers-of-color/\" target=\"_blank\" rel=\"noopener\">Marin’s Alter Theater brings two plays by two brilliant young playwrights of color to A.C.T.’s Costume Shop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-friendliest-black-artist-in-america-comes-to-stanford/\" target=\"_blank\" rel=\"noopener\">William Pope.L ‘s business card says he’s the “friendliest black artist in America,” but he’s also among the most provocative\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/politics-and-dance-music-from-la-gente-and-soltron/\" target=\"_blank\" rel=\"noopener\">La Gente’s mix of cumbia, salsa, reggae and hip hop is intoxicating\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 14\u003c/strong>:\u003ca href=\"https://www.livingjazz.org/mlktribute/\" target=\"_blank\" rel=\"noopener\"> ‘In the Name of Love,’ a tribute to Martin Luther King, returns to the Scottish Rite Temple in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18\u003c/strong>: \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100167860&fa=events\" target=\"_blank\" rel=\"noopener\">Daniel Ellsberg talks about his new book \u003cem>Confessions of a Nuclear War Planner \u003c/em>at the Mechanics Institute Library\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg\" alt=\"Do List co-hosts A-lan Holt and Cy Musiker\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1920x1105.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-520x299.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Do List co-hosts A-lan Holt and Cy Musiker. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 11-21\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/radically-political-new-plays-from-writers-of-color/\" target=\"_blank\" rel=\"noopener\">Marin’s Alter Theater brings two plays by two brilliant young playwrights of color to A.C.T.’s Costume Shop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-friendliest-black-artist-in-america-comes-to-stanford/\" target=\"_blank\" rel=\"noopener\">William Pope.L ‘s business card says he’s the “friendliest black artist in America,” but he’s also among the most provocative\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/politics-and-dance-music-from-la-gente-and-soltron/\" target=\"_blank\" rel=\"noopener\">La Gente’s mix of cumbia, salsa, reggae and hip hop is intoxicating\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 14\u003c/strong>:\u003ca href=\"https://www.livingjazz.org/mlktribute/\" target=\"_blank\" rel=\"noopener\"> ‘In the Name of Love,’ a tribute to Martin Luther King, returns to the Scottish Rite Temple in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18\u003c/strong>: \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100167860&fa=events\" target=\"_blank\" rel=\"noopener\">Daniel Ellsberg talks about his new book \u003cem>Confessions of a Nuclear War Planner \u003c/em>at the Mechanics Institute Library\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg\" alt=\"Do List co-hosts A-lan Holt and Cy Musiker\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1920x1105.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-520x299.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Do List co-hosts A-lan Holt and Cy Musiker. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Wiliam Pope.L is an artist whose work a lot of people have seen, even if they haven’t heard his name: he made the giant, extra-long American flag with 51 stars and its stripes in tatters that flapped behind Kendrick Lamar as he \u003ca href=\"http://2ykov18qyj81ii56523ib0ue.wpengine.netdna-cdn.com/wp-content/uploads/2015/06/kdot-bet-awards-slide2.jpg\" rel=\"noopener\" target=\"_blank\">sang at the 2015 BET Awards\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818856\" class=\"wp-caption alignright\" style=\"max-width: 236px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818856\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/William-Pope.L..jpg\" alt=\"A print from artist William Pope.L\" width=\"236\" height=\"302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/William-Pope.L..jpg 236w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/William-Pope.L.-160x205.jpg 160w\" sizes=\"(max-width: 236px) 100vw, 236px\">\u003cfigcaption class=\"wp-caption-text\">A print from artist William Pope.L \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In some ways, that was among the most conventional of Pope.L’s works. His official business cards tease at issues about white fears of African-American men with the words “The friendliest black artist in America.” He’s also eaten — and vomited up — copies of the \u003cem>Wall Street Journal\u003c/em>, tied himself to a bank door and handed out money, and sold snowballs on the streets of New York City during winter.\u003c/p>\n\u003cp>Ha also makes makes prints of bold words on paper, like “BLACK PEOPLE ARE THE RAIN AGAINST MY WINDSHIELD” or “WHITE PEOPLE ARE MY TEARS.” As my co-host A-lan Holt says, he’s stirring up just enough controversy to jolt us all awake. You can get a taste of Pope.L’s dry humor and humanity when he gives an artist’s talk at Stanford University’s Oshman Hall on Jan. 18. Details \u003ca href=\"https://art.stanford.edu/events/intersections-recent-works-date-popel\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wiliam Pope.L is an artist whose work a lot of people have seen, even if they haven’t heard his name: he made the giant, extra-long American flag with 51 stars and its stripes in tatters that flapped behind Kendrick Lamar as he \u003ca href=\"http://2ykov18qyj81ii56523ib0ue.wpengine.netdna-cdn.com/wp-content/uploads/2015/06/kdot-bet-awards-slide2.jpg\" rel=\"noopener\" target=\"_blank\">sang at the 2015 BET Awards\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818856\" class=\"wp-caption alignright\" style=\"max-width: 236px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818856\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/William-Pope.L..jpg\" alt=\"A print from artist William Pope.L\" width=\"236\" height=\"302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/William-Pope.L..jpg 236w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/William-Pope.L.-160x205.jpg 160w\" sizes=\"(max-width: 236px) 100vw, 236px\">\u003cfigcaption class=\"wp-caption-text\">A print from artist William Pope.L \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In some ways, that was among the most conventional of Pope.L’s works. His official business cards tease at issues about white fears of African-American men with the words “The friendliest black artist in America.” He’s also eaten — and vomited up — copies of the \u003cem>Wall Street Journal\u003c/em>, tied himself to a bank door and handed out money, and sold snowballs on the streets of New York City during winter.\u003c/p>\n\u003cp>Ha also makes makes prints of bold words on paper, like “BLACK PEOPLE ARE THE RAIN AGAINST MY WINDSHIELD” or “WHITE PEOPLE ARE MY TEARS.” As my co-host A-lan Holt says, he’s stirring up just enough controversy to jolt us all awake. You can get a taste of Pope.L’s dry humor and humanity when he gives an artist’s talk at Stanford University’s Oshman Hall on Jan. 18. Details \u003ca href=\"https://art.stanford.edu/events/intersections-recent-works-date-popel\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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