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As nonbinary people of color, they’re wondering how they can personally help make the future of energy more equitable for all. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Clarity comes through conversations with pioneers like Daniella Piper, regional manager of New York Power Authority’s Western Region; Tony Lee, CTO of electric vehicle startup Revel; and Elizabeth Yeampierre, executive director of climate justice advocacy organization UPROSE. 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Since her career is still in its infancy, she’s hoping this trip helps her find a distinct niche where she can get hands-on with the technologies of the future. She knows this is a growing and innovative field, and she can’t wait to make her mark on it.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Leila\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">19, Elmira, NY\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Leila is just starting to explore the world of clean energy, but they’re feeling anxious about the urgency of this work. They want to see how they can overcome the anxiety and instead harness optimism as a tool to help get more people on board with the transition to renewables. 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href=\"http://roadtripnation.org\">roadtripnation.org\u003c/a>\u003cbr>\nTwitter: \u003ca href=\"http://twitter.com/RoadtripNation\">twitter.com/RoadtripNation\u003c/a>\u003cbr>\nFacebook: \u003ca href=\"http://facebook.com/RoadtripNation\">facebook.com/RoadtripNation\u003c/a>\u003cbr>\nYouTube: \u003ca href=\"http://youtube.com/roadtripnation\">youtube.com/roadtripnation\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>About APT:\u003c/strong>\u003c/p>\n\u003cp>\u003cu>American Public Television \u003c/u>(APT) is the leading syndicator of high-quality, top-rated programming to the nation’s public television stations. For more than 10 years, APT has annually distributed one-third or more of the top 100 highest-rated public television titles in the U.S. Founded in 1961, among its 250 new program titles per year, APT programs include prominent documentaries, performances, news, and current affairs programs, dramas, how-to programs, children’s series, and classic movies. \u003cem>America’s Test Kitchen From Cook’s Illustrated\u003c/em>, \u003cem>Cook’s Country, AfroPoP, Rick Steves’ Europe\u003c/em>, \u003cem>Chris Kimball’s Milk Street Television\u003c/em>, \u003cem>Front and Center\u003c/em>, \u003cem>Doc Martin\u003c/em>, \u003cem>Nightly Business Report\u003c/em>, \u003cem>Midsomer Murders\u003c/em>, \u003cem>A Place to Call Home, Lidia’s Kitchen\u003c/em>, \u003cem>Globe Trekker\u003c/em>, \u003cem>New Orleans Cooking with Kevin Belton, Simply Ming\u003c/em>, and \u003cem>P. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">In classrooms and career centers across the nation, jobs in renewable energy are being touted as the future of our economy. But what many may not realize is, the exciting technology, innovation, and opportunities driving the clean energy industry…are already here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And in the state of New York—which has aggressively pledged to reach 100 percent zero-emission electricity by 2040—the rise of renewable energy is currently capturing the interest and imagination of young people and career seekers from all walks of life.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In Roadtrip Nation’s upcoming series, “Roadtrip Nation: Empowered State” three young New Yorkers take a road trip across their home state to explore the workplaces and people who are making the ambitious switch to clean energy a reality. Fueled by the New York State Energy Research and Development Authority (NYSERDA), the journey includes stops highlighting hydropower in Niagara Falls, green building and city planning in Ithaca, climate justice in Brooklyn, and more. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The urgency behind our transition to clean energy is being felt by young people across the nation—but for many who dream of making renewables their livelihood, it can feel like the future of our planet lies squarely on their shoulders. The three road-trippers featured in “Empowered State” are all feeling this pressure in different ways, and seeking new clarity and confidence on their journey.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As a senior at Columbia University, David Yang is hearing conflicting messages: Should he enter the workforce now, while the transition to clean energy is rapidly accelerating? Or should he invest in his future by pursuing more education…and risk missing a golden opportunity?\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\">Julia Dworetzky is an early-career energy engineer who’s been experiencing impostor syndrome as a woman in a still-male-dominated industry. She’s ready to branch out and see if other clean energy roles might feel more rewarding.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And finally, Leila Tevlin is an environmental science major who’s concerned by the race and wealth gaps in the nation’s transition to clean energy. As nonbinary people of color, they’re wondering how they can personally help make the future of energy more equitable for all. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Clarity comes through conversations with pioneers like Daniella Piper, regional manager of New York Power Authority’s Western Region; Tony Lee, CTO of electric vehicle startup Revel; and Elizabeth Yeampierre, executive director of climate justice advocacy organization UPROSE. All of them help to show Roadtrippers that there are thousands of ways to make a real difference in the world of clean energy—you just have to find the path that’s right for you.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">—\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For more information about the documentary, contact:\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dan Ford \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">949-764-9121\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"mailto:dford@roadtripnation.org\">\u003cspan style=\"font-weight: 400\">dford@roadtripnation.org\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Roadtripper Bios\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>David\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">21, New York City, NY\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">David is finishing up his senior year at Columbia University and trying to figure out where to go next. He knows he ultimately wants to work in clean energy and is specifically interested in the intersection of computer science and sustainability. He’s currently drawn to the idea of making a positive difference by starting his career in a big tech company’s sustainability division. Still, he wants to make sure to explore every option available to him before he makes any big decisions about his post-grad path.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Julia\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">23, New York, NY\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Julia just started working as an energy engineer, and she’s excited about her future in the industry. After studying mechanical engineering at Duke, she decided on a career in energy because she knew she wanted to be part of the mass transition to renewables over the coming decades. Since her career is still in its infancy, she’s hoping this trip helps her find a distinct niche where she can get hands-on with the technologies of the future. She knows this is a growing and innovative field, and she can’t wait to make her mark on it.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Leila\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">19, Elmira, NY\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Leila is just starting to explore the world of clean energy, but they’re feeling anxious about the urgency of this work. They want to see how they can overcome the anxiety and instead harness optimism as a tool to help get more people on board with the transition to renewables. Their interests include solar power, sustainable forestry, environmental justice, and city planning—and they’d ultimately love to combine them all by owning a plot of land and using it to feed, educate, and encourage the surrounding communities to live more sustainably. They hope this trip will introduce them to people who can show them how to make this dream happen.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Featured Leaders and Locations\u003c/strong>\u003c/p>\n\u003ch6>\u003cb>Episode 1\u003c/b>\u003c/h6>\n\u003ch6>\u003cb>Daniella Piper\u003c/b>\u003c/h6>\n\u003ch6>\u003cspan style=\"font-weight: 400\">Chief Transformation Officer & Regional Manager of Western New York\u003c/span>\u003c/h6>\n\u003ch6>\u003cspan style=\"font-weight: 400\">New York Power Authority\u003c/span>\u003c/h6>\n\u003ch6>\u003ci>\u003cspan style=\"font-weight: 400\">INTERVIEWED IN NIAGARA FALLS, NY\u003c/span>\u003c/i>\u003c/h6>\n\u003ch6>\u003cb>Rebecca Evans\u003c/b>\u003c/h6>\n\u003ch6>\u003cspan style=\"font-weight: 400\">Acting Director of Sustainability\u003c/span>\u003c/h6>\n\u003ch6>\u003cspan style=\"font-weight: 400\">City of Ithaca\u003c/span>\u003c/h6>\n\u003ch6>\u003ci>\u003cspan style=\"font-weight: 400\">INTERVIEWED IN ITHACA, NY\u003c/span>\u003c/i>\u003c/h6>\n\u003ch6>\u003cstrong> \u003c/strong>\u003c/h6>\n\u003ch6>\u003cb>Episode 2\u003c/b>\u003c/h6>\n\u003ch6>\u003cb>Emma Davis\u003c/b>\u003c/h6>\n\u003ch6>\u003cspan style=\"font-weight: 400\">Flight Test Engineer\u003c/span>\u003c/h6>\n\u003ch6>\u003cspan style=\"font-weight: 400\">Beta Technologies\u003c/span>\u003c/h6>\n\u003ch6>\u003ci>\u003cspan style=\"font-weight: 400\">INTERVIEWED IN PLATTSBURGH, NY\u003c/span>\u003c/i>\u003c/h6>\n\u003ch6>\u003cb>Kathy Hannun\u003c/b>\u003c/h6>\n\u003ch6>\u003cspan style=\"font-weight: 400\">Co-Founder & President\u003c/span>\u003c/h6>\n\u003ch6>\u003cspan style=\"font-weight: 400\">Dandelion Geothermal\u003c/span>\u003c/h6>\n\u003ch6>\u003ci>\u003cspan style=\"font-weight: 400\">INTERVIEWED IN MOUNT KISCO, NY\u003c/span>\u003c/i>\u003c/h6>\n\u003ch6>\u003cb>Michael Phinney\u003c/b>\u003c/h6>\n\u003ch6>\u003cspan style=\"font-weight: 400\">Owner & Principal Architect\u003c/span>\u003c/h6>\n\u003ch6>\u003cspan style=\"font-weight: 400\">Phinney Design Group\u003c/span>\u003c/h6>\n\u003ch6>\u003ci>\u003cspan style=\"font-weight: 400\">INTERVIEWED IN SARATOGA SPRINGS, NY\u003c/span>\u003c/i>\u003c/h6>\n\u003ch6>\u003cstrong> \u003c/strong>\u003c/h6>\n\u003ch6>\u003cb>Episode 3\u003c/b>\u003c/h6>\n\u003ch6>\u003cb>Cheryl Whilby\u003c/b>\u003c/h6>\n\u003ch6>\u003cspan style=\"font-weight: 400\">Co-Executive Director of Communications & Development\u003c/span>\u003c/h6>\n\u003ch6>\u003cspan style=\"font-weight: 400\">Soul Fire Farm\u003c/span>\u003c/h6>\n\u003ch6>\u003ci>\u003cspan style=\"font-weight: 400\">INTERVIEWED IN PETERSBURGH, NY\u003c/span>\u003c/i>\u003c/h6>\n\u003ch6>\u003cb>Kereem Berry\u003c/b>\u003c/h6>\n\u003ch6>\u003cspan style=\"font-weight: 400\">Executive Director\u003c/span>\u003c/h6>\n\u003ch6>\u003cspan style=\"font-weight: 400\">M.A.P.P., Inc.\u003c/span>\u003c/h6>\n\u003ch6>\u003ci>\u003cspan style=\"font-weight: 400\">INTERVIEWED IN ALBANY, NY\u003c/span>\u003c/i>\u003c/h6>\n\u003ch6>\u003cb>Elizabeth Yeampierre\u003c/b>\u003c/h6>\n\u003ch6>\u003cspan style=\"font-weight: 400\">Executive Director\u003c/span>\u003c/h6>\n\u003ch6>\u003cspan style=\"font-weight: 400\">UPROSE\u003c/span>\u003c/h6>\n\u003ch6>\u003ci>\u003cspan style=\"font-weight: 400\">INTERVIEWED IN BROOKLYN, NY\u003c/span>\u003c/i>\u003c/h6>\n\u003ch6>\u003c/h6>\n\u003ch6>\u003cb>Episode 4\u003c/b>\u003c/h6>\n\u003ch6>\u003cb>Tony Lee\u003c/b>\u003c/h6>\n\u003ch6>\u003cspan style=\"font-weight: 400\">Chief Technical Officer\u003c/span>\u003c/h6>\n\u003ch6>\u003cspan style=\"font-weight: 400\">Revel\u003c/span>\u003c/h6>\n\u003ch6>\u003ci>\u003cspan style=\"font-weight: 400\">INTERVIEWED IN BROOKLYN, NY\u003c/span>\u003c/i>\u003c/h6>\n\u003ch6>\u003cb>Jennifer Garvey\u003c/b>\u003c/h6>\n\u003ch6>\u003cspan style=\"font-weight: 400\">Head of New York Market Strategy\u003c/span>\u003c/h6>\n\u003ch6>\u003cspan style=\"font-weight: 400\">Ørsted\u003c/span>\u003c/h6>\n\u003ch6>\u003ci>\u003cspan style=\"font-weight: 400\">INTERVIEWED IN AMAGANSETT, NY (LONG ISLAND)\u003c/span>\u003c/i>\u003c/h6>\n\u003ch6>\u003cb>Adam Cohen\u003c/b>\u003c/h6>\n\u003ch6>\u003cspan style=\"font-weight: 400\">Co-Founder & Chief Technical Officer\u003c/span>\u003c/h6>\n\u003ch6>\u003cspan style=\"font-weight: 400\">NineDot Energy\u003c/span>\u003c/h6>\n\u003ch6>\u003ci>\u003cspan style=\"font-weight: 400\">INTERVIEWED IN THE BRONX, NY\u003c/span>\u003c/i>\u003c/h6>\n\u003ch6>\u003c/h6>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Funding for Roadtrip Nation: Empowered State is made possible by: \u003c/strong>\u003c/p>\n\u003cp>The New York State Energy Research and Development Authority\u003c/p>\n\u003cp>\u003cstrong>Websites and Social Media\u003c/strong>\u003c/p>\n\u003cp>Website:\u003ca href=\"http://ww2.kqed.org/pressroom/wp-admin/_wp_link_placeholder\"> roadtripnation.com\u003c/a>\u003cbr>\nEducation Site: \u003ca href=\"http://roadtripnation.org\">roadtripnation.org\u003c/a>\u003cbr>\nTwitter: \u003ca href=\"http://twitter.com/RoadtripNation\">twitter.com/RoadtripNation\u003c/a>\u003cbr>\nFacebook: \u003ca href=\"http://facebook.com/RoadtripNation\">facebook.com/RoadtripNation\u003c/a>\u003cbr>\nYouTube: \u003ca href=\"http://youtube.com/roadtripnation\">youtube.com/roadtripnation\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>About APT:\u003c/strong>\u003c/p>\n\u003cp>\u003cu>American Public Television \u003c/u>(APT) is the leading syndicator of high-quality, top-rated programming to the nation’s public television stations. For more than 10 years, APT has annually distributed one-third or more of the top 100 highest-rated public television titles in the U.S. Founded in 1961, among its 250 new program titles per year, APT programs include prominent documentaries, performances, news, and current affairs programs, dramas, how-to programs, children’s series, and classic movies. \u003cem>America’s Test Kitchen From Cook’s Illustrated\u003c/em>, \u003cem>Cook’s Country, AfroPoP, Rick Steves’ Europe\u003c/em>, \u003cem>Chris Kimball’s Milk Street Television\u003c/em>, \u003cem>Front and Center\u003c/em>, \u003cem>Doc Martin\u003c/em>, \u003cem>Nightly Business Report\u003c/em>, \u003cem>Midsomer Murders\u003c/em>, \u003cem>A Place to Call Home, Lidia’s Kitchen\u003c/em>, \u003cem>Globe Trekker\u003c/em>, \u003cem>New Orleans Cooking with Kevin Belton, Simply Ming\u003c/em>, and \u003cem>P. 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"content": "\u003cp>Leave it to Bay Area legend \u003ca href=\"https://www.eroplay.com/\">Frank Moore\u003c/a> to have more breasts in his first museum exhibition than a \u003cem>Girls Gone Wild\u003c/em> VHS. One should expect no less from the exhibitionist, shaman, presidential candidate and performance artist, who passed away in 2013. His resume reads like an artistic Mad Libs in the best possible way. And his exhibition, now on display at the Berkeley Art Museum and Pacific Film Archive, conveys that warm and radical spirit through paintings sometimes delightfully imposing in scale. \u003c/p>\n\u003cp>[aside postID='arts_13835688']Part documentation of pop culture, part exploration of skin, the show isn’t a large one. But it is intimate and comforting; Moore’s paintings are neatly arranged, mainly on one wall, shirking the typical gallery experience. Titled \u003cem>\u003ca href=\"https://bampfa.org/program/frank-moore-matrix-280-theater-human-melting\">Theater of Human Melting\u003c/a>\u003c/em>, the show is co-curated by San Francisco sculptor \u003ca href=\"https://matthewmarks.com/artists/vincent-fecteau\">Vincent Fecteau\u003c/a> and filmmaker \u003ca href=\"https://wall-eye.com/\">Keith Wilson\u003c/a>, whose \u003ca href=\"https://wall-eye.com/Untitled-Frank-Moore-Project\">feature documentary on Frank Moore\u003c/a> is currently in production.\u003c/p>\n\u003cp>Their presentation method is purposeful. “We knew we wanted the exhibit to mimic the vibrancy and discordant nature of Frank’s own walls,” Wilson explained by email. “When hanging the show, we decided against organizing them by chronology or subject matter, and attempted to hang them in clusters that are both discordant and harmonious.”\u003c/p>\n\u003cfigure id=\"attachment_13925377\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200.jpg\" alt=\"Painting of bluish face with mouth open and hand held up, red background\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13925377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Frank Moore, ‘Batman’s Face,’ 1979; Oil on canvas, 40 x 40 inches. \u003ccite>(Whit Forester)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moore’s paintings are aggressive, frantic portraits of love, lust and icons rounded out with titles reflecting on death and absurdity (see \u003cem>Corpse Love\u003c/em> or \u003cem>Rabbit on a Scooter\u003c/em>). He painted similarly to how he communicated with his speech board, but in place of his pointer, he strapped a paintbrush to his head. His wife, Linda Mac, would set up his paints for him and rotate each canvas when instructed. He chose to paint portraits, he says in his book \u003cem>Art of a Shaman\u003c/em>, “Because I wanted to see people nude, and touch them, and to create an intensity between us.” \u003c/p>\n\u003cp>Even though the work at BAMPFA was made between the 1960s and the early 1980s, Moore’s color choices remain fresh, balanced and striking. His work is linguistic; color choices speak to one another in juxtaposition rather than joining as one. Often not fully mixed, his brushstrokes could be seen as signs of his urgency to create. He was constantly working on something. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One of the most striking things about these paintings are their expressive paint handling,” Fecteau says via email. “Though they are largely representative, their goal does not seem to be perfect description. Rather they seem to be searching for something beyond the surface.” The outcome is satisfying: a response Moore might not have focused on or cared about in his other mediums. \u003c/p>\n\u003cp>Moore was very “punk” in that way. He got a lot of satisfaction out of confusing his audiences, like the time he organized a kind of happening, directing women to flirt with men in coffee shops without the context of a stage or an announced performance. In so much of his work, Moore pushed performance past its typical setting, blurring the lines between audience and actor. \u003c/p>\n\u003cfigure id=\"attachment_13925379\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200.jpg\" alt=\"Gallery view with TV in front center, white man with beard and glasses open-mouth on screen\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13925379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation of ‘Frank Moore / MATRIX 280: Theater of Human Melting’ at BAMPFA with a view of Moore in the trailer for ‘Let Me Be Frank.’ \u003ccite>(Whit Forester)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Theater of Human Melting\u003c/em> brings together disparate images from the pop culture Moore admired, with depictions of Batman, Frankenstein and Patti Smith (he idolized punk rockers). He chose these subjects because they brought him joy. This decision to follow fulfillment was a key element of Moore’s life; one day he chose to find himself beautiful. His declaration of feeling worthy and valued moved others to see that quality in him. When the confines of society differed from his thought process, Moore turned to self-love, creating his most radical persona.\u003c/p>\n\u003cp>For Fecteau and Wilson, the process of working on this show has been deeply enmeshed with the ideas of disability aesthetics. “Disability is not something to overcome in order to make art or creative work. Disability itself is generative, producing art and ideas that would otherwise not be realized,” Wilson says. Had Moore not been who he was, Wilson adds, “these dynamic, gestural, melting paintings would not be possible.”\u003c/p>\n\u003cp>A decade after his death, Moore’s legend continues. The BAMPFA exhibit includes the trailer for a newly launched web series called \u003cem>\u003ca href=\"https://frankadelic.com/\">Let Me Be Frank\u003c/a>\u003c/em>, featuring a song with his vocals and samples of his performance pieces. If nothing else, this body of work at BAMPFA might make you feel a bit antagonized, and rightfully so. The essence of Frank Moore is that there can always be more: more creation, more exploration, more enjoyment in living life. And he’d want you to know that. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Frank Moore / MATRIX 280: Theater of Human Melting’ is on view at the Berkeley Art Museum and Pacific Film Archive through April 23, 2023. \u003ca href=\"https://bampfa.org/program/frank-moore-matrix-280-theater-human-melting\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Leave it to Bay Area legend \u003ca href=\"https://www.eroplay.com/\">Frank Moore\u003c/a> to have more breasts in his first museum exhibition than a \u003cem>Girls Gone Wild\u003c/em> VHS. One should expect no less from the exhibitionist, shaman, presidential candidate and performance artist, who passed away in 2013. His resume reads like an artistic Mad Libs in the best possible way. And his exhibition, now on display at the Berkeley Art Museum and Pacific Film Archive, conveys that warm and radical spirit through paintings sometimes delightfully imposing in scale. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Part documentation of pop culture, part exploration of skin, the show isn’t a large one. But it is intimate and comforting; Moore’s paintings are neatly arranged, mainly on one wall, shirking the typical gallery experience. Titled \u003cem>\u003ca href=\"https://bampfa.org/program/frank-moore-matrix-280-theater-human-melting\">Theater of Human Melting\u003c/a>\u003c/em>, the show is co-curated by San Francisco sculptor \u003ca href=\"https://matthewmarks.com/artists/vincent-fecteau\">Vincent Fecteau\u003c/a> and filmmaker \u003ca href=\"https://wall-eye.com/\">Keith Wilson\u003c/a>, whose \u003ca href=\"https://wall-eye.com/Untitled-Frank-Moore-Project\">feature documentary on Frank Moore\u003c/a> is currently in production.\u003c/p>\n\u003cp>Their presentation method is purposeful. “We knew we wanted the exhibit to mimic the vibrancy and discordant nature of Frank’s own walls,” Wilson explained by email. “When hanging the show, we decided against organizing them by chronology or subject matter, and attempted to hang them in clusters that are both discordant and harmonious.”\u003c/p>\n\u003cfigure id=\"attachment_13925377\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200.jpg\" alt=\"Painting of bluish face with mouth open and hand held up, red background\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13925377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_010_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Frank Moore, ‘Batman’s Face,’ 1979; Oil on canvas, 40 x 40 inches. \u003ccite>(Whit Forester)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moore’s paintings are aggressive, frantic portraits of love, lust and icons rounded out with titles reflecting on death and absurdity (see \u003cem>Corpse Love\u003c/em> or \u003cem>Rabbit on a Scooter\u003c/em>). He painted similarly to how he communicated with his speech board, but in place of his pointer, he strapped a paintbrush to his head. His wife, Linda Mac, would set up his paints for him and rotate each canvas when instructed. He chose to paint portraits, he says in his book \u003cem>Art of a Shaman\u003c/em>, “Because I wanted to see people nude, and touch them, and to create an intensity between us.” \u003c/p>\n\u003cp>Even though the work at BAMPFA was made between the 1960s and the early 1980s, Moore’s color choices remain fresh, balanced and striking. His work is linguistic; color choices speak to one another in juxtaposition rather than joining as one. Often not fully mixed, his brushstrokes could be seen as signs of his urgency to create. He was constantly working on something. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One of the most striking things about these paintings are their expressive paint handling,” Fecteau says via email. “Though they are largely representative, their goal does not seem to be perfect description. Rather they seem to be searching for something beyond the surface.” The outcome is satisfying: a response Moore might not have focused on or cared about in his other mediums. \u003c/p>\n\u003cp>Moore was very “punk” in that way. He got a lot of satisfaction out of confusing his audiences, like the time he organized a kind of happening, directing women to flirt with men in coffee shops without the context of a stage or an announced performance. In so much of his work, Moore pushed performance past its typical setting, blurring the lines between audience and actor. \u003c/p>\n\u003cfigure id=\"attachment_13925379\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200.jpg\" alt=\"Gallery view with TV in front center, white man with beard and glasses open-mouth on screen\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13925379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Moore_Matrix280_2023_011_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation of ‘Frank Moore / MATRIX 280: Theater of Human Melting’ at BAMPFA with a view of Moore in the trailer for ‘Let Me Be Frank.’ \u003ccite>(Whit Forester)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Theater of Human Melting\u003c/em> brings together disparate images from the pop culture Moore admired, with depictions of Batman, Frankenstein and Patti Smith (he idolized punk rockers). He chose these subjects because they brought him joy. This decision to follow fulfillment was a key element of Moore’s life; one day he chose to find himself beautiful. His declaration of feeling worthy and valued moved others to see that quality in him. When the confines of society differed from his thought process, Moore turned to self-love, creating his most radical persona.\u003c/p>\n\u003cp>For Fecteau and Wilson, the process of working on this show has been deeply enmeshed with the ideas of disability aesthetics. “Disability is not something to overcome in order to make art or creative work. Disability itself is generative, producing art and ideas that would otherwise not be realized,” Wilson says. Had Moore not been who he was, Wilson adds, “these dynamic, gestural, melting paintings would not be possible.”\u003c/p>\n\u003cp>A decade after his death, Moore’s legend continues. The BAMPFA exhibit includes the trailer for a newly launched web series called \u003cem>\u003ca href=\"https://frankadelic.com/\">Let Me Be Frank\u003c/a>\u003c/em>, featuring a song with his vocals and samples of his performance pieces. If nothing else, this body of work at BAMPFA might make you feel a bit antagonized, and rightfully so. The essence of Frank Moore is that there can always be more: more creation, more exploration, more enjoyment in living life. And he’d want you to know that. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Frank Moore / MATRIX 280: Theater of Human Melting’ is on view at the Berkeley Art Museum and Pacific Film Archive through April 23, 2023. \u003ca href=\"https://bampfa.org/program/frank-moore-matrix-280-theater-human-melting\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Joseph Rosendo’s Travelscope Returns With Season 12",
"title": "Joseph Rosendo’s Travelscope Returns With Season 12",
"headTitle": "KQED's Pressroom | About KQED",
"content": "\u003cp>Season 12 of Joseph Rosendo's Travelscope Starts December 2022.\u003c/p>\n\u003cp>\u003cstrong>Season 12 of\u003c/strong> \u003cstrong>\u003cem>Joseph Rosendo’s Travelscope\u003c/em>\u003c/strong> serves up the never-ending joy of travel. The Emmy-winning series explores our planet and its people from the Americas to Europe, Africa and Asia. From Texas to Alaska, local treasures are discovered. Joseph roams Ireland’s Ancient East, a land of myths and legends, following the festive trail of Halloween. Then he returns to Northern Ireland to walk in the footsteps of St. Patrick and join the celebration Ireland’s favorite saint. On France’s Lot River he continues his travels by boat capturing the spirit of the people and the beauty of this special part of France. Joseph's globetrotting adventures take him to Africa and Asia when he highlights wine country, natural wonders, and wildlife conservation in South Africa, and in The Best of Taiwan, his storytelling reveals a surprising country of extraordinary people, cultural festivals, and natural attractions that include mountains, islands, and forests. This season, like the eleven before it, \u003cstrong>\u003cem>Joseph Rosendo’s Travelscope\u003c/em>\u003c/strong> asks viewers to accept the world’s invitation to visit and experience our planet and its people, its natural treasures, and its amazing wildlife in all their glory.\u003c/p>\n\u003cp>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>1201 - Halloween in Ireland’s Ancient East\u003c/strong>\u003c/p>\n\u003cp>The Irish are a celebratory people ready to rejoice in life at the beat of a drum, a note from a song, and a burst of laughter. Joseph joins the party when he celebrates Halloween in Ireland’s Ancient East, an area rich in history, myths, and legends, and views this beautiful part of the island through the prism of two festivals. The Puca Festival is an ancient observance reborn and the Wexford Festival Opera illustrates the Irish’s devotion to community. At the Puca Festival, Joseph joins the commemoration of the Celtic New Year, Samhain (pronounced Sow-In), which dates back more than 2,500 years. At the Wexford Opera Festival, he spotlights the festival’s 70 years of featuring unknown national and international composers with the support of more than 400 community volunteers. In between the festivities, Joseph samples a taste of the island in castles, country homes, markets, pubs, and restaurants. It’s clear that Ireland has much to celebrate – its heritage and culture, its struggles and survival, its scenic beauty and natural attractions — and we’re all invited to join in the revelry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>1202 - Ireland – Following the Way of St. Patrick – Part 1\u003c/strong>\u003c/p>\n\u003cp>Joseph follows in the footsteps of St. Patrick, Ireland’s Patron Saint, when he wanders by foot and travels by car along the Way and Trail of St. Patrick in Northern Ireland. In this episode, Joseph encounters Patrick’s history in the grand Roman Catholic and Church of Ireland cathedrals in Armagh, the ecclesiastical capital of Ireland. He visits with fifth-century Celts at Navin Centre & Fort and then travels on to other sacred and mythical sites, washing his face in St. Patrick’s Well and sitting in the saint’s Chair. Along the rugged Irish coast, he visits the Giant’s Causeway and finds plenty of comfort and good cheer at Bushmill’s historic distillery. He travels on to Northern Ireland’s capital, Belfast, and tours the University, Titanic and Cathedral Quarters and drops into a few pubs for a pint of Guinness or two to quench his thirst. By the end of his Belfast stay he’s prepared to move on to Downpatrick, Patrick’s burial place, for all the festivities and celebrations surrounding the saint’s day.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>1203 - Ireland – Following the Way of St. Patrick – Part 2 \u003c/strong>\u003c/p>\n\u003cp>Joseph continues his Irish journey in the footsteps St. Patrick, Ireland’s Patron Saint, by foot and by car along the Way and Trail of St. Patrick in Northern Ireland. This episode takes him to Slemish Mountain where Patrick served as a slave and Strangford Lough where Patrick returned to Ireland to answer the heavenly call to convert the populace to Christianity. He visits Saul Church, where Patrick began his mission, and Downpatrick Cathedral, St. Patrick’s burial site. While on his journey sacred sites abound, but he best connects with his Patrick’s spirit in the forests, fields and mountains where he walked, worked and lived. Ireland is a land of myth and legend and rich in customs and traditions. St. Patrick’s Day in Downpatrick is filled to the brim with their observance. Here Joseph discovers that while in much of the world St. Patrick’s Day is a rousing party, in Ireland the saint’s death is commemorated as a time of reconciliation, contemplation, and family and cultural celebrations. In typical Irish fashion, it’s also a time for mighty craic – a great time!\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>1204 - The Best of Taiwan\u003c/strong>\u003c/p>\n\u003cp>Why Taiwan? That is a question uninitiated visitors to Taiwan may ask. Beginning with its Portuguese discoverers, who called it \u003cem>Isla Formosa\u003c/em>, Beautiful Isle; they will soon find there is much in Taiwan to enjoy. With close to 1,000 miles of coastline to stroll, 286 mountain peaks over 9,000 feet to climb, 10 islands to explore, countless festivals to celebrate and 14 aboriginal groups to meet, Taiwan is a wondrous land with an abundance of surprising things to do, see and experience. Joseph has covered the island from every angle. He’s taken in the island by rail, reveled in its natural treasures, sampled its unique foods and drinks, combed through its night markets, explored its islands, participated in spiritual and cultural festivals and celebrated with its people. In his latest Taiwan episode Joseph dips into his previous Taiwan adventures, picks the best of his experiences and answers the question, “Why Taiwan?”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>1205 - South Africa – Into the Wild!\u003c/strong>\u003c/p>\n\u003cp>Joseph heads back to his first African adventure when he safaris through South Africa for close encounters with its animals and people. His journey begins in Cape Town, South Africa’s mother city, so called because it’s the country’s oldest. Then in the shadow of the city’s landmark Table Mountain, he visits South Africa’s oldest wine country and samples some of South Africa's finest wines. While we can expect to find lions and elephants on Joseph’s African journey, at the Cape of Good Hope Joseph also introduces us to ostriches and a colony of three thousand African Penguins. The climax of the episode is Joseph’s safari at Shamwari Game Reserve, a 61,000 acre preserve. Equally as inspiring as Joseph’s experience being surrounded by the multitude of Shamwari’s amazing animal residents is his experience in Alicedale, an abandoned rail town on the edge of the reserve. There he learns that sustainable tourism, attracted by the game reserve, has given the people new hope. In a dramatic moment of illustrated truth, Joseph’s South African journey teaches us that although predators kill by instinct, people choose whether to attack or embrace each other and choice is what makes us human and allows us to celebrate our connection.\u003c/p>\n\u003cp>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>1206 - South Padre Island, TX\u003c/strong>\u003c/p>\n\u003cp>Joseph heads to South Padre Island for a host of activities that highlight the many pleasures available to visitors to the longest barrier island on the South Texas Coast. Besides enjoying the local's favorite pastime of kicking’ back and breathing in the sweet sea breezes, Joseph partakes of the islands’ many natural and manmade attractions. From fishing to bird watching and horseback riding, from building sand castles to kayaking the lagoon and hitting the surf, Joseph joins in the fun. A highlight of his visit is his in-depth visit to the only Sea Turtle rescue set in the United States -- South Padre Island Sea Turtle, Inc. To round out his stay he follows the Sandcastle Trail and Sea Turtle Art Trail and proves that South Padre Island has something to offer every visitor and the best time to visit is now.\u003c/p>\n\u003cp>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>1207 - France – Cruising on the Lot \u003c/strong>\u003c/p>\n\u003cp>Joseph and his crew navigate a watery path under the craggy cliffs and dramatic escarpments of Southwest France. Winding their way by boat through the Lot River Valley they capture Joseph’s journey through the river’s ancient locks and the region’s magical villages. Among the many treasures, the episode features are Saint-Cirq-Lapopie, classified as one of the “Most Beautiful Villages of France”, the Château de Mercuès, with its Michelin star restaurant and award-winning winery, as well as, the region’s capital, Cahors, which boasts historic bridges, secret gardens and one of the best marchés – farmer's markets -- in Southwest France. Joseph offers his viewers a taste of the region’s abundance of riches.\u003c/p>\n\u003cp>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>1208 - Alaska – America’s Last Frontier\u003c/strong>\u003c/p>\n\u003cp>Joseph looks back to his first voyage through Alaska’s Inside Passage to the land and the people of America’s Last Frontier. His ocean-going vessel carries him through Canadian waters to Prince Rupert, British Columbia and on through Alaska’s inside passage to Juneau, Skagway and Sitka. Along the way, the ship stops in Tracy Arm Fjord to catch nature’s show headlined by Bald Eagles and Gray, Orca and Humpback whales. Further explorations take him to Alaska’s capital, Juneau and while no roads lead to Juneau visitors still come to trek its glaciers, kayak its rivers and ski its mountains. Joseph’s Alaskan journey of discovery continues in the Klondike Gold Rush town of Skagway and in historic Sitka where he explores its Russian roots. On his Inside Passage journey, he meets the Tsimshian people and learns of their struggle to retain their language, rich culture and ancient ceremonies. Alaska is America’s Last Frontier and every Alaskan has a story to tell about what brought them and what keeps them there. In the end, Joseph discovers that they came for the land, but they stayed for the people.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Underwritten by: EVA Airways, No Jet Lag\u003cbr>\nLocal Underwriting: available with non-compete of national underwriter\u003c/p>\n\u003cp>Producer: Julie Rosendo, \u003ca href=\"mailto:julie@travelscope.net\">julie@travelscope.net\u003c/a>\u003c/p>\n\u003cp>Presenting Station: KQED, San Francisco\u003c/p>\n\u003cp>\u003cstrong>About APT:\u003c/strong>\u003c/p>\n\u003cp>\u003cu>American Public Television \u003c/u>(APT) is the leading syndicator of high-quality, top-rated programming to the nation’s public television stations. For more than 10 years, APT has annually distributed one-third or more of the top 100 highest-rated public television titles in the U.S. Founded in 1961, among its 250 new program titles per year, APT programs include prominent documentaries, performances, news, and current affairs programs, dramas, how-to programs, children’s series, and classic movies. \u003cem>America’s Test Kitchen From Cook’s Illustrated\u003c/em>, \u003cem>Cook’s Country, AfroPoP, Rick Steves’ Europe\u003c/em>, \u003cem>Chris Kimball’s Milk Street Television\u003c/em>, \u003cem>Front and Center\u003c/em>, \u003cem>Doc Martin\u003c/em>, \u003cem>Nightly Business Report\u003c/em>, \u003cem>Midsomer Murders\u003c/em>, \u003cem>A Place to Call Home, Lidia’s Kitchen\u003c/em>, \u003cem>Globe Trekker\u003c/em>, \u003cem>New Orleans Cooking with Kevin Belton, Simply Ming\u003c/em>, and \u003cem>P. Allen Smith’s Garden Home \u003c/em>are a sampling of APT’s programs, considered some of the most popular on public television.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>APT licenses programs internationally through its APT Worldwide service. Entering its 13th year, Create®TV — featuring the best of public television’s lifestyle programming — is distributed by American Public Television. APT also distributes WORLD™, public television’s premier news, science, and documentary channel. To find out more about APT’s programs and services, visit APTonline.org.\u003c/p>\n\u003ch6>\u003cspan style=\"color: #444444;font-family: 'Arial','sans-serif';font-size: 9pt\">About KQED\u003c/span>\u003c/h6>\n\u003ch6>\u003cspan style=\"color: #444444;font-family: 'Arial','sans-serif';font-size: 9pt\">KQED serves the people of Northern California with a public-supported alternative to commercial media. An NPR and PBS affiliate based in San Francisco, KQED is home to one of the most-listened-to public radio stations in the nation, one of the highest-rated public television services and an award-winning education program helping students and educators thrive in 21st-century classrooms. A trusted news source and leader and innovator in interactive technology, KQED takes people of all ages on journeys of exploration — exposing them to new people, places, and ideas.\u003c/span>\u003c/h6>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Season 12 of Joseph Rosendo's Travelscope Starts December 2022.\u003c/p>\n\u003cp>\u003cstrong>Season 12 of\u003c/strong> \u003cstrong>\u003cem>Joseph Rosendo’s Travelscope\u003c/em>\u003c/strong> serves up the never-ending joy of travel. The Emmy-winning series explores our planet and its people from the Americas to Europe, Africa and Asia. From Texas to Alaska, local treasures are discovered. Joseph roams Ireland’s Ancient East, a land of myths and legends, following the festive trail of Halloween. Then he returns to Northern Ireland to walk in the footsteps of St. Patrick and join the celebration Ireland’s favorite saint. On France’s Lot River he continues his travels by boat capturing the spirit of the people and the beauty of this special part of France. Joseph's globetrotting adventures take him to Africa and Asia when he highlights wine country, natural wonders, and wildlife conservation in South Africa, and in The Best of Taiwan, his storytelling reveals a surprising country of extraordinary people, cultural festivals, and natural attractions that include mountains, islands, and forests. This season, like the eleven before it, \u003cstrong>\u003cem>Joseph Rosendo’s Travelscope\u003c/em>\u003c/strong> asks viewers to accept the world’s invitation to visit and experience our planet and its people, its natural treasures, and its amazing wildlife in all their glory.\u003c/p>\n\u003cp>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>1201 - Halloween in Ireland’s Ancient East\u003c/strong>\u003c/p>\n\u003cp>The Irish are a celebratory people ready to rejoice in life at the beat of a drum, a note from a song, and a burst of laughter. Joseph joins the party when he celebrates Halloween in Ireland’s Ancient East, an area rich in history, myths, and legends, and views this beautiful part of the island through the prism of two festivals. The Puca Festival is an ancient observance reborn and the Wexford Festival Opera illustrates the Irish’s devotion to community. At the Puca Festival, Joseph joins the commemoration of the Celtic New Year, Samhain (pronounced Sow-In), which dates back more than 2,500 years. At the Wexford Opera Festival, he spotlights the festival’s 70 years of featuring unknown national and international composers with the support of more than 400 community volunteers. In between the festivities, Joseph samples a taste of the island in castles, country homes, markets, pubs, and restaurants. It’s clear that Ireland has much to celebrate – its heritage and culture, its struggles and survival, its scenic beauty and natural attractions — and we’re all invited to join in the revelry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>1202 - Ireland – Following the Way of St. Patrick – Part 1\u003c/strong>\u003c/p>\n\u003cp>Joseph follows in the footsteps of St. Patrick, Ireland’s Patron Saint, when he wanders by foot and travels by car along the Way and Trail of St. Patrick in Northern Ireland. In this episode, Joseph encounters Patrick’s history in the grand Roman Catholic and Church of Ireland cathedrals in Armagh, the ecclesiastical capital of Ireland. He visits with fifth-century Celts at Navin Centre & Fort and then travels on to other sacred and mythical sites, washing his face in St. Patrick’s Well and sitting in the saint’s Chair. Along the rugged Irish coast, he visits the Giant’s Causeway and finds plenty of comfort and good cheer at Bushmill’s historic distillery. He travels on to Northern Ireland’s capital, Belfast, and tours the University, Titanic and Cathedral Quarters and drops into a few pubs for a pint of Guinness or two to quench his thirst. By the end of his Belfast stay he’s prepared to move on to Downpatrick, Patrick’s burial place, for all the festivities and celebrations surrounding the saint’s day.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>1203 - Ireland – Following the Way of St. Patrick – Part 2 \u003c/strong>\u003c/p>\n\u003cp>Joseph continues his Irish journey in the footsteps St. Patrick, Ireland’s Patron Saint, by foot and by car along the Way and Trail of St. Patrick in Northern Ireland. This episode takes him to Slemish Mountain where Patrick served as a slave and Strangford Lough where Patrick returned to Ireland to answer the heavenly call to convert the populace to Christianity. He visits Saul Church, where Patrick began his mission, and Downpatrick Cathedral, St. Patrick’s burial site. While on his journey sacred sites abound, but he best connects with his Patrick’s spirit in the forests, fields and mountains where he walked, worked and lived. Ireland is a land of myth and legend and rich in customs and traditions. St. Patrick’s Day in Downpatrick is filled to the brim with their observance. Here Joseph discovers that while in much of the world St. Patrick’s Day is a rousing party, in Ireland the saint’s death is commemorated as a time of reconciliation, contemplation, and family and cultural celebrations. In typical Irish fashion, it’s also a time for mighty craic – a great time!\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>1204 - The Best of Taiwan\u003c/strong>\u003c/p>\n\u003cp>Why Taiwan? That is a question uninitiated visitors to Taiwan may ask. Beginning with its Portuguese discoverers, who called it \u003cem>Isla Formosa\u003c/em>, Beautiful Isle; they will soon find there is much in Taiwan to enjoy. With close to 1,000 miles of coastline to stroll, 286 mountain peaks over 9,000 feet to climb, 10 islands to explore, countless festivals to celebrate and 14 aboriginal groups to meet, Taiwan is a wondrous land with an abundance of surprising things to do, see and experience. Joseph has covered the island from every angle. He’s taken in the island by rail, reveled in its natural treasures, sampled its unique foods and drinks, combed through its night markets, explored its islands, participated in spiritual and cultural festivals and celebrated with its people. In his latest Taiwan episode Joseph dips into his previous Taiwan adventures, picks the best of his experiences and answers the question, “Why Taiwan?”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>1205 - South Africa – Into the Wild!\u003c/strong>\u003c/p>\n\u003cp>Joseph heads back to his first African adventure when he safaris through South Africa for close encounters with its animals and people. His journey begins in Cape Town, South Africa’s mother city, so called because it’s the country’s oldest. Then in the shadow of the city’s landmark Table Mountain, he visits South Africa’s oldest wine country and samples some of South Africa's finest wines. While we can expect to find lions and elephants on Joseph’s African journey, at the Cape of Good Hope Joseph also introduces us to ostriches and a colony of three thousand African Penguins. The climax of the episode is Joseph’s safari at Shamwari Game Reserve, a 61,000 acre preserve. Equally as inspiring as Joseph’s experience being surrounded by the multitude of Shamwari’s amazing animal residents is his experience in Alicedale, an abandoned rail town on the edge of the reserve. There he learns that sustainable tourism, attracted by the game reserve, has given the people new hope. In a dramatic moment of illustrated truth, Joseph’s South African journey teaches us that although predators kill by instinct, people choose whether to attack or embrace each other and choice is what makes us human and allows us to celebrate our connection.\u003c/p>\n\u003cp>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>1206 - South Padre Island, TX\u003c/strong>\u003c/p>\n\u003cp>Joseph heads to South Padre Island for a host of activities that highlight the many pleasures available to visitors to the longest barrier island on the South Texas Coast. Besides enjoying the local's favorite pastime of kicking’ back and breathing in the sweet sea breezes, Joseph partakes of the islands’ many natural and manmade attractions. From fishing to bird watching and horseback riding, from building sand castles to kayaking the lagoon and hitting the surf, Joseph joins in the fun. A highlight of his visit is his in-depth visit to the only Sea Turtle rescue set in the United States -- South Padre Island Sea Turtle, Inc. To round out his stay he follows the Sandcastle Trail and Sea Turtle Art Trail and proves that South Padre Island has something to offer every visitor and the best time to visit is now.\u003c/p>\n\u003cp>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>1207 - France – Cruising on the Lot \u003c/strong>\u003c/p>\n\u003cp>Joseph and his crew navigate a watery path under the craggy cliffs and dramatic escarpments of Southwest France. Winding their way by boat through the Lot River Valley they capture Joseph’s journey through the river’s ancient locks and the region’s magical villages. Among the many treasures, the episode features are Saint-Cirq-Lapopie, classified as one of the “Most Beautiful Villages of France”, the Château de Mercuès, with its Michelin star restaurant and award-winning winery, as well as, the region’s capital, Cahors, which boasts historic bridges, secret gardens and one of the best marchés – farmer's markets -- in Southwest France. Joseph offers his viewers a taste of the region’s abundance of riches.\u003c/p>\n\u003cp>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>1208 - Alaska – America’s Last Frontier\u003c/strong>\u003c/p>\n\u003cp>Joseph looks back to his first voyage through Alaska’s Inside Passage to the land and the people of America’s Last Frontier. His ocean-going vessel carries him through Canadian waters to Prince Rupert, British Columbia and on through Alaska’s inside passage to Juneau, Skagway and Sitka. Along the way, the ship stops in Tracy Arm Fjord to catch nature’s show headlined by Bald Eagles and Gray, Orca and Humpback whales. Further explorations take him to Alaska’s capital, Juneau and while no roads lead to Juneau visitors still come to trek its glaciers, kayak its rivers and ski its mountains. Joseph’s Alaskan journey of discovery continues in the Klondike Gold Rush town of Skagway and in historic Sitka where he explores its Russian roots. On his Inside Passage journey, he meets the Tsimshian people and learns of their struggle to retain their language, rich culture and ancient ceremonies. Alaska is America’s Last Frontier and every Alaskan has a story to tell about what brought them and what keeps them there. In the end, Joseph discovers that they came for the land, but they stayed for the people.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Underwritten by: EVA Airways, No Jet Lag\u003cbr>\nLocal Underwriting: available with non-compete of national underwriter\u003c/p>\n\u003cp>Producer: Julie Rosendo, \u003ca href=\"mailto:julie@travelscope.net\">julie@travelscope.net\u003c/a>\u003c/p>\n\u003cp>Presenting Station: KQED, San Francisco\u003c/p>\n\u003cp>\u003cstrong>About APT:\u003c/strong>\u003c/p>\n\u003cp>\u003cu>American Public Television \u003c/u>(APT) is the leading syndicator of high-quality, top-rated programming to the nation’s public television stations. For more than 10 years, APT has annually distributed one-third or more of the top 100 highest-rated public television titles in the U.S. Founded in 1961, among its 250 new program titles per year, APT programs include prominent documentaries, performances, news, and current affairs programs, dramas, how-to programs, children’s series, and classic movies. \u003cem>America’s Test Kitchen From Cook’s Illustrated\u003c/em>, \u003cem>Cook’s Country, AfroPoP, Rick Steves’ Europe\u003c/em>, \u003cem>Chris Kimball’s Milk Street Television\u003c/em>, \u003cem>Front and Center\u003c/em>, \u003cem>Doc Martin\u003c/em>, \u003cem>Nightly Business Report\u003c/em>, \u003cem>Midsomer Murders\u003c/em>, \u003cem>A Place to Call Home, Lidia’s Kitchen\u003c/em>, \u003cem>Globe Trekker\u003c/em>, \u003cem>New Orleans Cooking with Kevin Belton, Simply Ming\u003c/em>, and \u003cem>P. Allen Smith’s Garden Home \u003c/em>are a sampling of APT’s programs, considered some of the most popular on public television.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "How Scientists are Fighting to Save California Forests with Reforestation, a short film.",
"title": "How Scientists are Fighting to Save California Forests with Reforestation, a short film.",
"headTitle": "Season 16 | Truly CA | Truly CA | KQED Arts",
"content": "\u003cp>Reforestation is a short film made by Jenn Cain and Mallory Pickett.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\"]\u003ca href=\"https://www.youtube.com/watch?v=iLxFLi5IO0Q\">Watch the film Reforestation\u003c/a> [/pullquote]\u003c/p>\n\u003cp>\u003cstrong>About the Film - Reforestation\u003c/strong>\u003c/p>\n\u003cp>Amidst intensifying wildfires and global warming, CAL FIRE and USDA face an overwhelming struggle to replant millions of acres lost to recent wildfires. The process of replanting starts by picking the cones of mature conifers. By identifying species that are more adapted to climate change, geneticists are able to replant conifers that can better survive climate change. Facing the tremendous demand for fighting wildfires, authorities like CAL FIRE also struggle to find climbers to pick cones for seeds.\u003c/p>\n\u003cp>\u003cstrong>Directors Statement: \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reporter Mallory Pickett and I wanted to explain to viewers the scientific processes that geneticists are using to replant our state’s burnt forests. We filmed the climbers, who collect conifer cones, using a GoPro and a DJI Mavic 2 drone in hopes of portraying the lofty efforts that are being made to rejuvenate California’s forests by authorities like CAL FIRE and U.S. Forestry Service. As the state loses more and more trees to intensifying wildfires, geneticists believe that forests can be regrown by selecting trees that are better adapted to global warming. We were inspired by the dogged efforts of sources like Arnaldo Ferreira and Jessica Huang whose work softens the negative impacts of climate change.\u003c/p>\n\u003cp>\u003cstrong>Director Bios:\u003c/strong>\u003c/p>\n\u003cp>Jennifer Cain is an independent filmmaker based in Santa Cruz, California. She \u003ca href=\"http://www.jenn-cain.com\">directs and produces\u003c/a> short documentaries and television news stories that have appeared with AJ+ and the PBS NewsHour. Jennifer graduated from the University of California, Graduate School of Journalism with an M.A. in video storytelling. As a project manager, she has led data-driven, interactive projects with digital news outlets like YR Media (formerly Youth Radio).\u003c/p>\n\u003cfigure id=\"attachment_3477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/29/2022/04/croped_profile-cam.jpg\">\u003cimg class=\"wp-image-3477 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2022/04/croped_profile-cam-800x727.jpg\" alt=\"\" width=\"800\" height=\"727\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2022/04/croped_profile-cam-800x727.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2022/04/croped_profile-cam-1020x927.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2022/04/croped_profile-cam-160x145.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2022/04/croped_profile-cam-768x698.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2022/04/croped_profile-cam.jpg 1402w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmaker Jenn Cain\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>To keep up with the Reforestation Crew\u003c/strong>\u003c/p>\n\u003cp>You can find them on social\u003c/p>\n\u003cp>\u003cstrong>Editor, Producer - Jenn Cain\u003c/strong>\u003c/p>\n\u003cp>@\u003ca href=\"https://twitter.com/jennymcain\">jennymcain\u003c/a> on Twitter\u003c/p>\n\u003cp>@\u003ca href=\"https://www.instagram.com/cennyjain/\">cennyjain\u003c/a> on Instagram\u003c/p>\n\u003cp>\u003cstrong>Reporter, Producer\u003c/strong> \u003cstrong>- Mallory Pickett\u003c/strong>\u003c/p>\n\u003cp>@\u003ca href=\"https://twitter.com/MalloryLPickett\">MalloryLPickett\u003c/a> on Twitter\u003c/p>\n\u003cp>\u003cstrong>Editor, Producer - Isara Krieger\u003c/strong>\u003c/p>\n\u003cp>@isarakrieger on \u003ca href=\"https://www.facebook.com/isara.krieger\">FB\u003c/a> or \u003ca href=\"https://twitter.com/isarakrieger\">Twitter\u003c/a>\u003c/p>\n\u003cp>@\u003ca href=\"https://www.instagram.com/alonewithacupcake/\">alonewithacupcake\u003c/a> on IG\u003c/p>\n\u003cp>Website: \u003ca href=\"https://www.isarakrieger.com/\">https://www.isarakrieger.com/\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Credits for Reforestation:\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">Mallory Pickett Reporter, Producer\u003c/p>\n\u003cp style=\"text-align: left\">Jenn Cain Director, Producer\u003c/p>\n\u003cp style=\"text-align: left\">Erika Staud Editor, Photographer\u003c/p>\n\u003cp style=\"text-align: left\">Isara Krieger Editor, Producer\u003c/p>\n\u003cp style=\"text-align: left\">Bijan Sharifi Sound Mix\u003c/p>\n\u003cp style=\"text-align: left\">LaTrina Candia Sound Recorder\u003c/p>\n\u003cp style=\"text-align: left\">Gary Coates Color Grading\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"text-align: left\">William Sammons Sound Design\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reporter Mallory Pickett and I wanted to explain to viewers the scientific processes that geneticists are using to replant our state’s burnt forests. We filmed the climbers, who collect conifer cones, using a GoPro and a DJI Mavic 2 drone in hopes of portraying the lofty efforts that are being made to rejuvenate California’s forests by authorities like CAL FIRE and U.S. Forestry Service. As the state loses more and more trees to intensifying wildfires, geneticists believe that forests can be regrown by selecting trees that are better adapted to global warming. We were inspired by the dogged efforts of sources like Arnaldo Ferreira and Jessica Huang whose work softens the negative impacts of climate change.\u003c/p>\n\u003cp>\u003cstrong>Director Bios:\u003c/strong>\u003c/p>\n\u003cp>Jennifer Cain is an independent filmmaker based in Santa Cruz, California. She \u003ca href=\"http://www.jenn-cain.com\">directs and produces\u003c/a> short documentaries and television news stories that have appeared with AJ+ and the PBS NewsHour. Jennifer graduated from the University of California, Graduate School of Journalism with an M.A. in video storytelling. As a project manager, she has led data-driven, interactive projects with digital news outlets like YR Media (formerly Youth Radio).\u003c/p>\n\u003cfigure id=\"attachment_3477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/29/2022/04/croped_profile-cam.jpg\">\u003cimg class=\"wp-image-3477 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2022/04/croped_profile-cam-800x727.jpg\" alt=\"\" width=\"800\" height=\"727\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2022/04/croped_profile-cam-800x727.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2022/04/croped_profile-cam-1020x927.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2022/04/croped_profile-cam-160x145.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2022/04/croped_profile-cam-768x698.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2022/04/croped_profile-cam.jpg 1402w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmaker Jenn Cain\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>To keep up with the Reforestation Crew\u003c/strong>\u003c/p>\n\u003cp>You can find them on social\u003c/p>\n\u003cp>\u003cstrong>Editor, Producer - Jenn Cain\u003c/strong>\u003c/p>\n\u003cp>@\u003ca href=\"https://twitter.com/jennymcain\">jennymcain\u003c/a> on Twitter\u003c/p>\n\u003cp>@\u003ca href=\"https://www.instagram.com/cennyjain/\">cennyjain\u003c/a> on Instagram\u003c/p>\n\u003cp>\u003cstrong>Reporter, Producer\u003c/strong> \u003cstrong>- Mallory Pickett\u003c/strong>\u003c/p>\n\u003cp>@\u003ca href=\"https://twitter.com/MalloryLPickett\">MalloryLPickett\u003c/a> on Twitter\u003c/p>\n\u003cp>\u003cstrong>Editor, Producer - Isara Krieger\u003c/strong>\u003c/p>\n\u003cp>@isarakrieger on \u003ca href=\"https://www.facebook.com/isara.krieger\">FB\u003c/a> or \u003ca href=\"https://twitter.com/isarakrieger\">Twitter\u003c/a>\u003c/p>\n\u003cp>@\u003ca href=\"https://www.instagram.com/alonewithacupcake/\">alonewithacupcake\u003c/a> on IG\u003c/p>\n\u003cp>Website: \u003ca href=\"https://www.isarakrieger.com/\">https://www.isarakrieger.com/\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Credits for Reforestation:\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">Mallory Pickett Reporter, Producer\u003c/p>\n\u003cp style=\"text-align: left\">Jenn Cain Director, Producer\u003c/p>\n\u003cp style=\"text-align: left\">Erika Staud Editor, Photographer\u003c/p>\n\u003cp style=\"text-align: left\">Isara Krieger Editor, Producer\u003c/p>\n\u003cp style=\"text-align: left\">Bijan Sharifi Sound Mix\u003c/p>\n\u003cp style=\"text-align: left\">LaTrina Candia Sound Recorder\u003c/p>\n\u003cp style=\"text-align: left\">Gary Coates Color Grading\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"text-align: left\">William Sammons Sound Design\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last Days of Paradise High is a short film made by Emily Thomas and Derek Knowles.\u003c/p>\n\u003cp>[pullquote size=”medium” align=”right”]\u003ca href=\"https://youtu.be/K5SkVMKKPek\">Watch Last Days at Paradise High Now\u003c/a> [/pullquote]\u003c/p>\n\u003cp>After the most destructive fire in California history destroys the town of Paradise, the end of the school year takes on added meaning for two seniors, Harmony and Kody, and their beloved teacher, Mrs. Partain. As the end of school approaches, these displaced teens grapple with their fading youth like their peers across the country —\u003cbr>\nstruggling to stay motivated in class, fighting to be heard, capriciously asserting newfound independence, and deciding what to do after graduation. But these moments of classic teenage drama are routinely ruptured by jarring reminders that they have lived through one of the greatest disasters in their country’s history. Told from the perspective of America’s youngest climate refugees, Last Days at Paradise High is an intimate portrait of fading youth and the search for home after it’s gone.\u003c/p>\n\u003cp>[gallery columns=\"2\" ids=\"3469,3468,3467,3466,3465,3464,3463,3462,3461,3460\"]\u003c/p>\n\u003cp>Directors’ Statement\u003cbr>\nIncreasing traumatic events around the nation and world—from school shootings to COVID-19—are bringing a new generation of young adults into adulthood with inherited trauma. These events are creating a generation of survivors with a shared understanding of the impermanence of our world, anxiety about impending disaster,\u003cbr>\nand a resolve to embark upon radical change. As filmmakers, we hope to honor and highlight their stories so that they not be forgotten. The ultimate aim with this film is to include the good with the bad, the familiar with the unexpected, to broaden the perception and deepen the understanding of a disaster and its unforeseen impacts. We want to show both young and old generations how\u003cbr>\nthey might live beyond the grim issues of the day, to remind them of the complications and joys of youth, and to demonstrate, through the examples of our subjects, the opportunity for collective healing\u003cbr>\nList of film festival screenings SFFILM, DocLands, DCEFF, Alexander Valley Film Festival, Sebastopol Film Festival’s, Declare Your Independents program.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>EMILY THOMAS | CO-DIRECTOR, PRODUCER, CINEMATOGRAPHER\u003cbr>\nEmily is a nonfiction filmmaker and cinematographer driven by a passion for documenting the human experience. Her work is rooted in the belief that stories are the most powerful way to connect people, bridge cultures, and embolden the voiceless.\u003c/p>\n\u003cp>She is co-director of Last Days at Paradise High, a documentary chronicling the end of adolescence in the wake of the devastating wildfire in Northern California that burned down the town of Paradise. The film screened at film festivals around the country and was originally published in The New Yorker. She is currently working on her first feature-length documentary, The Price of Freedom, a vignette film that illuminates the hidden worlds at the gates of the criminal justice system. Her work can be seen on Frontline, CBS, POV, The Guardian and many others.\u003c/p>\n\u003cp>DEREK KNOWLES | CO-DIRECTOR, PRODUCER, CINEMATOGRAPHER\u003cbr>\nDerek Knowles is a documentary filmmaker whose work has been featured as a Vimeo Staff pick and on outlets like The Atlantic. He prefers to focus his work on people’s unheralded, often overlooked experiences, and has been a part of projects for Frontline, National Geographic, CNN, POV, and The Documentary Group. Recently, he\u003cbr>\nwas an Artist-in-Residence at “the camp” in the south of France where he developed an interactive intergenerational project aimed at connecting young and older generations. His recent film, “After the Fire,” winner of the Tribeca Film Institute’s “If/Then” Shorts Award, follows three residents of his hometown in the months\u003cbr>\nfollowing 2017’s historic wildfires. It aired on California PBS stations in August 2019.\u003c/p>\n\u003cp>Derek graduated with honors from Stanford University in 2011 with a degree in American Studies.\u003c/p>\n\u003cp>PETER RICHARDS | EXECUTIVE-PRODUCER\u003cbr>\nPeter Richardson’s thoughtful and compelling documentary work has gained widespread recognition, including the Sundance Grand Jury Prize for Best Documentary and an Emmy Nomination for Best Documentary for How to Die in Oregon, his second feature. The film was broadcast on HBO, and the Chicago Sun-Times noted that “it will likely be viewed as one of the most historically significant\u003cbr>\ndocumentaries of this decade.” Richardson’s first feature doc also premiered at Sundance and was broadcast on the Sundance Channel. Richardson has worked extensively on premium documentary series, most recently show running two seasons\u003cbr>\nof QB1: Beyond the Lights, a 10-part documentary series about high school football, executive produced by Peter Berg. Prior to his work on QB1, Richardson was Series Director of Dark Net and Co-Executive Producer of The Circus: The Greatest Political\u003cbr>\nShow on Earth, both for Showtime Networks.\u003c/p>\n\u003cp>CREDITS\u003cbr>\nA Film By:\u003cbr>\nEmily Thomas and Derek Knowles\u003c/p>\n\u003cp>Featuring:\u003cbr>\nVirginia Partain\u003cbr>\nHarmony VonStockhausen\u003cbr>\nKody Loesch\u003cbr>\nJennifer Lyle\u003c/p>\n\u003cp>Executive Producer\u003cbr>\nPeter Richardson\u003cbr>\nIn Association with Blue Chalk Media and Lemon Tree Productions\u003c/p>\n\u003cp>Cinematography:\u003cbr>\nDerek Knowles\u003cbr>\nEmily Thomas\u003c/p>\n\u003cp>Producers\u003cbr>\nEmily Thomas\u003cbr>\nDerek Knowles\u003cbr>\nBlue Chalk\u003c/p>\n\u003cp>Executive Producers\u003cbr>\nGreg Moyer\u003cbr>\nPam Huling\u003c/p>\n\u003cp>Editor\u003cbr>\nGreg Snider\u003c/p>\n\u003cp>Assistant Editor\u003cbr>\nKashi Hall\u003c/p>\n\u003cp>Post Production Manager\u003cbr>\nAmy Polansky\u003c/p>\n\u003cp>Color Grade\u003cbr>\nKashi Hall\u003c/p>\n\u003cp>Audio Mix\u003cbr>\nJim Cooke\u003c/p>\n\u003cp>Original Music\u003cbr>\nAdam Gunther\u003c/p>\n\u003cp>Additional Music\u003cbr>\nAlice Bauman\u003c/p>\n\u003cp>Consulting Editor\u003cbr>\nDan Sadowksy\u003c/p>\n\u003cp>Production Assistant\u003cbr>\nJohn Toner\u003c/p>\n\u003cp>Additional Camera:\u003cbr>\nLevi Baker\u003cbr>\nBasil Glew-Galloway\u003cbr>\nCraig Hickerson\u003cbr>\nChris Smith\u003c/p>\n\u003cp>Confessionals:\u003cbr>\nIsiah Anderson\u003cbr>\nMackenzie Anderson\u003cbr>\nMegan Brewer\u003cbr>\nFaith Brown\u003cbr>\nThomas Corcoran\u003cbr>\nSofia DiBenedetto\u003cbr>\nEmily Headman\u003cbr>\nVicki Kelleman\u003cbr>\nIsiah Kent\u003cbr>\nAnthony Kern\u003cbr>\nMarissa Metker\u003cbr>\nTiril Mong\u003cbr>\nSarah Peters\u003cbr>\nJuliette Salls\u003cbr>\nAutumn Spoolman\u003cbr>\nKaylee Sunega\u003cbr>\nRachel Warren\u003c/p>\n\u003cp>Thank You:\u003cbr>\nStaff and administrators of Paradise High School\u003cbr>\nParadise Unified School District\u003cbr>\nJuan Arboleda\u003cbr>\nSamantha Clark\u003cbr>\nMichelle John\u003cbr>\nMargaret Katcher\u003cbr>\nDebra Knowles\u003cbr>\nDan Krauss\u003cbr>\nLawrence Lerew\u003cbr>\nGabriel Long\u003cbr>\nStacie Martin\u003cbr>\nSofia Melo\u003cbr>\nJeff Plunkett\u003cbr>\nSerghino Roosblad\u003cbr>\nMark Schapiro\u003cbr>\nLauren Schwartzman\u003cbr>\nSpencer Seibert\u003cbr>\nConor Spicer\u003cbr>\nElliott Thomas\u003cbr>\nToner Family\u003cbr>\nLuke Wigren\u003cbr>\nKirt Woodman\u003c/p>\n\u003cp>Funding Provided By:\u003cbr>\nBerkeley Film Foundation\u003cbr>\nErin and Francis Collins\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>EMILY THOMAS | CO-DIRECTOR, PRODUCER, CINEMATOGRAPHER\u003cbr>\nEmily is a nonfiction filmmaker and cinematographer driven by a passion for documenting the human experience. Her work is rooted in the belief that stories are the most powerful way to connect people, bridge cultures, and embolden the voiceless.\u003c/p>\n\u003cp>She is co-director of Last Days at Paradise High, a documentary chronicling the end of adolescence in the wake of the devastating wildfire in Northern California that burned down the town of Paradise. The film screened at film festivals around the country and was originally published in The New Yorker. She is currently working on her first feature-length documentary, The Price of Freedom, a vignette film that illuminates the hidden worlds at the gates of the criminal justice system. Her work can be seen on Frontline, CBS, POV, The Guardian and many others.\u003c/p>\n\u003cp>DEREK KNOWLES | CO-DIRECTOR, PRODUCER, CINEMATOGRAPHER\u003cbr>\nDerek Knowles is a documentary filmmaker whose work has been featured as a Vimeo Staff pick and on outlets like The Atlantic. He prefers to focus his work on people’s unheralded, often overlooked experiences, and has been a part of projects for Frontline, National Geographic, CNN, POV, and The Documentary Group. Recently, he\u003cbr>\nwas an Artist-in-Residence at “the camp” in the south of France where he developed an interactive intergenerational project aimed at connecting young and older generations. His recent film, “After the Fire,” winner of the Tribeca Film Institute’s “If/Then” Shorts Award, follows three residents of his hometown in the months\u003cbr>\nfollowing 2017’s historic wildfires. It aired on California PBS stations in August 2019.\u003c/p>\n\u003cp>Derek graduated with honors from Stanford University in 2011 with a degree in American Studies.\u003c/p>\n\u003cp>PETER RICHARDS | EXECUTIVE-PRODUCER\u003cbr>\nPeter Richardson’s thoughtful and compelling documentary work has gained widespread recognition, including the Sundance Grand Jury Prize for Best Documentary and an Emmy Nomination for Best Documentary for How to Die in Oregon, his second feature. The film was broadcast on HBO, and the Chicago Sun-Times noted that “it will likely be viewed as one of the most historically significant\u003cbr>\ndocumentaries of this decade.” Richardson’s first feature doc also premiered at Sundance and was broadcast on the Sundance Channel. Richardson has worked extensively on premium documentary series, most recently show running two seasons\u003cbr>\nof QB1: Beyond the Lights, a 10-part documentary series about high school football, executive produced by Peter Berg. Prior to his work on QB1, Richardson was Series Director of Dark Net and Co-Executive Producer of The Circus: The Greatest Political\u003cbr>\nShow on Earth, both for Showtime Networks.\u003c/p>\n\u003cp>CREDITS\u003cbr>\nA Film By:\u003cbr>\nEmily Thomas and Derek Knowles\u003c/p>\n\u003cp>Featuring:\u003cbr>\nVirginia Partain\u003cbr>\nHarmony VonStockhausen\u003cbr>\nKody Loesch\u003cbr>\nJennifer Lyle\u003c/p>\n\u003cp>Executive Producer\u003cbr>\nPeter Richardson\u003cbr>\nIn Association with Blue Chalk Media and Lemon Tree Productions\u003c/p>\n\u003cp>Cinematography:\u003cbr>\nDerek Knowles\u003cbr>\nEmily Thomas\u003c/p>\n\u003cp>Producers\u003cbr>\nEmily Thomas\u003cbr>\nDerek Knowles\u003cbr>\nBlue Chalk\u003c/p>\n\u003cp>Executive Producers\u003cbr>\nGreg Moyer\u003cbr>\nPam Huling\u003c/p>\n\u003cp>Editor\u003cbr>\nGreg Snider\u003c/p>\n\u003cp>Assistant Editor\u003cbr>\nKashi Hall\u003c/p>\n\u003cp>Post Production Manager\u003cbr>\nAmy Polansky\u003c/p>\n\u003cp>Color Grade\u003cbr>\nKashi Hall\u003c/p>\n\u003cp>Audio Mix\u003cbr>\nJim Cooke\u003c/p>\n\u003cp>Original Music\u003cbr>\nAdam Gunther\u003c/p>\n\u003cp>Additional Music\u003cbr>\nAlice Bauman\u003c/p>\n\u003cp>Consulting Editor\u003cbr>\nDan Sadowksy\u003c/p>\n\u003cp>Production Assistant\u003cbr>\nJohn Toner\u003c/p>\n\u003cp>Additional Camera:\u003cbr>\nLevi Baker\u003cbr>\nBasil Glew-Galloway\u003cbr>\nCraig Hickerson\u003cbr>\nChris Smith\u003c/p>\n\u003cp>Confessionals:\u003cbr>\nIsiah Anderson\u003cbr>\nMackenzie Anderson\u003cbr>\nMegan Brewer\u003cbr>\nFaith Brown\u003cbr>\nThomas Corcoran\u003cbr>\nSofia DiBenedetto\u003cbr>\nEmily Headman\u003cbr>\nVicki Kelleman\u003cbr>\nIsiah Kent\u003cbr>\nAnthony Kern\u003cbr>\nMarissa Metker\u003cbr>\nTiril Mong\u003cbr>\nSarah Peters\u003cbr>\nJuliette Salls\u003cbr>\nAutumn Spoolman\u003cbr>\nKaylee Sunega\u003cbr>\nRachel Warren\u003c/p>\n\u003cp>Thank You:\u003cbr>\nStaff and administrators of Paradise High School\u003cbr>\nParadise Unified School District\u003cbr>\nJuan Arboleda\u003cbr>\nSamantha Clark\u003cbr>\nMichelle John\u003cbr>\nMargaret Katcher\u003cbr>\nDebra Knowles\u003cbr>\nDan Krauss\u003cbr>\nLawrence Lerew\u003cbr>\nGabriel Long\u003cbr>\nStacie Martin\u003cbr>\nSofia Melo\u003cbr>\nJeff Plunkett\u003cbr>\nSerghino Roosblad\u003cbr>\nMark Schapiro\u003cbr>\nLauren Schwartzman\u003cbr>\nSpencer Seibert\u003cbr>\nConor Spicer\u003cbr>\nElliott Thomas\u003cbr>\nToner Family\u003cbr>\nLuke Wigren\u003cbr>\nKirt Woodman\u003c/p>\n\u003cp>Funding Provided By:\u003cbr>\nBerkeley Film Foundation\u003cbr>\nErin and Francis Collins\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fighting Fire with Fire is a short film made by Cameron Nielsen.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\"]\u003ca href=\"https://www.youtube.com/watch?v=Fe43QK85448\">Watch Fighting Fire With Fire Now\u003c/a> [/pullquote]\u003c/p>\n\u003cp>\u003cstrong>About the Film - Fighting Fire with Fire\u003c/strong>\u003c/p>\n\u003cp>As wildfires in Sonoma County become increasingly devastating a growing group of people revives a Native American practice of fighting fire with fire.\u003c/p>\n\u003cp>\u003cstrong>Directors Statement: \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although turning 24 is not a particularly special birthday, I will never forget that day. I sit at the dinner table with a few friends who have decided to share the evening with me despite the fires creeping closer. The awkward, out-of-sync “happy birthday to you” is followed by sudden darkness. PG&E has cut our power to prevent the high winds from starting any more fires. Our phones ring with alerts that evacuation alerts are coming closer to us. Flustered, my guests make their way home. The sounds of sirens echo through the streets, and my heart palpitates as a wave of fear overcomes me. I pack the car with essential possessions. As I drive, my car wobbles in the wind. I arrive at my cousin’s house in Sacramento at 1 am, becoming one of many Sonoma County evacuees.\u003c/p>\n\u003cp>While fire seasons are getting more prolonged and intense, my community is learning how to adapt to this changing reality. This past December, I witnessed a glimmer of hope for the coming years of fire. I was invited to film at a ranch in the hills of Bodega that was performing a controlled burn. These ranchers were burning part of their 1,000 acres of grassland and forest to prevent a devastating wildfire and keep the land healthy. I stood on a hill filming, surrounded by CalFire and local volunteers from the community, all looking at Red Bird, a local indigenous man. Red Bird blesses the burn, apologizing to any creature hurt during the controlled burn process. A school-grade girl who grew up on the land begins to rub a stick back and forth to create a traditional friction fire. She places an ember into the grass, and the prescribed burn has started. The very same spark sent me on my journey to make \u003cem>Fighting Fire with Fire\u003c/em>.\u003c/p>\n\u003cp>Through the experience of making this film, I have been amazed by the enthusiasm to relearn what it means to steward the land in Sonoma County.\u003c/p>\n\u003cp>[gallery size=\"medium\" ids=\"3439,3445,3434,3435,3436,3437,3438,3440,3441,3442,3443,3444\"]\u003c/p>\n\u003cp>\u003cstrong>Director Bios:\u003c/strong>\u003c/p>\n\u003cp>Cameron Nielsen is a San Francisco Bay Area-based documentary filmmaker dedicated to telling stories that reimagine complex issues of our times. His film \u003cem>Rewilding Honeybees\u003c/em> won Best Documentary Short at Sonoma International Film Festival and premiered at Telluride Mountainfilm Festival. Cameron is currently in the documentary program at the UC Berkeley Graduate School of Journalism and freelancing as a video journalist for organizations such as AJ+ and Business Insider, and KQED.\u003c/p>\n\u003cfigure id=\"attachment_3450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/29/2021/09/Cameron-Headshot-scaled.jpg\">\u003cimg class=\"wp-image-3450 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2021/09/Cameron-Headshot-800x540.jpg\" alt=\"\" width=\"800\" height=\"540\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2021/09/Cameron-Headshot-800x540.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2021/09/Cameron-Headshot-1020x689.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2021/09/Cameron-Headshot-160x108.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2021/09/Cameron-Headshot-768x519.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2021/09/Cameron-Headshot-1536x1037.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/29/2021/09/Cameron-Headshot-2048x1383.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/29/2021/09/Cameron-Headshot-1920x1296.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Director of Cameron Nielsen\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>To keep up with Cameron Nielsen\u003c/strong>\u003c/p>\n\u003cp>You can check out his\u003c/p>\n\u003cp>Instagram: \u003ca href=\"https://www.instagram.com/cameronpnielsen/?hl=en\">@cameronpnielsen\u003c/a>\u003c/p>\n\u003cp>Twitter: \u003ca href=\"https://twitter.com/cameronpnielsen\">@cameronpnielsen\u003c/a>\u003c/p>\n\u003cp>Website: \u003ca href=\"https://protect-us.mimecast.com/s/x1HnCG69GouBxV7WUKIIwQ?domain=cameronnielsen.com\">cameronnielsen.com\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Credits for Fighting Fire With Fire :\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Director, Producer, Camera & Editor: \u003c/em>Cameron Nielsen\u003c/p>\n\u003cp>\u003cem>Supervising Producer: \u003c/em>Andrés Cediel\u003c/p>\n\u003cp>\u003cem>Featuring: \u003c/em>Edward \"Red Bird\" Willie, Sasha Berleman, Jay Silva & Shepley Schroth-Cary\u003c/p>\n\u003cp>\u003cem>Archival Footage:\u003c/em> Jacqueline Jorgenson\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Special Thanks:\u003c/em> Cassandra Herrman, James Fahn & Alyssum Revallo\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Director Bios:\u003c/strong>\u003c/p>\n\u003cp>Cameron Nielsen is a San Francisco Bay Area-based documentary filmmaker dedicated to telling stories that reimagine complex issues of our times. His film \u003cem>Rewilding Honeybees\u003c/em> won Best Documentary Short at Sonoma International Film Festival and premiered at Telluride Mountainfilm Festival. Cameron is currently in the documentary program at the UC Berkeley Graduate School of Journalism and freelancing as a video journalist for organizations such as AJ+ and Business Insider, and KQED.\u003c/p>\n\u003cfigure id=\"attachment_3450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/29/2021/09/Cameron-Headshot-scaled.jpg\">\u003cimg class=\"wp-image-3450 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/29/2021/09/Cameron-Headshot-800x540.jpg\" alt=\"\" width=\"800\" height=\"540\" srcset=\"https://ww2.kqed.org/app/uploads/sites/29/2021/09/Cameron-Headshot-800x540.jpg 800w, https://ww2.kqed.org/app/uploads/sites/29/2021/09/Cameron-Headshot-1020x689.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/29/2021/09/Cameron-Headshot-160x108.jpg 160w, https://ww2.kqed.org/app/uploads/sites/29/2021/09/Cameron-Headshot-768x519.jpg 768w, https://ww2.kqed.org/app/uploads/sites/29/2021/09/Cameron-Headshot-1536x1037.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/29/2021/09/Cameron-Headshot-2048x1383.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/29/2021/09/Cameron-Headshot-1920x1296.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Director of Cameron Nielsen\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>To keep up with Cameron Nielsen\u003c/strong>\u003c/p>\n\u003cp>You can check out his\u003c/p>\n\u003cp>Instagram: \u003ca href=\"https://www.instagram.com/cameronpnielsen/?hl=en\">@cameronpnielsen\u003c/a>\u003c/p>\n\u003cp>Twitter: \u003ca href=\"https://twitter.com/cameronpnielsen\">@cameronpnielsen\u003c/a>\u003c/p>\n\u003cp>Website: \u003ca href=\"https://protect-us.mimecast.com/s/x1HnCG69GouBxV7WUKIIwQ?domain=cameronnielsen.com\">cameronnielsen.com\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Credits for Fighting Fire With Fire :\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Director, Producer, Camera & Editor: \u003c/em>Cameron Nielsen\u003c/p>\n\u003cp>\u003cem>Supervising Producer: \u003c/em>Andrés Cediel\u003c/p>\n\u003cp>\u003cem>Featuring: \u003c/em>Edward \"Red Bird\" Willie, Sasha Berleman, Jay Silva & Shepley Schroth-Cary\u003c/p>\n\u003cp>\u003cem>Archival Footage:\u003c/em> Jacqueline Jorgenson\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Special Thanks:\u003c/em> Cassandra Herrman, James Fahn & Alyssum Revallo\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>The Titan Rises\u003c/em> is a short documentary directed by Brian Wollitz following Skyline High's Football team as they navigate senior year, the pandemic, and the tragic loss of a teammate to gun violence.\u003c/p>\n\u003cp>\u003cstrong>About the Film - The Titan Rises\u003c/strong>\u003c/p>\n\u003cp>The Skyline High School football team in Oakland, California prepares for their delayed season amid the Covid-19 pandemic. For senior players, this season is one of their last shots at showcasing their talents to earn a college football scholarship, and an even more pressing opportunity to escape the violent threats surrounding them in their community. 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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"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?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
},
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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",
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