EARFUL: 'Another Round' Producer On Why Diversity in Workplace is Essential
EARFUL: 'Nocturne' Producer Uses Podcast to Face Her Fears
SF Parks Commission Looking at Three Bids for Palace of Fine Arts Project
EARFUL: Hrishikesh Hirway Blows Up Tracks on 'Song Exploder'
Three Generations of Rosie the Riveters Help Break World Record
EARFUL: Meet Kaitlin Prest, Host of 'The Heart' Podcast
Arts Shake Up: Longtime Executive Director Leaves Southern Exposure
Rewind: Five Seminal Bay Area Rap Tapes With Noz
Mission Mural Endures Yet Another Act of Vandalism
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"content": "\u003cp>If you’re a fan of podcasts with a storytelling bent, chances are you’ve heard Jenna Weiss-Berman’s work. As one of the most sought after audio producers borne out of the recent podcast boom, 32-year-old Weiss-Berman has racked up production credits on a ton of shows including \u003cem>The Moth\u003c/em>, WNYC’s \u003cem>Death, Sex, and Money\u003c/em>, and the \u003cem>Longform Podcast\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_11222936\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BuzzCast3-1180x787.jpg\" alt=\"Jenna Weiss-Berman\" width=\"640\" height=\"427\" class=\"size-large wp-image-11222936\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BuzzCast3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BuzzCast3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BuzzCast3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BuzzCast3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BuzzCast3-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BuzzCast3-960x641.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jenna Weiss-Berman \u003ccite>(Photo: Jon Premosch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After producing her tail off for nearly a decade, Weiss-Berman was approached by the almighty Internet timesuck, \u003cem>BuzzFeed\u003c/em>, to spearhead their brand new podcast division back in late 2014. Naturally, making the jump from working mostly on public radio programs to a multi-media empire was a big transition for her. But what impressed her more than BuzzFeed’s billion-dollar valuation was their idea that a non-diverse staff is bad for business. \u003c/p>\n\u003cp>“I worked in ‘mission driven’ public radio for almost ten years,” says Jenna. “And yet the for-profit corporation I’m at now has by far the most progressive views on diversity of anywhere I’ve ever worked.” \u003c/p>\n\u003cp>Instead of aiming to make her podcasts go viral, Weiss-Berman’s goal from day one was to create shows that featured voices rarely heard in an industry dominated by white men. Last March, Weiss-Berman helped launch \u003cem>Another Round\u003c/em>, a bi-weekly talk show hosted by two female, African-American \u003cem>BuzzFeed\u003c/em> writers, Heben Nigatu and Tracy Clayton. Six months later the show, which had gone viral by then — Weiss-Berman says each episode is downloaded “many hundreds of thousands of times” per month — received an email from Hillary Clinton’s office asking if Nigatu and Clayton would consider interviewing the presidential candidate. Turns out she was a huge fan of the show. \u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/227991575″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Jenna and her five-person podsquad at \u003cem>BuzzFeed\u003c/em> have been busy this year, starting several new shows, including Lena Dunham’s five-part podcast series \u003cem>Women of the Hour,\u003c/em> which reached number one on the iTunes chart and was six times as popular as any BuzzFeed podcast to date. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>How did you become interested in audio?\u003c/strong>\u003c/p>\n\u003cp>I was raised on NPR, it was always on and I ended up running my college radio station at Oberlin. Then I got out of college and I couldn’t just get an internship like rich kids do. I love public radio but it has a diversity problem. I think so much of that problem is about the fact that so many people start as unpaid, or almost unpaid, interns and the people who rise through the ranks are rich white people. If you don’t pay your interns how can you expect to diversify your staff and your content? \u003c/p>\n\u003cp>\u003cstrong>Because you have to be able to afford to be an intern.\u003c/strong>\u003c/p>\n\u003cp>Exactly. I couldn’t afford an internship so I started working at a law firm as a collector. Then I heard of this new company called StoryCorps in Brooklyn. I was there for like five years and then I went to the Transom Story Workshop in 2012 and learned how to do actual technical editing. Everything got amazing from there. I think I got into this at the exact perfect time. I almost feel like I’ve gone into mechanical engineering or something. There are so many amazing opportunities right now in podcasting and it’s happened so fast and there are not enough people to fill these jobs at all. \u003c/p>\n\u003cfigure id=\"attachment_11222938\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BuzzCast2CROP.jpg\" alt=\"Lena Dunham ('Girls) and Weiss-Berman\" width=\"800\" height=\"450\" class=\"size-full wp-image-11222938\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BuzzCast2CROP.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BuzzCast2CROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BuzzCast2CROP-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lena Dunham (‘Girls) and Weiss-Berman \u003ccite>(Photo: Jon Premosch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You eventually went on to become a producer at \u003cem>The Moth\u003c/em> and then worked for NPR?\u003c/strong>\u003c/p>\n\u003cp>I took a temporary production job at NPR in DC on this show \u003cem>The Hidden Brain.\u003c/em> I was there for two months and NPR was like we’ll know in a year or two if we’re going to make this into a show and I was like, great, I can’t wait around. So I went back to New York and took a part time job working on The New Yorker podcasts and on Death, Sex and Money. I also started a podcast for The Believer magazine called The Organist. I love working and I knew that I had to hustle really, really hard. I wanted to get my name on as many podcasts as I possibly could.\u003c/p>\n\u003cp>\u003cstrong>What does it take to be a good producer?\u003c/strong>\u003c/p>\n\u003cp>I think part of what makes a good producer is someone that doesn’t want to be on the other side of the microphone. I don’t have any interest in speaking into a microphone. I don’t particularly like my voice, I trip up on things a lot, I get really anxious, but I love making other people sound great. I also love creating shows and coming up with tons of different ideas for shows. I know a lot of producers who would really prefer to be on the other side of the microphone and it ends up being a really big problem. When I’m hiring producers I’m always looking for somebody who doesn’t want to get famous.\u003c/p>\n\u003cp>\u003cstrong>How has working at \u003cem>BuzzFeed\u003c/em> been different from working for public radio?\u003c/strong>\u003c/p>\n\u003cp>I love public radio but I’ve worked at so many places where they would basically assemble a task force to talk about how to hire people of color and that’s not how it’s done. And something that’s been really refreshing about working for a for profit company is \u003cstrong>BuzzFeed\u003c/strong> has a kind of capitalist view of diversity that I really appreciate.\u003c/p>\n\u003cp>\u003cstrong>What do you mean?\u003c/strong>\u003c/p>\n\u003cp>It’s basically like if we don’t have a diverse staff we’re missing huge populations. In America one in five people in their 20s is now Latino and so if we don’t hire Latino writers to cover Latino issues we are missing out on that audience. It makes such a difference when you have people from a population write about that population. If you have a show hosted by a white person and you do stories about black people that doesn’t mean that you have a diverse show. It means that you have white people in certain ways shaping the narrative of people of color. There was a review for Another Round on the website the Timbre that I really loved and it was basically like there isn’t a white voice on this show and that’s so rare to hear. People of color have always lived lives where they have to consume white media as though it’s not white media.\u003c/p>\n\u003cp>\u003cstrong>How does your own ethnic and gender identity play into the shows you create?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11222937\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Another-Round-graphic-600x600.jpg\" alt=\"Logo for 'Another Round' podcast\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11222937\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Another-Round-graphic-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Another-Round-graphic-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Another-Round-graphic-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Another-Round-graphic-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Another-Round-graphic-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Another-Round-graphic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Another-Round-graphic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Another-Round-graphic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Another-Round-graphic-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Another-Round-graphic-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Another-Round-graphic.jpg 1500w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Logo for ‘Another Round’ podcast \u003ccite>(Graphic: David Bertozzi / Chris Ritter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I never want to try and frame myself as some kind of diversity hero. All that I’m doing differently is putting a tiny bit of effort into it. I knew that what I wanted to do more than anything at BuzzFeed was bring in new audiences to podcasting even if it meant that our numbers would be small at first. Part of it I think is really selfish. I get really bored listening to the same voices over and over again. This is something I was thinking about when I was watching Transparent. I never see variations of queer people on TV and to see it was the most moving and refreshing and beautiful thing because I’m a queer person. I think the idea that we can make media for people who are often overlooked is really exciting.\u003c/p>\n\u003cp>\u003cstrong>What types of podcasts do you think are missing? What types of shows would you like to hear?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I would love to see more short series, not just because \u003cem>Serial\u003c/em> has been such a huge hit, but I think that there’s a lot of opportunity to do reality radio. More in depth, multi-piece documentary style. There are so many podcasts that still sound the same and it shouldn’t be that way.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re a fan of podcasts with a storytelling bent, chances are you’ve heard Jenna Weiss-Berman’s work. As one of the most sought after audio producers borne out of the recent podcast boom, 32-year-old Weiss-Berman has racked up production credits on a ton of shows including \u003cem>The Moth\u003c/em>, WNYC’s \u003cem>Death, Sex, and Money\u003c/em>, and the \u003cem>Longform Podcast\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_11222936\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BuzzCast3-1180x787.jpg\" alt=\"Jenna Weiss-Berman\" width=\"640\" height=\"427\" class=\"size-large wp-image-11222936\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BuzzCast3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BuzzCast3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BuzzCast3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BuzzCast3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BuzzCast3-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BuzzCast3-960x641.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jenna Weiss-Berman \u003ccite>(Photo: Jon Premosch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After producing her tail off for nearly a decade, Weiss-Berman was approached by the almighty Internet timesuck, \u003cem>BuzzFeed\u003c/em>, to spearhead their brand new podcast division back in late 2014. Naturally, making the jump from working mostly on public radio programs to a multi-media empire was a big transition for her. But what impressed her more than BuzzFeed’s billion-dollar valuation was their idea that a non-diverse staff is bad for business. \u003c/p>\n\u003cp>“I worked in ‘mission driven’ public radio for almost ten years,” says Jenna. “And yet the for-profit corporation I’m at now has by far the most progressive views on diversity of anywhere I’ve ever worked.” \u003c/p>\n\u003cp>Instead of aiming to make her podcasts go viral, Weiss-Berman’s goal from day one was to create shows that featured voices rarely heard in an industry dominated by white men. Last March, Weiss-Berman helped launch \u003cem>Another Round\u003c/em>, a bi-weekly talk show hosted by two female, African-American \u003cem>BuzzFeed\u003c/em> writers, Heben Nigatu and Tracy Clayton. Six months later the show, which had gone viral by then — Weiss-Berman says each episode is downloaded “many hundreds of thousands of times” per month — received an email from Hillary Clinton’s office asking if Nigatu and Clayton would consider interviewing the presidential candidate. Turns out she was a huge fan of the show. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/227991575″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/227991575″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Jenna and her five-person podsquad at \u003cem>BuzzFeed\u003c/em> have been busy this year, starting several new shows, including Lena Dunham’s five-part podcast series \u003cem>Women of the Hour,\u003c/em> which reached number one on the iTunes chart and was six times as popular as any BuzzFeed podcast to date. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How did you become interested in audio?\u003c/strong>\u003c/p>\n\u003cp>I was raised on NPR, it was always on and I ended up running my college radio station at Oberlin. Then I got out of college and I couldn’t just get an internship like rich kids do. I love public radio but it has a diversity problem. I think so much of that problem is about the fact that so many people start as unpaid, or almost unpaid, interns and the people who rise through the ranks are rich white people. If you don’t pay your interns how can you expect to diversify your staff and your content? \u003c/p>\n\u003cp>\u003cstrong>Because you have to be able to afford to be an intern.\u003c/strong>\u003c/p>\n\u003cp>Exactly. I couldn’t afford an internship so I started working at a law firm as a collector. Then I heard of this new company called StoryCorps in Brooklyn. I was there for like five years and then I went to the Transom Story Workshop in 2012 and learned how to do actual technical editing. Everything got amazing from there. I think I got into this at the exact perfect time. I almost feel like I’ve gone into mechanical engineering or something. There are so many amazing opportunities right now in podcasting and it’s happened so fast and there are not enough people to fill these jobs at all. \u003c/p>\n\u003cfigure id=\"attachment_11222938\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BuzzCast2CROP.jpg\" alt=\"Lena Dunham ('Girls) and Weiss-Berman\" width=\"800\" height=\"450\" class=\"size-full wp-image-11222938\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BuzzCast2CROP.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BuzzCast2CROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BuzzCast2CROP-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lena Dunham (‘Girls) and Weiss-Berman \u003ccite>(Photo: Jon Premosch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You eventually went on to become a producer at \u003cem>The Moth\u003c/em> and then worked for NPR?\u003c/strong>\u003c/p>\n\u003cp>I took a temporary production job at NPR in DC on this show \u003cem>The Hidden Brain.\u003c/em> I was there for two months and NPR was like we’ll know in a year or two if we’re going to make this into a show and I was like, great, I can’t wait around. So I went back to New York and took a part time job working on The New Yorker podcasts and on Death, Sex and Money. I also started a podcast for The Believer magazine called The Organist. I love working and I knew that I had to hustle really, really hard. I wanted to get my name on as many podcasts as I possibly could.\u003c/p>\n\u003cp>\u003cstrong>What does it take to be a good producer?\u003c/strong>\u003c/p>\n\u003cp>I think part of what makes a good producer is someone that doesn’t want to be on the other side of the microphone. I don’t have any interest in speaking into a microphone. I don’t particularly like my voice, I trip up on things a lot, I get really anxious, but I love making other people sound great. I also love creating shows and coming up with tons of different ideas for shows. I know a lot of producers who would really prefer to be on the other side of the microphone and it ends up being a really big problem. When I’m hiring producers I’m always looking for somebody who doesn’t want to get famous.\u003c/p>\n\u003cp>\u003cstrong>How has working at \u003cem>BuzzFeed\u003c/em> been different from working for public radio?\u003c/strong>\u003c/p>\n\u003cp>I love public radio but I’ve worked at so many places where they would basically assemble a task force to talk about how to hire people of color and that’s not how it’s done. And something that’s been really refreshing about working for a for profit company is \u003cstrong>BuzzFeed\u003c/strong> has a kind of capitalist view of diversity that I really appreciate.\u003c/p>\n\u003cp>\u003cstrong>What do you mean?\u003c/strong>\u003c/p>\n\u003cp>It’s basically like if we don’t have a diverse staff we’re missing huge populations. In America one in five people in their 20s is now Latino and so if we don’t hire Latino writers to cover Latino issues we are missing out on that audience. It makes such a difference when you have people from a population write about that population. If you have a show hosted by a white person and you do stories about black people that doesn’t mean that you have a diverse show. It means that you have white people in certain ways shaping the narrative of people of color. There was a review for Another Round on the website the Timbre that I really loved and it was basically like there isn’t a white voice on this show and that’s so rare to hear. People of color have always lived lives where they have to consume white media as though it’s not white media.\u003c/p>\n\u003cp>\u003cstrong>How does your own ethnic and gender identity play into the shows you create?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11222937\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Another-Round-graphic-600x600.jpg\" alt=\"Logo for 'Another Round' podcast\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11222937\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Another-Round-graphic-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Another-Round-graphic-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Another-Round-graphic-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Another-Round-graphic-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Another-Round-graphic-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Another-Round-graphic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Another-Round-graphic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Another-Round-graphic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Another-Round-graphic-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Another-Round-graphic-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Another-Round-graphic.jpg 1500w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Logo for ‘Another Round’ podcast \u003ccite>(Graphic: David Bertozzi / Chris Ritter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I never want to try and frame myself as some kind of diversity hero. All that I’m doing differently is putting a tiny bit of effort into it. I knew that what I wanted to do more than anything at BuzzFeed was bring in new audiences to podcasting even if it meant that our numbers would be small at first. Part of it I think is really selfish. I get really bored listening to the same voices over and over again. This is something I was thinking about when I was watching Transparent. I never see variations of queer people on TV and to see it was the most moving and refreshing and beautiful thing because I’m a queer person. I think the idea that we can make media for people who are often overlooked is really exciting.\u003c/p>\n\u003cp>\u003cstrong>What types of podcasts do you think are missing? What types of shows would you like to hear?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I would love to see more short series, not just because \u003cem>Serial\u003c/em> has been such a huge hit, but I think that there’s a lot of opportunity to do reality radio. More in depth, multi-piece documentary style. There are so many podcasts that still sound the same and it shouldn’t be that way.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "earful-nocturne-producer-uses-podcast-to-face-her-fears",
"title": "EARFUL: 'Nocturne' Producer Uses Podcast to Face Her Fears",
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"content": "\u003cp>In the process of getting to know Vanessa Lowe through her podcast, \u003ci>Nocturne\u003c/i>, the first thing listeners learn is that she is not a night owl. This may seem strange for someone who spends the majority of her waking hours creating stories that “peer into the dusty corners of the night.” But the Berkeley-based producer is both intrigued and at times admittedly frightened of what happens in the dark. \u003c/p>\n\u003cfigure id=\"attachment_11146860\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Vanessa-Press-Photo-2015.jpeg\" alt=\"Vanessa Lowe\" width=\"480\" height=\"574\" class=\"size-full wp-image-11146860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Vanessa-Press-Photo-2015.jpeg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Vanessa-Press-Photo-2015-400x478.jpeg 400w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Lowe \u003ccite>(Courtesy: Vanessa Lowe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So many times the things that scare us are things we just don’t understand,” says Lowe, who worked as a clinical psychologist while moonlighting as a singer/songwriter before starting \u003ci>Nocturne\u003c/i> in 2014. “I’ve found that when I notice a barrier in my experience that’s coming from within me I feel very drawn to go up against it and see what will happen.”\u003c/p>\n\u003cp>\u003ci>Nocturne\u003c/i> may sound like a form of audio therapy, but Lowe is not just facing her fears on tape — she’s also aiming to build a distinctive emotional atmosphere with each episode. The result is an elegantly-crafted podcast (produced in part by her partner, film sound designer Kent Sparling, who also composes music for movies), that Lowe describes as “a hybrid form of audio storytelling that blends elements of documentary, fiction, and sound-art.” \u003c/p>\n\u003cp>\u003cstrong>How has being a performer influenced your podcast personality?\u003c/strong>\u003c/p>\n\u003cp>The main thing is I’m not uncomfortable hearing my voice. A lot of people are like, “How can you listen to yourself talk?” And I’m just really used to that from being up on stage. One of the things I’m loving about doing the podcast is I feel like I’m not the focus the way I am when I’m performing music. There’s a thrill to performing your own stuff but this feels really rich and balanced for me and it suits my personality in a more comfortable way than being front and center.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>When recording your narration for \u003ci>Nocturne\u003c/i> how do you evoke the feeling of the night?\u003c/strong>\u003c/p>\n\u003cp>It took a little while in the beginning to come to what I wanted the narrator voice to be. It sounds really cheesy but part of it requires a dark room. Even on episodes that are not quiet and contemplative I am trying to embody some aspect of the night to varying degrees depending on the topic. I try to picture the listener and be aware that I’m in their ears physically. I’m trying to create an emotional space that’s going to be conducive to that and communicating whatever it is that is going on in the episode.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/213533865″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cstrong>You sometimes do things that seem really scary on \u003ci>Nocturne\u003c/i>, like in the episode “Into, Under, Through” where you walk in the woods alone in the middle of the night. Why do you do that?\u003c/strong>\u003c/p>\n\u003cp>I think that definitely comes from psychology and my own personal psychology. When I worked as a psychologist it was always really fun to work with people who have anxiety because once you get over the hump of realizing that thing isn’t so dangerous, that it’s the thoughts that are dangerous, it’s amazing what people can overcome. \u003c/p>\n\u003cp>\u003cstrong>Why do you find the night unsettling?\u003c/strong> \u003c/p>\n\u003cp>There’s an element to the night that often has to do with isolation and for some people that’s something they really seek out. I didn’t grow up in a large bustling family. When I was pretty young my parents divorced and I don’t have siblings. I didn’t seek out being alone. I really enjoy social interaction and being around people. So in that way the isolation of the night wasn’t something that felt like a refuge. \u003c/p>\n\u003cfigure id=\"attachment_11146859\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/logo-400x400.jpg\" alt=\"'Nocturne' logo\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11146859\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/logo-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/logo-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/logo-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/logo-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/logo-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/logo-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/logo-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/logo-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/logo-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/logo.jpg 1400w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Nocturne’ logo \u003ccite>(Illustrator: Robin Galante)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you feel like producing \u003ci>Nocturne\u003c/i> matches up more with who you are than what you’ve done in the past?\u003c/strong>\u003c/p>\n\u003cp>Yeah, just by virtue of time. I’m in my 40s and I spent a good part of my life getting an education in psychology and then practicing as a psychologist overlapping with being a musician. And then I discovered radio and audio storytelling and the things that I love the most are embodied in telling stories with sound—talking deeply with people, listening and getting to explore aspects of human experience. For me this feels like the thing that brings me comprehensive joy and engagement and it just took a while to find the pieces that gel with me. \u003c/p>\n\u003cp>\u003cstrong>For someone who isn’t a night time person, why do a podcast on the night?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because I’m uncomfortable with it. I was talking to my partner Kent about ideas and I was probably struggling with insomnia and he said you should do something about the night. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the process of getting to know Vanessa Lowe through her podcast, \u003ci>Nocturne\u003c/i>, the first thing listeners learn is that she is not a night owl. This may seem strange for someone who spends the majority of her waking hours creating stories that “peer into the dusty corners of the night.” But the Berkeley-based producer is both intrigued and at times admittedly frightened of what happens in the dark. \u003c/p>\n\u003cfigure id=\"attachment_11146860\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Vanessa-Press-Photo-2015.jpeg\" alt=\"Vanessa Lowe\" width=\"480\" height=\"574\" class=\"size-full wp-image-11146860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Vanessa-Press-Photo-2015.jpeg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Vanessa-Press-Photo-2015-400x478.jpeg 400w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Lowe \u003ccite>(Courtesy: Vanessa Lowe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So many times the things that scare us are things we just don’t understand,” says Lowe, who worked as a clinical psychologist while moonlighting as a singer/songwriter before starting \u003ci>Nocturne\u003c/i> in 2014. “I’ve found that when I notice a barrier in my experience that’s coming from within me I feel very drawn to go up against it and see what will happen.”\u003c/p>\n\u003cp>\u003ci>Nocturne\u003c/i> may sound like a form of audio therapy, but Lowe is not just facing her fears on tape — she’s also aiming to build a distinctive emotional atmosphere with each episode. The result is an elegantly-crafted podcast (produced in part by her partner, film sound designer Kent Sparling, who also composes music for movies), that Lowe describes as “a hybrid form of audio storytelling that blends elements of documentary, fiction, and sound-art.” \u003c/p>\n\u003cp>\u003cstrong>How has being a performer influenced your podcast personality?\u003c/strong>\u003c/p>\n\u003cp>The main thing is I’m not uncomfortable hearing my voice. A lot of people are like, “How can you listen to yourself talk?” And I’m just really used to that from being up on stage. One of the things I’m loving about doing the podcast is I feel like I’m not the focus the way I am when I’m performing music. There’s a thrill to performing your own stuff but this feels really rich and balanced for me and it suits my personality in a more comfortable way than being front and center.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>When recording your narration for \u003ci>Nocturne\u003c/i> how do you evoke the feeling of the night?\u003c/strong>\u003c/p>\n\u003cp>It took a little while in the beginning to come to what I wanted the narrator voice to be. It sounds really cheesy but part of it requires a dark room. Even on episodes that are not quiet and contemplative I am trying to embody some aspect of the night to varying degrees depending on the topic. I try to picture the listener and be aware that I’m in their ears physically. I’m trying to create an emotional space that’s going to be conducive to that and communicating whatever it is that is going on in the episode.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/213533865″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/213533865″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>You sometimes do things that seem really scary on \u003ci>Nocturne\u003c/i>, like in the episode “Into, Under, Through” where you walk in the woods alone in the middle of the night. Why do you do that?\u003c/strong>\u003c/p>\n\u003cp>I think that definitely comes from psychology and my own personal psychology. When I worked as a psychologist it was always really fun to work with people who have anxiety because once you get over the hump of realizing that thing isn’t so dangerous, that it’s the thoughts that are dangerous, it’s amazing what people can overcome. \u003c/p>\n\u003cp>\u003cstrong>Why do you find the night unsettling?\u003c/strong> \u003c/p>\n\u003cp>There’s an element to the night that often has to do with isolation and for some people that’s something they really seek out. I didn’t grow up in a large bustling family. When I was pretty young my parents divorced and I don’t have siblings. I didn’t seek out being alone. I really enjoy social interaction and being around people. So in that way the isolation of the night wasn’t something that felt like a refuge. \u003c/p>\n\u003cfigure id=\"attachment_11146859\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/logo-400x400.jpg\" alt=\"'Nocturne' logo\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11146859\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/logo-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/logo-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/logo-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/logo-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/logo-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/logo-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/logo-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/logo-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/logo-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/logo.jpg 1400w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Nocturne’ logo \u003ccite>(Illustrator: Robin Galante)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you feel like producing \u003ci>Nocturne\u003c/i> matches up more with who you are than what you’ve done in the past?\u003c/strong>\u003c/p>\n\u003cp>Yeah, just by virtue of time. I’m in my 40s and I spent a good part of my life getting an education in psychology and then practicing as a psychologist overlapping with being a musician. And then I discovered radio and audio storytelling and the things that I love the most are embodied in telling stories with sound—talking deeply with people, listening and getting to explore aspects of human experience. For me this feels like the thing that brings me comprehensive joy and engagement and it just took a while to find the pieces that gel with me. \u003c/p>\n\u003cp>\u003cstrong>For someone who isn’t a night time person, why do a podcast on the night?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because I’m uncomfortable with it. I was talking to my partner Kent about ideas and I was probably struggling with insomnia and he said you should do something about the night. 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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/231903461″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>San Francisco Recreation and Parks Commission held a public meeting at City Hall Thursday to solidify the top three proposed redevelopment concepts for the Palace of Fine Arts. The winner of the redevelopment bid will score a 55-year lease to the historic San Francisco arts center that was built 100 years ago as part of the Panama-Pacific Exposition in 1915.\u003c/p>\n\u003cp>The top bids include two that plan to turn the Palace of Fine Arts into a hotel, and one that proposes it remake the iconic building into a fine-dining restaurant and educational museum. Representatives from all three perspective projects attended the meeting at City Hall Thursday as well as a sizeable crowd who protested the Commission’s rejection of proposals aimed to preserve the Palace of Fine Arts’ cultural legacy.\u003c/p>\n\u003cp>Julie Mushet, Executive Director of The Center for Global Arts and Cultures, the non-profit that hosts of the annual Ethnic Dance Festival, submitted a proposal that aimed to turn the Palace of Fine Arts into a multi-cultural arts center. Their proposal was rejected by the Park and Recs Committee and on Thursday, Mushet asked that it be reconsidered and added to the final list of redevelopment contenders. \u003c/p>\n\u003cp>“Our proposal is really the only one that will attract and provide the necessary access to the most expansive and inclusive definition of community,” Mushet told KQED Arts. “One of the proposals that’s a finalist said that they’ll make $9 million in profit a year off of the theater. So it really raises the question that if there’s a hotel and a theater, is this Las Vegas? Is this going to be Cirque Du Soleil?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Equity Community Builders (ECB), the development firm that holds one of the final bids, has prior experience refashioning historic Bay Area buildings. In 2008, ECB transformed Fort Baker’s old army barracks into the chic Cavallo Point Lodge in Sausalito. Ben Golvin, one of ECB’s lead developers, says their plan is to remodel the Palace of Fine Arts into a hotel built above “an arcade devoted to the arts and the maker culture in San Francisco.”\u003c/p>\n\u003cp>While Park and Rec Commissioners Mark Buell and Gloria Bonilla both voted Thursday to uphold the decision to name only three top bids, Julie Mushet said she will continue to fight for her proposal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b> An online petition asking the city to \u003ca href=\"http://ww2.kqed.org/arts/2015/11/10/furor-growing-online-over-proposed-plans-for-palace-of-fine-arts/\" target=\"_blank\" rel=\"noopener\">reject all three proposals is gaining popularity\u003c/a>, which you can read about on \u003ca href=\"http://ww2.kqed.org/arts/2015/11/10/furor-growing-online-over-proposed-plans-for-palace-of-fine-arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cp>If you’re a music lover who obsesses over your favorite songs but have little time to spare for podcasts, \u003cem>Song Exploder\u003c/em> is the show for you.\u003c/p>\n\u003cp>Each episode of \u003cem>Song Exploder\u003c/em> features a well-known musician describing the process of writing one of their songs and often breaking it down to its basic parts. At the end of every episode, listeners hear the final song and have a chance to appreciate the complexity of what producer Hrishikesh Hirway describes as “all of the tiny decisions” that go into making music.\u003c/p>\n\u003cp>Hirway, 36, started thinking about the creative process long before he recorded the \u003cem>Song Exploder\u003c/em> pilot in early 2013. He began studying piano at 6 and moved on to play drums for bands in high school before majoring fine arts at Yale.\u003c/p>\n\u003cp>After college, he moved to Los Angeles where he now splits his time between his podcast, scoring movies, working as a graphic designer and writing songs as \u003ca href=\"http://theoneamradio.com/\" target=\"_blank\" rel=\"noopener\">The One Am Radio\u003c/a>, and producing beats for hip-hop group, \u003ca href=\"http://wearemoors.com/\" target=\"_blank\" rel=\"noopener\">Moors\u003c/a>.\u003c/p>\n\u003cp>It’s obvious that Hirway is not one to deny a creative impulse. And for someone who never set out to create a podcast, he’s been able to accrue tremendous success with Song Exploder which he releases twice a month and now averages close to 100,000 listens per episode. In June, \u003cem>Song Exploder\u003c/em> was added to the Radiotopia network is now a recurring feature on \u003cem>WIRED.com\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>How did you come up with the idea for \u003cem>Song Exploder\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10934728\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/songexploder-logo-400x400.png\" alt=\"songexploder-logo\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/songexploder-logo-400x400.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/songexploder-logo-600x600.png 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/songexploder-logo-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/songexploder-logo-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/songexploder-logo-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/songexploder-logo-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/songexploder-logo-75x75.png 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/songexploder-logo.png 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>I think it was originally a passing thought, like, “Oh this would be a cool idea if somebody were to do this.” But it just happened to come at a time when I made a resolution that I wasn’t going to drop ideas like that. Instead I would try and see it all the way through, or at least as far as I could.\u003c/p>\n\u003cp>\u003cstrong>Do you have to coach the artists you interview to tell compelling stories about their songs?\u003c/strong>\u003c/p>\n\u003cp>I don’t coach them any further than just asking questions. There are so many tiny decisions that go into coming up with a musical part and putting it down on tape that if I ask the right questions, I can really drill down into the details. There isn’t the same kind of pressure as there might be in a more narrative podcast or piece of journalism. If the song is good and there are interesting sounds in it there’s going to be something interesting to listen to.\u003c/p>\n\u003cp>\u003cstrong>When picking artists to interview do you consider what you think your audience wants to hear?\u003c/strong>\u003c/p>\n\u003cp>I do. I think my audience is definitely different than what I expected when I first started the show. I thought that the way people would use the show originally was as a music discovery tool and I realized pretty early on that people were more interested in the story. So for their sake I want to have a rhythm to the episodes where things don’t get too much the same, especially with anything indie rock. It would be easy for the show to be just white dudes with guitars 24/7. So say you’re going to binge-listen to five episodes, I would like those episodes to each feel diverse and unique.\u003c/p>\n\u003cp>\u003cstrong>You’ve interviewed some really big time artists like U2. How did you set that up? \u003c/strong>\u003c/p>\n\u003cp>Their publicist sent me an email asking if I’d ever be interested in doing an episode with The Edge or possibly someone else from the band. I think that was the fastest yes I’ve ever written back an email.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/212569948″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cstrong>Was the actual interview different than you thought it would be?\u003c/strong>\u003c/p>\n\u003cp>Usually I have 60-70 minutes to do an interview and I cut that down to seven or eight minutes. In this case they were like, “You get 30 minutes with The Edge and 15 minutes with Bono.” So I felt a little bit of pressure to really hone my questions. With Bono it was crazy because I was on my way to go play a show in Toronto so I was in my band mate’s car driving to the airport while doing the interview over the phone. It was kind of a funny balancing act, you know trying to put my bag in the trunk without making and kind of noise so that was the most nerve wracking part.\u003c/p>\n\u003cp>\u003cstrong>Did you want to tell Bono, ‘Hey I’m in a band too!’\u003c/strong>\u003c/p>\n\u003cp>No, no (laughs). But there have been a couple of times where I’ll manage to get into a conversation at the end of an interview where we’re talking about music and I’ll send them a song or something like that. Jim James from My Morning Jacket somehow over email asked me about my music and I sent him some stuff and he said he really liked it so that was really cool.\u003c/p>\n\u003cp>\u003cstrong>Who would be your dream band to interview?\u003c/strong>\u003c/p>\n\u003cp>It seems like a real longshot but I would love to talk to Portishead about any of the tracks on their first record. It’s a record that really turned me on to the idea of how music sounds that made me really cognizant of all the decisions that go into production, even though I didn’t know the word “production” at the time. I think also talking to Richard James about an Aphex Twin song would be amazing.\u003c/p>\n\u003cp>\u003cstrong>What are you thinking in terms of the future of the show? What do you do from here?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10934726\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10934726\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/HH-photo_by_jakemichaels-400x441.jpg\" alt=\"Hrishikesh Hirway\" width=\"400\" height=\"441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/HH-photo_by_jakemichaels-400x441.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/HH-photo_by_jakemichaels-544x600.jpg 544w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/HH-photo_by_jakemichaels.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Hrishikesh Hirway \u003ccite>(Photo: Jake Michaels)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The part that I’m less sure about with the show is all the stuff where I’m talking. It was not part of the original concept of the show and it’s the part that I am least comfortable with. I would like to get better at writing. They say you have to do something for 10,000 hours to become an expert and I haven’t hit 10,000 hours yet. So I’m hoping someday I’ll be more comfortable and get better or I’ll find somebody else to do that part for me.\u003c/p>\n\u003cp>\u003cstrong>Who are your hosting idols?\u003c/strong>\u003c/p>\n\u003cp>One person who’s really influenced \u003cem>Song Exploder\u003c/em> is Nate Dimeo from the \u003cem>Memory Palace\u003c/em>. He does such a beautiful job, his episodes feel like artwork to me. Like little beautiful creations that live somewhere between stories, poems and songs. That was something I had never heard before and opened up my imagination to what the format could be.\u003c/p>\n\u003cp>\u003cstrong>After interviewing so many musicians about their creative process is there anything that’s really resonated with you as an artist?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There hasn’t been a single episode where there isn’t at least one gem that I’m able to pull out of it. In a recent episode with Unknown Mortal Orchestra the singer-songwriter was talking about how he bought this broken synthesizer and he decided to learn how to fix it. I asked him how he had the confidence to do that and he said, “Everybody who knows how to do something didn’t know how to do something when they started.” Maybe that seems like an obvious statement but I thought it was a really inspiring way to look at why you shouldn’t be stopped by doing something yourself. I think ignorance or lack of experience can be such a barrier for people, myself included. That resonated with me because with \u003cem>Song Exploder\u003c/em>, I’m not a journalist, I don’t have any experience interviewing people, but if I let that stop me we wouldn’t be talking right now.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re a music lover who obsesses over your favorite songs but have little time to spare for podcasts, \u003cem>Song Exploder\u003c/em> is the show for you.\u003c/p>\n\u003cp>Each episode of \u003cem>Song Exploder\u003c/em> features a well-known musician describing the process of writing one of their songs and often breaking it down to its basic parts. At the end of every episode, listeners hear the final song and have a chance to appreciate the complexity of what producer Hrishikesh Hirway describes as “all of the tiny decisions” that go into making music.\u003c/p>\n\u003cp>Hirway, 36, started thinking about the creative process long before he recorded the \u003cem>Song Exploder\u003c/em> pilot in early 2013. He began studying piano at 6 and moved on to play drums for bands in high school before majoring fine arts at Yale.\u003c/p>\n\u003cp>After college, he moved to Los Angeles where he now splits his time between his podcast, scoring movies, working as a graphic designer and writing songs as \u003ca href=\"http://theoneamradio.com/\" target=\"_blank\" rel=\"noopener\">The One Am Radio\u003c/a>, and producing beats for hip-hop group, \u003ca href=\"http://wearemoors.com/\" target=\"_blank\" rel=\"noopener\">Moors\u003c/a>.\u003c/p>\n\u003cp>It’s obvious that Hirway is not one to deny a creative impulse. And for someone who never set out to create a podcast, he’s been able to accrue tremendous success with Song Exploder which he releases twice a month and now averages close to 100,000 listens per episode. In June, \u003cem>Song Exploder\u003c/em> was added to the Radiotopia network is now a recurring feature on \u003cem>WIRED.com\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How did you come up with the idea for \u003cem>Song Exploder\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10934728\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/songexploder-logo-400x400.png\" alt=\"songexploder-logo\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/songexploder-logo-400x400.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/songexploder-logo-600x600.png 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/songexploder-logo-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/songexploder-logo-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/songexploder-logo-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/songexploder-logo-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/songexploder-logo-75x75.png 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/songexploder-logo.png 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>I think it was originally a passing thought, like, “Oh this would be a cool idea if somebody were to do this.” But it just happened to come at a time when I made a resolution that I wasn’t going to drop ideas like that. Instead I would try and see it all the way through, or at least as far as I could.\u003c/p>\n\u003cp>\u003cstrong>Do you have to coach the artists you interview to tell compelling stories about their songs?\u003c/strong>\u003c/p>\n\u003cp>I don’t coach them any further than just asking questions. There are so many tiny decisions that go into coming up with a musical part and putting it down on tape that if I ask the right questions, I can really drill down into the details. There isn’t the same kind of pressure as there might be in a more narrative podcast or piece of journalism. If the song is good and there are interesting sounds in it there’s going to be something interesting to listen to.\u003c/p>\n\u003cp>\u003cstrong>When picking artists to interview do you consider what you think your audience wants to hear?\u003c/strong>\u003c/p>\n\u003cp>I do. I think my audience is definitely different than what I expected when I first started the show. I thought that the way people would use the show originally was as a music discovery tool and I realized pretty early on that people were more interested in the story. So for their sake I want to have a rhythm to the episodes where things don’t get too much the same, especially with anything indie rock. It would be easy for the show to be just white dudes with guitars 24/7. So say you’re going to binge-listen to five episodes, I would like those episodes to each feel diverse and unique.\u003c/p>\n\u003cp>\u003cstrong>You’ve interviewed some really big time artists like U2. How did you set that up? \u003c/strong>\u003c/p>\n\u003cp>Their publicist sent me an email asking if I’d ever be interested in doing an episode with The Edge or possibly someone else from the band. I think that was the fastest yes I’ve ever written back an email.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/212569948″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/212569948″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Was the actual interview different than you thought it would be?\u003c/strong>\u003c/p>\n\u003cp>Usually I have 60-70 minutes to do an interview and I cut that down to seven or eight minutes. In this case they were like, “You get 30 minutes with The Edge and 15 minutes with Bono.” So I felt a little bit of pressure to really hone my questions. With Bono it was crazy because I was on my way to go play a show in Toronto so I was in my band mate’s car driving to the airport while doing the interview over the phone. It was kind of a funny balancing act, you know trying to put my bag in the trunk without making and kind of noise so that was the most nerve wracking part.\u003c/p>\n\u003cp>\u003cstrong>Did you want to tell Bono, ‘Hey I’m in a band too!’\u003c/strong>\u003c/p>\n\u003cp>No, no (laughs). But there have been a couple of times where I’ll manage to get into a conversation at the end of an interview where we’re talking about music and I’ll send them a song or something like that. Jim James from My Morning Jacket somehow over email asked me about my music and I sent him some stuff and he said he really liked it so that was really cool.\u003c/p>\n\u003cp>\u003cstrong>Who would be your dream band to interview?\u003c/strong>\u003c/p>\n\u003cp>It seems like a real longshot but I would love to talk to Portishead about any of the tracks on their first record. It’s a record that really turned me on to the idea of how music sounds that made me really cognizant of all the decisions that go into production, even though I didn’t know the word “production” at the time. I think also talking to Richard James about an Aphex Twin song would be amazing.\u003c/p>\n\u003cp>\u003cstrong>What are you thinking in terms of the future of the show? What do you do from here?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10934726\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10934726\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/HH-photo_by_jakemichaels-400x441.jpg\" alt=\"Hrishikesh Hirway\" width=\"400\" height=\"441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/HH-photo_by_jakemichaels-400x441.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/HH-photo_by_jakemichaels-544x600.jpg 544w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/HH-photo_by_jakemichaels.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Hrishikesh Hirway \u003ccite>(Photo: Jake Michaels)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The part that I’m less sure about with the show is all the stuff where I’m talking. It was not part of the original concept of the show and it’s the part that I am least comfortable with. I would like to get better at writing. They say you have to do something for 10,000 hours to become an expert and I haven’t hit 10,000 hours yet. So I’m hoping someday I’ll be more comfortable and get better or I’ll find somebody else to do that part for me.\u003c/p>\n\u003cp>\u003cstrong>Who are your hosting idols?\u003c/strong>\u003c/p>\n\u003cp>One person who’s really influenced \u003cem>Song Exploder\u003c/em> is Nate Dimeo from the \u003cem>Memory Palace\u003c/em>. He does such a beautiful job, his episodes feel like artwork to me. Like little beautiful creations that live somewhere between stories, poems and songs. That was something I had never heard before and opened up my imagination to what the format could be.\u003c/p>\n\u003cp>\u003cstrong>After interviewing so many musicians about their creative process is there anything that’s really resonated with you as an artist?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There hasn’t been a single episode where there isn’t at least one gem that I’m able to pull out of it. In a recent episode with Unknown Mortal Orchestra the singer-songwriter was talking about how he bought this broken synthesizer and he decided to learn how to fix it. I asked him how he had the confidence to do that and he said, “Everybody who knows how to do something didn’t know how to do something when they started.” Maybe that seems like an obvious statement but I thought it was a really inspiring way to look at why you shouldn’t be stopped by doing something yourself. I think ignorance or lack of experience can be such a barrier for people, myself included. That resonated with me because with \u003cem>Song Exploder\u003c/em>, I’m not a journalist, I don’t have any experience interviewing people, but if I let that stop me we wouldn’t be talking right now.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>More than a thousand women of all ages gathered at Richmond’s WWII Home Front National Historical Park a couple of weeks ago to to commemorate the women who worked in shipyards and factories during World War II — and to set a new world record for “The Largest Gathering of People Dressed as Rosie the Riveter.”\u003c/p>\n\u003cp>Several multi-generational families were among the hordes dressed in Rosie’s unmistakable uniform of red polka dot head scarf and rolled up denim work shirt. The members of one such family, 9-year-old Julia Dolan, her mom Jennifer Dolan, 43, and grandma Carol Burns, 71, talked to KQED Arts about the importance of embodying the bicep-flexing, feminist icon.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LGOfv3uXYBk\u003c/p>\n\u003cp>\u003cstrong>What is your personal connection to Rosie the Riveter?\u003c/strong>\u003c/p>\n\u003cp>Carol: I was born in California at the end of 1943 and earlier that year my mother completed training in aircraft production. Because of her unplanned pregnancy with me, she was unable to go to work at the North American Aviation plant in Fresno. However, it was always a source of pride for her that she was able to complete the training.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jennifer: Even though my grandmother didn’t do factory work, like so many other people on the home front, she worked hard and kept her family and the country moving forward. Celebrating Rosie the Riveter feels like I am honoring her.\u003c/p>\n\u003cp>Julia: When I was in third grade I bought a book called “Heroes of World War II” and I loved reading about the Rosies. I don’t think I would have liked to do that kind of work. It would have been hard to live during a war. But I would have done it for the war effort just like the Rosies.\u003c/p>\n\u003cp>\u003cstrong>What was it like at the Rosie rally? What did you learn?\u003c/strong>\u003c/p>\n\u003cp>Carol: We were lucky enough to get to the “We Can Do It!” sign before the line got ridiculously long, and got some great photos. I was delighted to see the way women had dressed up their little girls, infants, and even dogs. There were Rosies of every age, shape, and size. I couldn’t keep from smiling. What an event! Of course it helps that we broke the record for attendance also.\u003c/p>\n\u003cp>Jennifer: Getting our picture taken with some original Rosies was the highlight. I thought it was hilarious that so many of them thought the red and white bandanas were funny because they had never heard of anyone who actually wore them. One welder told us that she wore a sweatshirt and men’s jeans to work, because at that time there were no jeans for women. I also thought it was very empowering to see women of all colors representing Rosie. The posters usually show a young, white Rosie, which isn’t fair. Rosies looked like all women.\u003c/p>\n\u003cp>Julia: I got to meet some of the original Rosies. I also loved reading the quotes on the Rosie Memorial and learning how many women volunteered right after Pearl Harbor was bombed.\u003c/p>\n\u003cp>\u003cstrong>Why is the Rosie the Riveter an important symbol?\u003c/strong>\u003c/p>\n\u003cp>Jennifer: Rosie the Riveter represents the unsung hero, the person who works hard day after day but doesn’t always get proper recognition or sufficient financial reward. She’s also a symbol of tremendous optimism. For a while, not only was there equal pay for equal work, but there was a concerted effort to help working parents both serve their country and support their families. This all ended when war production ended. But I often think about how much stronger our country would be today if we made it easier for working parents to do everything that needs to be done.\u003c/p>\n\u003cfigure id=\"attachment_10928351\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_1547.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10928351 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_1547-600x600.jpg\" alt=\"Jennifer, Julia, and Jennifer's sister Emily at the Rosie rally. Photo by Carol Burns.\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547.jpg 1352w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennifer, Julia, and Jennifer’s sister Emily at the Rosie rally. (Photo by Carol Burns)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why is it important that the Rosie the Riveter tradition lives on?\u003c/strong>\u003c/p>\n\u003cp>Jennifer: Rosie is one of the most recognizable symbols of the strength and determination of women. But it’s important that people learn the whole story. She was a hero. But she was also resented at times, sexualized by popular culture and in most cases forced back into domesticity when the men came home and wanted their jobs back. In most cases, the recognition and respect she got during wartime didn’t continue.\u003c/p>\n\u003cp>Carol: The amazing effort to produce ships couldn’t have been accomplished without the help of women workers. It was an opportunity for women to show what they could do if no one was holding them back. The example they set was the beginning of the women’s movement and a source of confidence for future generations.\u003c/p>\n\u003cp>\u003cstrong>What was the significance of having three generations from your family at the event?\u003c/strong>\u003c/p>\n\u003cp>Carol: Jenny first heard of the Rosie rally and posted it on Facebook. My other daughter Emily and I immediately said we wanted to go and all of us started mentioning it to friends to see how many we could talk into joining us to do our part to help set a record.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jennifer: I saw a lot of families at the event. I loved seeing husbands and dads supporting their wives and daughters from the sidelines. And I loved being there with my own family. My mom was born during the war. Being there with her, my sister, and my nine-year-old made me realize that World War II really wasn’t all that long ago. I wish my grandmother could have joined us too, she would have loved it.\u003c/p>\n\n",
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"excerpt": "Grandma, mom and daughter teams gathered in Richmond last month to celebrate World War II female shipyard workers.",
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"title": "Three Generations of Rosie the Riveters Help Break World Record | KQED",
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"headline": "Three Generations of Rosie the Riveters Help Break World Record",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than a thousand women of all ages gathered at Richmond’s WWII Home Front National Historical Park a couple of weeks ago to to commemorate the women who worked in shipyards and factories during World War II — and to set a new world record for “The Largest Gathering of People Dressed as Rosie the Riveter.”\u003c/p>\n\u003cp>Several multi-generational families were among the hordes dressed in Rosie’s unmistakable uniform of red polka dot head scarf and rolled up denim work shirt. The members of one such family, 9-year-old Julia Dolan, her mom Jennifer Dolan, 43, and grandma Carol Burns, 71, talked to KQED Arts about the importance of embodying the bicep-flexing, feminist icon.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LGOfv3uXYBk'\n title='//www.youtube.com/embed/LGOfv3uXYBk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What is your personal connection to Rosie the Riveter?\u003c/strong>\u003c/p>\n\u003cp>Carol: I was born in California at the end of 1943 and earlier that year my mother completed training in aircraft production. Because of her unplanned pregnancy with me, she was unable to go to work at the North American Aviation plant in Fresno. However, it was always a source of pride for her that she was able to complete the training.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jennifer: Even though my grandmother didn’t do factory work, like so many other people on the home front, she worked hard and kept her family and the country moving forward. Celebrating Rosie the Riveter feels like I am honoring her.\u003c/p>\n\u003cp>Julia: When I was in third grade I bought a book called “Heroes of World War II” and I loved reading about the Rosies. I don’t think I would have liked to do that kind of work. It would have been hard to live during a war. But I would have done it for the war effort just like the Rosies.\u003c/p>\n\u003cp>\u003cstrong>What was it like at the Rosie rally? What did you learn?\u003c/strong>\u003c/p>\n\u003cp>Carol: We were lucky enough to get to the “We Can Do It!” sign before the line got ridiculously long, and got some great photos. I was delighted to see the way women had dressed up their little girls, infants, and even dogs. There were Rosies of every age, shape, and size. I couldn’t keep from smiling. What an event! Of course it helps that we broke the record for attendance also.\u003c/p>\n\u003cp>Jennifer: Getting our picture taken with some original Rosies was the highlight. I thought it was hilarious that so many of them thought the red and white bandanas were funny because they had never heard of anyone who actually wore them. One welder told us that she wore a sweatshirt and men’s jeans to work, because at that time there were no jeans for women. I also thought it was very empowering to see women of all colors representing Rosie. The posters usually show a young, white Rosie, which isn’t fair. Rosies looked like all women.\u003c/p>\n\u003cp>Julia: I got to meet some of the original Rosies. I also loved reading the quotes on the Rosie Memorial and learning how many women volunteered right after Pearl Harbor was bombed.\u003c/p>\n\u003cp>\u003cstrong>Why is the Rosie the Riveter an important symbol?\u003c/strong>\u003c/p>\n\u003cp>Jennifer: Rosie the Riveter represents the unsung hero, the person who works hard day after day but doesn’t always get proper recognition or sufficient financial reward. She’s also a symbol of tremendous optimism. For a while, not only was there equal pay for equal work, but there was a concerted effort to help working parents both serve their country and support their families. This all ended when war production ended. But I often think about how much stronger our country would be today if we made it easier for working parents to do everything that needs to be done.\u003c/p>\n\u003cfigure id=\"attachment_10928351\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_1547.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10928351 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_1547-600x600.jpg\" alt=\"Jennifer, Julia, and Jennifer's sister Emily at the Rosie rally. Photo by Carol Burns.\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_1547.jpg 1352w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennifer, Julia, and Jennifer’s sister Emily at the Rosie rally. (Photo by Carol Burns)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why is it important that the Rosie the Riveter tradition lives on?\u003c/strong>\u003c/p>\n\u003cp>Jennifer: Rosie is one of the most recognizable symbols of the strength and determination of women. But it’s important that people learn the whole story. She was a hero. But she was also resented at times, sexualized by popular culture and in most cases forced back into domesticity when the men came home and wanted their jobs back. In most cases, the recognition and respect she got during wartime didn’t continue.\u003c/p>\n\u003cp>Carol: The amazing effort to produce ships couldn’t have been accomplished without the help of women workers. It was an opportunity for women to show what they could do if no one was holding them back. The example they set was the beginning of the women’s movement and a source of confidence for future generations.\u003c/p>\n\u003cp>\u003cstrong>What was the significance of having three generations from your family at the event?\u003c/strong>\u003c/p>\n\u003cp>Carol: Jenny first heard of the Rosie rally and posted it on Facebook. My other daughter Emily and I immediately said we wanted to go and all of us started mentioning it to friends to see how many we could talk into joining us to do our part to help set a record.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jennifer: I saw a lot of families at the event. I loved seeing husbands and dads supporting their wives and daughters from the sidelines. And I loved being there with my own family. My mom was born during the war. Being there with her, my sister, and my nine-year-old made me realize that World War II really wasn’t all that long ago. I wish my grandmother could have joined us too, she would have loved it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "EARFUL: Meet Kaitlin Prest, Host of 'The Heart' Podcast",
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"content": "\u003cp>\u003ci>Earful is a new column focusing on the masterminds behind some of the coolest podcasts out there and the motivations behind their work. This is the first interview in the series.\u003c/i>\u003c/p>\n\u003cp>It’s safe to assume that regular listeners of \u003ca href=\"http://www.theheartradio.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Heart\u003c/em>\u003c/a> feel really close to host Kaitlin Prest. It’s her job to get them in the mood, something she does by delivering what she describes as “a bit of a whisper in the ear before bed.” Prest’s intimate hosting style is perfect for setting up the show’s first person stories that aim to introduce new narratives about sex, love, and relationships.\u003c/p>\n\u003cp>Prest, 28, started working with audio seven years ago when she joined an experimental, erotic college radio show called \u003cem>Audio Smut\u003c/em> in Montreal. In 2012 she and Mitra Kaboli, another \u003cem>Audio Smut\u003c/em> producer, moved to New York City with the goal to get their show on public radio. For two years they tried to make their way on air only to be shot down by program directors who felt \u003cem>Audio Smut\u003c/em> was too explicit for the public radio audience.\u003c/p>\n\u003cfigure id=\"attachment_10879855\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/The-Heart-prodcuers-800x450.jpg\" alt=\"Mitra Kaboli, producer for 'The Heart,' speaking at a live event\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10879855\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The-Heart-prodcuers-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The-Heart-prodcuers-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The-Heart-prodcuers-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The-Heart-prodcuers-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The-Heart-prodcuers.jpg 1312w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mitra Kaboli, producer for ‘The Heart,’ speaking at a live event \u003ccite>(Courtesy of 'The Heart')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, in 2014, Prest and Kaboli got their big break and landed a deal with Radiotopia, the podcast network created by \u003ci>99% Invisible\u003c/i> mastermind Roman Mars. Now the Radiotopia stamp of story-driven excellence has propelled their show, renamed \u003cem>The Heart,\u003c/em> far beyond the AM/FM dial. For the past year it has steadily climbed the iTunes podcast charts and now nearly 50-60,000 people download the show per episode.\u003c/p>\n\u003cp>\u003cstrong>You’re gearing up to release season two of \u003cem>The Heart\u003c/em>. Will it be different from season one?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not really. More or less our fundamental core mission of trying to create culture that challenges the way that we think about love, sex, and gender will never change. But the way we go about it is constantly evolving.\u003c/p>\n\u003cp>\u003cstrong>I’ve seen your show described as a “sex positive podcast.” What does that mean?\u003c/strong>\u003c/p>\n\u003cp>The term “sex positive” comes from a particular category of feminism. I don’t have the perfect lingo, it’s been awhile since I was in school studying gender studies. It’s all about women owning their sexuality, owning their femininity, and de-stigmatizing the conversation around sex. It’s also about talking publicly about the private sphere and acknowledging the private sphere as something that’s newsworthy.\u003c/p>\n\u003cp>\u003cstrong>How did you conceptualize \u003cem>The Heart\u003c/em>?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10879863\" class=\"wp-caption alignright\" style=\"max-width: 780px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/AS_Sensorium_Event_001.jpg\" alt=\"Sharon Mashihi working on The Sensorium live event, in which the producers explored the 5 sense\" width=\"780\" height=\"520\" class=\"size-full wp-image-10879863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AS_Sensorium_Event_001.jpg 780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AS_Sensorium_Event_001-400x267.jpg 400w\" sizes=\"(max-width: 780px) 100vw, 780px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Mashihi working on The Sensorium live event, in which the producers explored the 5 senses \u003ccite>(Photo by Ted Roeder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Heart\u003c/em> originally was just going to be \u003cem>Audio Smut\u003c/em> but by a new name. The dream was always to get \u003cem>Audio Smut\u003c/em> on the radio. A lot of the time I found myself being like, “Public radio stations aren’t interested in us because they’re not bad ass enough.” I think that’s part of it, but I think the other part of it was that we were legitimately independent. It’s hard to get picked up by a station for anybody, let alone a really explicit show made by queer women and women of color that’s discussing sexuality from a female perspective.\u003c/p>\n\u003cp>\u003cstrong>I love how you introduce stories on your podcast. Has your hosting style changed over time?\u003c/strong>\u003c/p>\n\u003cp>In the early days we were making documentary erotica about our own lives. I guess I wanted it to be genuinely erotic, I really didn’t want it to be posturing erotic. I remember trying really hard to find my voice. Sam Greenspan (producer of \u003cem>99% Invisible\u003c/em>) was an early fan of \u003cem>Audio Smut\u003c/em>. I remember him giving me feedback saying the hosting shouldn’t be sexy, it should be a safe neutral place where you’re introducing things that might make people feel uncomfortable. I don’t know, I didn’t take that feedback.\u003c/p>\n\u003cp>\u003cstrong>When you are choosing stories to develop for the show, how do you decide if one is good enough to become an episode?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10879856\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Heart_Square_BW_PinkBackground_wScroll_f6989d_1400px-copy-600x600.jpg\" alt=\"Logo for 'The Heart'\" width=\"600\" height=\"600\" class=\"size-medium wp-image-10879856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Heart_Square_BW_PinkBackground_wScroll_f6989d_1400px-copy.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Heart_Square_BW_PinkBackground_wScroll_f6989d_1400px-copy-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Heart_Square_BW_PinkBackground_wScroll_f6989d_1400px-copy-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Heart_Square_BW_PinkBackground_wScroll_f6989d_1400px-copy-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Heart_Square_BW_PinkBackground_wScroll_f6989d_1400px-copy-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Heart_Square_BW_PinkBackground_wScroll_f6989d_1400px-copy-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Heart_Square_BW_PinkBackground_wScroll_f6989d_1400px-copy-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Logo for ‘The Heart’\u003c/figcaption>\u003c/figure>\n\u003cp>We’ll get a pitch and ask does this challenge what we think about sex, love, and gender? Is this treading new ground? Is this furthering a conversation? We’ll have a topic and then we ask ourselves do I have a story that could explore it that I’m willing to tell? Then we have conversations with the people that we know. Sometimes we’ll have big pitch party in my backyard with margaritas with people who might have stories.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/129220621″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cstrong>Sounds like fun! So, how did you finally make the jump from being independent to becoming part of a big time network?\u003c/strong>\u003c/p>\n\u003cp>When I moved to New York, I was obsessed with public radio. Anybody who was working in radio, I was like, “Want to be my friend?” When Radiotopia was about to be launched, I knew about it because I was friends with all the people who were involved. I remember being like, “a podcast network. Holy shit, this is made for me.” I met Jake Shapiro (CEO of PRX) at the end of the Public Radio Programming Conference so I wrote to him and had let slip that our numbers had grown a lot and that we’re on a regular schedule. They called me two weeks after that and said, “Yeah, we want you.”\u003c/p>\n\u003cp>\u003cstrong>Now that you’re part of Radiotopia, which is one of the most successful podcasts networks, where do you see \u003cem>The Heart\u003c/em> going?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The truth is, I’m not sure. As an artist, do I want to sign up for the radio model which demands that you reproduce something ad nauseam until you die? Is my dream to try to be the “\u003cem>This American Life\u003c/em>” of love and relationships and be a show that has a 25 year life? I think that once you have millions of liseners you’re accountable to your listeners and essentially you become a slave to them. 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"excerpt": "In our new column 'Earful,' we speak to our favorite podcast hosts. In our first interview, we talk to Kaitlin Prest, host of 'The Heart,' a bi-weekly podcast exploring intimacy and humanity.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Earful is a new column focusing on the masterminds behind some of the coolest podcasts out there and the motivations behind their work. This is the first interview in the series.\u003c/i>\u003c/p>\n\u003cp>It’s safe to assume that regular listeners of \u003ca href=\"http://www.theheartradio.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Heart\u003c/em>\u003c/a> feel really close to host Kaitlin Prest. It’s her job to get them in the mood, something she does by delivering what she describes as “a bit of a whisper in the ear before bed.” Prest’s intimate hosting style is perfect for setting up the show’s first person stories that aim to introduce new narratives about sex, love, and relationships.\u003c/p>\n\u003cp>Prest, 28, started working with audio seven years ago when she joined an experimental, erotic college radio show called \u003cem>Audio Smut\u003c/em> in Montreal. In 2012 she and Mitra Kaboli, another \u003cem>Audio Smut\u003c/em> producer, moved to New York City with the goal to get their show on public radio. For two years they tried to make their way on air only to be shot down by program directors who felt \u003cem>Audio Smut\u003c/em> was too explicit for the public radio audience.\u003c/p>\n\u003cfigure id=\"attachment_10879855\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/The-Heart-prodcuers-800x450.jpg\" alt=\"Mitra Kaboli, producer for 'The Heart,' speaking at a live event\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10879855\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The-Heart-prodcuers-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The-Heart-prodcuers-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The-Heart-prodcuers-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The-Heart-prodcuers-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The-Heart-prodcuers.jpg 1312w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mitra Kaboli, producer for ‘The Heart,’ speaking at a live event \u003ccite>(Courtesy of 'The Heart')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, in 2014, Prest and Kaboli got their big break and landed a deal with Radiotopia, the podcast network created by \u003ci>99% Invisible\u003c/i> mastermind Roman Mars. Now the Radiotopia stamp of story-driven excellence has propelled their show, renamed \u003cem>The Heart,\u003c/em> far beyond the AM/FM dial. For the past year it has steadily climbed the iTunes podcast charts and now nearly 50-60,000 people download the show per episode.\u003c/p>\n\u003cp>\u003cstrong>You’re gearing up to release season two of \u003cem>The Heart\u003c/em>. Will it be different from season one?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not really. More or less our fundamental core mission of trying to create culture that challenges the way that we think about love, sex, and gender will never change. But the way we go about it is constantly evolving.\u003c/p>\n\u003cp>\u003cstrong>I’ve seen your show described as a “sex positive podcast.” What does that mean?\u003c/strong>\u003c/p>\n\u003cp>The term “sex positive” comes from a particular category of feminism. I don’t have the perfect lingo, it’s been awhile since I was in school studying gender studies. It’s all about women owning their sexuality, owning their femininity, and de-stigmatizing the conversation around sex. It’s also about talking publicly about the private sphere and acknowledging the private sphere as something that’s newsworthy.\u003c/p>\n\u003cp>\u003cstrong>How did you conceptualize \u003cem>The Heart\u003c/em>?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10879863\" class=\"wp-caption alignright\" style=\"max-width: 780px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/AS_Sensorium_Event_001.jpg\" alt=\"Sharon Mashihi working on The Sensorium live event, in which the producers explored the 5 sense\" width=\"780\" height=\"520\" class=\"size-full wp-image-10879863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AS_Sensorium_Event_001.jpg 780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AS_Sensorium_Event_001-400x267.jpg 400w\" sizes=\"(max-width: 780px) 100vw, 780px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Mashihi working on The Sensorium live event, in which the producers explored the 5 senses \u003ccite>(Photo by Ted Roeder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Heart\u003c/em> originally was just going to be \u003cem>Audio Smut\u003c/em> but by a new name. The dream was always to get \u003cem>Audio Smut\u003c/em> on the radio. A lot of the time I found myself being like, “Public radio stations aren’t interested in us because they’re not bad ass enough.” I think that’s part of it, but I think the other part of it was that we were legitimately independent. It’s hard to get picked up by a station for anybody, let alone a really explicit show made by queer women and women of color that’s discussing sexuality from a female perspective.\u003c/p>\n\u003cp>\u003cstrong>I love how you introduce stories on your podcast. Has your hosting style changed over time?\u003c/strong>\u003c/p>\n\u003cp>In the early days we were making documentary erotica about our own lives. I guess I wanted it to be genuinely erotic, I really didn’t want it to be posturing erotic. I remember trying really hard to find my voice. Sam Greenspan (producer of \u003cem>99% Invisible\u003c/em>) was an early fan of \u003cem>Audio Smut\u003c/em>. I remember him giving me feedback saying the hosting shouldn’t be sexy, it should be a safe neutral place where you’re introducing things that might make people feel uncomfortable. I don’t know, I didn’t take that feedback.\u003c/p>\n\u003cp>\u003cstrong>When you are choosing stories to develop for the show, how do you decide if one is good enough to become an episode?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10879856\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Heart_Square_BW_PinkBackground_wScroll_f6989d_1400px-copy-600x600.jpg\" alt=\"Logo for 'The Heart'\" width=\"600\" height=\"600\" class=\"size-medium wp-image-10879856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Heart_Square_BW_PinkBackground_wScroll_f6989d_1400px-copy.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Heart_Square_BW_PinkBackground_wScroll_f6989d_1400px-copy-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Heart_Square_BW_PinkBackground_wScroll_f6989d_1400px-copy-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Heart_Square_BW_PinkBackground_wScroll_f6989d_1400px-copy-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Heart_Square_BW_PinkBackground_wScroll_f6989d_1400px-copy-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Heart_Square_BW_PinkBackground_wScroll_f6989d_1400px-copy-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Heart_Square_BW_PinkBackground_wScroll_f6989d_1400px-copy-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Logo for ‘The Heart’\u003c/figcaption>\u003c/figure>\n\u003cp>We’ll get a pitch and ask does this challenge what we think about sex, love, and gender? Is this treading new ground? Is this furthering a conversation? We’ll have a topic and then we ask ourselves do I have a story that could explore it that I’m willing to tell? Then we have conversations with the people that we know. Sometimes we’ll have big pitch party in my backyard with margaritas with people who might have stories.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/129220621″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/129220621″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sounds like fun! So, how did you finally make the jump from being independent to becoming part of a big time network?\u003c/strong>\u003c/p>\n\u003cp>When I moved to New York, I was obsessed with public radio. Anybody who was working in radio, I was like, “Want to be my friend?” When Radiotopia was about to be launched, I knew about it because I was friends with all the people who were involved. I remember being like, “a podcast network. Holy shit, this is made for me.” I met Jake Shapiro (CEO of PRX) at the end of the Public Radio Programming Conference so I wrote to him and had let slip that our numbers had grown a lot and that we’re on a regular schedule. They called me two weeks after that and said, “Yeah, we want you.”\u003c/p>\n\u003cp>\u003cstrong>Now that you’re part of Radiotopia, which is one of the most successful podcasts networks, where do you see \u003cem>The Heart\u003c/em> going?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The San Francisco-based visual arts organization \u003ca href=\"https://www.soex.org/index.php\" target=\"_blank\" rel=\"noopener\">Southern Exposure\u003c/a> announced on Tuesday that its Executive Director Courtney Fink will step down after 13 years.\u003c/p>\n\u003cp>Fink’s exit marks the \u003ca href=\"http://ww2.kqed.org/arts/2015/05/27/pro-arts-executive-director-steps-down-latest-in-wave-of-recent-art-world-departures/\" target=\"_blank\" rel=\"noopener\">fourth such departure\u003c/a> from a Bay Area visual arts nonprofit this year, a trend she says is merely part of a natural progression rather than an indication that local support for the arts is dwindling.\u003c/p>\n\u003cp>“Historically change does seem to happen in waves and that’s normal,” Fink says. “I think that means progress for the Bay Area. Change is what keeps things interesting and moving forward.”\u003c/p>\n\u003cp>Fink joined Southern Exposure in 2003 and has steadily built what she describes as a “very diverse base of support” for non-commercial experimental arts programming. She instituted \u003ca href=\"https://www.soex.org/alternative-exposure\" target=\"_blank\" rel=\"noopener\">Alternative Exposure\u003c/a>, a re-granting initiative with major support from the Andy Warhol Foundation for the Visual Arts, awarding nearly $500,000 to 135 independently-run spaces and projects over the past nine years.\u003c/p>\n\u003cp>“Transitions can be very challenging times for a lot of nonprofits so I always wanted Southern Exposure to be in a really strong place during the change and that time really felt like now,” Fink says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fink’s departure is something she says Southern Exposure’s staff and board have been discussing for two months. They are currently in the final stages of naming an interim executive director and will begin their search for Fink’s permanent replacement in September. She will continue in her role through August.\u003c/p>\n\u003cp>“I don’t have any plans to leave the nonprofit world,” says Fink. “I’m excited to continue my lifelong commitment to advocating for artists. I don’t know what it will look like next but I have no plans to leave the Bay Area. Who knows what will happen?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Back at Southern Exposure, programming continues full steam ahead. The ninth round of Alternative Exposure is now open to applications, the organization’s free three-week summer intensive for youth artists, \u003ca href=\"https://www.soex.org/artists-education-program/mission-voices-summer-2015\" target=\"_blank\" rel=\"noopener\">Mission Voices Summer\u003c/a>, is underway, and Los Angeles-based artist Robby Herbst hosts \u003ca href=\"https://www.soex.org/events/mapping-californian-ideology\" target=\"_blank\" rel=\"noopener\">a group discussion\u003c/a> on “California ideology” on July 18.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco-based visual arts organization \u003ca href=\"https://www.soex.org/index.php\" target=\"_blank\" rel=\"noopener\">Southern Exposure\u003c/a> announced on Tuesday that its Executive Director Courtney Fink will step down after 13 years.\u003c/p>\n\u003cp>Fink’s exit marks the \u003ca href=\"http://ww2.kqed.org/arts/2015/05/27/pro-arts-executive-director-steps-down-latest-in-wave-of-recent-art-world-departures/\" target=\"_blank\" rel=\"noopener\">fourth such departure\u003c/a> from a Bay Area visual arts nonprofit this year, a trend she says is merely part of a natural progression rather than an indication that local support for the arts is dwindling.\u003c/p>\n\u003cp>“Historically change does seem to happen in waves and that’s normal,” Fink says. “I think that means progress for the Bay Area. Change is what keeps things interesting and moving forward.”\u003c/p>\n\u003cp>Fink joined Southern Exposure in 2003 and has steadily built what she describes as a “very diverse base of support” for non-commercial experimental arts programming. She instituted \u003ca href=\"https://www.soex.org/alternative-exposure\" target=\"_blank\" rel=\"noopener\">Alternative Exposure\u003c/a>, a re-granting initiative with major support from the Andy Warhol Foundation for the Visual Arts, awarding nearly $500,000 to 135 independently-run spaces and projects over the past nine years.\u003c/p>\n\u003cp>“Transitions can be very challenging times for a lot of nonprofits so I always wanted Southern Exposure to be in a really strong place during the change and that time really felt like now,” Fink says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fink’s departure is something she says Southern Exposure’s staff and board have been discussing for two months. They are currently in the final stages of naming an interim executive director and will begin their search for Fink’s permanent replacement in September. She will continue in her role through August.\u003c/p>\n\u003cp>“I don’t have any plans to leave the nonprofit world,” says Fink. “I’m excited to continue my lifelong commitment to advocating for artists. I don’t know what it will look like next but I have no plans to leave the Bay Area. Who knows what will happen?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Back at Southern Exposure, programming continues full steam ahead. The ninth round of Alternative Exposure is now open to applications, the organization’s free three-week summer intensive for youth artists, \u003ca href=\"https://www.soex.org/artists-education-program/mission-voices-summer-2015\" target=\"_blank\" rel=\"noopener\">Mission Voices Summer\u003c/a>, is underway, and Los Angeles-based artist Robby Herbst hosts \u003ca href=\"https://www.soex.org/events/mapping-californian-ideology\" target=\"_blank\" rel=\"noopener\">a group discussion\u003c/a> on “California ideology” on July 18.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rewind: Five Seminal Bay Area Rap Tapes With Noz",
"headTitle": "Rewind: Five Seminal Bay Area Rap Tapes With Noz | KQED",
"content": "\u003cp>“I’ve been trying to escape the internet for a decade,” Andrew Nosnitsky says. \u003c/p>\n\u003cp>And it hasn’t been easy. For the past 12 years, Nosnitsky has been better known online as “Noz,” the hip-hop critic and creator of the influential blog \u003ca href=\"http://www.cocaineblunts.com/blunts/\" target=\"_blank\" rel=\"noopener\">Cocaine Blunts\u003c/a> that often features songs seldom found through conventional means.\u003c/p>\n\u003cp>But last month, Nosnitsky finally came offline and into an Oakland storefront near Lake Merritt. Opened with friend and fellow rap blogger Jason Darrah, \u003ca href=\"http://www.parkblvdrecords.com/\" target=\"_blank\" rel=\"noopener\">Park Blvd. Records & Tapes\u003c/a> brings their shared love of hard-to-find hip-hop to fans who want to engage with music \u003ca href=\"http://www.urbandictionary.com/define.php?term=IRL\" target=\"_blank\" rel=\"noopener\">IRL\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Listen to Andrew Nosnitsky discuss five influential Bay Area cassettes from Park Blvd.’s shelves: \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/214763643″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”200″ iframe=”true” /]\u003c/p>\n\u003cp>“Part of the goal of opening the shop was to create a space to transfer some of those [online] conversations into the real world,” says Nosnitsky, whose chin-length blonde hair and tanned skin make him look more like one who spends his days chasing waves than someone trapped behind a computer screen. “All the bickering, fighting, name calling, and the general warfare of the internet — none of that happens in record stores.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On a recent Wednesday afternoon, the scene inside Park Blvd. Records & Tapes is anything but hostile. Most of the half-dozen or so shoppers gather in a circle, excitedly discussing everything from their favorite all-time beats to the biggest missteps of the industry’s top rappers. In this way, the shop serves as a clubhouse for rap nerds, a safe place where one can obsess over the genre’s minutiae in good company. \u003c/p>\n\u003cfigure id=\"attachment_10838497\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/PBGroup.jpg\" alt=\"Andrew Nosnitsky, James Laurence and Squadda talk shop at Park Blvd. Records & Tapes in Oakland. \" width=\"640\" height=\"457\" class=\"size-full wp-image-10838497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/PBGroup.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/PBGroup-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Nosnitsky, James Laurence and Squadda talk shop at Park Blvd. Records & Tapes in Oakland. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area music stores that specialize in rare and used collectibles have been a popular destination for obsessed music fans since \u003ca href=\"http://www.rasputinmusic.com/\" target=\"_blank\" rel=\"noopener\">Rasputin Music\u003c/a> first opened in Berkeley nearly 50 years ago. In fact, in the early aughts, New Jersey-born Nosnitsky would come west to buy duffel bags full of used rap tapes and CDs from \u003ca href=\"http://www.amoeba.com/\" target=\"_blank\" rel=\"noopener\">Amoeba Music\u003c/a> in Berkeley and San Francisco. Little did he know then that he was building his own future inventory. \u003c/p>\n\u003cp>“I got really into the idea of \u003cem>not\u003c/em> having dozens of boxes in my mom’s basement,” he says, “and actually having people enjoy this stuff.” \u003c/p>\n\u003cp>But while recently opened Oakland shops like \u003ca href=\"http://1234gorecords.com/\" target=\"_blank\" rel=\"noopener\">1-2-3-4 Go!\u003c/a> and \u003ca href=\"http://stranded-shop.com/\" target=\"_blank\" rel=\"noopener\">Stranded\u003c/a> specialize in punk and experimental music, Park Blvd. is the only specialty hip-hop store in Oakland — a city where Noz \u003ca href=\"https://twitter.com/noz/status/513012550716239873\" target=\"_blank\" rel=\"noopener\">once tweeted\u003c/a> to his 15,000 followers that it was impossible to reliably buy a record by Bay Area legend Too $hort.\u003c/p>\n\u003cp>That oversight was remedied when Nosnitsky opened the store in late June with Jason Darrah, a fellow compulsive collector whose site \u003ca href=\"http://12manrambotapes.blogspot.com/\" target=\"_blank\" rel=\"noopener\">12ManRambo\u003c/a> chronicles obscure Northern California rap cassettes. The store has become a resource for other local artists, too: in the store’s first week, San Francisco rapper \u003ca href=\"http://www.roachgigz.com/\" target=\"_blank\" rel=\"noopener\">Roach Gigz\u003c/a> stopped by the store to drop off physical copies of his albums, previously only available online; a couple days later the store received a package of music and iron-on decals from Bay Area artist \u003ca href=\"https://www.youtube.com/watch?v=5P6-V7J5S-0\" target=\"_blank\" rel=\"noopener\">Lil’ B\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_10838500\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/PBBayAreaRap.jpg\" alt=\"Local artists like Roach Gigz and Lil' B have already stocked their albums at Park Blvd. Records & Tapes in Oakland.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10838500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/PBBayAreaRap.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/PBBayAreaRap-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Local artists like Roach Gigz and Lil’ B have already stocked their albums at Park Blvd. Records & Tapes in Oakland. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“We definitely need a store that will fulfill our drought of Bay Area music,” says 26-year-old James Laurence, one-half of the production duo \u003ca href=\"https://en.wikipedia.org/wiki/Friendzone\" target=\"_blank\" rel=\"noopener\">Friendzone\u003c/a>. Laurence heard about the shop from his friend Squadda, a rapper in the group \u003ca href=\"https://en.wikipedia.org/wiki/Main_Attrakionz\" target=\"_blank\" rel=\"noopener\">Main Attrakionz\u003c/a>. “The chain stores don’t even sell local music, it sucks,” says Laurence, who, after browsing through the store’s bins, grabs a copy of a new Vince Staples CD that was released the day before.\u003c/p>\n\u003cp>“Is this any good?” he asks Nosnitsky. “Should I download it?”\u003c/p>\n\u003cp>Indeed, it will be a challenge for the Park Blvd. guys to compete with the ease of acquiring music in the digital age. But if every week is like their first two, they should be around for a while. \u003c/p>\n\u003cp>“We’ve done way better than we expected,” says Darrah, seated at his laptop, which reveals a long list of all the inventory sold that day. “There’s not a store that’s quite like this, that has a rap section that’s broken down into early New York rap, early L.A. electro, Midwest rap, etc. And we have quite a few cassettes that have been sealed for almost 25 years.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not only does Park Blvd. stock nearly every sub-genre of hip-hop, but unlike the algorithms designed by online music curation sites like Pandora (whose headquarters are located in Oakland just a few miles away from the store), Darrah and Nosnitsky’s knowledge is real, and it runs deep.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I’ve been trying to escape the internet for a decade,” Andrew Nosnitsky says. \u003c/p>\n\u003cp>And it hasn’t been easy. For the past 12 years, Nosnitsky has been better known online as “Noz,” the hip-hop critic and creator of the influential blog \u003ca href=\"http://www.cocaineblunts.com/blunts/\" target=\"_blank\" rel=\"noopener\">Cocaine Blunts\u003c/a> that often features songs seldom found through conventional means.\u003c/p>\n\u003cp>But last month, Nosnitsky finally came offline and into an Oakland storefront near Lake Merritt. Opened with friend and fellow rap blogger Jason Darrah, \u003ca href=\"http://www.parkblvdrecords.com/\" target=\"_blank\" rel=\"noopener\">Park Blvd. Records & Tapes\u003c/a> brings their shared love of hard-to-find hip-hop to fans who want to engage with music \u003ca href=\"http://www.urbandictionary.com/define.php?term=IRL\" target=\"_blank\" rel=\"noopener\">IRL\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Listen to Andrew Nosnitsky discuss five influential Bay Area cassettes from Park Blvd.’s shelves: \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”200″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/214763643″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/214763643″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Part of the goal of opening the shop was to create a space to transfer some of those [online] conversations into the real world,” says Nosnitsky, whose chin-length blonde hair and tanned skin make him look more like one who spends his days chasing waves than someone trapped behind a computer screen. “All the bickering, fighting, name calling, and the general warfare of the internet — none of that happens in record stores.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On a recent Wednesday afternoon, the scene inside Park Blvd. Records & Tapes is anything but hostile. Most of the half-dozen or so shoppers gather in a circle, excitedly discussing everything from their favorite all-time beats to the biggest missteps of the industry’s top rappers. In this way, the shop serves as a clubhouse for rap nerds, a safe place where one can obsess over the genre’s minutiae in good company. \u003c/p>\n\u003cfigure id=\"attachment_10838497\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/PBGroup.jpg\" alt=\"Andrew Nosnitsky, James Laurence and Squadda talk shop at Park Blvd. Records & Tapes in Oakland. \" width=\"640\" height=\"457\" class=\"size-full wp-image-10838497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/PBGroup.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/PBGroup-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Nosnitsky, James Laurence and Squadda talk shop at Park Blvd. Records & Tapes in Oakland. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area music stores that specialize in rare and used collectibles have been a popular destination for obsessed music fans since \u003ca href=\"http://www.rasputinmusic.com/\" target=\"_blank\" rel=\"noopener\">Rasputin Music\u003c/a> first opened in Berkeley nearly 50 years ago. In fact, in the early aughts, New Jersey-born Nosnitsky would come west to buy duffel bags full of used rap tapes and CDs from \u003ca href=\"http://www.amoeba.com/\" target=\"_blank\" rel=\"noopener\">Amoeba Music\u003c/a> in Berkeley and San Francisco. Little did he know then that he was building his own future inventory. \u003c/p>\n\u003cp>“I got really into the idea of \u003cem>not\u003c/em> having dozens of boxes in my mom’s basement,” he says, “and actually having people enjoy this stuff.” \u003c/p>\n\u003cp>But while recently opened Oakland shops like \u003ca href=\"http://1234gorecords.com/\" target=\"_blank\" rel=\"noopener\">1-2-3-4 Go!\u003c/a> and \u003ca href=\"http://stranded-shop.com/\" target=\"_blank\" rel=\"noopener\">Stranded\u003c/a> specialize in punk and experimental music, Park Blvd. is the only specialty hip-hop store in Oakland — a city where Noz \u003ca href=\"https://twitter.com/noz/status/513012550716239873\" target=\"_blank\" rel=\"noopener\">once tweeted\u003c/a> to his 15,000 followers that it was impossible to reliably buy a record by Bay Area legend Too $hort.\u003c/p>\n\u003cp>That oversight was remedied when Nosnitsky opened the store in late June with Jason Darrah, a fellow compulsive collector whose site \u003ca href=\"http://12manrambotapes.blogspot.com/\" target=\"_blank\" rel=\"noopener\">12ManRambo\u003c/a> chronicles obscure Northern California rap cassettes. The store has become a resource for other local artists, too: in the store’s first week, San Francisco rapper \u003ca href=\"http://www.roachgigz.com/\" target=\"_blank\" rel=\"noopener\">Roach Gigz\u003c/a> stopped by the store to drop off physical copies of his albums, previously only available online; a couple days later the store received a package of music and iron-on decals from Bay Area artist \u003ca href=\"https://www.youtube.com/watch?v=5P6-V7J5S-0\" target=\"_blank\" rel=\"noopener\">Lil’ B\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_10838500\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/PBBayAreaRap.jpg\" alt=\"Local artists like Roach Gigz and Lil' B have already stocked their albums at Park Blvd. Records & Tapes in Oakland.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10838500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/PBBayAreaRap.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/PBBayAreaRap-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Local artists like Roach Gigz and Lil’ B have already stocked their albums at Park Blvd. Records & Tapes in Oakland. (Photo: Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“We definitely need a store that will fulfill our drought of Bay Area music,” says 26-year-old James Laurence, one-half of the production duo \u003ca href=\"https://en.wikipedia.org/wiki/Friendzone\" target=\"_blank\" rel=\"noopener\">Friendzone\u003c/a>. Laurence heard about the shop from his friend Squadda, a rapper in the group \u003ca href=\"https://en.wikipedia.org/wiki/Main_Attrakionz\" target=\"_blank\" rel=\"noopener\">Main Attrakionz\u003c/a>. “The chain stores don’t even sell local music, it sucks,” says Laurence, who, after browsing through the store’s bins, grabs a copy of a new Vince Staples CD that was released the day before.\u003c/p>\n\u003cp>“Is this any good?” he asks Nosnitsky. “Should I download it?”\u003c/p>\n\u003cp>Indeed, it will be a challenge for the Park Blvd. guys to compete with the ease of acquiring music in the digital age. But if every week is like their first two, they should be around for a while. \u003c/p>\n\u003cp>“We’ve done way better than we expected,” says Darrah, seated at his laptop, which reveals a long list of all the inventory sold that day. “There’s not a store that’s quite like this, that has a rap section that’s broken down into early New York rap, early L.A. electro, Midwest rap, etc. And we have quite a few cassettes that have been sealed for almost 25 years.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not only does Park Blvd. stock nearly every sub-genre of hip-hop, but unlike the algorithms designed by online music curation sites like Pandora (whose headquarters are located in Oakland just a few miles away from the store), Darrah and Nosnitsky’s knowledge is real, and it runs deep.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the latest act of vandalism this month, the mural outside the Mission district’s Galería de la Raza was set on fire Monday night. The section of Manuel Paul’s mural “Por Vida” that depicts two men embracing was burned beyond recognition just after 11 pm.\u003c/p>\n\u003cp>“This is an act of terrorism in every sense of the word,” said Henry Pacheco, Galería’s communications representative. “They are terrorizing the staff of Galería, the people who live in the building, and the larger community. If it weren’t for the person who came with the fire extinguisher, the entire block could’ve been burned down.”\u003c/p>\n\u003cp>The mural, which L.A.-based artist Paul created as a celebration of lowrider culture and Chicano LGBT pride, was first erected on June 12. It has since been reinstalled twice by Galería volunteers after the piece was \u003ca href=\"http://ww2.kqed.org/arts/2015/06/22/mission-district-gallerys-queer-cholo-mural-defaced-again/\">vandalized over two consecutive weekends\u003c/a>, as previously reported by KQED Arts.\u003c/p>\n\u003cp>The most recent acts of vandalism, including Monday night’s arson attack, were captured by surveillance cameras and the footage is currently under review by the San Francisco Police Department (SFPD.)\u003c/p>\n\u003cp>“There was an accelerant that was found at the scene, as well as an incendiary device, and essentially it’s being investigated as a hate crime and an arson,” said SFPD Spokesman Albie Esparza. Esparza described the suspect as a 5’9” white or Hispanic male between the ages of 20-40 who was dressed in black and wearing white gloves. “The suspect did have his face covered in this latest video so we’re asking the public’s help if they know who this person is.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ani Rivera, Galería de la Raza’s executive director, is now working to create a space for her neighbors and community members to talk about the impact of the vandalism.\u003c/p>\n\u003cp>“We have to take this horrible situation and turn it into a healing opportunity,” Rivera said. “The issue is so much bigger than the mural itself.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tomorrow night, Galería de la Raza will \u003ca href=\"https://www.facebook.com/events/794025240710866/\" target=\"_blank\" rel=\"noopener\">host a rally\u003c/a> in front of the burned mural to elicit support and feedback from the community.\u003c/p>\n\n",
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"excerpt": "Around 11pm Monday, a section of a mural outside the Mission district’s Galeria de la Raza depicting two men embracing was set on fire.\r\n\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the latest act of vandalism this month, the mural outside the Mission district’s Galería de la Raza was set on fire Monday night. The section of Manuel Paul’s mural “Por Vida” that depicts two men embracing was burned beyond recognition just after 11 pm.\u003c/p>\n\u003cp>“This is an act of terrorism in every sense of the word,” said Henry Pacheco, Galería’s communications representative. “They are terrorizing the staff of Galería, the people who live in the building, and the larger community. If it weren’t for the person who came with the fire extinguisher, the entire block could’ve been burned down.”\u003c/p>\n\u003cp>The mural, which L.A.-based artist Paul created as a celebration of lowrider culture and Chicano LGBT pride, was first erected on June 12. It has since been reinstalled twice by Galería volunteers after the piece was \u003ca href=\"http://ww2.kqed.org/arts/2015/06/22/mission-district-gallerys-queer-cholo-mural-defaced-again/\">vandalized over two consecutive weekends\u003c/a>, as previously reported by KQED Arts.\u003c/p>\n\u003cp>The most recent acts of vandalism, including Monday night’s arson attack, were captured by surveillance cameras and the footage is currently under review by the San Francisco Police Department (SFPD.)\u003c/p>\n\u003cp>“There was an accelerant that was found at the scene, as well as an incendiary device, and essentially it’s being investigated as a hate crime and an arson,” said SFPD Spokesman Albie Esparza. Esparza described the suspect as a 5’9” white or Hispanic male between the ages of 20-40 who was dressed in black and wearing white gloves. “The suspect did have his face covered in this latest video so we’re asking the public’s help if they know who this person is.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ani Rivera, Galería de la Raza’s executive director, is now working to create a space for her neighbors and community members to talk about the impact of the vandalism.\u003c/p>\n\u003cp>“We have to take this horrible situation and turn it into a healing opportunity,” Rivera said. “The issue is so much bigger than the mural itself.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tomorrow night, Galería de la Raza will \u003ca href=\"https://www.facebook.com/events/794025240710866/\" target=\"_blank\" rel=\"noopener\">host a rally\u003c/a> in front of the burned mural to elicit support and feedback from the community.\u003c/p>\n\n\u003c/div>\u003c/p>",
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