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"content": "\u003cp>Turn on the disco balls and sing a hopeful round of \"I Will Survive.\" Today, a group of drag queens, DJs and other fans of \u003ca href=\"http://ww2.kqed.org/arts/2016/07/20/stud-generations-san-franciscans-gone-let-freak-flag-fly/\">The Stud\u003c/a>, a 50-year-old gay bar in San Francisco's South of Market neighborhood, announced it has secured funds to buy the bar as a co-op and save it from closure.\u003c/p>\n\u003cp>\"I'm feeling pretty stoked,\" says co-op spokesperson Mica Sigourney, whose drag performer name is VivvyAnne Forevermore. \"We've been working really hard on coming together and formulating a plan, and we have one.\"\u003c/p>\n\u003cp>The 15-member Stud Collective formed this summer after the building's landlords announced they would triple the bar's rent beginning Sept. 1.\u003c/p>\n\u003cp>https://twitter.com/JaneKim/status/761304825522888706\u003c/p>\n\u003cp>It was devastating news to the bar's current owner, Michael McElhaney, who was already planning a move home to Hawaii to take care of his elderly mother. McElhaney called an emergency gathering of friends and employees. He tearfully told them their beloved bar would probably close unless someone stepped in to save it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now that the co-op has shown that it can handle the increased rent -- $9,000 a month -- McElhaney says he will transfer his ownership of the bar to its members.\u003c/p>\n\u003cp>\"If these awesome folks can't make it work, no one can,\" he says.\u003c/p>\n\u003cp>[contextly_sidebar id=\"EWN4dHLtwYhogKoOHf6qmY11iJaTp54m\"]\u003c/p>\n\u003cp>There are still some loose ends to tie up. The Stud community is working with San Francisco Supervisor Jane Kim and the Mayor's Office of Economic and Workforce Development to establish the bar as an official \"legacy\" business, which ensures special protections.\u003c/p>\n\u003cp>Most importantly, the landlords need to be on board. Sigourney is confident they will be, but he's not quite ready to crack the champagne.\u003c/p>\n\u003cp>\"There will be a party,\" he assures, \"when we sign a lease.\"\u003c/p>\n\u003cp>Then again, it's \u003cem>always\u003c/em> a party at The Stud. \"Celebrate (it) as it is now,\" Sigourney says. \"That's actually one of the most important things that people can do.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2016/07/06/lgbtq-artists-in-the-bay-area-reflect-on-safe-queer-spaces/\" target=\"_blank\">Check out \u003c/a>KQED Arts’ video about LGBT artists reflecting on safe spaces in the Bay Area.\u003c/em>\u003c/p>\n\n",
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"excerpt": "In the face of a drastic rent increase, a co-op comprised of drag queens, DJs and other fans of the San Francisco gay bar has secured funds to buy the historic LGBT space.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Turn on the disco balls and sing a hopeful round of \"I Will Survive.\" Today, a group of drag queens, DJs and other fans of \u003ca href=\"http://ww2.kqed.org/arts/2016/07/20/stud-generations-san-franciscans-gone-let-freak-flag-fly/\">The Stud\u003c/a>, a 50-year-old gay bar in San Francisco's South of Market neighborhood, announced it has secured funds to buy the bar as a co-op and save it from closure.\u003c/p>\n\u003cp>\"I'm feeling pretty stoked,\" says co-op spokesperson Mica Sigourney, whose drag performer name is VivvyAnne Forevermore. \"We've been working really hard on coming together and formulating a plan, and we have one.\"\u003c/p>\n\u003cp>The 15-member Stud Collective formed this summer after the building's landlords announced they would triple the bar's rent beginning Sept. 1.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It was devastating news to the bar's current owner, Michael McElhaney, who was already planning a move home to Hawaii to take care of his elderly mother. McElhaney called an emergency gathering of friends and employees. He tearfully told them their beloved bar would probably close unless someone stepped in to save it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now that the co-op has shown that it can handle the increased rent -- $9,000 a month -- McElhaney says he will transfer his ownership of the bar to its members.\u003c/p>\n\u003cp>\"If these awesome folks can't make it work, no one can,\" he says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There are still some loose ends to tie up. The Stud community is working with San Francisco Supervisor Jane Kim and the Mayor's Office of Economic and Workforce Development to establish the bar as an official \"legacy\" business, which ensures special protections.\u003c/p>\n\u003cp>Most importantly, the landlords need to be on board. Sigourney is confident they will be, but he's not quite ready to crack the champagne.\u003c/p>\n\u003cp>\"There will be a party,\" he assures, \"when we sign a lease.\"\u003c/p>\n\u003cp>Then again, it's \u003cem>always\u003c/em> a party at The Stud. \"Celebrate (it) as it is now,\" Sigourney says. \"That's actually one of the most important things that people can do.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2016/07/06/lgbtq-artists-in-the-bay-area-reflect-on-safe-queer-spaces/\" target=\"_blank\">Check out \u003c/a>KQED Arts’ video about LGBT artists reflecting on safe spaces in the Bay Area.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Young Inmates Help Turn Solitary Confinement Cells Into Art Spaces",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>Green paint covered tattoos on the girls' hands as they worked on the mural.\u003c/p>\n\u003cp>At Camp Joseph Scott, a juvenile detention center in Santa Clarita, five girls worked on the wall -- some standing, some crouching -- their arms occasionally crisscrossing as they painted the nature scene.\u003c/p>\n\u003cp>\"I find it like a meditating type of therapy,\" said Anaceli, 17, who was five months into a seven-month sentence. (We're not using last names to protect the identities of the minors).\u003c/p>\n\u003cp>\"It actually distracts your mind from being where we actually are for a couple of hours,\" she said. \"So that's why I like coming here.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/276811087\" 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>This building used to be a very undesirable destination. Just around the corner from the mural is a long hallway with 12 cells, each about the size of a parking spot, with just a bed and a small window. In the past, girls could be sent out of the dorms and into isolation, for a few hours or up to 30 days -- only rarely allowed out into this common area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, Los Angeles County, home to the nation's largest juvenile justice system, is phasing out the use of that kind of solitary confinement for minors. And so the probation department has been tasked with reimagining the special housing units, or SHUs, that were used to keep young offenders in isolation.\u003c/p>\n\u003cp>The mural project at Camp Scott is one of several arts projects that have been enlisted to help enact that transformation. The change is part of an effort across the county to make juvenile detention centers less punitive and more therapeutic.\u003c/p>\n\u003cp>\"Our question was to like, let’s reimagine something that’s more positive for what they see in here,\" said Joe Galarza, an artist with the Armory Center for the Arts, who worked with the girls on the mural.\u003c/p>\n\u003cfigure id=\"attachment_11040631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11040631\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/MuralWork1-1-800x534.jpg\" alt=\"All 25 women at Camp Scott were required to participate in the mural project.\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/MuralWork1-1-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/MuralWork1-1-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/MuralWork1-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/MuralWork1-1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/MuralWork1-1-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young inmate at Camp Scott works on the mural project. \u003ccite>(Dan Tuffs/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of the girls at Camp Scott, about 25, are required to participate in this mural project. In recent months, staff at the facility painted the gray cinderblock walls pink and blue and added pink chairs and a television. This spring the mural project got underway.\u003c/p>\n\u003cp>The artists taught the girls drawing and painting basics and worked with them to plan the design of the mural. It has a road and a tree with round blossoms that will carry the words \"hope\" and \"perseverance.\" On one branch, a bird is perched, ready to take flight.\u003c/p>\n\u003cp>\u003cstrong>Reimagining the SHU\u003cbr>\n\u003c/strong>\u003cbr>\nThe L.A. County Board of Supervisors voted in May to effectively end the practice of placing incarcerated youth in solitary confinement, citing the many studies about the psychological and physical damage of isolation. Under the new guidelines, isolation is to be used only in extreme cases and kids should be monitored and have access to a mental health worker.\u003c/p>\n\u003cp>\"The hope is it’s a learning experience, as opposed to just strictly resolving the issue by locking the kid up behind a locked door and not having to deal with them,\" said interim probation chief Cal Remington.\u003c/p>\n\u003cfigure id=\"attachment_11040633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11040633\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/SolitaryCell-800x534.jpg\" alt=\"Around the corner from the mural is a row of 12 solitary confinement cells like this one.\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/SolitaryCell-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/SolitaryCell-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/SolitaryCell.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/SolitaryCell-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/SolitaryCell-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Around the corner from the mural is a row of 12 solitary confinement cells like this one. \u003ccite>(Dan Tuffs/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The new rules took effect at Camp Scott and two other facilities on May 30, and will go into effect at the rest of the facilities by the end of September. The current SHUs are to be converted into \"cooling down\" areas. Probation is actually hoping to rebrand them as “hope centers.”\u003c/p>\n\u003cp>Just as this shift was getting underway, a cooperative of arts organizations was launching an initiative to provide programming to juvenile offenders year-round. And now, the Arts for Incarcerated Youth Network is working with probation and the young offenders to reimagine the SHU.\u003c/p>\n\u003cp>\"I appreciate the arts community and what they’ve done,\" Remington said. \"And the timing was good in relation to coming up with these cool down areas.\"\u003c/p>\n\u003caside class=\"pullquote alignright\">Under the new guidelines, isolation is to be used only in extreme cases, and kids should have access to a mental health worker.\u003c/aside>\n\u003cp>Murals are going up in the four facilities with SHUs. At one site, artists are planning to coat the walls with chalkboard paint so kids can draw, write and reflect there. In another facility, kids are reflecting on the experience of solitary in creative writing classes.\u003c/p>\n\u003cp>Probation staff are undergoing training in how to diffuse situations and to be sensitive to the trauma kids in the system have faced. As solitary confinement is phased out, some officers worry about safety.\u003c/p>\n\u003cp>\"Of course I think it’s a good idea to change the rules around it, but I don’t think they should eliminate it,\" said Natonya Cantlope, who works at Camp Scott.\u003c/p>\n\u003cp>She said she worries about the elimination of a SHU because there are times when inmates get violent and need to be separated.\u003c/p>\n\u003cp>\"It’s not normal, but it goes down,\" said Cantlope. \"Them taking [solitary confinement] away from us completely? No, because it’s a lot of people that could get hurt.\"\u003c/p>\n\u003cfigure id=\"attachment_11040636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11040636\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/ProbationOfficer-800x534.jpg\" alt=\"As L.A. County moves away from solitary confinement, probation officer Natonya Cantlope worries about safety when violence breaks out.\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/ProbationOfficer-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/ProbationOfficer-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/ProbationOfficer.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/ProbationOfficer-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/ProbationOfficer-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">As L.A. County moves away from solitary confinement, probation officer Natonya Cantlope worries about safety when violence breaks out. \u003ccite>(Dan Tuffs/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jessica Feierman, associate director of the Juvenile Law Center, said concerns like this are a normal part of the change process.\u003c/p>\n\u003cp>\"We operate in the universe of what we know, so when you haven’t seen a facility working effectively without solitary confinement, it becomes really hard to imagine it,\" said Feierman.\u003c/p>\n\u003cp>Nineteen states and the District of Columbia have ended solitary confinement for minors in recent years. Feierman says that positive intervention techniques are key to ensuring that the transition away from the practice goes smoothly.\u003c/p>\n\u003cp>\"So [that means] good programming, thoughtful responses when youth are having trouble, full schedules with things that young people want to do,\" Feierman said.\u003c/p>\n\u003cp>\u003cstrong>More Than Murals\u003cbr>\n\u003c/strong>\u003cbr>\nThere are three juvenile halls, where young offenders are held before sentencing, and 12 camps currently open in L.A. County. Artists with the Arts for Incarcerated Youth Network are working in 10 of those sites -- aiming to keep schedules full by providing visual art, drumming, theater, poetry, creative writing classes and more.\u003c/p>\n\u003cp>The network is made up of the Armory Center for the Arts, Actors' Gang, Coalition for Engaged Education, InsideOut Writers, Rhythm Arts Alliance, Street Poets Inc., Unusual Suspects Theatre Company, WriteGirl/Bold Ink Writers and Jail Guitar Doors.\u003c/p>\n\u003cp>\"We’re so eager to integrate arts both as a diversion and also as part of a successful re-entry strategy for the kids coming out,\" said Kaile Shilling, executive director of the network. \"Putting arts front and center, before, during and after helps.\"\u003c/p>\n\u003cfigure id=\"attachment_11040638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11040638\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/JoePainting-800x529.jpg\" alt=\"Joe Galarza, a teaching artist with the Armory Center for the Arts, worked with the girls at Camp Scott juvenile detention center for 12 weeks.\" width=\"800\" height=\"529\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/JoePainting-800x529.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/JoePainting-400x264.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/JoePainting.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/JoePainting-1180x780.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/JoePainting-960x635.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joe Galarza, a teaching artist with the Armory Center for the Arts, worked with the girls at Camp Scott juvenile detention center for 12 weeks. \u003ccite>(Dan Tuffs/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The programming is taking place in the afternoon or evening hours in 11-week cycles over the coming year. The county is field testing the programs at these sites, with an eye toward a new juvenile facility that will open in the spring. Campus Kilpatrick will have a \"trauma-informed\" approach, focusing less on discipline and more on rehabilitation. It will not have a SHU at all. And the L.A. County Arts Commission is working with probation to embed arts at the core of the curriculum as part of the rehabilitation process.\u003c/p>\n\u003cp>\"I’ve seen over the years the ebb and flow of different theories of how to handle kids who are detained,\" said Sherry Gold, justice deputy for Los Angeles County Supervisor Sheila Kuehl, who co-authored \u003ca href=\"http://supervisorkuehl.com/wp-content/uploads/2016/05/5.3.16-Solitary-Confinement-Motion-REVISED.pdf\">the motion restricting the use of solitary\u003c/a>. \"It’s my opinion that it’s about time that we’re recognizing that arts are a very important part of a program.\"\u003c/p>\n\u003cp>At Camp Scott, the mural project is starting to change the atmosphere on the campus. One girl said that the painting is relaxing and helps her blow off steam. Another said that having the mural in the SHU makes the space feel more peaceful and less like a prison.\u003c/p>\n\u003cp>Since participation was required at the facility, artists Galarza and Nery Gabriel Lemus said that not all of the girls were thrilled to be there. Some started to look forward to it over time, and picked up skills to improve their painting and drawing technique. But even for those who never got into it, there were valuable lessons.\u003c/p>\n\u003cp>\"Everything is interconnected,\" said Lemus. \"Sometimes it’s not just about art per se. Sometimes it’s just about being able to focus on something and get your mind off of the negativity.\"\u003c/p>\n\u003cp>Anaceli is set to go home in June and she says while she’s painting, she dreams of turning her life around once she’s out.\u003c/p>\n\u003cp>\"Engaging yourself in it makes you think a lot of positive things like, do I want to continue my life like the way I was living? Or do I want to become clean and live my life like a normal person?\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The girls completed the mural in early June and theater workshops are set to start there later this summer.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Green paint covered tattoos on the girls' hands as they worked on the mural.\u003c/p>\n\u003cp>At Camp Joseph Scott, a juvenile detention center in Santa Clarita, five girls worked on the wall -- some standing, some crouching -- their arms occasionally crisscrossing as they painted the nature scene.\u003c/p>\n\u003cp>\"I find it like a meditating type of therapy,\" said Anaceli, 17, who was five months into a seven-month sentence. (We're not using last names to protect the identities of the minors).\u003c/p>\n\u003cp>\"It actually distracts your mind from being where we actually are for a couple of hours,\" she said. \"So that's why I like coming here.\"\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/276811087&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/276811087'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This building used to be a very undesirable destination. Just around the corner from the mural is a long hallway with 12 cells, each about the size of a parking spot, with just a bed and a small window. In the past, girls could be sent out of the dorms and into isolation, for a few hours or up to 30 days -- only rarely allowed out into this common area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, Los Angeles County, home to the nation's largest juvenile justice system, is phasing out the use of that kind of solitary confinement for minors. And so the probation department has been tasked with reimagining the special housing units, or SHUs, that were used to keep young offenders in isolation.\u003c/p>\n\u003cp>The mural project at Camp Scott is one of several arts projects that have been enlisted to help enact that transformation. The change is part of an effort across the county to make juvenile detention centers less punitive and more therapeutic.\u003c/p>\n\u003cp>\"Our question was to like, let’s reimagine something that’s more positive for what they see in here,\" said Joe Galarza, an artist with the Armory Center for the Arts, who worked with the girls on the mural.\u003c/p>\n\u003cfigure id=\"attachment_11040631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11040631\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/MuralWork1-1-800x534.jpg\" alt=\"All 25 women at Camp Scott were required to participate in the mural project.\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/MuralWork1-1-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/MuralWork1-1-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/MuralWork1-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/MuralWork1-1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/MuralWork1-1-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young inmate at Camp Scott works on the mural project. \u003ccite>(Dan Tuffs/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of the girls at Camp Scott, about 25, are required to participate in this mural project. In recent months, staff at the facility painted the gray cinderblock walls pink and blue and added pink chairs and a television. This spring the mural project got underway.\u003c/p>\n\u003cp>The artists taught the girls drawing and painting basics and worked with them to plan the design of the mural. It has a road and a tree with round blossoms that will carry the words \"hope\" and \"perseverance.\" On one branch, a bird is perched, ready to take flight.\u003c/p>\n\u003cp>\u003cstrong>Reimagining the SHU\u003cbr>\n\u003c/strong>\u003cbr>\nThe L.A. County Board of Supervisors voted in May to effectively end the practice of placing incarcerated youth in solitary confinement, citing the many studies about the psychological and physical damage of isolation. Under the new guidelines, isolation is to be used only in extreme cases and kids should be monitored and have access to a mental health worker.\u003c/p>\n\u003cp>\"The hope is it’s a learning experience, as opposed to just strictly resolving the issue by locking the kid up behind a locked door and not having to deal with them,\" said interim probation chief Cal Remington.\u003c/p>\n\u003cfigure id=\"attachment_11040633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11040633\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/SolitaryCell-800x534.jpg\" alt=\"Around the corner from the mural is a row of 12 solitary confinement cells like this one.\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/SolitaryCell-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/SolitaryCell-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/SolitaryCell.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/SolitaryCell-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/SolitaryCell-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Around the corner from the mural is a row of 12 solitary confinement cells like this one. \u003ccite>(Dan Tuffs/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The new rules took effect at Camp Scott and two other facilities on May 30, and will go into effect at the rest of the facilities by the end of September. The current SHUs are to be converted into \"cooling down\" areas. Probation is actually hoping to rebrand them as “hope centers.”\u003c/p>\n\u003cp>Just as this shift was getting underway, a cooperative of arts organizations was launching an initiative to provide programming to juvenile offenders year-round. And now, the Arts for Incarcerated Youth Network is working with probation and the young offenders to reimagine the SHU.\u003c/p>\n\u003cp>\"I appreciate the arts community and what they’ve done,\" Remington said. \"And the timing was good in relation to coming up with these cool down areas.\"\u003c/p>\n\u003caside class=\"pullquote alignright\">Under the new guidelines, isolation is to be used only in extreme cases, and kids should have access to a mental health worker.\u003c/aside>\n\u003cp>Murals are going up in the four facilities with SHUs. At one site, artists are planning to coat the walls with chalkboard paint so kids can draw, write and reflect there. In another facility, kids are reflecting on the experience of solitary in creative writing classes.\u003c/p>\n\u003cp>Probation staff are undergoing training in how to diffuse situations and to be sensitive to the trauma kids in the system have faced. As solitary confinement is phased out, some officers worry about safety.\u003c/p>\n\u003cp>\"Of course I think it’s a good idea to change the rules around it, but I don’t think they should eliminate it,\" said Natonya Cantlope, who works at Camp Scott.\u003c/p>\n\u003cp>She said she worries about the elimination of a SHU because there are times when inmates get violent and need to be separated.\u003c/p>\n\u003cp>\"It’s not normal, but it goes down,\" said Cantlope. \"Them taking [solitary confinement] away from us completely? No, because it’s a lot of people that could get hurt.\"\u003c/p>\n\u003cfigure id=\"attachment_11040636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11040636\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/ProbationOfficer-800x534.jpg\" alt=\"As L.A. County moves away from solitary confinement, probation officer Natonya Cantlope worries about safety when violence breaks out.\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/ProbationOfficer-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/ProbationOfficer-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/ProbationOfficer.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/ProbationOfficer-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/ProbationOfficer-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">As L.A. County moves away from solitary confinement, probation officer Natonya Cantlope worries about safety when violence breaks out. \u003ccite>(Dan Tuffs/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jessica Feierman, associate director of the Juvenile Law Center, said concerns like this are a normal part of the change process.\u003c/p>\n\u003cp>\"We operate in the universe of what we know, so when you haven’t seen a facility working effectively without solitary confinement, it becomes really hard to imagine it,\" said Feierman.\u003c/p>\n\u003cp>Nineteen states and the District of Columbia have ended solitary confinement for minors in recent years. Feierman says that positive intervention techniques are key to ensuring that the transition away from the practice goes smoothly.\u003c/p>\n\u003cp>\"So [that means] good programming, thoughtful responses when youth are having trouble, full schedules with things that young people want to do,\" Feierman said.\u003c/p>\n\u003cp>\u003cstrong>More Than Murals\u003cbr>\n\u003c/strong>\u003cbr>\nThere are three juvenile halls, where young offenders are held before sentencing, and 12 camps currently open in L.A. County. Artists with the Arts for Incarcerated Youth Network are working in 10 of those sites -- aiming to keep schedules full by providing visual art, drumming, theater, poetry, creative writing classes and more.\u003c/p>\n\u003cp>The network is made up of the Armory Center for the Arts, Actors' Gang, Coalition for Engaged Education, InsideOut Writers, Rhythm Arts Alliance, Street Poets Inc., Unusual Suspects Theatre Company, WriteGirl/Bold Ink Writers and Jail Guitar Doors.\u003c/p>\n\u003cp>\"We’re so eager to integrate arts both as a diversion and also as part of a successful re-entry strategy for the kids coming out,\" said Kaile Shilling, executive director of the network. \"Putting arts front and center, before, during and after helps.\"\u003c/p>\n\u003cfigure id=\"attachment_11040638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11040638\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/JoePainting-800x529.jpg\" alt=\"Joe Galarza, a teaching artist with the Armory Center for the Arts, worked with the girls at Camp Scott juvenile detention center for 12 weeks.\" width=\"800\" height=\"529\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/JoePainting-800x529.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/JoePainting-400x264.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/JoePainting.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/JoePainting-1180x780.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/JoePainting-960x635.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joe Galarza, a teaching artist with the Armory Center for the Arts, worked with the girls at Camp Scott juvenile detention center for 12 weeks. \u003ccite>(Dan Tuffs/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The programming is taking place in the afternoon or evening hours in 11-week cycles over the coming year. The county is field testing the programs at these sites, with an eye toward a new juvenile facility that will open in the spring. Campus Kilpatrick will have a \"trauma-informed\" approach, focusing less on discipline and more on rehabilitation. It will not have a SHU at all. And the L.A. County Arts Commission is working with probation to embed arts at the core of the curriculum as part of the rehabilitation process.\u003c/p>\n\u003cp>\"I’ve seen over the years the ebb and flow of different theories of how to handle kids who are detained,\" said Sherry Gold, justice deputy for Los Angeles County Supervisor Sheila Kuehl, who co-authored \u003ca href=\"http://supervisorkuehl.com/wp-content/uploads/2016/05/5.3.16-Solitary-Confinement-Motion-REVISED.pdf\">the motion restricting the use of solitary\u003c/a>. \"It’s my opinion that it’s about time that we’re recognizing that arts are a very important part of a program.\"\u003c/p>\n\u003cp>At Camp Scott, the mural project is starting to change the atmosphere on the campus. One girl said that the painting is relaxing and helps her blow off steam. Another said that having the mural in the SHU makes the space feel more peaceful and less like a prison.\u003c/p>\n\u003cp>Since participation was required at the facility, artists Galarza and Nery Gabriel Lemus said that not all of the girls were thrilled to be there. Some started to look forward to it over time, and picked up skills to improve their painting and drawing technique. But even for those who never got into it, there were valuable lessons.\u003c/p>\n\u003cp>\"Everything is interconnected,\" said Lemus. \"Sometimes it’s not just about art per se. Sometimes it’s just about being able to focus on something and get your mind off of the negativity.\"\u003c/p>\n\u003cp>Anaceli is set to go home in June and she says while she’s painting, she dreams of turning her life around once she’s out.\u003c/p>\n\u003cp>\"Engaging yourself in it makes you think a lot of positive things like, do I want to continue my life like the way I was living? Or do I want to become clean and live my life like a normal person?\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The girls completed the mural in early June and theater workshops are set to start there later this summer.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The World According to Sound: The Hour of Charm Orchestra",
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"content": "\u003cp>With the \u003cspan class=\"il\">Hour\u003c/span> \u003cspan class=\"il\">of\u003c/span> \u003cspan class=\"il\">Charm\u003c/span> Orchestra, the show revolved more around who the performers were and what they looked like rather than the music they produced.\u003c/p>\n\u003cp>The band was popular in the 1930s and 1940s, and the schtick was that the orchestra was all female — except, of course, for the bandleader and boss, Phil Spitalny.\u003c/p>\n\u003cp>Spitalny's logic for creating an all-female orchestra was that the music would be more soothing and charming because it was being created by women instead of men. The music was arranged and performed to embody these stereotypical female characteristics.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/276000061\" params=\"auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true\" width=\"100%\" height=\"150\" iframe=\"true\" /]\u003c/p>\n\u003cp>The all-women marketing scheme that Spitalny devised helped to make his band a hit. For a full dose of the sexism behind his whole concept, here’s what Spitalny told The Etude music magazine in 1938:\u003c/p>\n\u003cblockquote>\u003cp>If I were seeking an effect of power, of heavy beats, of sort of military precision that commands you against your will, I should certainly not go to work with a group of girls. But the effect desired was one of charm, of mellowness, of floating, elusive persuasion. And so it seemed the most natural logical thing in the world to assemble a band of women and to ask them simply to go on being charming women in their playing.\u003c/p>\u003c/blockquote>\n\u003cp>Right, the most natural logical thing. Who knows how much Spitalny believed what he was spewing about the divide between music made by women and music made by men? But regardless, it resonated. He was able to turn his gimmick into a profitable little affair.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Hour of Charm Orchestra was especially popular with the Army. The music was played for U.S. servicemen on bases around the world. The idea was that soldiers would find the music soothing because it was made entirely by women, but not just any women.\u003c/p>\n\u003caside class=\"pullquote aligncenter\">'And where in the world can you find a better exponent of charm than a charming young woman?' \u003ccite>Phil Spitalny, bandleader\u003c/cite>\u003c/aside>\n\u003cp>To play in the orchestra, women had to meet all sorts of requirements that had nothing to do with their ability to play music. It has been reported that to be in the orchestra, women had to be in their 20s, have long flowing hair and weigh less than 120 pounds. They weren’t allowed to marry and needed permission to date. You can read more about the rules and history of the Hour of Charm Orchestra \u003ca href=\"http://www.mwotrc.com/rr2008_02/charm.htm\">here\u003c/a>, courtesy of the Metropolitan Washington Old Time Radio Club.\u003c/p>\n\u003cp>From the description above, one might assume that the show was successful because men wanted to see a group of women who fit virginal stereotypes performing up on a stage. And that was certainly part of it. \u003c/p>\n\u003cp>The orchestra did \u003ca href=\"https://www.youtube.com/watch?v=bhtkviTqCEE\">the show live\u003c/a>, and many in the audience probably watched to see “charming” women in concert. But the allure of the show came less from visual stimulation and more from a belief that sound in some way carried the essence of whatever or whoever produced it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bhtkviTqCEE\u003c/p>\n\u003cp>Many listeners didn't see the women at all, though. The music came to them from a record player or through the radio. Spitalny promised to deliver the charm of women channeled through music, as if the sound could somehow embody and transmit the characteristics of its makers — virginal, beautiful young women. You can imagine listeners, maybe lonely Army men scattered across the globe, tuning in, believing that the sounds they were hearing really carried the charms of the women who produced them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This little piece of music history comes to us from the \u003ca href=\"https://library.stanford.edu/ars\">Archive of Recorded Sound\u003c/a> at Stanford University. To hear more sounds of the world, check out \u003ca href=\"http://www.theworldaccordingtosound.org\">The World According to Sound\u003c/a> podcast.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the \u003cspan class=\"il\">Hour\u003c/span> \u003cspan class=\"il\">of\u003c/span> \u003cspan class=\"il\">Charm\u003c/span> Orchestra, the show revolved more around who the performers were and what they looked like rather than the music they produced.\u003c/p>\n\u003cp>The band was popular in the 1930s and 1940s, and the schtick was that the orchestra was all female — except, of course, for the bandleader and boss, Phil Spitalny.\u003c/p>\n\u003cp>Spitalny's logic for creating an all-female orchestra was that the music would be more soothing and charming because it was being created by women instead of men. The music was arranged and performed to embody these stereotypical female characteristics.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='150'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/276000061&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/276000061'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The all-women marketing scheme that Spitalny devised helped to make his band a hit. For a full dose of the sexism behind his whole concept, here’s what Spitalny told The Etude music magazine in 1938:\u003c/p>\n\u003cblockquote>\u003cp>If I were seeking an effect of power, of heavy beats, of sort of military precision that commands you against your will, I should certainly not go to work with a group of girls. But the effect desired was one of charm, of mellowness, of floating, elusive persuasion. And so it seemed the most natural logical thing in the world to assemble a band of women and to ask them simply to go on being charming women in their playing.\u003c/p>\u003c/blockquote>\n\u003cp>Right, the most natural logical thing. Who knows how much Spitalny believed what he was spewing about the divide between music made by women and music made by men? But regardless, it resonated. He was able to turn his gimmick into a profitable little affair.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Hour of Charm Orchestra was especially popular with the Army. The music was played for U.S. servicemen on bases around the world. The idea was that soldiers would find the music soothing because it was made entirely by women, but not just any women.\u003c/p>\n\u003caside class=\"pullquote aligncenter\">'And where in the world can you find a better exponent of charm than a charming young woman?' \u003ccite>Phil Spitalny, bandleader\u003c/cite>\u003c/aside>\n\u003cp>To play in the orchestra, women had to meet all sorts of requirements that had nothing to do with their ability to play music. It has been reported that to be in the orchestra, women had to be in their 20s, have long flowing hair and weigh less than 120 pounds. They weren’t allowed to marry and needed permission to date. You can read more about the rules and history of the Hour of Charm Orchestra \u003ca href=\"http://www.mwotrc.com/rr2008_02/charm.htm\">here\u003c/a>, courtesy of the Metropolitan Washington Old Time Radio Club.\u003c/p>\n\u003cp>From the description above, one might assume that the show was successful because men wanted to see a group of women who fit virginal stereotypes performing up on a stage. And that was certainly part of it. \u003c/p>\n\u003cp>The orchestra did \u003ca href=\"https://www.youtube.com/watch?v=bhtkviTqCEE\">the show live\u003c/a>, and many in the audience probably watched to see “charming” women in concert. But the allure of the show came less from visual stimulation and more from a belief that sound in some way carried the essence of whatever or whoever produced it.\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/bhtkviTqCEE'\n title='//www.youtube.com/embed/bhtkviTqCEE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Many listeners didn't see the women at all, though. The music came to them from a record player or through the radio. Spitalny promised to deliver the charm of women channeled through music, as if the sound could somehow embody and transmit the characteristics of its makers — virginal, beautiful young women. You can imagine listeners, maybe lonely Army men scattered across the globe, tuning in, believing that the sounds they were hearing really carried the charms of the women who produced them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This little piece of music history comes to us from the \u003ca href=\"https://library.stanford.edu/ars\">Archive of Recorded Sound\u003c/a> at Stanford University. To hear more sounds of the world, check out \u003ca href=\"http://www.theworldaccordingtosound.org\">The World According to Sound\u003c/a> podcast.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "New Music: Yea-Ming, Venus and the Moon and The Side Eyes",
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"content": "\u003cp>A bright new album released on cassette, another \u003cem>recorded\u003c/em> on cassette and a daughter paying lovingly energetic tribute to her mom's punk youth. But don't dismiss these three summer picks as wistful nostalgia.\u003c/p>\n\u003cp>\u003cb>Yea-Ming and the Rumours, 'I Will Make You Mine'\u003c/b>\u003c/p>\n\u003cp>The songs on \u003ca href=\"https://yea-ming.bandcamp.com/\" target=\"_blank\">Yea-Ming and the Rumours\u003c/a>’ debut album, “I Will Make You Mine,” are some of the sweetest, sunniest '60s-evoking folk-pop you’ll hear — except for the dark, even menacing bits that unexpectedly peek out of shadows that you might not even have noticed. “Gunshots ring out on the street,” the Bay Area native Yea-Ming Chen sings in the middle of the otherwise bubbly opener, “Where Did Our Moment Go,” a little pathetic fallacy of the lost moment.\u003c/p>\n\u003cp>“Don’t Be Mean” holds some anxious fear in its rebuke. “When You Were Young” isn’t so much nostalgic as disillusioned. And in that context, it’s hard to see the determination of the title song — the bounciest, bubbliest of the bunch — as not having an element of threat, even before you hear the lyrics describe post-one-night-stand obsession.\u003c/p>\n\u003cp>Somehow it’s perfect that this is only available, at first at least, in formats old (cassette, via Burger Records) and digital (via Bandcamp), wittingly or otherwise representing the mix of past sounds and current attitudes. But don’t mistake the latter for cynicism or snark, or even irony. It’s observation and reflection, recognition that conflicting ideas and emotions coexist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vf7LZifk014\u003c/p>\n\u003cp>Same, to some extent, in the music. Chen, bassist Anna Hillburg and drummer Sonia Hayden all come from the indie band Dreamdate, as does the basic sound, with new member Eoin Galvin Overall adding guitars (including some subtle slide work). It’s the We Five’s sparkle dabbed with the Velvet Underground’s grime, maybe. And at times it veers into countryesque lilt, accenting the heartache in some songs — but also accenting the hopefulness. Hopeful heartache. That’s the (hopeful?) heart of Yea-Ming and the Rumours.\u003c/p>\n\u003cp>\u003cb>Venus and the Moon, 'Brother, Son'\u003c/b>\u003c/p>\n\u003cp>If you simply heard there was a singer named Rain Phoenix, without knowing the back story of her life as an actress and sister of Joaquin (and the late River), you’d probably imagine her making music exactly as is heard on this debut from \u003ca href=\"http://www.venusandthemoon.net/\" target=\"_blank\">Venus and the Moon\u003c/a>, her Los Angeles-based duo with singer Frally Hynes.\u003c/p>\n\u003cp>Everything from the low-key, intimate sound (they call it “galactic country”) to the album title “Brother, Son” (the songs honor the important males in their lives, past and present), to the spare sound of the performances recorded on a 4-track cassette (given to Rain by River when she was a teen) to the black-and-white cover photo of two Earth-priest figures standing against a rock outcropping says \"neo-hippie nature-children.\"\u003c/p>\n\u003cp>Well, that’s not a bad thing. Not at all. The giddy joy of “Marry Me” (“Marry me to the song of the wind,” they harmonize over briskly strummed acoustic guitar) is all smiles. “Die Slow” is more ruminative, but with a genteel fragility held together with hope. “Paper Cup” (the song in which the album title is heard) is a sweet lullaby for a childhood gone, but not lost, a perfect mix of sadness and hope (“there was a time you loved yourself,” “everyone knows we’re not on our own out here”).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RgGWCryY8RU\u003c/p>\n\u003cp>It’s something of a contrast from the more forward approach of Phoenix’s prior band, Papercranes, and of a much-more-produced 2015 Venus 7-inch single release featuring appearances by Rufus Wainwright and Chris Stills (Stephen’s son). But there’s a closeness to this that’s far more personal and affecting.\u003c/p>\n\u003cp>Touches of slightly spacey electric slide show up here and there, adding a dreaminess, while “RoundRound” features echoed ukulele and claps behind layered multitracked vocals from the pair, sounding like it’s being beamed in from another era, or another plane. And “Hallelujah” (an original, not the Leonard Cohen standard) ends the set with a melancholy pair of trumpets — Gabriel (and a friend) not calling the end of the world, but just the end of a nice, loving day.\u003c/p>\n\u003cp>\u003cb>The Side Eyes/Redd Kross, 'Songs that Chargo Taught Us' split single\u003c/b>\u003c/p>\n\u003cp>Remember the good ol’ days when rock and punk were about rejecting your parents’ ways, ideally really ticking them off in the process? Well, kids today ...\u003c/p>\n\u003cp>Take 21-year-old Astrid McDonald, singer in the L.A. punkish band the Side Eyes. Not only isn’t she railing against her mom, but on the band’s new vinyl-only single she sings a song written \u003ci>by\u003c/i> her mom. Well, her mom happens to be Charlotte Caffey of the Go-Go’s. And the song the Side Eyes does here, “Don’t Talk to Me,” dates from when mom was around the age her daughter is now, back in the late '70s when Caffey fronted a pre-Go-Go’s trio with drummer D.J. Bonebrake (soon of X) and guitarist Joe Ramirez (Black Randy & the Metro Squad). The name of that band? The Eyes. Yeah, even young McDonald’s band’s name pays homage to \u003ci>mater\u003c/i>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FOct84ix7aA\u003c/p>\n\u003cp>What’s more, the other side of the single is by the veteran L.A. power-punk band Redd Kross, which as you may have already realized features McDonald’s \u003ci>dad,\u003c/i> Jeff McDonald, as well as her uncle, Steven. And what’s \u003ci>more\u003c/i> more, the song they do is also an old Caffey composition, “Screaming,” a rare one from the very earliest days of the Go-Go’s, notable for the stinging guitar and brusque energy that came to mark Caffey’s famous band’s best work.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Together the songs are presented as “Songs that Chargo Taught Us,” “Chargo” being Caffey’s nickname. Both are sharp, spirited performances, given more meaning for being a deeply loving appreciation to McDonald’s mom and spouse, respectively. It’s wonderful. But seriously, is this any way to have youthful rebellion?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A bright new album released on cassette, another \u003cem>recorded\u003c/em> on cassette and a daughter paying lovingly energetic tribute to her mom's punk youth. But don't dismiss these three summer picks as wistful nostalgia.\u003c/p>\n\u003cp>\u003cb>Yea-Ming and the Rumours, 'I Will Make You Mine'\u003c/b>\u003c/p>\n\u003cp>The songs on \u003ca href=\"https://yea-ming.bandcamp.com/\" target=\"_blank\">Yea-Ming and the Rumours\u003c/a>’ debut album, “I Will Make You Mine,” are some of the sweetest, sunniest '60s-evoking folk-pop you’ll hear — except for the dark, even menacing bits that unexpectedly peek out of shadows that you might not even have noticed. “Gunshots ring out on the street,” the Bay Area native Yea-Ming Chen sings in the middle of the otherwise bubbly opener, “Where Did Our Moment Go,” a little pathetic fallacy of the lost moment.\u003c/p>\n\u003cp>“Don’t Be Mean” holds some anxious fear in its rebuke. “When You Were Young” isn’t so much nostalgic as disillusioned. And in that context, it’s hard to see the determination of the title song — the bounciest, bubbliest of the bunch — as not having an element of threat, even before you hear the lyrics describe post-one-night-stand obsession.\u003c/p>\n\u003cp>Somehow it’s perfect that this is only available, at first at least, in formats old (cassette, via Burger Records) and digital (via Bandcamp), wittingly or otherwise representing the mix of past sounds and current attitudes. But don’t mistake the latter for cynicism or snark, or even irony. It’s observation and reflection, recognition that conflicting ideas and emotions coexist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/vf7LZifk014'\n title='//www.youtube.com/embed/vf7LZifk014'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Same, to some extent, in the music. Chen, bassist Anna Hillburg and drummer Sonia Hayden all come from the indie band Dreamdate, as does the basic sound, with new member Eoin Galvin Overall adding guitars (including some subtle slide work). It’s the We Five’s sparkle dabbed with the Velvet Underground’s grime, maybe. And at times it veers into countryesque lilt, accenting the heartache in some songs — but also accenting the hopefulness. Hopeful heartache. That’s the (hopeful?) heart of Yea-Ming and the Rumours.\u003c/p>\n\u003cp>\u003cb>Venus and the Moon, 'Brother, Son'\u003c/b>\u003c/p>\n\u003cp>If you simply heard there was a singer named Rain Phoenix, without knowing the back story of her life as an actress and sister of Joaquin (and the late River), you’d probably imagine her making music exactly as is heard on this debut from \u003ca href=\"http://www.venusandthemoon.net/\" target=\"_blank\">Venus and the Moon\u003c/a>, her Los Angeles-based duo with singer Frally Hynes.\u003c/p>\n\u003cp>Everything from the low-key, intimate sound (they call it “galactic country”) to the album title “Brother, Son” (the songs honor the important males in their lives, past and present), to the spare sound of the performances recorded on a 4-track cassette (given to Rain by River when she was a teen) to the black-and-white cover photo of two Earth-priest figures standing against a rock outcropping says \"neo-hippie nature-children.\"\u003c/p>\n\u003cp>Well, that’s not a bad thing. Not at all. The giddy joy of “Marry Me” (“Marry me to the song of the wind,” they harmonize over briskly strummed acoustic guitar) is all smiles. “Die Slow” is more ruminative, but with a genteel fragility held together with hope. “Paper Cup” (the song in which the album title is heard) is a sweet lullaby for a childhood gone, but not lost, a perfect mix of sadness and hope (“there was a time you loved yourself,” “everyone knows we’re not on our own out here”).\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/RgGWCryY8RU'\n title='//www.youtube.com/embed/RgGWCryY8RU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s something of a contrast from the more forward approach of Phoenix’s prior band, Papercranes, and of a much-more-produced 2015 Venus 7-inch single release featuring appearances by Rufus Wainwright and Chris Stills (Stephen’s son). But there’s a closeness to this that’s far more personal and affecting.\u003c/p>\n\u003cp>Touches of slightly spacey electric slide show up here and there, adding a dreaminess, while “RoundRound” features echoed ukulele and claps behind layered multitracked vocals from the pair, sounding like it’s being beamed in from another era, or another plane. And “Hallelujah” (an original, not the Leonard Cohen standard) ends the set with a melancholy pair of trumpets — Gabriel (and a friend) not calling the end of the world, but just the end of a nice, loving day.\u003c/p>\n\u003cp>\u003cb>The Side Eyes/Redd Kross, 'Songs that Chargo Taught Us' split single\u003c/b>\u003c/p>\n\u003cp>Remember the good ol’ days when rock and punk were about rejecting your parents’ ways, ideally really ticking them off in the process? Well, kids today ...\u003c/p>\n\u003cp>Take 21-year-old Astrid McDonald, singer in the L.A. punkish band the Side Eyes. Not only isn’t she railing against her mom, but on the band’s new vinyl-only single she sings a song written \u003ci>by\u003c/i> her mom. Well, her mom happens to be Charlotte Caffey of the Go-Go’s. And the song the Side Eyes does here, “Don’t Talk to Me,” dates from when mom was around the age her daughter is now, back in the late '70s when Caffey fronted a pre-Go-Go’s trio with drummer D.J. Bonebrake (soon of X) and guitarist Joe Ramirez (Black Randy & the Metro Squad). The name of that band? The Eyes. Yeah, even young McDonald’s band’s name pays homage to \u003ci>mater\u003c/i>.\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/FOct84ix7aA'\n title='//www.youtube.com/embed/FOct84ix7aA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What’s more, the other side of the single is by the veteran L.A. power-punk band Redd Kross, which as you may have already realized features McDonald’s \u003ci>dad,\u003c/i> Jeff McDonald, as well as her uncle, Steven. And what’s \u003ci>more\u003c/i> more, the song they do is also an old Caffey composition, “Screaming,” a rare one from the very earliest days of the Go-Go’s, notable for the stinging guitar and brusque energy that came to mark Caffey’s famous band’s best work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "S.F. Still Needs Space to Let its 'Freak Flag' Fly, Says Stud Bar Community",
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"content": "\u003cp>It’s Thursday night at the \u003ca href=\"http://www.studsf.com/\" target=\"_blank\" rel=\"noopener\">Stud Bar\u003c/a> and Sister Flora Goodthyme, a drag queen with sparkly blue lips and enormous eyelashes, is hosting her weekly karaoke dance party.\u003c/p>\n\u003cp>A first-time singer seems nervous, but Sister Flora coaxes him onto the stage with gentle reassurance.\u003c/p>\n\u003cp>“You’re going to nail it,” she whispers into her microphone. “You don’t have to sing it, you just have to own it.” Sister Flora loves helping people find their inner divas. To her, that’s what the Stud is all about. “It’s an incubator for everyone’s creativity,” she says.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/274574489″ 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>The Stud is one of San Francisco’s oldest gay bars, founded in 1966. It has been a hot spot for generations of artists and creative types. Janis Joplin and Etta James performed at the bar’s original Folsom Street location. The current space, on Harrison Street, has attracted the likes of Bjork and Lady Gaga and was the birthplace of Trannyshack, a raucously eclectic drag show that’s inspired copycats around the world.\u003c/p>\n\u003cfigure id=\"attachment_11838343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11838343 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Stud-1-800x533.jpg\" alt=\"Hosts of the Stud's "Meow Mix" variety show, Ultra (left) and Ferosha (right) perform on stage , July 2016\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Stud-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Stud-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Stud-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Stud-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Stud-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Stud-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hosts of the Stud’s “Meow Mix” variety show, Ultra (left) and Ferosha (right) perform on stage , July 2016 \u003ccite>(Photo: Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sister Flora says the Stud is a place where you can “let your freak flag fly.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“People express themselves in ways that they don’t express themselves in the South or the East Coast where you have all these fishy, very glamorous queens,” she says. “But in San Francisco we definitely have that freaky, artsy, edgy aspect that the Stud definitely nurtures.”\u003c/p>\n\u003cp>But despite its fame and longevity, the Stud’s days may be numbered. This summer, bar owner Michael McElhaney received notice from his landlord that the rent will triple in September.\u003c/p>\n\u003cp>He and other Stud employees and patrons have launched a passionate campaign to find buyers to rescue the bar from closure. But whether they can pull it off remains uncertain. “It represents what I think a lot of people want San Francisco to represent in terms of being open and welcoming and a little freaky,” says McElhaney. “I think that’s why so many people have been up in arms.”\u003c/p>\n\u003cp>[gallery type=\"rectangular\" ids=\"11842319,11838164,11842495,11842318\"]\u003c/p>\n\u003cp>The venue is also a haven for the LGBT community’s eccentrics and outsiders, says historian Gerard Koskovich. He’s been asking Stud patrons to help preserve the bar’s multi-layered history by sending him their stories and photographs. “There have been other clubs where you have to have a gym-toned body, you have to have an expensive hair cut,” adds Koskovich. “The Stud has through most of its history been a place for all the people who either can’t or won’t fit into the prevailing stereotype of what’s attractive, appropriate.”\u003c/p>\n\u003cp>Those who frequent the bar consider it a haven. “It’s been an incredible safe space for our community,” says a young bar patron who doesn’t want to give his real name, but uses the moniker Raj at “Frolic,” the Stud’s popular, monthly party for members of the “furry” subculture — people who like to dress up as animals. Raj likes to dress up as a colorful lion. “It’s a rite of self-expression,” Raj says. “That’s what originally drew me to that world. The Stud is just a perfect place to find a community center for that. Losing it would be crushing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2016/07/06/lgbtq-artists-in-the-bay-area-reflect-on-safe-queer-spaces/\" target=\"_blank\" rel=\"noopener\">Check out \u003c/a>KQED Arts’ video about LGBT artists reflecting on safe spaces in the Bay Area.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Patrons and performers lament the potential eviction of the longstanding LGBT nightspot which has attracted the likes of Janis Joplin and Lady Gaga over the years.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s Thursday night at the \u003ca href=\"http://www.studsf.com/\" target=\"_blank\" rel=\"noopener\">Stud Bar\u003c/a> and Sister Flora Goodthyme, a drag queen with sparkly blue lips and enormous eyelashes, is hosting her weekly karaoke dance party.\u003c/p>\n\u003cp>A first-time singer seems nervous, but Sister Flora coaxes him onto the stage with gentle reassurance.\u003c/p>\n\u003cp>“You’re going to nail it,” she whispers into her microphone. “You don’t have to sing it, you just have to own it.” Sister Flora loves helping people find their inner divas. To her, that’s what the Stud is all about. “It’s an incubator for everyone’s creativity,” she says.\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/274574489″&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/274574489″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Stud is one of San Francisco’s oldest gay bars, founded in 1966. It has been a hot spot for generations of artists and creative types. Janis Joplin and Etta James performed at the bar’s original Folsom Street location. The current space, on Harrison Street, has attracted the likes of Bjork and Lady Gaga and was the birthplace of Trannyshack, a raucously eclectic drag show that’s inspired copycats around the world.\u003c/p>\n\u003cfigure id=\"attachment_11838343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11838343 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Stud-1-800x533.jpg\" alt=\"Hosts of the Stud's "Meow Mix" variety show, Ultra (left) and Ferosha (right) perform on stage , July 2016\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Stud-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Stud-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Stud-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Stud-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Stud-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Stud-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hosts of the Stud’s “Meow Mix” variety show, Ultra (left) and Ferosha (right) perform on stage , July 2016 \u003ccite>(Photo: Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sister Flora says the Stud is a place where you can “let your freak flag fly.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“People express themselves in ways that they don’t express themselves in the South or the East Coast where you have all these fishy, very glamorous queens,” she says. “But in San Francisco we definitely have that freaky, artsy, edgy aspect that the Stud definitely nurtures.”\u003c/p>\n\u003cp>But despite its fame and longevity, the Stud’s days may be numbered. This summer, bar owner Michael McElhaney received notice from his landlord that the rent will triple in September.\u003c/p>\n\u003cp>He and other Stud employees and patrons have launched a passionate campaign to find buyers to rescue the bar from closure. But whether they can pull it off remains uncertain. “It represents what I think a lot of people want San Francisco to represent in terms of being open and welcoming and a little freaky,” says McElhaney. “I think that’s why so many people have been up in arms.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The venue is also a haven for the LGBT community’s eccentrics and outsiders, says historian Gerard Koskovich. He’s been asking Stud patrons to help preserve the bar’s multi-layered history by sending him their stories and photographs. “There have been other clubs where you have to have a gym-toned body, you have to have an expensive hair cut,” adds Koskovich. “The Stud has through most of its history been a place for all the people who either can’t or won’t fit into the prevailing stereotype of what’s attractive, appropriate.”\u003c/p>\n\u003cp>Those who frequent the bar consider it a haven. “It’s been an incredible safe space for our community,” says a young bar patron who doesn’t want to give his real name, but uses the moniker Raj at “Frolic,” the Stud’s popular, monthly party for members of the “furry” subculture — people who like to dress up as animals. Raj likes to dress up as a colorful lion. “It’s a rite of self-expression,” Raj says. “That’s what originally drew me to that world. The Stud is just a perfect place to find a community center for that. Losing it would be crushing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2016/07/06/lgbtq-artists-in-the-bay-area-reflect-on-safe-queer-spaces/\" target=\"_blank\" rel=\"noopener\">Check out \u003c/a>KQED Arts’ video about LGBT artists reflecting on safe spaces in the Bay Area.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "L.A.'s Museum of Broken Relationships Finds Closure on Hollywood Boulevard",
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"content": "\u003cp>When Croatian artists Olinka Vištica and Dražen Grubišić ended their romance in 2003, they were left with ordinary, seemingly insignificant items they’d shared that had meaning only to them. So they did what artists do: They turned them into art.\u003c/p>\n\u003cp>Along with pieces donated from friends’ failed love affairs, they toured their art show in 25 cities, and in 2010 the pair opened the Museum of Broken Relationships in Zagreb. Last month, in the building that once housed the lingerie shop Frederick’s of Hollywood, a permanent American branch of the museum opened, offering 105 souvenirs of heartbreak.\u003c/p>\n\u003cp>“It’s almost like we don’t choose these things, they kind of choose us,” says museum director Alexis Hyde, “these totems that get organically created in these relationships.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/273894455″ 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>Though the museum sits on the same block as less-than-elegant boutiques like Souvenir Land and Chateau Denim, it has all the understated trappings of a classic gallery. Stark white walls, polished concrete floors, recessed lighting. The air is cool and people whisper. It’s a far cry from the old Frederick’s days when lace-clad mannequins lined the floor, though it’s somehow appropriate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s fitting, you know?” says Hyde. “I mean, that had to have been a place where relationships started and ended all the time, and this becomes kind of a repository of other people’s stories that include some lingerie.”\u003c/p>\n\u003caside class=\"pullquote alignright\">It’s a museum devoted to broken relationships, but it’s also a tribute to the bond of heartbreak that links almost everyone.\u003c/aside>\n\u003cp>But Hyde stresses that the museum’s dedication to relationships gone south is not confined to romance.\u003c/p>\n\u003cp>“It’s not just exclusively romantic love. It can be anything. It can be family, it can be friends, it can be businesses, it can be geography. Broken relationships mean a lot of different things to different people.”\u003c/p>\n\u003cp>The multitude of “profoundly ordinary” objects on display were all donated anonymously and are accompanied by captions written by the brokenhearted donors, stories that bring these mundane things to life.\u003c/p>\n\u003cp>There’s a coffeemaker from a woman whose ex-boyfriend’s only redeeming quality was cleaning it every day. And a Peter Pan plush toy a man bought at 25 to remind him to “keep the little boy inside awake.” Nearing 50, he writes, “The boy is lost to me.” There are half-used cologne bottles from a widow whose husband died of cancer. And a pair of fake breasts. Whoever molded them apparently had a very crude sense of anatomy. A husband asked his wife to wear them during sex. She left him.\u003c/p>\n\u003cp>[gallery type=\"rectangular\" link=\"file\" ids=\"11021333,11021334\"]\u003c/p>\n\u003cp>Though the place is founded on breakups, it’s ironically become a dating hot spot.\u003c/p>\n\u003cp>“I think people come in sometimes as a joke on a first date,” Hyde says. “They kind of come in as like, ‘Oh, this is going to be ironic,’ and then they leave feeling very endeared to each other.”\u003c/p>\n\u003cp>According to Hyde, the museum has the same effect on long-term couples.\u003c/p>\n\u003cp>“Established relationships come in, a lot of married couples and people who’ve been dating for a long time and it’s just a regular day. ‘Let’s go to a museum and get cultured,’ and then about a quarter of the way through it’s hand-holding. And then a little bit further in it’s locked arms, and then about three-quarters of the way through is when I’ve got pretzels and/or makeout spots going on. They leave and they’re just all over each other physically.”\u003c/p>\n\u003cp>In March, the museum held a preview show at the Ace Hotel in downtown L.A. The place was packed, mainly, it seemed, with couples. Trevor Donn and Jose Cera were among them.\u003c/p>\n\u003cp>“I thought it was like a really cute fourth-date idea,” says Donn. “This is our fourth date, so time to bring him to the Museum of Broken Relationships. I got a lot of morbid satisfaction out of it, just watching them all crumble. This could be us!”\u003c/p>\n\u003cp>[gallery type=\"rectangular\" ids=\"11021481,11021479,11021480,11021478\"]\u003c/p>\n\u003cp>But for friends Mike Burns and Katie Chaffey, the exhibit wasn’t all fun.\u003c/p>\n\u003cp>“Her first reaction was, ‘That sounds depressing,’ ” says Burns.\u003c/p>\n\u003cp>And was it?\u003c/p>\n\u003cp>“Yeah,” agrees Chaffey. “We only made it through one exhibit because I think it’s the combination of having the object and the story behind it that made it a little bit too emotionally intense for me, and I was like, ‘OK, let’s get a drink.’ ”\u003c/p>\n\u003cp>Since donations are anonymous, you don’t know who submitted what. You also don’t know when a donor might be standing next to you.\u003c/p>\n\u003cp>“I submitted a tie from a seven-year relationship that I used to sleep with,” says a young woman who has just toured the exhibit (and wants to remain anonymous). “I painted this tie, it was very symbolic and I felt like it was a noose, so then I had to let it go. Now it’s going to live in the Museum of Broken Relationships. No longer tied to the tie.”\u003c/p>\n\u003cp>Though it’s a museum devoted to broken relationships, it’s also a tribute to the bond of heartbreak that links almost everyone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You go through these experiences and you feel so profoundly alone,” says Hyde, “and no one wants to talk to you about it anymore, no one’s ever hurt this bad before in their life and you’ll never get back on the horse. Then you walk through here and you’re like, ‘Oh no, I have so many friends.’ And they’re all over the world. And they’re all different ages and races and creeds and sexualities, and this is incredible, and we’re all in this together. It’s just so profoundly human.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Croatian artists Olinka Vištica and Dražen Grubišić ended their romance in 2003, they were left with ordinary, seemingly insignificant items they’d shared that had meaning only to them. So they did what artists do: They turned them into art.\u003c/p>\n\u003cp>Along with pieces donated from friends’ failed love affairs, they toured their art show in 25 cities, and in 2010 the pair opened the Museum of Broken Relationships in Zagreb. Last month, in the building that once housed the lingerie shop Frederick’s of Hollywood, a permanent American branch of the museum opened, offering 105 souvenirs of heartbreak.\u003c/p>\n\u003cp>“It’s almost like we don’t choose these things, they kind of choose us,” says museum director Alexis Hyde, “these totems that get organically created in these relationships.”\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/273894455″&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/273894455″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Though the museum sits on the same block as less-than-elegant boutiques like Souvenir Land and Chateau Denim, it has all the understated trappings of a classic gallery. Stark white walls, polished concrete floors, recessed lighting. The air is cool and people whisper. It’s a far cry from the old Frederick’s days when lace-clad mannequins lined the floor, though it’s somehow appropriate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s fitting, you know?” says Hyde. “I mean, that had to have been a place where relationships started and ended all the time, and this becomes kind of a repository of other people’s stories that include some lingerie.”\u003c/p>\n\u003caside class=\"pullquote alignright\">It’s a museum devoted to broken relationships, but it’s also a tribute to the bond of heartbreak that links almost everyone.\u003c/aside>\n\u003cp>But Hyde stresses that the museum’s dedication to relationships gone south is not confined to romance.\u003c/p>\n\u003cp>“It’s not just exclusively romantic love. It can be anything. It can be family, it can be friends, it can be businesses, it can be geography. Broken relationships mean a lot of different things to different people.”\u003c/p>\n\u003cp>The multitude of “profoundly ordinary” objects on display were all donated anonymously and are accompanied by captions written by the brokenhearted donors, stories that bring these mundane things to life.\u003c/p>\n\u003cp>There’s a coffeemaker from a woman whose ex-boyfriend’s only redeeming quality was cleaning it every day. And a Peter Pan plush toy a man bought at 25 to remind him to “keep the little boy inside awake.” Nearing 50, he writes, “The boy is lost to me.” There are half-used cologne bottles from a widow whose husband died of cancer. And a pair of fake breasts. Whoever molded them apparently had a very crude sense of anatomy. A husband asked his wife to wear them during sex. She left him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though the place is founded on breakups, it’s ironically become a dating hot spot.\u003c/p>\n\u003cp>“I think people come in sometimes as a joke on a first date,” Hyde says. “They kind of come in as like, ‘Oh, this is going to be ironic,’ and then they leave feeling very endeared to each other.”\u003c/p>\n\u003cp>According to Hyde, the museum has the same effect on long-term couples.\u003c/p>\n\u003cp>“Established relationships come in, a lot of married couples and people who’ve been dating for a long time and it’s just a regular day. ‘Let’s go to a museum and get cultured,’ and then about a quarter of the way through it’s hand-holding. And then a little bit further in it’s locked arms, and then about three-quarters of the way through is when I’ve got pretzels and/or makeout spots going on. They leave and they’re just all over each other physically.”\u003c/p>\n\u003cp>In March, the museum held a preview show at the Ace Hotel in downtown L.A. The place was packed, mainly, it seemed, with couples. Trevor Donn and Jose Cera were among them.\u003c/p>\n\u003cp>“I thought it was like a really cute fourth-date idea,” says Donn. “This is our fourth date, so time to bring him to the Museum of Broken Relationships. I got a lot of morbid satisfaction out of it, just watching them all crumble. This could be us!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for friends Mike Burns and Katie Chaffey, the exhibit wasn’t all fun.\u003c/p>\n\u003cp>“Her first reaction was, ‘That sounds depressing,’ ” says Burns.\u003c/p>\n\u003cp>And was it?\u003c/p>\n\u003cp>“Yeah,” agrees Chaffey. “We only made it through one exhibit because I think it’s the combination of having the object and the story behind it that made it a little bit too emotionally intense for me, and I was like, ‘OK, let’s get a drink.’ ”\u003c/p>\n\u003cp>Since donations are anonymous, you don’t know who submitted what. You also don’t know when a donor might be standing next to you.\u003c/p>\n\u003cp>“I submitted a tie from a seven-year relationship that I used to sleep with,” says a young woman who has just toured the exhibit (and wants to remain anonymous). “I painted this tie, it was very symbolic and I felt like it was a noose, so then I had to let it go. Now it’s going to live in the Museum of Broken Relationships. No longer tied to the tie.”\u003c/p>\n\u003cp>Though it’s a museum devoted to broken relationships, it’s also a tribute to the bond of heartbreak that links almost everyone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You go through these experiences and you feel so profoundly alone,” says Hyde, “and no one wants to talk to you about it anymore, no one’s ever hurt this bad before in their life and you’ll never get back on the horse. Then you walk through here and you’re like, ‘Oh no, I have so many friends.’ And they’re all over the world. And they’re all different ages and races and creeds and sexualities, and this is incredible, and we’re all in this together. It’s just so profoundly human.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Revealing Musical Riches: Bay Area Jazz Singers Kat Parra and Melissa Morgan",
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"content": "\u003cp>The American Songbook is a treasure trove, but far too many jazz singers concentrate on the shiniest crowd-pleasing tunes. Two recent albums by very different Bay Area vocalists offer object lessons in the rewards of mining less frequented territory.\u003c/p>\n\u003cp>Though she paid early dues singing salsa and Latin jazz, \u003ca href=\"http://katparra.com/musica/\">Kat Parra\u003c/a> has spent the past decade forging a gorgeous and consistently surprising repertoire by setting ancient Sephardic songs to an array of Latin American rhythms. Her fifth album, “Songbook of the Americas” (JazzMa Records), is another big step in crafting a stylishly bespoke body of songs unlike any other singer on the scene.\u003c/p>\n\u003cp>Focusing on material by women composers, she ranges freely across the Americas, turning an obscure Betty Carter tune into sprightly cha cha (an arrangement by ace \u003ca href=\"http://www.aarongermain.com/\">bassist Aaron Germain\u003c/a>) and sashays through Chabuca Granda’s gracefully grooving “Maria Lando,” a collaboration with \u003ca href=\"http://murraylow.com/\">pianist Murray Low\u003c/a>, who has long played an essential role in Parra’s music.\u003c/p>\n\u003cp>Peruvian-born Bay Area \u003ca href=\"http://www.karumanta.com/david.html\">bassist David Pinto\u003c/a> contributes several gorgeous arrangements, including setting the poem “Dame La Mano” by Chile’s Nobel laureate poet Gabriela Mistral to an obscure and stately Peruvian rhythm. He also streamlines the tango “Como La Cigarra,” a song by Argentine poet and playwright María Elena Walsh where Parra is joined by the unmistakable Venezuelan-born Bay Area \u003ca href=\"http://www.mariamarquez.com/about.php\">vocalist Maria Marquez\u003c/a>. Her throaty cello tone adds emotional heft to a piece indelibly linked to the struggle against Argentina’s brutal junta that disappeared so many of its own citizens in the late 1970s.\u003c/p>\n\u003cp>Other guests bring out her lighter side. Parra sounds right at home stepping into the aspirational world of \u003ca href=\"http://www.tuckandpatti.com/\">Tuck and Patti\u003c/a> on her original song “Dare to Dream,” and South Bay jazz \u003ca href=\"http://primarycolorsmusic.com/about/nate-pruitt/\">singer Nate Pruitt\u003c/a> struts with her on an Afro-Cuban arrangement of the swooning “Music Man” ballad “Till There Was You.” Clearly, Parra is still finding gold as she scours the New World for fresh material.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11021069\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-800x800.jpg\" alt=\"MelissaMorgan-DaysLikeThis\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ca href=\"http://www.melissamorganjazz.com/\">Melissa Morgan\u003c/a>’s new album, “Days Like This,\" is more of a reintroduction than a bold new step. She made a strong impression back in 2009 with her debut album “Until I Met You” (Telarc), a critically hailed session featuring a stellar cast of young musicians led by \u003ca href=\"http://geraldclayton.com/\">pianist Gerald Clayton\u003c/a>. Based in Los Angeles then, she relocated to the Bay Area a few years ago and has been connecting with some of the best players in the region, like pianist Larry Vuckovich and saxophonist Noel Jewkes.\u003c/p>\n\u003cp>For her second album she drew on her former L.A, comrades, players like \u003ca href=\"http://grahamdechter.com/\">guitarist Graham Dechter\u003c/a>, drummer Kevin Kanner and Clayton, now one of New York’s most esteemed pianists. A digital-only release, Morgan is planning to put out the project as a CD in the coming months.\u003c/p>\n\u003cp>It’s a blues-oriented session, which means Morgan is in her element. She delivers the title track, a Mose Allison classic, with such a tart world-weariness that she seems like his long-lost daughter. She sounds crisp and authoritative tearing through Wes Montgomery’s standard “West Coast Blues,” but her aching version of “You Don’t Know Me” and captivatingly sultry take on “Wild Is the Wind” make me long for a whole program of Morgan singing ballads and torch songs.\u003c/p>\n\u003cp>While \"Days Like This\" offers just a glimpse of what Morgan can do, it doesn’t take more than that to recognize a tremendously gifted singer with a very bright future.\u003c/p>\n\u003cp>Kat Parra performs at San Jose's \u003ca href=\"https://www.destinationhotels.com/hotel-de-anza/events\">Hedley Club\u003c/a> on Aug. 12, Saratoga's \u003ca href=\"http://cafepinkhouse.com/\">Cafe Pink House\u003c/a> on Aug. 20, and North Hollywood's \u003ca href=\"https://apps.vendini.com/ticket-software.html?t=tix&w=abe1f9cf62f8a0b9d529f8e560d241c1&vqitq=98c4f29d-38da-424d-855d-4eae42e958c7&vqitp=4ab93519-9593-45c5-a90e-1f977c98e2fa&vqitts=1456159698&vqitc=vendini&vqite=itlwww&vqitrt=Safetynet&vqith=5b1226e8689a36b556e64886a79a3dd3\">E Spot Lounge \u003c/a>on Sept. 4.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Melissa Morgan performs at Brisbane's \u003ca href=\"https://www.facebook.com/events/993384834112583/\">7 Mile House\u003c/a> on July 26 and \u003ca href=\"http://soundroom.org/#\">Oakland's Sound Room\u003c/a> on Aug. 13.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The American Songbook is a treasure trove, but far too many jazz singers concentrate on the shiniest crowd-pleasing tunes. Two recent albums by very different Bay Area vocalists offer object lessons in the rewards of mining less frequented territory.\u003c/p>\n\u003cp>Though she paid early dues singing salsa and Latin jazz, \u003ca href=\"http://katparra.com/musica/\">Kat Parra\u003c/a> has spent the past decade forging a gorgeous and consistently surprising repertoire by setting ancient Sephardic songs to an array of Latin American rhythms. Her fifth album, “Songbook of the Americas” (JazzMa Records), is another big step in crafting a stylishly bespoke body of songs unlike any other singer on the scene.\u003c/p>\n\u003cp>Focusing on material by women composers, she ranges freely across the Americas, turning an obscure Betty Carter tune into sprightly cha cha (an arrangement by ace \u003ca href=\"http://www.aarongermain.com/\">bassist Aaron Germain\u003c/a>) and sashays through Chabuca Granda’s gracefully grooving “Maria Lando,” a collaboration with \u003ca href=\"http://murraylow.com/\">pianist Murray Low\u003c/a>, who has long played an essential role in Parra’s music.\u003c/p>\n\u003cp>Peruvian-born Bay Area \u003ca href=\"http://www.karumanta.com/david.html\">bassist David Pinto\u003c/a> contributes several gorgeous arrangements, including setting the poem “Dame La Mano” by Chile’s Nobel laureate poet Gabriela Mistral to an obscure and stately Peruvian rhythm. He also streamlines the tango “Como La Cigarra,” a song by Argentine poet and playwright María Elena Walsh where Parra is joined by the unmistakable Venezuelan-born Bay Area \u003ca href=\"http://www.mariamarquez.com/about.php\">vocalist Maria Marquez\u003c/a>. Her throaty cello tone adds emotional heft to a piece indelibly linked to the struggle against Argentina’s brutal junta that disappeared so many of its own citizens in the late 1970s.\u003c/p>\n\u003cp>Other guests bring out her lighter side. Parra sounds right at home stepping into the aspirational world of \u003ca href=\"http://www.tuckandpatti.com/\">Tuck and Patti\u003c/a> on her original song “Dare to Dream,” and South Bay jazz \u003ca href=\"http://primarycolorsmusic.com/about/nate-pruitt/\">singer Nate Pruitt\u003c/a> struts with her on an Afro-Cuban arrangement of the swooning “Music Man” ballad “Till There Was You.” Clearly, Parra is still finding gold as she scours the New World for fresh material.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11021069\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-800x800.jpg\" alt=\"MelissaMorgan-DaysLikeThis\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ca href=\"http://www.melissamorganjazz.com/\">Melissa Morgan\u003c/a>’s new album, “Days Like This,\" is more of a reintroduction than a bold new step. She made a strong impression back in 2009 with her debut album “Until I Met You” (Telarc), a critically hailed session featuring a stellar cast of young musicians led by \u003ca href=\"http://geraldclayton.com/\">pianist Gerald Clayton\u003c/a>. Based in Los Angeles then, she relocated to the Bay Area a few years ago and has been connecting with some of the best players in the region, like pianist Larry Vuckovich and saxophonist Noel Jewkes.\u003c/p>\n\u003cp>For her second album she drew on her former L.A, comrades, players like \u003ca href=\"http://grahamdechter.com/\">guitarist Graham Dechter\u003c/a>, drummer Kevin Kanner and Clayton, now one of New York’s most esteemed pianists. A digital-only release, Morgan is planning to put out the project as a CD in the coming months.\u003c/p>\n\u003cp>It’s a blues-oriented session, which means Morgan is in her element. She delivers the title track, a Mose Allison classic, with such a tart world-weariness that she seems like his long-lost daughter. She sounds crisp and authoritative tearing through Wes Montgomery’s standard “West Coast Blues,” but her aching version of “You Don’t Know Me” and captivatingly sultry take on “Wild Is the Wind” make me long for a whole program of Morgan singing ballads and torch songs.\u003c/p>\n\u003cp>While \"Days Like This\" offers just a glimpse of what Morgan can do, it doesn’t take more than that to recognize a tremendously gifted singer with a very bright future.\u003c/p>\n\u003cp>Kat Parra performs at San Jose's \u003ca href=\"https://www.destinationhotels.com/hotel-de-anza/events\">Hedley Club\u003c/a> on Aug. 12, Saratoga's \u003ca href=\"http://cafepinkhouse.com/\">Cafe Pink House\u003c/a> on Aug. 20, and North Hollywood's \u003ca href=\"https://apps.vendini.com/ticket-software.html?t=tix&w=abe1f9cf62f8a0b9d529f8e560d241c1&vqitq=98c4f29d-38da-424d-855d-4eae42e958c7&vqitp=4ab93519-9593-45c5-a90e-1f977c98e2fa&vqitts=1456159698&vqitc=vendini&vqite=itlwww&vqitrt=Safetynet&vqith=5b1226e8689a36b556e64886a79a3dd3\">E Spot Lounge \u003c/a>on Sept. 4.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Melissa Morgan performs at Brisbane's \u003ca href=\"https://www.facebook.com/events/993384834112583/\">7 Mile House\u003c/a> on July 26 and \u003ca href=\"http://soundroom.org/#\">Oakland's Sound Room\u003c/a> on Aug. 13.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Hitting the Road With California's Poet Laureate",
"title": "Hitting the Road With California's Poet Laureate",
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"content": "\u003cp>Dana Gioia’s latest collection, \u003ca href=\"http://www.huffingtonpost.com/pamela-feinsilber/dana-gioias-99-poems-new_b_10430364.html\">\"99 Poems,\"\u003c/a> includes poems about the California landscape, giant sequoias and the Beach Boys. Now, as California poet laureate, he’s heading on a summer tour, bringing poetry to some rural parts of the state.\u003c/p>\n\u003cp>\u003cb>California is a big state. What do you see as your mission as poet laureate?\u003c/b>\u003c/p>\n\u003cp>As poet laureate, I’m a public servant, and I represent all of California. But I think it takes some planning to get up in Calaveras County or Modoc or Humboldt or Del Norte. I’m going to try to do at least one \u003ca href=\"https://calartscouncil.wordpress.com/2016/06/03/on-the-road-with-californias-poet-laureate/\">poetry event\u003c/a> in all 58 California counties. Like most Californians, even though I was born and raised here, I’ve only seen about half the state.\u003c/p>\n\u003cp>\u003cb>What are you going to do at each stop on your tour?\u003c/b>\u003c/p>\n\u003cp>Try not to embarrass myself. Come and talk about poetry, read some poems. Feature as my part of the presentation the local high school kids who have won \u003ca href=\"http://www.poetryoutloud.org/\">Poetry Out Loud\u003c/a>, the high school poetry recitation contest. But I’m open to other ideas. The one thing I insist on is that local people be involved in the event.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>What kind of a role can poetry play in civic life, especially in this era of Twitter and Snapchat?\u003c/b>\u003c/p>\n\u003cp>That means we need poetry all the more. Poetry is our most concise, expressive and memorable way of using speech to describe our existence. Poetry will never go entirely out of style, or lack a use, as long as we use words to communicate. The problem right now is that there’s so much media, so much entertainment, most of it pretty awful. So poetry is marginalized in the corners. But on the other hand, poetry is rather wonderful. If I were a novelist, I couldn’t read you my novel on the radio. But I can read you an entire poem.\u003c/p>\n\u003cp>\u003cb>Tell us about a California poem you’ve written.\u003c/b>\u003c/p>\n\u003cp>Years ago, I was living in New York, and I heard this fellow come back from a summer vacation in California. He said, “California was really ugly, it was all burned out. Not pretty, like Vermont.” And this irked me. About a week later, I was in California, walking through some hills, and I realized I’d been writing this poem subconsciously. It describes California the way someone from back East would see it, then the way a native would see it.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/272821606\" 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\u003cblockquote>\u003cp>\n\u003cb>\"California Hills in August\"\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I can imagine someone who found\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">these fields unbearable, who climbed\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">the hillside in the heat, cursing the dust,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">cracking the brittle weeds underfoot,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">wishing a few more trees for shade.\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">An Easterner especially, who would scorn\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">the meagerness of summer, the dry\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">twisted shapes of black elm,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">scrub oak, and chaparral, a landscape\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">August has already drained of green.\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">One who would hurry over the clinging\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">thistle, foxtail, golden poppy,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">knowing everything was just a weed,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">unable to conceive that these trees\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">and sparse brown bushes were alive.\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">And hate the bright stillness of the noon\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">without wind, without motion,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">the only other living thing\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">a hawk, hungry for prey, suspended\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">in the blinding, sunlit blue.\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">And yet how gentle it seems to someone\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">raised in a landscape short of rain –\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">the skyline of a hill broken by no more\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">trees than one can count, the grass,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">the empty sky, the wish for water.\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">— Dana Gioia\u003c/span>\n\u003c/p>\u003c/blockquote>\n\u003cp>\u003cb>You’re a native Californian. You grew up in L.A. Your mom was Mexican-American, your dad was Italian. How did growing up around different cultures and languages influence you as a poet?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was raised in this kind of sociological, linguistic babble. One side of my family spoke Sicilian. I was living in a Mexican neighborhood, which spoke Spanish. My school was in English, and when I went to church, the services were in Latin. So I learned at birth that languages are complex things, and they overlap around each other. And I think that was a kind of gift that’s guided me through life.\u003c/span>\u003c/p>\n\u003cp>\u003cb>You’ve got a pretty unconventional resume for a poet. You were the first in your family to go to college, then went to Stanford Business School. And became an executive at General Foods, where you marketed Jell-O. Then you went on to head the National Endowment for the Arts. How do you think those experiences shaped you as a poet?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I have an absolutely weird resume. I think it’s been good for me. Because most poets today spend pretty much their entire life in school. They go to school and then they teach school. Nothing wrong with that. But I do think it’s a kind of lost opportunity when all the poets in a society have the same job, the same life experience. So for me, working around non-literary people allowed me to understand what interests intelligent people outside of the intellectual world, what their speech is like, to hear their perspectives. The same way that growing up around essentially poor people has been a kind of wealth for me as a writer.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Do you have a favorite California poet?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think, without question, the greatest poet that California has produced was Robinson Jeffers. He lived in Carmel when it was still a wild, natural place. He articulated a vision of nature, of the world, that really, in some ways, helped inspire the environmental movement. He also inspired photographers like Ansel Adams and Edward Weston to photograph the California coast and help fight to preserve it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think right now we’re in a poetic renaissance in California. Los Angeles has more artists than any other city in the country. It’s an extremely interesting moment to be a California writer. California is really coming into its own on a kind of global stage.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This interview has been edited for brevity and clarity.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dana Gioia’s latest collection, \u003ca href=\"http://www.huffingtonpost.com/pamela-feinsilber/dana-gioias-99-poems-new_b_10430364.html\">\"99 Poems,\"\u003c/a> includes poems about the California landscape, giant sequoias and the Beach Boys. Now, as California poet laureate, he’s heading on a summer tour, bringing poetry to some rural parts of the state.\u003c/p>\n\u003cp>\u003cb>California is a big state. What do you see as your mission as poet laureate?\u003c/b>\u003c/p>\n\u003cp>As poet laureate, I’m a public servant, and I represent all of California. But I think it takes some planning to get up in Calaveras County or Modoc or Humboldt or Del Norte. I’m going to try to do at least one \u003ca href=\"https://calartscouncil.wordpress.com/2016/06/03/on-the-road-with-californias-poet-laureate/\">poetry event\u003c/a> in all 58 California counties. Like most Californians, even though I was born and raised here, I’ve only seen about half the state.\u003c/p>\n\u003cp>\u003cb>What are you going to do at each stop on your tour?\u003c/b>\u003c/p>\n\u003cp>Try not to embarrass myself. Come and talk about poetry, read some poems. Feature as my part of the presentation the local high school kids who have won \u003ca href=\"http://www.poetryoutloud.org/\">Poetry Out Loud\u003c/a>, the high school poetry recitation contest. But I’m open to other ideas. The one thing I insist on is that local people be involved in the event.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>What kind of a role can poetry play in civic life, especially in this era of Twitter and Snapchat?\u003c/b>\u003c/p>\n\u003cp>That means we need poetry all the more. Poetry is our most concise, expressive and memorable way of using speech to describe our existence. Poetry will never go entirely out of style, or lack a use, as long as we use words to communicate. The problem right now is that there’s so much media, so much entertainment, most of it pretty awful. So poetry is marginalized in the corners. But on the other hand, poetry is rather wonderful. If I were a novelist, I couldn’t read you my novel on the radio. But I can read you an entire poem.\u003c/p>\n\u003cp>\u003cb>Tell us about a California poem you’ve written.\u003c/b>\u003c/p>\n\u003cp>Years ago, I was living in New York, and I heard this fellow come back from a summer vacation in California. He said, “California was really ugly, it was all burned out. Not pretty, like Vermont.” And this irked me. About a week later, I was in California, walking through some hills, and I realized I’d been writing this poem subconsciously. It describes California the way someone from back East would see it, then the way a native would see it.\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/272821606&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/272821606'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cblockquote>\u003cp>\n\u003cb>\"California Hills in August\"\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I can imagine someone who found\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">these fields unbearable, who climbed\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">the hillside in the heat, cursing the dust,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">cracking the brittle weeds underfoot,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">wishing a few more trees for shade.\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">An Easterner especially, who would scorn\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">the meagerness of summer, the dry\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">twisted shapes of black elm,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">scrub oak, and chaparral, a landscape\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">August has already drained of green.\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">One who would hurry over the clinging\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">thistle, foxtail, golden poppy,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">knowing everything was just a weed,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">unable to conceive that these trees\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">and sparse brown bushes were alive.\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">And hate the bright stillness of the noon\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">without wind, without motion,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">the only other living thing\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">a hawk, hungry for prey, suspended\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">in the blinding, sunlit blue.\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">And yet how gentle it seems to someone\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">raised in a landscape short of rain –\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">the skyline of a hill broken by no more\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">trees than one can count, the grass,\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">the empty sky, the wish for water.\u003c/span>\u003cbr>\n\u003cspan style=\"font-weight: 400\">— Dana Gioia\u003c/span>\n\u003c/p>\u003c/blockquote>\n\u003cp>\u003cb>You’re a native Californian. You grew up in L.A. Your mom was Mexican-American, your dad was Italian. How did growing up around different cultures and languages influence you as a poet?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was raised in this kind of sociological, linguistic babble. One side of my family spoke Sicilian. I was living in a Mexican neighborhood, which spoke Spanish. My school was in English, and when I went to church, the services were in Latin. So I learned at birth that languages are complex things, and they overlap around each other. And I think that was a kind of gift that’s guided me through life.\u003c/span>\u003c/p>\n\u003cp>\u003cb>You’ve got a pretty unconventional resume for a poet. You were the first in your family to go to college, then went to Stanford Business School. And became an executive at General Foods, where you marketed Jell-O. Then you went on to head the National Endowment for the Arts. How do you think those experiences shaped you as a poet?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I have an absolutely weird resume. I think it’s been good for me. Because most poets today spend pretty much their entire life in school. They go to school and then they teach school. Nothing wrong with that. But I do think it’s a kind of lost opportunity when all the poets in a society have the same job, the same life experience. So for me, working around non-literary people allowed me to understand what interests intelligent people outside of the intellectual world, what their speech is like, to hear their perspectives. The same way that growing up around essentially poor people has been a kind of wealth for me as a writer.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Do you have a favorite California poet?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think, without question, the greatest poet that California has produced was Robinson Jeffers. He lived in Carmel when it was still a wild, natural place. He articulated a vision of nature, of the world, that really, in some ways, helped inspire the environmental movement. He also inspired photographers like Ansel Adams and Edward Weston to photograph the California coast and help fight to preserve it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think right now we’re in a poetic renaissance in California. Los Angeles has more artists than any other city in the country. It’s an extremely interesting moment to be a California writer. California is really coming into its own on a kind of global stage.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Inside 'The Box': New Play Explores Life in Solitary",
"title": "Inside 'The Box': New Play Explores Life in Solitary",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>In the play \u003ca href=\"http://www.sarahshourd.com/opening-the-box/\">\"The Box,\"\u003c/a> a prisoner offers a soliloquy on why inmates end up in solitary confinement.\u003c/p>\n\u003cp>\"We're the guys they don't know how to deal with. We comport ourselves with a little too much dignity. The guards hate that. They put us here to break us down. Guys come in acting tough, can't bear the pressure. Things get ugly, infractions pile up, which means more time in the hole.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/272821108\" 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>\"The Box,\" which opens in San Francisco July 8, starkly portrays the lives of inmates who have violent pasts but demand to be treated as human beings. The play is written by Sarah Shourd, one of the three hikers seized at the Iraq-Iran border and held in a Tehran prison. Shourd spent 410 days in solitary confinement. She was released from Iran in 2010, co-authored a book on her experiences and soon began work on the play.\u003c/p>\n\u003cp>Shourd spent several years researching the use of solitary in U.S. prisons, interviewing 75 prisoners, families and experts. She ultimately visited 12 prisoners in order to create the composite characters appearing in the play.\u003c/p>\n\u003cfigure id=\"attachment_11010436\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg class=\"size-full wp-image-11010436\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/The-Box_cast.jpg\" alt=\"From left, bottom row: Gabby Battista, Steven Anthony Jones, Pankaj Jha, Valerie Weak, Manuel Fernandez and Sarah Shourd. Top row: Carlos Aguirre, Michael J. Asberry, Clive Worsley, and Chris Herbie Holland.\" width=\"1800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast.jpg 1800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-960x640.jpg 960w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From left, bottom row: Gabby Battista, Steven Anthony Jones, Pankaj Jha, Valerie Weak, Manuel Fernandez and Sarah Shourd.\u003cbr>Top row: Carlos Aguirre, Michael J. Asberry, Clive Worsley and Chris Herbie Holland. \u003ccite>(Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shourd says her imprisonment in Iran sank her into a deep depression. Many inmates in U.S. prisons have similar experiences\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"You have no privacy,\" said Shourd. \"So you're under complete surveillance. That is a very unnatural state that human beings are not wired for. You can't remember what your mother looks like, what an apple smells like.\"\u003c/p>\n\u003cp>While Shourd experienced life in solitary, she does come from a white, middle-income background. She faced a challenge to write authentically about working-class people of color. Hollywood and Broadway have two stereotypes about black inmates: the intimidating thug and the all-wise, Yoda-like character. It was tricky writing the part of a former Black Panther, she said.\u003c/p>\n\u003cp>[contextly_sidebar id=\"EIj4i7dywE18lv0fef8WbgYkRHIyYSfc\"]\u003c/p>\n\u003cp>\"There was a danger of him falling into stereotype or trope of the 'magical Negro,' \" she said. \"My blind spots, I think, were caught by others and pointed out to me.\"\u003c/p>\n\u003cp>Steven Anthony Jones, a veteran of San Francisco's American Conservatory Theater, portrays the former Black Panther. He was impressed by Shourd's playwriting debut.\u003c/p>\n\u003cp>\"I found the character to be very authentic in terms of his age and his race, the two things I would be most familiar with,\" said Jones.\u003c/p>\n\u003cfigure id=\"attachment_11010437\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg class=\"size-full wp-image-11010437\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/The-Box_SA-Jones.jpg\" alt='Actor Steven Anthony Jones portrays a former Black Panther in the play \"The Box.\"' width=\"1800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones.jpg 1800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-960x640.jpg 960w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Steven Anthony Jones portrays a former Black Panther in the play 'The Box.' \u003ccite>(Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"The Box\" uses soliloquies to explain conditions faced by black, white and Latino inmates. Guards and other prisoners enter the isolation pod, bringing new stories and dramatic tension.\u003c/p>\n\u003cp>Clive Worsley portrays Jake, a white supremacist who spent seven years in solitary for killing another inmate. He keeps himself isolated from the black and Latino inmates, but that changes when all the prisoners go on a statewide hunger strike as a protest against long-term solitary confinement.\u003c/p>\n\u003cp>His character \"hasn't been engaging socially,\" said Worsley.\u003c/p>\n\u003cp>After a prisoner dies in the cellblock, Worsley explained, \"that causes Jake to shift his position of isolation to one of cooperation and collaboration with these other men.\"\u003c/p>\n\u003cp>\"The Box\" doesn't romanticize the inmates or seek to justify the violent crimes that first landed them in prison.\u003c/p>\n\u003cp>\"The men in this play are not saints,\" said Shourd. \"They're flawed. They're sometimes hilarious, sometimes really disturbing and unsettling human beings.\"\u003c/p>\n\u003cfigure id=\"attachment_11010438\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg class=\"wp-image-11010438 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/The-Box_trio.jpg\" alt='Actor Steven Anthony, Sarah Shourd and actor Clive Worsley at a rehearsal for \"The Box.\"' width=\"1800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio.jpg 1800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-960x640.jpg 960w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Steven Anthony Jones, Sarah Shourd and actor Clive Worsley at a rehearsal for 'The Box.' \u003ccite>(Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The playwright and actors hope \"The Box\" will make audiences think hard about the use of long-term solitary confinement.\u003c/p>\n\u003cp>\"It's easy to convince people that we shouldn't be putting innocent people in solitary confinement or prison,\" said Shourd. \"But what are we going to do with the reality that in order to end mass incarceration, we have to deal with a lot of really violent individuals?\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"The Box\" plays at \u003ca href=\"http://zspace.org/guest-shows/the-box\" target=\"_blank\">San Francisco's Z Space\u003c/a> theater through the end of July.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the play \u003ca href=\"http://www.sarahshourd.com/opening-the-box/\">\"The Box,\"\u003c/a> a prisoner offers a soliloquy on why inmates end up in solitary confinement.\u003c/p>\n\u003cp>\"We're the guys they don't know how to deal with. We comport ourselves with a little too much dignity. The guards hate that. They put us here to break us down. Guys come in acting tough, can't bear the pressure. Things get ugly, infractions pile up, which means more time in the hole.\"\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/272821108&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/272821108'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"The Box,\" which opens in San Francisco July 8, starkly portrays the lives of inmates who have violent pasts but demand to be treated as human beings. The play is written by Sarah Shourd, one of the three hikers seized at the Iraq-Iran border and held in a Tehran prison. Shourd spent 410 days in solitary confinement. She was released from Iran in 2010, co-authored a book on her experiences and soon began work on the play.\u003c/p>\n\u003cp>Shourd spent several years researching the use of solitary in U.S. prisons, interviewing 75 prisoners, families and experts. She ultimately visited 12 prisoners in order to create the composite characters appearing in the play.\u003c/p>\n\u003cfigure id=\"attachment_11010436\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg class=\"size-full wp-image-11010436\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/The-Box_cast.jpg\" alt=\"From left, bottom row: Gabby Battista, Steven Anthony Jones, Pankaj Jha, Valerie Weak, Manuel Fernandez and Sarah Shourd. Top row: Carlos Aguirre, Michael J. Asberry, Clive Worsley, and Chris Herbie Holland.\" width=\"1800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast.jpg 1800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-960x640.jpg 960w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From left, bottom row: Gabby Battista, Steven Anthony Jones, Pankaj Jha, Valerie Weak, Manuel Fernandez and Sarah Shourd.\u003cbr>Top row: Carlos Aguirre, Michael J. Asberry, Clive Worsley and Chris Herbie Holland. \u003ccite>(Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shourd says her imprisonment in Iran sank her into a deep depression. Many inmates in U.S. prisons have similar experiences\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"You have no privacy,\" said Shourd. \"So you're under complete surveillance. That is a very unnatural state that human beings are not wired for. You can't remember what your mother looks like, what an apple smells like.\"\u003c/p>\n\u003cp>While Shourd experienced life in solitary, she does come from a white, middle-income background. She faced a challenge to write authentically about working-class people of color. Hollywood and Broadway have two stereotypes about black inmates: the intimidating thug and the all-wise, Yoda-like character. It was tricky writing the part of a former Black Panther, she said.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"There was a danger of him falling into stereotype or trope of the 'magical Negro,' \" she said. \"My blind spots, I think, were caught by others and pointed out to me.\"\u003c/p>\n\u003cp>Steven Anthony Jones, a veteran of San Francisco's American Conservatory Theater, portrays the former Black Panther. He was impressed by Shourd's playwriting debut.\u003c/p>\n\u003cp>\"I found the character to be very authentic in terms of his age and his race, the two things I would be most familiar with,\" said Jones.\u003c/p>\n\u003cfigure id=\"attachment_11010437\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg class=\"size-full wp-image-11010437\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/The-Box_SA-Jones.jpg\" alt='Actor Steven Anthony Jones portrays a former Black Panther in the play \"The Box.\"' width=\"1800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones.jpg 1800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-960x640.jpg 960w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Steven Anthony Jones portrays a former Black Panther in the play 'The Box.' \u003ccite>(Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"The Box\" uses soliloquies to explain conditions faced by black, white and Latino inmates. Guards and other prisoners enter the isolation pod, bringing new stories and dramatic tension.\u003c/p>\n\u003cp>Clive Worsley portrays Jake, a white supremacist who spent seven years in solitary for killing another inmate. He keeps himself isolated from the black and Latino inmates, but that changes when all the prisoners go on a statewide hunger strike as a protest against long-term solitary confinement.\u003c/p>\n\u003cp>His character \"hasn't been engaging socially,\" said Worsley.\u003c/p>\n\u003cp>After a prisoner dies in the cellblock, Worsley explained, \"that causes Jake to shift his position of isolation to one of cooperation and collaboration with these other men.\"\u003c/p>\n\u003cp>\"The Box\" doesn't romanticize the inmates or seek to justify the violent crimes that first landed them in prison.\u003c/p>\n\u003cp>\"The men in this play are not saints,\" said Shourd. \"They're flawed. They're sometimes hilarious, sometimes really disturbing and unsettling human beings.\"\u003c/p>\n\u003cfigure id=\"attachment_11010438\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg class=\"wp-image-11010438 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/The-Box_trio.jpg\" alt='Actor Steven Anthony, Sarah Shourd and actor Clive Worsley at a rehearsal for \"The Box.\"' width=\"1800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio.jpg 1800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-960x640.jpg 960w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Steven Anthony Jones, Sarah Shourd and actor Clive Worsley at a rehearsal for 'The Box.' \u003ccite>(Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The playwright and actors hope \"The Box\" will make audiences think hard about the use of long-term solitary confinement.\u003c/p>\n\u003cp>\"It's easy to convince people that we shouldn't be putting innocent people in solitary confinement or prison,\" said Shourd. \"But what are we going to do with the reality that in order to end mass incarceration, we have to deal with a lot of really violent individuals?\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"The Box\" plays at \u003ca href=\"http://zspace.org/guest-shows/the-box\" target=\"_blank\">San Francisco's Z Space\u003c/a> theater through the end of July.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "is-l-a-losing-its-smell-future-is-uncertain-for-all-ages-punk-club",
"title": "Is L.A. Losing Its Smell? Future Is Uncertain for All-Ages Punk Club",
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"headTitle": "Is L.A. Losing Its Smell? Future Is Uncertain for All-Ages Punk Club | KQED",
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"content": "\u003cp>For kids under 18 who want to see great bands play for a few bucks, the options in Los Angeles are limited to a handful of warehouse spaces, backyards or strip mall venues. Most underground all-ages music spots never last more than a few years — a combination of rising rent prices, the challenge of getting permits and licenses, and police interventions.\u003c/p>\n\u003cp>Yet downtown L.A.’s \u003ca href=\"http://www.thesmell.org/\">The Smell\u003c/a> has been open since 1998, spawning a local music scene and launching bands like No Age, HEALTH, Abe Vigoda, Mika Miko and dozens of others. The venue has developed a fierce loyalty among young purveyors of noise, punk and underground music, and its policy of not allowing drugs or alcohol makes it a safe hangout for teenagers.\u003c/p>\n\u003cp>“This is somewhere that kids can come and be together, and I think that’s really cool,” said Violet Romero, 19, singer and bass player of the local band Celebrity Crush.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/272821770″ 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>So it’s understandable that there was a huge outpouring of support from the local music community when news broke over Memorial Day weekend that The Smell’s owner, Jim Smith, found a demolition notice posted on the entrance to the club.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The notice from L&R Group of Companies, the parking lot developer that owns Joe’s Auto Parks and WallyPark, stated that an application to demolish The Smell’s one-story building had been filed with the Los Angeles Department of Building and Safety. Other businesses on the block, including the Downtown Independent movie theater and the New Jalisco Bar, a gay Latino dive bar, also received notices.\u003c/p>\n\u003cfigure id=\"attachment_11012480\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11012480\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut.jpg\" alt=\"The Smell posted this photo of the demolition notice to its website.\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Smell posted this photo of the demolition notice to its website. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The building was purchased last year and Smith said he started to see immediate changes. His rent changed overnight from $2,375 to $4,000 a month — an increase of 68 percent.\u003c/p>\n\u003cp>“It seems like there’s a hell of a lot of parking lots on this block,” Smith said. “And I’ve never seen them full, so I just don’t know what the reason is. And it’s like, OK, great, knock down the block, you’ve got plenty of parking, but is there anything left that’s going to draw people down here that are going to want to pay for parking? In that regard, it just doesn’t make any sense.”\u003c/p>\n\u003cp>However, the property owner insists there are no plans to turn The Smell into a parking lot — or anything else.\u003c/p>\n\u003cp>“As a fellow lover of music, I appreciate the history of The Smell and its impact on the music community,” said Kevin Litwin, chief operating officer for L&R Group of Companies, in an email interview. “As of today, there are no development plans at all for this site or these buildings.”\u003c/p>\n\u003cfigure id=\"attachment_11012529\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11012529\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut.jpg\" alt=\"Volunteers take a break from taking donations at the door of The Smell.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Volunteers take a break from taking donations at the door of The Smell. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Litwin expressed regret over how Smith learned of the demolition notice. In an email sent to Smith, he wrote:\u003c/p>\n\u003cp>“We should have reached out earlier to communicate our intent to all our tenants so that they understood the process. The notice that was posted on your door last Friday was merely a formality to keep our options open. It is required to obtain a demolition permit in the event that it may be needed in the future. We support you and your message of providing a community within Los Angeles. We look forward to continuing our relationship with you. If at some time in the future we decide to develop the properties at that site, we will provide you ample time. If we’re able to help, we will.”\u003c/p>\n\u003cp>On a recent Saturday night, the alley between a parking garage and a row of brick buildings was full of young people. The show was sold out, and attendees stood outside in circles, some smoking cigarettes and others checking their phones, while they waited for the next band to start.\u003c/p>\n\u003cfigure id=\"attachment_11012482\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11012482 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut.jpg\" alt=\"Outside The Smell, the all-ages music venue in downtown L. A.\" width=\"1920\" height=\"2880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-960x1440.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Outside The Smell, the all-ages music venue in downtown L.A. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those just arriving stood in line, then entered and handed over five bucks to a couple of volunteers at a table, who were blowing soap bubbles and eating candy in between affixing wristbands. Another volunteer sold candy bars, bags of chips and water bottles. The walls are spray-painted, and kids sat on busted-out couches or stood in clusters as the music poured out from the stage. As bands filled the small room with raucous, blistering noise, a mosh pit formed and the smell of dozens of sweaty bodies filled the air.\u003c/p>\n\u003cp>The Smell opened around the same time that another all-ages venue, Jabberjaw, closed. Many venues have closed in recent years, or have been threatened with closure. Just a week after The Smell received its demolition notice, another volunteer-run, all-ages venue 2 miles away called Pehrspace received a \u003ca href=\"http://www.laweekly.com/music/pehrspace-evicted-after-a-decade-of-joyful-noise-7009600\">60-day eviction notice\u003c/a>. Church on York, an all-ages space in Highland Park, was shut down in 2014 after being open for one year, because of noise complaints, a lack of permits and underage drinking.\u003c/p>\n\u003cp>Some of the fans of The Smell acknowledged that as rent prices increase in downtown L.A. and across the city, closures are to be expected. “It happened in New York with CBGB’s,” said Adam Weintraub, 17. “It’s kind of inevitable in any city that’s going through change and gentrification. But I think it takes away a huge part of the culture, and it just makes it another bland city. And it takes away a lot of the creative aspects of L.A.”\u003c/p>\n\u003cp>“I like to think that a good city needs an element of danger,” added Baron Rinzler, 18. “But they’re robbing us of all that goodness. Who wants to come to a city that’s gentrified, that’s full of high-rises? That takes the heart out of the city, really.”\u003c/p>\n\u003cfigure id=\"attachment_11012507\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11012507 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut.jpg\" alt=\"Gina Basile, 14, and Simon Landau, 15. “It’s very rare to find a place that treats the performers well and allows all ages,” Landau said.\" width=\"1920\" height=\"2880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-960x1440.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gina Basile, 14, and Simon Landau, 15. ‘It’s very rare to find a place that treats the performers well and allows all ages,’ Landau said. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, the dislocation of some businesses may be inevitable as downtown changes. “This is an example of the mixed blessing of urban revitalization,” said Dan Rosenfeld, a real estate developer with the Trust for Public Land.\u003c/p>\n\u003cp>“Preserving these ventures is going to be difficult in a purely economic age. The value of the land has increased, rental prices have increased, to some degree the demographics have changed,” Rosenfeld said. “On the other hand, the demand for the cutting edge, for the next and the newest, will not abate. I suspect that cultural venues like The Smell will pop up in other neighborhoods.”\u003c/p>\n\u003cp>Musician Nick Rattigan agrees. His bands, Current Joys and Surf Curse, play regularly at The Smell.\u003c/p>\n\u003cp>“That’s just the nature of DIY venues,” Rattigan said. “It’s amazing that this one was open for as long as it was. Normally they get shut down in one or two years. There are still these kids in L.A. and they still want to play shows and need places to go.”\u003c/p>\n\u003cp>Smith said there are plans in the works to keep the club open, including an effort to have The Smell declared a cultural landmark. That may not save it from demolition, Smith acknowledged, but it could buy time. There are also plans to host benefit concerts and a music festival with some of the more successful bands that have played at The Smell over the years. Smith has also launched a GoFundMe page with a $1.4 million goal.\u003c/p>\n\u003cfigure id=\"attachment_11014268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/SmellBand-800x512.jpg\" alt=\"The band Celebrity Crush performs inside The Smell.\" width=\"800\" height=\"512\" class=\"size-medium wp-image-11014268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/SmellBand-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/SmellBand-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/SmellBand.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/SmellBand-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/SmellBand-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band Celebrity Crush performs inside The Smell. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If The Smell is forced to relocate, Smith said he hopes to find a location close to a Metro station. “Downtown is great because it’s central to transit, and we get people coming here from all over the region — the [San Fernando] Valley, South L.A., East L.A., San Gabriel Valley, Orange County — and downtown is kind of central to all of that,” Smith said.\u003c/p>\n\u003cp>Smith’s tenacity and altruism is one of the reasons The Smell has lasted this long, said David Scott Stone, a friend of Smith’s and a patron of the club since it opened. “Jim works full time, and he comes here every night to open up the space, clean the bathroom, kick kids out that are trying to sneak booze into the place,” he said, “It’s an absolute labor of love for him.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But The Smell has been through this before. It originally opened in North Hollywood in 1998. Within a couple of years, it was priced out — and moved to its current location downtown.\u003c/p>\n\n",
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"title": "Is L.A. Losing Its Smell? Future Is Uncertain for All-Ages Punk Club | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For kids under 18 who want to see great bands play for a few bucks, the options in Los Angeles are limited to a handful of warehouse spaces, backyards or strip mall venues. Most underground all-ages music spots never last more than a few years — a combination of rising rent prices, the challenge of getting permits and licenses, and police interventions.\u003c/p>\n\u003cp>Yet downtown L.A.’s \u003ca href=\"http://www.thesmell.org/\">The Smell\u003c/a> has been open since 1998, spawning a local music scene and launching bands like No Age, HEALTH, Abe Vigoda, Mika Miko and dozens of others. The venue has developed a fierce loyalty among young purveyors of noise, punk and underground music, and its policy of not allowing drugs or alcohol makes it a safe hangout for teenagers.\u003c/p>\n\u003cp>“This is somewhere that kids can come and be together, and I think that’s really cool,” said Violet Romero, 19, singer and bass player of the local band Celebrity Crush.\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/272821770″&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/272821770″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So it’s understandable that there was a huge outpouring of support from the local music community when news broke over Memorial Day weekend that The Smell’s owner, Jim Smith, found a demolition notice posted on the entrance to the club.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The notice from L&R Group of Companies, the parking lot developer that owns Joe’s Auto Parks and WallyPark, stated that an application to demolish The Smell’s one-story building had been filed with the Los Angeles Department of Building and Safety. Other businesses on the block, including the Downtown Independent movie theater and the New Jalisco Bar, a gay Latino dive bar, also received notices.\u003c/p>\n\u003cfigure id=\"attachment_11012480\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11012480\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut.jpg\" alt=\"The Smell posted this photo of the demolition notice to its website.\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Smell posted this photo of the demolition notice to its website. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The building was purchased last year and Smith said he started to see immediate changes. His rent changed overnight from $2,375 to $4,000 a month — an increase of 68 percent.\u003c/p>\n\u003cp>“It seems like there’s a hell of a lot of parking lots on this block,” Smith said. “And I’ve never seen them full, so I just don’t know what the reason is. And it’s like, OK, great, knock down the block, you’ve got plenty of parking, but is there anything left that’s going to draw people down here that are going to want to pay for parking? In that regard, it just doesn’t make any sense.”\u003c/p>\n\u003cp>However, the property owner insists there are no plans to turn The Smell into a parking lot — or anything else.\u003c/p>\n\u003cp>“As a fellow lover of music, I appreciate the history of The Smell and its impact on the music community,” said Kevin Litwin, chief operating officer for L&R Group of Companies, in an email interview. “As of today, there are no development plans at all for this site or these buildings.”\u003c/p>\n\u003cfigure id=\"attachment_11012529\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11012529\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut.jpg\" alt=\"Volunteers take a break from taking donations at the door of The Smell.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Volunteers take a break from taking donations at the door of The Smell. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Litwin expressed regret over how Smith learned of the demolition notice. In an email sent to Smith, he wrote:\u003c/p>\n\u003cp>“We should have reached out earlier to communicate our intent to all our tenants so that they understood the process. The notice that was posted on your door last Friday was merely a formality to keep our options open. It is required to obtain a demolition permit in the event that it may be needed in the future. We support you and your message of providing a community within Los Angeles. We look forward to continuing our relationship with you. If at some time in the future we decide to develop the properties at that site, we will provide you ample time. If we’re able to help, we will.”\u003c/p>\n\u003cp>On a recent Saturday night, the alley between a parking garage and a row of brick buildings was full of young people. The show was sold out, and attendees stood outside in circles, some smoking cigarettes and others checking their phones, while they waited for the next band to start.\u003c/p>\n\u003cfigure id=\"attachment_11012482\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11012482 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut.jpg\" alt=\"Outside The Smell, the all-ages music venue in downtown L. A.\" width=\"1920\" height=\"2880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-960x1440.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Outside The Smell, the all-ages music venue in downtown L.A. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those just arriving stood in line, then entered and handed over five bucks to a couple of volunteers at a table, who were blowing soap bubbles and eating candy in between affixing wristbands. Another volunteer sold candy bars, bags of chips and water bottles. The walls are spray-painted, and kids sat on busted-out couches or stood in clusters as the music poured out from the stage. As bands filled the small room with raucous, blistering noise, a mosh pit formed and the smell of dozens of sweaty bodies filled the air.\u003c/p>\n\u003cp>The Smell opened around the same time that another all-ages venue, Jabberjaw, closed. Many venues have closed in recent years, or have been threatened with closure. Just a week after The Smell received its demolition notice, another volunteer-run, all-ages venue 2 miles away called Pehrspace received a \u003ca href=\"http://www.laweekly.com/music/pehrspace-evicted-after-a-decade-of-joyful-noise-7009600\">60-day eviction notice\u003c/a>. Church on York, an all-ages space in Highland Park, was shut down in 2014 after being open for one year, because of noise complaints, a lack of permits and underage drinking.\u003c/p>\n\u003cp>Some of the fans of The Smell acknowledged that as rent prices increase in downtown L.A. and across the city, closures are to be expected. “It happened in New York with CBGB’s,” said Adam Weintraub, 17. “It’s kind of inevitable in any city that’s going through change and gentrification. But I think it takes away a huge part of the culture, and it just makes it another bland city. And it takes away a lot of the creative aspects of L.A.”\u003c/p>\n\u003cp>“I like to think that a good city needs an element of danger,” added Baron Rinzler, 18. “But they’re robbing us of all that goodness. Who wants to come to a city that’s gentrified, that’s full of high-rises? That takes the heart out of the city, really.”\u003c/p>\n\u003cfigure id=\"attachment_11012507\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11012507 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut.jpg\" alt=\"Gina Basile, 14, and Simon Landau, 15. “It’s very rare to find a place that treats the performers well and allows all ages,” Landau said.\" width=\"1920\" height=\"2880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-960x1440.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gina Basile, 14, and Simon Landau, 15. ‘It’s very rare to find a place that treats the performers well and allows all ages,’ Landau said. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, the dislocation of some businesses may be inevitable as downtown changes. “This is an example of the mixed blessing of urban revitalization,” said Dan Rosenfeld, a real estate developer with the Trust for Public Land.\u003c/p>\n\u003cp>“Preserving these ventures is going to be difficult in a purely economic age. The value of the land has increased, rental prices have increased, to some degree the demographics have changed,” Rosenfeld said. “On the other hand, the demand for the cutting edge, for the next and the newest, will not abate. I suspect that cultural venues like The Smell will pop up in other neighborhoods.”\u003c/p>\n\u003cp>Musician Nick Rattigan agrees. His bands, Current Joys and Surf Curse, play regularly at The Smell.\u003c/p>\n\u003cp>“That’s just the nature of DIY venues,” Rattigan said. “It’s amazing that this one was open for as long as it was. Normally they get shut down in one or two years. There are still these kids in L.A. and they still want to play shows and need places to go.”\u003c/p>\n\u003cp>Smith said there are plans in the works to keep the club open, including an effort to have The Smell declared a cultural landmark. That may not save it from demolition, Smith acknowledged, but it could buy time. There are also plans to host benefit concerts and a music festival with some of the more successful bands that have played at The Smell over the years. Smith has also launched a GoFundMe page with a $1.4 million goal.\u003c/p>\n\u003cfigure id=\"attachment_11014268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/SmellBand-800x512.jpg\" alt=\"The band Celebrity Crush performs inside The Smell.\" width=\"800\" height=\"512\" class=\"size-medium wp-image-11014268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/SmellBand-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/SmellBand-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/SmellBand.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/SmellBand-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/07/SmellBand-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band Celebrity Crush performs inside The Smell. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If The Smell is forced to relocate, Smith said he hopes to find a location close to a Metro station. “Downtown is great because it’s central to transit, and we get people coming here from all over the region — the [San Fernando] Valley, South L.A., East L.A., San Gabriel Valley, Orange County — and downtown is kind of central to all of that,” Smith said.\u003c/p>\n\u003cp>Smith’s tenacity and altruism is one of the reasons The Smell has lasted this long, said David Scott Stone, a friend of Smith’s and a patron of the club since it opened. “Jim works full time, and he comes here every night to open up the space, clean the bathroom, kick kids out that are trying to sneak booze into the place,” he said, “It’s an absolute labor of love for him.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But The Smell has been through this before. It originally opened in North Hollywood in 1998. Within a couple of years, it was priced out — and moved to its current location downtown.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Making Wine From California's Oldest Vines",
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"content": "\u003cp>When you think of California wine, you probably think Napa, Sonoma or maybe Paso Robles, but the state’s first major wine hub was in Los Angeles back in the 1800s.\u003c/p>\n\u003cp>A lot has changed since then, but one vine from that era is still producing grapes, and local winemakers are eager to work with that fruit.\u003c/p>\n\u003cp>Not surprisingly, the vine is on Olvera Street -- the backbone of L.A.'s oldest neighborhood. And it's right out in the open, but most shoppers and tourists are too busy checking out the swirl of stalls selling brightly colored blankets, guitars, masks and T-shirts to notice.\u003c/p>\n\u003cp>\"That’s actually not an uncommon experience,\" said Michael Holland. \"They're not necessarily looking up.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/272822714\" 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>The vine is part of a massive arbor shading a section of the famed walkway.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By day, Holland is L.A.’s official archivist, cataloguing the city's historic records, old photos, even sheet music praising the wonders of Los Angeles.\u003c/p>\n\u003cp>By night, he’s an amateur winemaker. So when he saw grapes growing on this historic site, he knew he had to harvest them.\u003c/p>\n\u003cp>\"Just from the heritage perspective ... this is a highly unique opportunity, and I'd be a fool not to take advantage of it,\" Holland said.\u003c/p>\n\u003cp>The Olvera Street vine stretches from the market to the Avila Adobe, the city’s oldest standing residence. Holland said the vine was probably planted around the same time that house was built, in 1818.\u003c/p>\n\u003cfigure id=\"attachment_11014150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11014150\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/OlveraStVine-800x531.jpg\" alt=\"Winemakers Michael Holland and Wes Hagen working with the Olvera Street vine.\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/OlveraStVine-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/OlveraStVine-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/OlveraStVine.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/OlveraStVine-1180x784.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/OlveraStVine-960x638.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Winemakers Michael Holland and Wes Hagen working with the Olvera Street vine. \u003ccite>(Sanden Totten/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He enlisted fellow DIY winemakers to help prune and tend to the overgrown plant. He also got advice from Wes Hagen, the consulting winemaker for J. Wilkes Wines in Santa Maria.\u003c/p>\n\u003cp>\"The vine wants to grow up, absorb sunlight, produce sugar and attract birds,\" Hagen said. \"We want to get to the fruit \u003cem>before\u003c/em> the birds, and get the sugar that would have attracted them and turn it into delicious, delicious alcohol.\"\u003c/p>\n\u003cp>To help the vine produce those grapes, Hagen and Holland have been climbing onto a roof above the back patio of the Avila Adobe, where they cut off dead branches and help healthy ones take hold.\u003c/p>\n\u003cp>Hagen said the heart of the vine hasn't been getting enough sun to produce the compounds that make for sweeter grapes. Instead, they can have too much of something called pyrazine.\u003c/p>\n\u003cp>\"Fruit that’s grown in shade tastes like green bell peppers ... it's the exact same compound,\" he noted.\u003c/p>\n\u003cp>Last year, Michael Holland harvested as many of these grapes as he could to make some wine. He also took some leave clippings and sent them to UC Davis to have their DNA analyzed.\u003c/p>\n\u003cp>It turns out this scraggly old vine is a direct genetic match to one known as \"Vina Madre.\" It's a plant first grown at the San Gabriel Mission, founded in 1771.\u003c/p>\n\u003cfigure id=\"attachment_11014199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11014199\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/GrapesGrow-800x600.jpg\" alt=\"Grapes growing from the vine at Avila Adobe.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/GrapesGrow-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/GrapesGrow-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/GrapesGrow.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/GrapesGrow-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/GrapesGrow-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grapes growing from the vine at Avila Adobe. \u003ccite>(Sanden Totten/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jerry Dangl, manager of the plant identification lab at UC Davis, says it’s a very important and interesting vine.\u003c/p>\n\u003cp>\"Scientifically, it’s a first-generation hybrid between \u003cem>Vitis vinefera\u003c/em>, the European wine grape, and \u003cem>Vitis girdiana\u003c/em>, the wild desert grape in Southern California,\" he explained.\u003c/p>\n\u003cp>That means this plant is a cross between the grapes brought over by early European settlers and hearty local plants. Dangl says that unique blend likely helped it survive all the pests and disease that eventually wiped out most of L.A.’s wine industry in the late 1800s.\u003c/p>\n\u003cp>The Olvera Street plant was probably a clipping from that Vina Madre vine at the mission, which means it could be older than the state of California itself.\u003c/p>\n\u003cp>However, Vina Madre is not a vine associated with winemaking. In fact, the Olvera Street plant was most likely put there for shade -- a function it still provides today.\u003c/p>\n\u003cp>Dangl knows of one other location where this grape grows, and it is also used in an arborlike setting, not a vineyard. If there \u003cem>were\u003c/em> evidence it was used for making alcohol, that could be an important moment in the history of California wines.\u003c/p>\n\u003cp>\"I would be very interested in finding Vina Madre in what looks like a production situation,\" Dangl said.\u003c/p>\n\u003cp>That hasn’t stopped city archivist Holland from trying to make wine with these grapes.\u003c/p>\n\u003cp>He used a recipe borrowed from a friend at Gypsy Canyon Winery. It was reputedly written in 1891, making it somewhat contemporary with the vine itself. The result is a fortified dessert wine called an angelica.\u003c/p>\n\u003cp>\"This is what the padres would have made,\" Holland said. \"This is what they would have served at Mass.\"\u003c/p>\n\u003cp>Holland opened a bottle and served some to Rachel Macalisang, lead sommelier at a Beverly Hills foodie haven, The Bazaar by José Andrés.\u003c/p>\n\u003cp>\"It’s a very pretty color. It’s lighter than I thought it would be,\" Macalisang said.\u003c/p>\n\u003cfigure id=\"attachment_11014204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11014204\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/WineGlass-800x579.jpg\" alt=\"Rachel Macalisang, lead sommelier at the Beverly Hills foodie-haven The Bazaar by José Andrés, tries a wine made from the Olvera Street grapes.\" width=\"800\" height=\"579\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/WineGlass-800x579.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/WineGlass-400x289.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/WineGlass.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/WineGlass-1180x854.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/WineGlass-960x695.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Macalisang, lead sommelier at the Beverly Hills foodie-haven The Bazaar by José Andrés, tries a wine made from the Olvera Street grapes. \u003ccite>(Sanden Totten/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She is one of the first people to try the new wine. Macalisang said older vines often produce more complex flavors than younger plants and that can enhance a wine.\u003c/p>\n\u003cp>Is that the case with Holland's angelica? Macalisang takes a sip -- and smiles. She says it's full of fruity flavors like candied apple, cherry, fig and raspberry jam, but it's not cloyingly sweet like some dessert wines.\u003c/p>\n\u003cp>\"It finishes a little drier than I thought it would,\" she adds between sips.\u003c/p>\n\u003cp>Macalisang thinks if people back in the 1800s did use these grapes for wine, it could have been a decent one.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We may never know if that happened, but at least now, these grapes are something worth toasting to.\u003c/p>\n\n",
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"excerpt": "When you think of California wine, you probably think of Napa or Sonoma. But the state’s first major wine hub was in L.A. back in the 1800s.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you think of California wine, you probably think Napa, Sonoma or maybe Paso Robles, but the state’s first major wine hub was in Los Angeles back in the 1800s.\u003c/p>\n\u003cp>A lot has changed since then, but one vine from that era is still producing grapes, and local winemakers are eager to work with that fruit.\u003c/p>\n\u003cp>Not surprisingly, the vine is on Olvera Street -- the backbone of L.A.'s oldest neighborhood. And it's right out in the open, but most shoppers and tourists are too busy checking out the swirl of stalls selling brightly colored blankets, guitars, masks and T-shirts to notice.\u003c/p>\n\u003cp>\"That’s actually not an uncommon experience,\" said Michael Holland. \"They're not necessarily looking up.\"\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/272822714&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/272822714'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The vine is part of a massive arbor shading a section of the famed walkway.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By day, Holland is L.A.’s official archivist, cataloguing the city's historic records, old photos, even sheet music praising the wonders of Los Angeles.\u003c/p>\n\u003cp>By night, he’s an amateur winemaker. So when he saw grapes growing on this historic site, he knew he had to harvest them.\u003c/p>\n\u003cp>\"Just from the heritage perspective ... this is a highly unique opportunity, and I'd be a fool not to take advantage of it,\" Holland said.\u003c/p>\n\u003cp>The Olvera Street vine stretches from the market to the Avila Adobe, the city’s oldest standing residence. Holland said the vine was probably planted around the same time that house was built, in 1818.\u003c/p>\n\u003cfigure id=\"attachment_11014150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11014150\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/OlveraStVine-800x531.jpg\" alt=\"Winemakers Michael Holland and Wes Hagen working with the Olvera Street vine.\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/OlveraStVine-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/OlveraStVine-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/OlveraStVine.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/OlveraStVine-1180x784.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/OlveraStVine-960x638.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Winemakers Michael Holland and Wes Hagen working with the Olvera Street vine. \u003ccite>(Sanden Totten/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He enlisted fellow DIY winemakers to help prune and tend to the overgrown plant. He also got advice from Wes Hagen, the consulting winemaker for J. Wilkes Wines in Santa Maria.\u003c/p>\n\u003cp>\"The vine wants to grow up, absorb sunlight, produce sugar and attract birds,\" Hagen said. \"We want to get to the fruit \u003cem>before\u003c/em> the birds, and get the sugar that would have attracted them and turn it into delicious, delicious alcohol.\"\u003c/p>\n\u003cp>To help the vine produce those grapes, Hagen and Holland have been climbing onto a roof above the back patio of the Avila Adobe, where they cut off dead branches and help healthy ones take hold.\u003c/p>\n\u003cp>Hagen said the heart of the vine hasn't been getting enough sun to produce the compounds that make for sweeter grapes. Instead, they can have too much of something called pyrazine.\u003c/p>\n\u003cp>\"Fruit that’s grown in shade tastes like green bell peppers ... it's the exact same compound,\" he noted.\u003c/p>\n\u003cp>Last year, Michael Holland harvested as many of these grapes as he could to make some wine. He also took some leave clippings and sent them to UC Davis to have their DNA analyzed.\u003c/p>\n\u003cp>It turns out this scraggly old vine is a direct genetic match to one known as \"Vina Madre.\" It's a plant first grown at the San Gabriel Mission, founded in 1771.\u003c/p>\n\u003cfigure id=\"attachment_11014199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11014199\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/GrapesGrow-800x600.jpg\" alt=\"Grapes growing from the vine at Avila Adobe.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/GrapesGrow-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/GrapesGrow-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/GrapesGrow.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/GrapesGrow-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/GrapesGrow-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grapes growing from the vine at Avila Adobe. \u003ccite>(Sanden Totten/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jerry Dangl, manager of the plant identification lab at UC Davis, says it’s a very important and interesting vine.\u003c/p>\n\u003cp>\"Scientifically, it’s a first-generation hybrid between \u003cem>Vitis vinefera\u003c/em>, the European wine grape, and \u003cem>Vitis girdiana\u003c/em>, the wild desert grape in Southern California,\" he explained.\u003c/p>\n\u003cp>That means this plant is a cross between the grapes brought over by early European settlers and hearty local plants. Dangl says that unique blend likely helped it survive all the pests and disease that eventually wiped out most of L.A.’s wine industry in the late 1800s.\u003c/p>\n\u003cp>The Olvera Street plant was probably a clipping from that Vina Madre vine at the mission, which means it could be older than the state of California itself.\u003c/p>\n\u003cp>However, Vina Madre is not a vine associated with winemaking. In fact, the Olvera Street plant was most likely put there for shade -- a function it still provides today.\u003c/p>\n\u003cp>Dangl knows of one other location where this grape grows, and it is also used in an arborlike setting, not a vineyard. If there \u003cem>were\u003c/em> evidence it was used for making alcohol, that could be an important moment in the history of California wines.\u003c/p>\n\u003cp>\"I would be very interested in finding Vina Madre in what looks like a production situation,\" Dangl said.\u003c/p>\n\u003cp>That hasn’t stopped city archivist Holland from trying to make wine with these grapes.\u003c/p>\n\u003cp>He used a recipe borrowed from a friend at Gypsy Canyon Winery. It was reputedly written in 1891, making it somewhat contemporary with the vine itself. The result is a fortified dessert wine called an angelica.\u003c/p>\n\u003cp>\"This is what the padres would have made,\" Holland said. \"This is what they would have served at Mass.\"\u003c/p>\n\u003cp>Holland opened a bottle and served some to Rachel Macalisang, lead sommelier at a Beverly Hills foodie haven, The Bazaar by José Andrés.\u003c/p>\n\u003cp>\"It’s a very pretty color. It’s lighter than I thought it would be,\" Macalisang said.\u003c/p>\n\u003cfigure id=\"attachment_11014204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11014204\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/WineGlass-800x579.jpg\" alt=\"Rachel Macalisang, lead sommelier at the Beverly Hills foodie-haven The Bazaar by José Andrés, tries a wine made from the Olvera Street grapes.\" width=\"800\" height=\"579\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/WineGlass-800x579.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/WineGlass-400x289.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/WineGlass.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/WineGlass-1180x854.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/WineGlass-960x695.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Macalisang, lead sommelier at the Beverly Hills foodie-haven The Bazaar by José Andrés, tries a wine made from the Olvera Street grapes. \u003ccite>(Sanden Totten/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She is one of the first people to try the new wine. Macalisang said older vines often produce more complex flavors than younger plants and that can enhance a wine.\u003c/p>\n\u003cp>Is that the case with Holland's angelica? Macalisang takes a sip -- and smiles. She says it's full of fruity flavors like candied apple, cherry, fig and raspberry jam, but it's not cloyingly sweet like some dessert wines.\u003c/p>\n\u003cp>\"It finishes a little drier than I thought it would,\" she adds between sips.\u003c/p>\n\u003cp>Macalisang thinks if people back in the 1800s did use these grapes for wine, it could have been a decent one.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We may never know if that happened, but at least now, these grapes are something worth toasting to.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>ALBUQUERQUE, N.M. — It was called the “Mother Road,” a vital highway bridging Chicago and Los Angeles through the Southwest amid diners and neon-lit motels. For many, Route 66 represented freedom and unlimited possibilities in the 20th century United States.\u003c/p>\n\u003cfigure id=\"attachment_11011634\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/nypl.digitalcollections.9c454830-83b9-0132-d56a-58d385a7b928.001.g-e1467844459293.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11011634 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/nypl.digitalcollections.9c454830-83b9-0132-d56a-58d385a7b928.001.g-400x556.jpg\" alt=\"The 1956 edition of "The Negro Travelers' Green Book ."\" width=\"400\" height=\"556\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The 1956 edition of ‘The Negro Travelers’ Green Book’ \u003ccite>(New York Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Black travelers for decades, however, needed a guide known as “The Green Book” to help find the few motels and restaurants that would serve them along this quintessential American highway.\u003c/p>\n\u003cp>Now a writer is hoping to bring attention to the businesses along Route 66 that once provided safe havens for black travelers who braved the road for simple family vacations.\u003c/p>\n\u003cp>Candacy Taylor, leader of the \u003ca href=\"http://taylormadeculture.com/the-green-book/\" target=\"_blank\" rel=\"noopener\">Green Book Project\u003c/a>, said the world of rural barber shops, hospitable gas stations and multicultural desert motels is at risk of being lost forever unless something is done to map its legacy.\u003c/p>\n\u003cp>“I think this is a way to re-examine our relationship with the past and really look long and hard at where we are now,” said Taylor, author of “\u003ca href=\"https://www.amazon.com/Moon-Route-Road-Trip-Handbooks/dp/1631210718\" target=\"_blank\" rel=\"noopener\">Moon Route 66 Road Trip\u003c/a>.” She recently received two grants to locate and map the Green Book spots.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Booker T. Washington Hotel in St Louis, the Off-Beat Restaurant in Oklahoma City, Oklahoma, and Clifton’s Cafeteria in Los Angeles are among the forgotten Green Book sites.\u003c/p>\n\u003cp>Many remaining buildings in places like Albuquerque sit abandoned in now poverty-stricken neighborhoods. Others have been demolished or transformed into other purposes.\u003c/p>\n\u003cp>Decommissioned as a U.S. highway in 1985, Route 66 still holds lore as a road where Americans ventured West. The 2,500-mile highway passed through eight states, connecting tourists, mainly white, with friendly diners in welcoming small towns. \u003ca href=\"https://youtu.be/dCYApJtsyd0\" target=\"_blank\" rel=\"noopener\">Nat King Cole famously sang\u003c/a> “(Get Your Kicks on) Route 66” in a 1946 hit.\u003c/p>\n\u003cp>“The irony is that Nat King Cole wasn’t welcome in most motels on the Mother Road,” Taylor said.\u003c/p>\n\u003cp>African-Americans taking vacations along Route 66 had to plan detailed itineraries to avoid potential violence in “sundown towns” — places that worked to exclude blacks with intimidation and segregation laws. Black travelers often brought along portable toilets, since many restrooms along the highway excluded them.\u003c/p>\n\u003cp>“That’s a whole other experience of traveling Route 66 that doesn’t really get talked about in popular culture. Instead, it’s conveyed as the open road to freedom and adventure,” said Katrina Parks, a documentary filmmaker who worked on the “Women on the Mother Road” project. “While that’s certainly true, there’s also this other side that it could also be a threatening place, depending on your race.”\u003c/p>\n\u003cp>Taylor said she never would have heard about the other part of Route 66 had she not stumbled upon a Green Book during her research for another book about the highway. The Green Book, published from 1936 to 1966 by Harlem postal worker Victor H. Green, offered black travelers tips on places to visit and eat while on the road.\u003c/p>\n\u003cp>“Carry your Green Book with you,” the book warns readers on its cover. “You may need it.”\u003c/p>\n\u003cp>A 1949 edition promised to “give the Negro traveler information that will keep him from running into difficulties, embarrassments and to make his trips more enjoyable.”\u003c/p>\n\u003cp>Jewel Hall, 84, traveled down Route 66 and other U.S. highways with her late husband, Fred, during the 1950s. The Rio Rancho woman and her husband rarely went on road trips without the Green Book.\u003c/p>\n\u003cp>“Restaurants? Our restaurant was our car when we didn’t have that book,” Hall said. “Sometimes you didn’t dare stop. You didn’t know what to expect.”\u003c/p>\n\u003cp>But when black travelers found a friendly place, thanks to the book, they would come in contact with other black travelers and felt as if they were among family, Hall said. Businesses were usually black-owned or operated by sympathetic whites, she said.\u003c/p>\n\u003cp>Despite the image of the American West being more welcoming for African-Americans, the Green Book was still needed past Oklahoma.\u003c/p>\n\u003cp>One place that did admit blacks was Albuquerque’s De Anza Motor Lodge, a business owned by Zuni trader and Indian art collector Charles G. Wallace. The motel, decorated with American Indian murals and coupled with a cafe, was a popular spot for writers and artists along post-World War II Route 66. Black motel guests could catch a nearby show with American Indian and Mexican-American doo-wop singers.\u003c/p>\n\u003cp>Today, the De Anza is boarded up and has been the target of a redevelopment project by the city of Albuquerque that seeks to save the building.\u003c/p>\n\u003cp>Taylor said other cities and towns should recognize former Green Book spots as culturally significant sites. By acknowledging the businesses, towns can better understand their role in civil rights.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The places (black travelers) were navigating were really hostile. You have to remember that,” Taylor said. “So, the idea of vacationing for blacks was already a statement of purpose … almost resilience.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>ALBUQUERQUE, N.M. — It was called the “Mother Road,” a vital highway bridging Chicago and Los Angeles through the Southwest amid diners and neon-lit motels. For many, Route 66 represented freedom and unlimited possibilities in the 20th century United States.\u003c/p>\n\u003cfigure id=\"attachment_11011634\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/nypl.digitalcollections.9c454830-83b9-0132-d56a-58d385a7b928.001.g-e1467844459293.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11011634 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/nypl.digitalcollections.9c454830-83b9-0132-d56a-58d385a7b928.001.g-400x556.jpg\" alt=\"The 1956 edition of "The Negro Travelers' Green Book ."\" width=\"400\" height=\"556\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The 1956 edition of ‘The Negro Travelers’ Green Book’ \u003ccite>(New York Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Black travelers for decades, however, needed a guide known as “The Green Book” to help find the few motels and restaurants that would serve them along this quintessential American highway.\u003c/p>\n\u003cp>Now a writer is hoping to bring attention to the businesses along Route 66 that once provided safe havens for black travelers who braved the road for simple family vacations.\u003c/p>\n\u003cp>Candacy Taylor, leader of the \u003ca href=\"http://taylormadeculture.com/the-green-book/\" target=\"_blank\" rel=\"noopener\">Green Book Project\u003c/a>, said the world of rural barber shops, hospitable gas stations and multicultural desert motels is at risk of being lost forever unless something is done to map its legacy.\u003c/p>\n\u003cp>“I think this is a way to re-examine our relationship with the past and really look long and hard at where we are now,” said Taylor, author of “\u003ca href=\"https://www.amazon.com/Moon-Route-Road-Trip-Handbooks/dp/1631210718\" target=\"_blank\" rel=\"noopener\">Moon Route 66 Road Trip\u003c/a>.” She recently received two grants to locate and map the Green Book spots.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Booker T. Washington Hotel in St Louis, the Off-Beat Restaurant in Oklahoma City, Oklahoma, and Clifton’s Cafeteria in Los Angeles are among the forgotten Green Book sites.\u003c/p>\n\u003cp>Many remaining buildings in places like Albuquerque sit abandoned in now poverty-stricken neighborhoods. Others have been demolished or transformed into other purposes.\u003c/p>\n\u003cp>Decommissioned as a U.S. highway in 1985, Route 66 still holds lore as a road where Americans ventured West. The 2,500-mile highway passed through eight states, connecting tourists, mainly white, with friendly diners in welcoming small towns. \u003ca href=\"https://youtu.be/dCYApJtsyd0\" target=\"_blank\" rel=\"noopener\">Nat King Cole famously sang\u003c/a> “(Get Your Kicks on) Route 66” in a 1946 hit.\u003c/p>\n\u003cp>“The irony is that Nat King Cole wasn’t welcome in most motels on the Mother Road,” Taylor said.\u003c/p>\n\u003cp>African-Americans taking vacations along Route 66 had to plan detailed itineraries to avoid potential violence in “sundown towns” — places that worked to exclude blacks with intimidation and segregation laws. Black travelers often brought along portable toilets, since many restrooms along the highway excluded them.\u003c/p>\n\u003cp>“That’s a whole other experience of traveling Route 66 that doesn’t really get talked about in popular culture. Instead, it’s conveyed as the open road to freedom and adventure,” said Katrina Parks, a documentary filmmaker who worked on the “Women on the Mother Road” project. “While that’s certainly true, there’s also this other side that it could also be a threatening place, depending on your race.”\u003c/p>\n\u003cp>Taylor said she never would have heard about the other part of Route 66 had she not stumbled upon a Green Book during her research for another book about the highway. The Green Book, published from 1936 to 1966 by Harlem postal worker Victor H. Green, offered black travelers tips on places to visit and eat while on the road.\u003c/p>\n\u003cp>“Carry your Green Book with you,” the book warns readers on its cover. “You may need it.”\u003c/p>\n\u003cp>A 1949 edition promised to “give the Negro traveler information that will keep him from running into difficulties, embarrassments and to make his trips more enjoyable.”\u003c/p>\n\u003cp>Jewel Hall, 84, traveled down Route 66 and other U.S. highways with her late husband, Fred, during the 1950s. The Rio Rancho woman and her husband rarely went on road trips without the Green Book.\u003c/p>\n\u003cp>“Restaurants? Our restaurant was our car when we didn’t have that book,” Hall said. “Sometimes you didn’t dare stop. You didn’t know what to expect.”\u003c/p>\n\u003cp>But when black travelers found a friendly place, thanks to the book, they would come in contact with other black travelers and felt as if they were among family, Hall said. Businesses were usually black-owned or operated by sympathetic whites, she said.\u003c/p>\n\u003cp>Despite the image of the American West being more welcoming for African-Americans, the Green Book was still needed past Oklahoma.\u003c/p>\n\u003cp>One place that did admit blacks was Albuquerque’s De Anza Motor Lodge, a business owned by Zuni trader and Indian art collector Charles G. Wallace. The motel, decorated with American Indian murals and coupled with a cafe, was a popular spot for writers and artists along post-World War II Route 66. Black motel guests could catch a nearby show with American Indian and Mexican-American doo-wop singers.\u003c/p>\n\u003cp>Today, the De Anza is boarded up and has been the target of a redevelopment project by the city of Albuquerque that seeks to save the building.\u003c/p>\n\u003cp>Taylor said other cities and towns should recognize former Green Book spots as culturally significant sites. By acknowledging the businesses, towns can better understand their role in civil rights.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The places (black travelers) were navigating were really hostile. You have to remember that,” Taylor said. “So, the idea of vacationing for blacks was already a statement of purpose … almost resilience.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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