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"bio": "\u003cspan style=\"font-weight: 400;\">Queena Sook Kim is a former senior editor of the weekend desk at KQED. Before taking on that post, she was the Senior Editor of the Silicon Valley Desk and was the \u003c/span>\u003cspan style=\"font-weight: 400;\">host of The California Report. The daily morning show airs on KQED in San Francisco, one of the nation’s largest NPR affiliates, and on 30 stations across the state. In that role, she produces and reports on news, politics and life in the Golden State. Queena likes to take sideways look at the larger trends changing the state. One of her favorite stories asked\u003c/span>\u003ca href=\"https://ww2.kqed.org/news/2015/02/15/why-the-heck-do-mexican-reporters-on-public-radio-say-their-names-that-way\"> \u003cspan style=\"font-weight: 400;\">why Latino journalists “over’pronounce” their Spanish surnames\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> as a way of looking at how immigration is creating a culture shift in California.\u003c/span>\r\n\r\n\u003cspan style=\"font-weight: 400;\">Before joining The California Report, Queena was a \u003ca href=\"http://www.marketplace.org/people/queena-kim\">Senior Reporter covering technology for Marketplace\u003c/a>, the daily business show that airs on public radio. Queena covered daily tech business stories and reported on larger technology trends. She did a series of stories looking at role of social engineering in hacking and on a start-up in Silicon Valley that’s trying to use technology, instead of animals, to make meat that bleeds.\u003c/span>\r\n\r\n\u003cspan style=\"font-weight: 400;\">Queena started her career as a business journalist at the Wall Street Journal, where she spent four years covering the paper, home building and toy industries. She wrote A1 stories about the unusually aggressive tactics KB Home took against its home buyers. and the resurgence of “Cracker” architecture in Florida. She also wrote section front stories on marketing trends and\u003c/span>\r\n\r\n\u003cspan style=\"font-weight: 400;\">As a journalist, Queena has spent much of her career helping start-up editorial products. She was on the founding editorial team of The Bay Citizen, an experimental, online news site in San Francisco that was funded by the late hillbilly billionaire Warren Hellman. In 2009, Queena received a grant from the Corporation of Public Broadcasting to start-up a podcast called \u003ca href=\"https://soundcloud.com/cyberfrequencies\">CyberFrequencies\u003c/a>, which reported on the culture of technology. She also helped start-up two radio shows - Off-Ramp and Pacific Drift - for KPCC, the NPR-affiliate in Los Angeles. Off-Ramp was awarded 1st Place for news and Public Affairs programming by the PRINDI and the L.A. Press club. \u003ca href=\"https://soundcloud.com/queena-sook-kim\">Queena’s stories have appeared \u003c/a>on NPR’s Day to Day, Hearing Voices, WNYC’s Studio 360, WBUR’s Here and Now, BBC’s Global Perspectives and New York Times’ multimedia page.\u003c/span>\r\n\r\n\u003cspan style=\"font-weight: 400;\">In 1994, Queena won a Fulbright Grant to teach and study in Seoul, South Korea. She was also selected to be a Teach For America Corps Member in 1991 and taught elementary school in the Inglewood Unified School District in Southern California.\u003c/span>\r\n\r\n\u003cspan style=\"font-weight: 400;\">Queena is a frequent public speaker and has given talks at UC Berkeley, Stanford University, San Francisco State University, PRINDI conference and the Craigslist Foundation Boot Camp. Queena went to UC Berkeley’s Graduate School of Journalism and graduated cum laude from New York University with a B.A. in Politics. She grew up in Southern California and lives in Berkeley, Ca in a big fixer on which she spends most weekends, well, fixing.\u003c/span>",
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"content": "\u003cp>Shiva is one chill deity.\u003c/p>\n\u003cp>He's one of the three major gods in the Hindu religion. And he has a penchant for pot.\u003c/p>\n\u003cp>\"Shiva loves marijuana. So we come to share Shiva's prasad [offerings] with everyone else,\" explains a 60-year-old holy man who gives his name as Radhe Baba.\u003c/p>\n\u003cp>It's the eve of the festival of Shiva Ratri, or \"The Night of Shiva\" — March 7 this year. The celebration marks the day Shiva saved the universe from darkness and married the goddess Parvati.\u003c/p>\n\u003cp>Groups of dreadlocked Hindu ascetics sit around small smoky fires puffing on clay pipes at Nepal's holiest Hindu temple. Hundreds of holy men (and some women) have traveled from around Nepal and India to reach the Pashupati temple for the festival. They spend the days before the holiday alternately praying and lounging to prepare to commune with Shiva.\u003ca href=\"#_msocom_2\" name=\"_msoanchor_2\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And they also smoke hashish. Marijuana smoke mingles with the bonfires. Both are symbols of religious devotion. \u003ca href=\"469519964\">Shiva\u003c/a>, it's believed, used marijuana both to relax and to focus better for meditation.\u003c/p>\n\u003cp>It's scenes like this that made Kathmandu famous among hippies. Indeed a few days before Shiva Ratri, Pashupatinath had the vibe of a relaxed music festival. It's a little more like Bonnaroo by the time over \u003ca href=\"http://kathmandupost.ekantipur.com/news/2016-03-06/11-m-visitors-5000-sadhus-expected-to-visit-pashupati-this-shivaratri.html\">a million devotees\u003c/a> have arrived for the big day.\u003c/p>\n\u003cp>\"That [smoking marijuana] makes us forget everything and we communicate with Shiva,\" 50-year-old Madhan Lal Baba says, sitting next to Radhe.\u003c/p>\n\u003cp>The two have traveled with a group of holy men from Benares, India, and said that the Indian government even gave them some money to make the trip. As ascetics, they've renounced possessions and survive off stipends from the temples and alms from devotees.\u003c/p>\n\u003cp>The marijuana helps stave off worldly desires, they say. Sharing the \"prasad\" – in this case, the weed --\u003ca href=\"#_msocom_4\" name=\"_msoanchor_4\">\u003c/a> shows their love for Shiva, Madhan Lal explains.\u003c/p>\n\u003cp>\"Baba, do you have prasad?\" a visitor asks a seated holy man.\u003c/p>\n\u003cp>\"Sit, smoke, relax,\" the holy man responds, gesturing to the stone temple steps next to him and packing a conical clay pipe, called a chillum, with hashish. The holy man smears ashes on the visitor's forehead with his thumb as a blessing and offers a puff on the pipe, for which the man hands him some rupees.\u003c/p>\n\u003cp>Though the temple authorities insist they are \u003ca href=\"http://kathmandupost.ekantipur.com/news/2016-03-07/preps-over-for-shivaratri-today.html\">cracking down on the drug use\u003c/a>, marijuana consumption is considered acceptable on the day of the holiday. \"The police don't say anything because it's Shiva Ratri, and we're giving [marijuana] to Shiva followers,\" Madhan Lal says. But not everyone indulges. Many of the pilgrims simply visit the temple to make offerings and pray.\u003c/p>\n\u003cp>Devotees also light bonfires to warm Shiva and signify the end of winter. Fire is holy in Hinduism. But touching the fire with unclean things is thought to pollute it. So the holy men cup their hands around the base of their pipes and suck the smoke through. This prevents their lips from polluting it.\u003c/p>\n\u003cp>\"Fire represents God,\" Ram Das Bairagi explains. \"We do [bonfires]\u003ca href=\"#_msocom_6\" name=\"_msoanchor_6\">\u003c/a> for Shiva, to call him. Maybe he will see the fire.\" Bairagi, an ascetic who lives at Pashupati temple year-round, has wrapped his long dreadlocks in a leopard print scarf, representing the animal skin Shiva wears. His body is white from ashes, taken from the cremation sites at the temple. As one of the holiest Hindu temples, Pashupati is used daily for cremations.\u003c/p>\n\u003cp>\"These are ashes of cremated bodies. They represent homeless people, animals, mentally disabled people,\" says another man who'd spread ashes on his body. He gives his name as Dandi Baba. Wearing the ashes allows these different entities to attend the wedding of Shiva and Parvati, he explains.\u003c/p>\n\u003cp>According to legend, Shiva Ratri is the night when Shiva married his bride and experienced the beauty of love and pleasure of sex for the first time. Though Shiva is associated with sex and creation, many of his most devout followers remain celibate.\u003c/p>\n\u003cp>\"My life is fully dedicated to Shiva. I have no wife, no family. The first thing I knew was Shiva,\" says 72-year-old Dandi Baba.\u003c/p>\n\u003cp>\"God is such a mysterious thing, but you have to follow it because it's inside you,\" he adds. \"We don't follow money or day-to-day things. They're not important; you don't need those things. The only thing humans need is to share love with each other and share our culture.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And then he passes the pipe.\u003ca href=\"#_msocom_10\" name=\"_msoanchor_10\">\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Shiva+Is+A+God+Who+Likes+Marijuana+%E2%80%94+And+So+Do+Many+Of+His+Followers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And they also smoke hashish. Marijuana smoke mingles with the bonfires. Both are symbols of religious devotion. \u003ca href=\"469519964\">Shiva\u003c/a>, it's believed, used marijuana both to relax and to focus better for meditation.\u003c/p>\n\u003cp>It's scenes like this that made Kathmandu famous among hippies. Indeed a few days before Shiva Ratri, Pashupatinath had the vibe of a relaxed music festival. It's a little more like Bonnaroo by the time over \u003ca href=\"http://kathmandupost.ekantipur.com/news/2016-03-06/11-m-visitors-5000-sadhus-expected-to-visit-pashupati-this-shivaratri.html\">a million devotees\u003c/a> have arrived for the big day.\u003c/p>\n\u003cp>\"That [smoking marijuana] makes us forget everything and we communicate with Shiva,\" 50-year-old Madhan Lal Baba says, sitting next to Radhe.\u003c/p>\n\u003cp>The two have traveled with a group of holy men from Benares, India, and said that the Indian government even gave them some money to make the trip. As ascetics, they've renounced possessions and survive off stipends from the temples and alms from devotees.\u003c/p>\n\u003cp>The marijuana helps stave off worldly desires, they say. Sharing the \"prasad\" – in this case, the weed --\u003ca href=\"#_msocom_4\" name=\"_msoanchor_4\">\u003c/a> shows their love for Shiva, Madhan Lal explains.\u003c/p>\n\u003cp>\"Baba, do you have prasad?\" a visitor asks a seated holy man.\u003c/p>\n\u003cp>\"Sit, smoke, relax,\" the holy man responds, gesturing to the stone temple steps next to him and packing a conical clay pipe, called a chillum, with hashish. The holy man smears ashes on the visitor's forehead with his thumb as a blessing and offers a puff on the pipe, for which the man hands him some rupees.\u003c/p>\n\u003cp>Though the temple authorities insist they are \u003ca href=\"http://kathmandupost.ekantipur.com/news/2016-03-07/preps-over-for-shivaratri-today.html\">cracking down on the drug use\u003c/a>, marijuana consumption is considered acceptable on the day of the holiday. \"The police don't say anything because it's Shiva Ratri, and we're giving [marijuana] to Shiva followers,\" Madhan Lal says. But not everyone indulges. Many of the pilgrims simply visit the temple to make offerings and pray.\u003c/p>\n\u003cp>Devotees also light bonfires to warm Shiva and signify the end of winter. Fire is holy in Hinduism. But touching the fire with unclean things is thought to pollute it. So the holy men cup their hands around the base of their pipes and suck the smoke through. This prevents their lips from polluting it.\u003c/p>\n\u003cp>\"Fire represents God,\" Ram Das Bairagi explains. \"We do [bonfires]\u003ca href=\"#_msocom_6\" name=\"_msoanchor_6\">\u003c/a> for Shiva, to call him. Maybe he will see the fire.\" Bairagi, an ascetic who lives at Pashupati temple year-round, has wrapped his long dreadlocks in a leopard print scarf, representing the animal skin Shiva wears. His body is white from ashes, taken from the cremation sites at the temple. As one of the holiest Hindu temples, Pashupati is used daily for cremations.\u003c/p>\n\u003cp>\"These are ashes of cremated bodies. They represent homeless people, animals, mentally disabled people,\" says another man who'd spread ashes on his body. He gives his name as Dandi Baba. Wearing the ashes allows these different entities to attend the wedding of Shiva and Parvati, he explains.\u003c/p>\n\u003cp>According to legend, Shiva Ratri is the night when Shiva married his bride and experienced the beauty of love and pleasure of sex for the first time. Though Shiva is associated with sex and creation, many of his most devout followers remain celibate.\u003c/p>\n\u003cp>\"My life is fully dedicated to Shiva. I have no wife, no family. The first thing I knew was Shiva,\" says 72-year-old Dandi Baba.\u003c/p>\n\u003cp>\"God is such a mysterious thing, but you have to follow it because it's inside you,\" he adds. \"We don't follow money or day-to-day things. They're not important; you don't need those things. The only thing humans need is to share love with each other and share our culture.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And then he passes the pipe.\u003ca href=\"#_msocom_10\" name=\"_msoanchor_10\">\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Shiva+Is+A+God+Who+Likes+Marijuana+%E2%80%94+And+So+Do+Many+Of+His+Followers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "A Freestyle Hip-Hop Revival at San Francisco's Boom Boom Room",
"title": "A Freestyle Hip-Hop Revival at San Francisco's Boom Boom Room",
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"content": "\u003cp>Every Sunday night for the last two years, San Francisco's \u003ca href=\"http://www.boomboomroom.com/\" target=\"_blank\">Boom Boom Room\u003c/a> has played host to \u003ca href=\"https://www.facebook.com/SFCypher/\" target=\"_blank\">Return of the Cypher\u003c/a>, or ROTC for short.\u003c/p>\n\u003cp>The event's website describes it as a show that “features amazing local freestyle artists taking the stage in improvised sessions, known as Cyphers, where emcees, singers, beat-boxers and musicians collaborate in a spontaneous combustion of pure skill.”\u003c/p>\n\u003cfigure id=\"attachment_10879268\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10879268\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/FloJSimpson-800x548.jpg\" alt=\"Hip-Hop artist Flo J Simpson takes the stage at the Boom Boom Room in San Francisco. The Sunday night Return of the Cypher event draws rappers from across the Bay Area.\" width=\"800\" height=\"548\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-800x548.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-960x658.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hip-hop artist Flo J. Simpson takes the stage at the Boom Boom Room in San Francisco. The Sunday night Return of the Cypher event draws rappers from across the Bay Area. \u003ccite>(Alex Cwalinski/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I checked it out one Sunday night to see for myself.\u003c/p>\n\u003cp>Under a pink neon sign advertising \"Live Grooves, Cocktails and Dancing,\" music bursts onto the sidewalk as local emcees with varying skills take turns on the mic, honoring the hip-hop artists who came before them.\u003c/p>\n\u003cp>Opening \u003ca href=\"http://www.sfweekly.com/shookdown/2013/10/24/dj-kevvy-kev-on-djing-for-the-rza-playing-chess-onstage-and-the-decline-of-commercial-radio\" target=\"_blank\">DJ Kevvy Kev\u003c/a> has been spinning records in the Bay Area for over 30 years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"ROTC is something that needed to happen, so we built it,” Kev explains. “And the response has been really, really cool. It’s been gratifying to see the response. It’s my favorite thing that I do every week.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/250267435\" 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>DJing wasn’t a part of Kev's plan when he moved to California in the early 1980s to attend Stanford University. His initial goal was to graduate with a degree in chemical engineering, but everything suddenly changed when he studied abroad.\u003c/p>\n\u003cp>“My junior year I went over to France for a quarter. This was the year hip-hop was exploding overseas,” Kev says. “So my timing was exact. I went over there, and it was the first time that anyone reacted to me as the hip-hop guy. It meant something to be a DJ, an emcee or a B-Boy. They were really into the culture over there, so I started thinking in terms of maybe this isn’t the plan B, maybe chemistry is the plan B.\"\u003c/p>\n\u003cfigure id=\"attachment_10885288\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10885288\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/KevvyKev-800x1078.jpg\" alt=\"DJ Kevvy Kev\" width=\"800\" height=\"1078\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/KevvyKev.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/KevvyKev-400x539.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Kevvy Kev \u003ccite>(cgnsfo/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kev hasn’t put the turntable down since. After returning to Stanford he began DJing for the university’s hip-hop radio show, \"The Drum,\" \u003ca href=\"http://www.amoeba.com/blog/2008/11/jamoeblog/interview-with-kevvy-kev-host-of-world-s-longest-running-hip-hop-radio-show-the-drum-on-kzsu-stanford.html\" target=\"_blank\">where he continued DJing for 27 years\u003c/a>.\u003c/p>\n\u003cp>Back at the Boom Boom Room on Fillmore Street, Kev wraps up his first set and makes room for the Gemstone Band, who take over and keep the rhythm going for the rest of the Cypher.\u003c/p>\n\u003cp>Cyphers are unique events, dating back to the late 1970s when rappers, beat-boxers and dancers would gather in a circle and take turns showing off their skills in one big open jam session.\u003c/p>\n\u003cp>ROTC’s Cypher works a little differently. Rappers get one minute to freestyle onstage. A head emcee keeps the time on an old school hourglass sand timer and passes along the mic to the next rapper when time runs out. Performers can go back on stage, but they’ll have to get in line among the many waiting. Meanwhile, the band just keeps playing, seamlessly changing the beat every few minutes.\u003c/p>\n\u003cfigure id=\"attachment_10879343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10879343\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/CypherMC-800x568.jpg\" alt=\"A local hip-hop artist takes the stage at the Boom Boom Room in San Francisco at Return of the Cypher.\" width=\"800\" height=\"568\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-800x568.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-400x284.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-1180x838.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-960x682.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A local hip-hop artist takes the stage at the Boom Boom Room in San Francisco at Return of the Cypher. \u003ccite>(Alex Cwalinski/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are also some great dancers who bust out some impressive moves. “Just about every week there's somebody that gets open on the floor and starts spinning on their neck,” Kev says.\u003c/p>\n\u003cp>The event is very inclusive and I didn’t see anyone getting turned away from the mic.\u003c/p>\n\u003cp>Local hip-hop artist Flo J. Simpson has been coming to ROTC for about a year now, and he told me why he keeps coming back.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I really believe it’s the positivity and the atmosphere that’s created, where everyone feels comfortable expressing themselves, however they do it,” he said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every Sunday night for the last two years, San Francisco's \u003ca href=\"http://www.boomboomroom.com/\" target=\"_blank\">Boom Boom Room\u003c/a> has played host to \u003ca href=\"https://www.facebook.com/SFCypher/\" target=\"_blank\">Return of the Cypher\u003c/a>, or ROTC for short.\u003c/p>\n\u003cp>The event's website describes it as a show that “features amazing local freestyle artists taking the stage in improvised sessions, known as Cyphers, where emcees, singers, beat-boxers and musicians collaborate in a spontaneous combustion of pure skill.”\u003c/p>\n\u003cfigure id=\"attachment_10879268\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10879268\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/FloJSimpson-800x548.jpg\" alt=\"Hip-Hop artist Flo J Simpson takes the stage at the Boom Boom Room in San Francisco. The Sunday night Return of the Cypher event draws rappers from across the Bay Area.\" width=\"800\" height=\"548\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-800x548.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-960x658.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hip-hop artist Flo J. Simpson takes the stage at the Boom Boom Room in San Francisco. The Sunday night Return of the Cypher event draws rappers from across the Bay Area. \u003ccite>(Alex Cwalinski/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I checked it out one Sunday night to see for myself.\u003c/p>\n\u003cp>Under a pink neon sign advertising \"Live Grooves, Cocktails and Dancing,\" music bursts onto the sidewalk as local emcees with varying skills take turns on the mic, honoring the hip-hop artists who came before them.\u003c/p>\n\u003cp>Opening \u003ca href=\"http://www.sfweekly.com/shookdown/2013/10/24/dj-kevvy-kev-on-djing-for-the-rza-playing-chess-onstage-and-the-decline-of-commercial-radio\" target=\"_blank\">DJ Kevvy Kev\u003c/a> has been spinning records in the Bay Area for over 30 years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"ROTC is something that needed to happen, so we built it,” Kev explains. “And the response has been really, really cool. It’s been gratifying to see the response. It’s my favorite thing that I do every week.\"\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/250267435&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/250267435'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>DJing wasn’t a part of Kev's plan when he moved to California in the early 1980s to attend Stanford University. His initial goal was to graduate with a degree in chemical engineering, but everything suddenly changed when he studied abroad.\u003c/p>\n\u003cp>“My junior year I went over to France for a quarter. This was the year hip-hop was exploding overseas,” Kev says. “So my timing was exact. I went over there, and it was the first time that anyone reacted to me as the hip-hop guy. It meant something to be a DJ, an emcee or a B-Boy. They were really into the culture over there, so I started thinking in terms of maybe this isn’t the plan B, maybe chemistry is the plan B.\"\u003c/p>\n\u003cfigure id=\"attachment_10885288\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10885288\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/KevvyKev-800x1078.jpg\" alt=\"DJ Kevvy Kev\" width=\"800\" height=\"1078\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/KevvyKev.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/KevvyKev-400x539.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Kevvy Kev \u003ccite>(cgnsfo/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kev hasn’t put the turntable down since. After returning to Stanford he began DJing for the university’s hip-hop radio show, \"The Drum,\" \u003ca href=\"http://www.amoeba.com/blog/2008/11/jamoeblog/interview-with-kevvy-kev-host-of-world-s-longest-running-hip-hop-radio-show-the-drum-on-kzsu-stanford.html\" target=\"_blank\">where he continued DJing for 27 years\u003c/a>.\u003c/p>\n\u003cp>Back at the Boom Boom Room on Fillmore Street, Kev wraps up his first set and makes room for the Gemstone Band, who take over and keep the rhythm going for the rest of the Cypher.\u003c/p>\n\u003cp>Cyphers are unique events, dating back to the late 1970s when rappers, beat-boxers and dancers would gather in a circle and take turns showing off their skills in one big open jam session.\u003c/p>\n\u003cp>ROTC’s Cypher works a little differently. Rappers get one minute to freestyle onstage. A head emcee keeps the time on an old school hourglass sand timer and passes along the mic to the next rapper when time runs out. Performers can go back on stage, but they’ll have to get in line among the many waiting. Meanwhile, the band just keeps playing, seamlessly changing the beat every few minutes.\u003c/p>\n\u003cfigure id=\"attachment_10879343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10879343\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/CypherMC-800x568.jpg\" alt=\"A local hip-hop artist takes the stage at the Boom Boom Room in San Francisco at Return of the Cypher.\" width=\"800\" height=\"568\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-800x568.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-400x284.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-1180x838.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-960x682.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A local hip-hop artist takes the stage at the Boom Boom Room in San Francisco at Return of the Cypher. \u003ccite>(Alex Cwalinski/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are also some great dancers who bust out some impressive moves. “Just about every week there's somebody that gets open on the floor and starts spinning on their neck,” Kev says.\u003c/p>\n\u003cp>The event is very inclusive and I didn’t see anyone getting turned away from the mic.\u003c/p>\n\u003cp>Local hip-hop artist Flo J. Simpson has been coming to ROTC for about a year now, and he told me why he keeps coming back.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I really believe it’s the positivity and the atmosphere that’s created, where everyone feels comfortable expressing themselves, however they do it,” he said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I don’t think I’m going out on a limb here by saying it’s been a wacky presidential primary season. And while reasonable minds can disagree on immigration policy, we can all agree that \u003ca href=\"https://www.youtube.com/watch?v=Yi33KkhKRWs\">lots of ugly things\u003c/a> are being said about immigrants.\u003c/p>\n\u003cp>For some insight, I turned to an unlikely source: \u003ca href=\"http://www.fox.com/watch/594219587792/7765855488\">“Bordertown.”\u003c/a> It’s an animated sitcom on Fox, set in the fictional bordertown of Mexifornia. It’s basically a comedy about immigration.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/249017415″ 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>In the \u003ca href=\"http://www.fox.com/watch/598904899611/7765855488\">second episode\u003c/a>, Mexifornia residents congregate at a town hall meeting to discuss what to do with a $10 million windfall to the city budget.\u003c/p>\n\u003cp>“I think it should go toward building a border wall,” suggests Bud Buckwald, a border patrol agent and one of the show’s main characters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sound familiar?\u003c/p>\n\u003cp>http://www.fox.com/watch/598904899611/7765855488\u003c/p>\n\u003cp>“We wrote the show two years ago, before Donald Trump,” says \u003ca href=\"http://laloalcaraz.com/\">Lalo Alcaraz\u003c/a>, a writer and consultant on “Bordertown.”\u003c/p>\n\u003cp>America has been going through a huge demographic shift, and this election season is bringing the huge rifts it’s created into stark relief. Alcaraz, a longtime political cartoonist in Los Angeles, says animated comedy could be the best way for us to address these controversial topics head-on.\u003c/p>\n\u003cp>This wouldn’t be the first time Americans turned to comedy during times of social upheaval. “Bordertown” creator \u003ca href=\"http://www.imdb.com/name/nm0378262/\" target=\"_blank\" rel=\"noopener\">Mark Hentemann\u003c/a> modeled his animated sitcom on \u003ca href=\"http://www.imdb.com/title/tt0066626/\">“All in the Family.”\u003c/a> The legendary sitcom was set in the 1970s, in the midst of the Civil Rights Movement.\u003c/p>\n\u003cfigure id=\"attachment_10883078\" class=\"wp-caption alignright\" style=\"max-width: 436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10883078\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-800x940.jpg\" alt='Lalo Alcaraz, writer, cartoonist and consultant on \"Bordertown.\"' width=\"436\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-800x940.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-400x470.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-1180x1387.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-960x1128.jpg 960w\" sizes=\"(max-width: 436px) 100vw, 436px\">\u003cfigcaption class=\"wp-caption-text\">Lalo Alcaraz, writer, cartoonist and consultant on “Bordertown.” \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Back in the ‘All In the Family’ days in the ’70s, Archie Bunker was complaining about Black Power, feminism, the emerging gay rights movement,” Alcaraz says. “This is an updated version, and set in a place where we can talk about those things.”\u003c/p>\n\u003cp>While “All In the Family” was based in Queens and focused on urban issues, “Bordertown” is set on the outskirts of America. But the issues it raises are at the center of our political debate.\u003c/p>\n\u003cp>The show is based on two families, the Buckwalds and Gonzalezes. They are next-door neighbors. The Buckwalds are headed by Bud, who is a border patrol agent. And Ernesto, a gardener, is the patriarch of his clan.\u003c/p>\n\u003cp>“Bud Buckwald, who’s kind of a bigoted Archie Bunker-ish white guy,” Alcaraz says. “He feels out of sorts. He feels like his world has changed and can’t cope with the new reality that is the U.S.”\u003c/p>\n\u003cp>In one episode, Bud Buckwald bemoans what he sees, as his status declines in an increasingly diverse America.\u003c/p>\n\u003cp>“You know I was always told if I worked for the man long enough, eventually I’d become the man,” Buckwald says. “Well, I’ve been working at that station for 20 years but I ain’t the man. Steve is. Even Ernesto is the boss of his grass thingy. It’s like the Mexican has become the man and I’ve become the Mexican.”\u003c/p>\n\u003cp>And Bud’s Mexican immigrant neighbor, Ernesto?\u003c/p>\n\u003cfigure id=\"attachment_10883241\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/BordertownDriving-800x510.jpg\" alt=\"Bud (L) is enraged when he finds out that his daughter is engaged to J.C., Ernesto’s nephew.\" width=\"800\" height=\"510\" class=\"size-medium wp-image-10883241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-1180x752.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-960x612.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bud (L) is enraged when he finds out that his daughter is engaged to J.C., Ernesto’s nephew. \u003ccite>(Courtesy Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Ernesto Gonzalez has been in the U.S. for 25 years or so and is doing a little bit better than Bud, and Bud cannot deal with that,” Alcaraz says.\u003c/p>\n\u003cp>But like all the characters in “Bordertown,” and really, in much of America, Ernesto’s views on immigration are not easily understood.\u003c/p>\n\u003cp>In the episode about the border wall, Ernesto’s nephew urges him to speak out against it. Ernesto obliges and starts by telling the crowd, “I came to the U.S. where everybody’s voice can be heard and counted.”\u003c/p>\n\u003cp>Alcaraz says you think Ernesto is going to give an inspiring speech about how great America is, but it quickly devolves.\u003c/p>\n\u003cp>Ernesto hails America’s democratic process. It might not be perfect, he says, but it’s better than the government he left behind. And then he ends his speech by saying, “So in conclusion, Gonzalez landscaping, we love you lawn time!”\u003c/p>\n\u003cp>Alcaraz says the scene is a riff on how immigrants may have a political point of view, but at the end of the day they’re very practical people.\u003c/p>\n\u003cp>http://www.fox.com/watch/592630339703/7765855488\u003c/p>\n\u003cp>“In animation and cartoons, I firmly believe you can say so much more that you can’t in live action or boring old essays,” Alcaraz says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The jury is still out as to whether audiences agree, and there’s no word yet if “Bordertown” will get a second season. But a Trump presidency might make a second season too irresistible to pass up.\u003c/p>\n\n",
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"title": "How the Comedy of ‘Bordertown’ Nails Immigration Tensions | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I don’t think I’m going out on a limb here by saying it’s been a wacky presidential primary season. And while reasonable minds can disagree on immigration policy, we can all agree that \u003ca href=\"https://www.youtube.com/watch?v=Yi33KkhKRWs\">lots of ugly things\u003c/a> are being said about immigrants.\u003c/p>\n\u003cp>For some insight, I turned to an unlikely source: \u003ca href=\"http://www.fox.com/watch/594219587792/7765855488\">“Bordertown.”\u003c/a> It’s an animated sitcom on Fox, set in the fictional bordertown of Mexifornia. It’s basically a comedy about immigration.\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/249017415″&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/249017415″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In the \u003ca href=\"http://www.fox.com/watch/598904899611/7765855488\">second episode\u003c/a>, Mexifornia residents congregate at a town hall meeting to discuss what to do with a $10 million windfall to the city budget.\u003c/p>\n\u003cp>“I think it should go toward building a border wall,” suggests Bud Buckwald, a border patrol agent and one of the show’s main characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sound familiar?\u003c/p>\n\u003cp>http://www.fox.com/watch/598904899611/7765855488\u003c/p>\n\u003cp>“We wrote the show two years ago, before Donald Trump,” says \u003ca href=\"http://laloalcaraz.com/\">Lalo Alcaraz\u003c/a>, a writer and consultant on “Bordertown.”\u003c/p>\n\u003cp>America has been going through a huge demographic shift, and this election season is bringing the huge rifts it’s created into stark relief. Alcaraz, a longtime political cartoonist in Los Angeles, says animated comedy could be the best way for us to address these controversial topics head-on.\u003c/p>\n\u003cp>This wouldn’t be the first time Americans turned to comedy during times of social upheaval. “Bordertown” creator \u003ca href=\"http://www.imdb.com/name/nm0378262/\" target=\"_blank\" rel=\"noopener\">Mark Hentemann\u003c/a> modeled his animated sitcom on \u003ca href=\"http://www.imdb.com/title/tt0066626/\">“All in the Family.”\u003c/a> The legendary sitcom was set in the 1970s, in the midst of the Civil Rights Movement.\u003c/p>\n\u003cfigure id=\"attachment_10883078\" class=\"wp-caption alignright\" style=\"max-width: 436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10883078\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-800x940.jpg\" alt='Lalo Alcaraz, writer, cartoonist and consultant on \"Bordertown.\"' width=\"436\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-800x940.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-400x470.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-1180x1387.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-960x1128.jpg 960w\" sizes=\"(max-width: 436px) 100vw, 436px\">\u003cfigcaption class=\"wp-caption-text\">Lalo Alcaraz, writer, cartoonist and consultant on “Bordertown.” \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Back in the ‘All In the Family’ days in the ’70s, Archie Bunker was complaining about Black Power, feminism, the emerging gay rights movement,” Alcaraz says. “This is an updated version, and set in a place where we can talk about those things.”\u003c/p>\n\u003cp>While “All In the Family” was based in Queens and focused on urban issues, “Bordertown” is set on the outskirts of America. But the issues it raises are at the center of our political debate.\u003c/p>\n\u003cp>The show is based on two families, the Buckwalds and Gonzalezes. They are next-door neighbors. The Buckwalds are headed by Bud, who is a border patrol agent. And Ernesto, a gardener, is the patriarch of his clan.\u003c/p>\n\u003cp>“Bud Buckwald, who’s kind of a bigoted Archie Bunker-ish white guy,” Alcaraz says. “He feels out of sorts. He feels like his world has changed and can’t cope with the new reality that is the U.S.”\u003c/p>\n\u003cp>In one episode, Bud Buckwald bemoans what he sees, as his status declines in an increasingly diverse America.\u003c/p>\n\u003cp>“You know I was always told if I worked for the man long enough, eventually I’d become the man,” Buckwald says. “Well, I’ve been working at that station for 20 years but I ain’t the man. Steve is. Even Ernesto is the boss of his grass thingy. It’s like the Mexican has become the man and I’ve become the Mexican.”\u003c/p>\n\u003cp>And Bud’s Mexican immigrant neighbor, Ernesto?\u003c/p>\n\u003cfigure id=\"attachment_10883241\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/BordertownDriving-800x510.jpg\" alt=\"Bud (L) is enraged when he finds out that his daughter is engaged to J.C., Ernesto’s nephew.\" width=\"800\" height=\"510\" class=\"size-medium wp-image-10883241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-1180x752.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-960x612.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bud (L) is enraged when he finds out that his daughter is engaged to J.C., Ernesto’s nephew. \u003ccite>(Courtesy Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Ernesto Gonzalez has been in the U.S. for 25 years or so and is doing a little bit better than Bud, and Bud cannot deal with that,” Alcaraz says.\u003c/p>\n\u003cp>But like all the characters in “Bordertown,” and really, in much of America, Ernesto’s views on immigration are not easily understood.\u003c/p>\n\u003cp>In the episode about the border wall, Ernesto’s nephew urges him to speak out against it. Ernesto obliges and starts by telling the crowd, “I came to the U.S. where everybody’s voice can be heard and counted.”\u003c/p>\n\u003cp>Alcaraz says you think Ernesto is going to give an inspiring speech about how great America is, but it quickly devolves.\u003c/p>\n\u003cp>Ernesto hails America’s democratic process. It might not be perfect, he says, but it’s better than the government he left behind. And then he ends his speech by saying, “So in conclusion, Gonzalez landscaping, we love you lawn time!”\u003c/p>\n\u003cp>Alcaraz says the scene is a riff on how immigrants may have a political point of view, but at the end of the day they’re very practical people.\u003c/p>\n\u003cp>http://www.fox.com/watch/592630339703/7765855488\u003c/p>\n\u003cp>“In animation and cartoons, I firmly believe you can say so much more that you can’t in live action or boring old essays,” Alcaraz says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The jury is still out as to whether audiences agree, and there’s no word yet if “Bordertown” will get a second season. But a Trump presidency might make a second season too irresistible to pass up.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'Salt Into the Wound': Why Anohni Is Skipping the Oscars",
"title": "'Salt Into the Wound': Why Anohni Is Skipping the Oscars",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>What was behind the decision not to invite the artists behind two tunes nominated for Best Original Song to perform on Sunday night's Academy Awards broadcast?\u003c/p>\n\u003cp>One of the snubbed musicians is singer and lyricist \u003ca href=\"http://anohni.com/\" target=\"_blank\">Anohni\u003c/a>, whose song \"Manta Ray,\" with music by J. Ralph appears in the documentary \u003cem>Racing Extinction.\u003c/em> On Thursday, she published a heartfelt \u003ca href=\"http://antonyandthejohnsons.com/news/news.html\" target=\"_blank\">essay\u003c/a> on why she feels she was left out — and why she has decided not to attend the ceremony at all.\u003c/p>\n\u003cp>\u003cem>Variety\u003c/em> \u003ca href=\"http://variety.com/2016/film/in-contention/oscars-song-performances-youth-racing-extinction-1201710638/\" target=\"_blank\">reported\u003c/a> last week that both \"Manta Ray\" and Pulitzer Prize-winning American composer \u003ca href=\"http://www.npr.org/artists/120995816/david-lang\" target=\"_blank\">David Lang\u003c/a>'s \"Simple Song #3,\" sung by Grammy-winning soprano \u003ca href=\"http://www.npr.org/artists/16320515/sumi-jo\" target=\"_blank\">Sumi Jo\u003c/a>, were being omitted from the broadcast due to \"time constraints.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=f1JiJhWkM9M\u003c/p>\n\u003cp>However, the three other nominated artists — \u003ca href=\"http://www.npr.org/artists/120001078/lady-gaga\" target=\"_blank\">Lady Gaga\u003c/a>, \u003ca href=\"http://www.npr.org/artists/384927706/sam-smith\" target=\"_blank\">Sam Smith\u003c/a>, and \u003ca href=\"http://www.npr.org/artists/135036318/the-weeknd\" target=\"_blank\">The Weeknd\u003c/a> — will be \u003ca href=\"http://oscar.go.com/news/oscar-news/oscars-2016-presenters-and-performers-the-complete-list\" target=\"_blank\">singing\u003c/a> on Sunday evening, as will Foo Fighters frontman \u003ca href=\"http://www.npr.org/artists/173424658/dave-grohl\" target=\"_blank\">Dave Grohl\u003c/a> in a \"special performance.\" The Weeknd's \"Earned It,\" from \u003cem>Fifty Shades of Grey, \u003c/em>became a Top 3 \u003ca href=\"http://www.billboard.com/artist/419413/weeknd/chart?page=1&f=379\" target=\"_blank\">hit\u003c/a> on the \u003cem>Billboard \u003c/em>Hot 100 chart, and \"Writing's On The Wall,\" co-written by Sam Smith and Jimmy Nape, became the first James Bond movie theme to ever reach \u003ca href=\"http://www.officialcharts.com/chart-news/sam-smith-makes-history-with-first-ever-official-number-1-james-bond-theme-this-is-a-special-moment-i-ll-never-forget-__10891/\" target=\"_blank\">No. 1\u003c/a> on the British charts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Til It Happens to You,\" the song co-written by Lady Gaga and \u003ca href=\"http://www.npr.org/artists/127988436/diane-warren\" target=\"_blank\">Diane Warren\u003c/a> for the documentary \u003cem>The Hunting Ground\u003c/em>, hasn't made any headway on the American or British charts, but Gaga has been a staple during this awards telecast season, particularly after her Grammy Awards \u003ca href=\"http://www.npr.org/2016/02/21/467269601/it-changes-you-forever-lady-gaga-on-david-bowie-and-being-brave\" target=\"_blank\">tribute\u003c/a> to David Bowie earlier this month.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/therecord/2012/08/06/158237793/antonys-future-feminism-stage-banter-as-statement-of-purpose\" target=\"_blank\">Formerly known as\u003c/a> Antony (of \u003ca href=\"http://www.npr.org/artists/15239231/antony-and-the-johnsons\" target=\"_blank\">Antony and the Johnsons\u003c/a>), Anohni writes that she feels humiliated by the Academy's decision: \"There I was, feeling a sting of shame that reminded me of America's earliest affirmations of my inadequacy as a transperson.\"\u003c/p>\n\u003cp>But, she adds, she thinks that there is another issue at play:\u003c/p>\n\u003cblockquote>\n\u003cp>\"I want to be clear — I know that I wasn't excluded from the performance directly because I am transgendered. I was not invited to perform because I am relatively unknown in the U.S., singing a song about ecocide, and that might not sell advertising space. It is not me that is picking the performers for the night, and I know that I don't have an automatic right to be asked.\u003c/p>\n\u003cp>But if you trace the trail of breadcrumbs, the deeper truth of it is impossible to ignore. Like global warming, it is not one isolated event, but a series of events that occur over years to create a system that has sought to undermine me, at first as a feminine child, and later as an androgynous transwoman. It is a system of social oppression and diminished opportunities for transpeople that has been employed by capitalism in the U.S. to crush our dreams and our collective spirit.\"\u003c/p>\n\u003c/blockquote>\n\u003cp>She added some stinging words for those artists, actors and other people who are participating in this year's ceremony: \"I will not be lulled into submission with a few more well manufactured, feel-good ballads and a bit of good old fashioned T. and A. They are going to try to convince us that they have our best interests at heart by waving flags for identity politics and fake moral issues. But don't forget that many of these celebrities are the trophies of billionaire corporations whose only intention it is to manipulate you into giving them your consent and the last of your money.\"\u003c/p>\n\u003cp>Anohni is the first transgendered performer ever nominated for an Oscar, but not the first transgendered artist. In the 1970s, the late composer Angela Morley was nominated for scores to \u003cem>The Little Prince\u003c/em> and \u003cem>The Slipper and the Rose\u003c/em>.\u003c/p>\n\u003cp>[contextly_sidebar id=\"y9KvQtaAGcLOjPzagrLi7NblGmZbxaxg\"]\u003c/p>\n\u003cp>As the British-born Morley wrote in an essay on her \u003ca href=\"http://www.angelamorley.com/site/bio.htm\" target=\"_blank\">website\u003c/a>, she was thrilled by how she was received in Hollywood: \"I went to California on both occasions to attend the Oscar ceremonies. The wonderfully warm and generous way that I was made to feel at home there by my American colleagues and friends resulted in my being rather seduced by the California lifestyle and I soon returned with the intention of staying.\"\u003c/p>\n\u003cp>Over the past several years, there have been a few instances of certain Oscar-nominated songs not being performed on the live broadcast. In \u003ca href=\"http://deadline.com/2010/02/oscar-spoilers-best-original-song-artists-not-performing-25443/\" target=\"_blank\">2010\u003c/a> and \u003ca href=\"http://carpetbagger.blogs.nytimes.com/2012/02/08/without-man-or-muppet-singing-pharrell-williams-has-other-options/?_r=0\" target=\"_blank\">2012\u003c/a>, no nominated songs were given live performance airtime.\u003c/p>\n\u003cp>David Lang declined to comment for this story. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What was behind the decision not to invite the artists behind two tunes nominated for Best Original Song to perform on Sunday night's Academy Awards broadcast?\u003c/p>\n\u003cp>One of the snubbed musicians is singer and lyricist \u003ca href=\"http://anohni.com/\" target=\"_blank\">Anohni\u003c/a>, whose song \"Manta Ray,\" with music by J. Ralph appears in the documentary \u003cem>Racing Extinction.\u003c/em> On Thursday, she published a heartfelt \u003ca href=\"http://antonyandthejohnsons.com/news/news.html\" target=\"_blank\">essay\u003c/a> on why she feels she was left out — and why she has decided not to attend the ceremony at all.\u003c/p>\n\u003cp>\u003cem>Variety\u003c/em> \u003ca href=\"http://variety.com/2016/film/in-contention/oscars-song-performances-youth-racing-extinction-1201710638/\" target=\"_blank\">reported\u003c/a> last week that both \"Manta Ray\" and Pulitzer Prize-winning American composer \u003ca href=\"http://www.npr.org/artists/120995816/david-lang\" target=\"_blank\">David Lang\u003c/a>'s \"Simple Song #3,\" sung by Grammy-winning soprano \u003ca href=\"http://www.npr.org/artists/16320515/sumi-jo\" target=\"_blank\">Sumi Jo\u003c/a>, were being omitted from the broadcast due to \"time constraints.\"\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/f1JiJhWkM9M'\n title='//www.youtube.com/embed/f1JiJhWkM9M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>However, the three other nominated artists — \u003ca href=\"http://www.npr.org/artists/120001078/lady-gaga\" target=\"_blank\">Lady Gaga\u003c/a>, \u003ca href=\"http://www.npr.org/artists/384927706/sam-smith\" target=\"_blank\">Sam Smith\u003c/a>, and \u003ca href=\"http://www.npr.org/artists/135036318/the-weeknd\" target=\"_blank\">The Weeknd\u003c/a> — will be \u003ca href=\"http://oscar.go.com/news/oscar-news/oscars-2016-presenters-and-performers-the-complete-list\" target=\"_blank\">singing\u003c/a> on Sunday evening, as will Foo Fighters frontman \u003ca href=\"http://www.npr.org/artists/173424658/dave-grohl\" target=\"_blank\">Dave Grohl\u003c/a> in a \"special performance.\" The Weeknd's \"Earned It,\" from \u003cem>Fifty Shades of Grey, \u003c/em>became a Top 3 \u003ca href=\"http://www.billboard.com/artist/419413/weeknd/chart?page=1&f=379\" target=\"_blank\">hit\u003c/a> on the \u003cem>Billboard \u003c/em>Hot 100 chart, and \"Writing's On The Wall,\" co-written by Sam Smith and Jimmy Nape, became the first James Bond movie theme to ever reach \u003ca href=\"http://www.officialcharts.com/chart-news/sam-smith-makes-history-with-first-ever-official-number-1-james-bond-theme-this-is-a-special-moment-i-ll-never-forget-__10891/\" target=\"_blank\">No. 1\u003c/a> on the British charts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Til It Happens to You,\" the song co-written by Lady Gaga and \u003ca href=\"http://www.npr.org/artists/127988436/diane-warren\" target=\"_blank\">Diane Warren\u003c/a> for the documentary \u003cem>The Hunting Ground\u003c/em>, hasn't made any headway on the American or British charts, but Gaga has been a staple during this awards telecast season, particularly after her Grammy Awards \u003ca href=\"http://www.npr.org/2016/02/21/467269601/it-changes-you-forever-lady-gaga-on-david-bowie-and-being-brave\" target=\"_blank\">tribute\u003c/a> to David Bowie earlier this month.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/therecord/2012/08/06/158237793/antonys-future-feminism-stage-banter-as-statement-of-purpose\" target=\"_blank\">Formerly known as\u003c/a> Antony (of \u003ca href=\"http://www.npr.org/artists/15239231/antony-and-the-johnsons\" target=\"_blank\">Antony and the Johnsons\u003c/a>), Anohni writes that she feels humiliated by the Academy's decision: \"There I was, feeling a sting of shame that reminded me of America's earliest affirmations of my inadequacy as a transperson.\"\u003c/p>\n\u003cp>But, she adds, she thinks that there is another issue at play:\u003c/p>\n\u003cblockquote>\n\u003cp>\"I want to be clear — I know that I wasn't excluded from the performance directly because I am transgendered. I was not invited to perform because I am relatively unknown in the U.S., singing a song about ecocide, and that might not sell advertising space. It is not me that is picking the performers for the night, and I know that I don't have an automatic right to be asked.\u003c/p>\n\u003cp>But if you trace the trail of breadcrumbs, the deeper truth of it is impossible to ignore. Like global warming, it is not one isolated event, but a series of events that occur over years to create a system that has sought to undermine me, at first as a feminine child, and later as an androgynous transwoman. It is a system of social oppression and diminished opportunities for transpeople that has been employed by capitalism in the U.S. to crush our dreams and our collective spirit.\"\u003c/p>\n\u003c/blockquote>\n\u003cp>She added some stinging words for those artists, actors and other people who are participating in this year's ceremony: \"I will not be lulled into submission with a few more well manufactured, feel-good ballads and a bit of good old fashioned T. and A. They are going to try to convince us that they have our best interests at heart by waving flags for identity politics and fake moral issues. But don't forget that many of these celebrities are the trophies of billionaire corporations whose only intention it is to manipulate you into giving them your consent and the last of your money.\"\u003c/p>\n\u003cp>Anohni is the first transgendered performer ever nominated for an Oscar, but not the first transgendered artist. In the 1970s, the late composer Angela Morley was nominated for scores to \u003cem>The Little Prince\u003c/em> and \u003cem>The Slipper and the Rose\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As the British-born Morley wrote in an essay on her \u003ca href=\"http://www.angelamorley.com/site/bio.htm\" target=\"_blank\">website\u003c/a>, she was thrilled by how she was received in Hollywood: \"I went to California on both occasions to attend the Oscar ceremonies. The wonderfully warm and generous way that I was made to feel at home there by my American colleagues and friends resulted in my being rather seduced by the California lifestyle and I soon returned with the intention of staying.\"\u003c/p>\n\u003cp>Over the past several years, there have been a few instances of certain Oscar-nominated songs not being performed on the live broadcast. In \u003ca href=\"http://deadline.com/2010/02/oscar-spoilers-best-original-song-artists-not-performing-25443/\" target=\"_blank\">2010\u003c/a> and \u003ca href=\"http://carpetbagger.blogs.nytimes.com/2012/02/08/without-man-or-muppet-singing-pharrell-williams-has-other-options/?_r=0\" target=\"_blank\">2012\u003c/a>, no nominated songs were given live performance airtime.\u003c/p>\n\u003cp>David Lang declined to comment for this story. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "3 New Jazz Albums by California Artists: Brian Andres, David James, Kneedelus",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>California continues to serve as a musical laboratory for catalytic collaborations. Three recent releases bring musicians together in very different ways while all arriving at fascinating destinations.\u003c/p>\n\u003cp>\u003ca href=\"http://www.brianandres.com/afro-cuban-jazz-cartel\">Drummer Brian Andres\u003c/a> and the Afro-Cuban Jazz Cartel is a talent-laden ensemble that has steadily expanded its rhythmic purview over the past decade. \u003c/p>\n\u003caside class=\"alignright\">\n[soundcloud url=\"https://api.soundcloud.com/tracks/249103637\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003cbr>\n\u003c/aside>\n\u003cp>With its third album, \"This Could Be That,\" the band delivers a consistently smart and entertaining program of Latin jazz and salsa. The Cartel’s core octet features some of the strongest players on the Bay Area scene, including a bevy of noted bandleaders (like \u003ca href=\"http://orquestadharma.com\">trombonist Jamie Dubberly\u003c/a>, and the co-leaders, Grammy Award-winning \u003ca href=\"http://www.pacificmambo.com\">Pacific Mambo Orchestra\u003c/a>, pianist Christian Tumalan and trumpeter Steffen Kuehn).\u003c/p>\n\u003cp>Just about every track features a noted guest artist, including Cuban-American vocalist \u003ca href=\"http://www.venissasanti.com\">Venissa Santi\u003c/a>, bata master \u003ca href=\"http://www.michaelspiro.com\">Michael Spiro\u003c/a>, Peruvian percussion star Alex Acuña and percussion maestro \u003ca href=\"http://johnsantos.com\">John Santos\u003c/a>. But what I love most about this band is the way it’s become a community affair in the Bay Area’s bustling Latin jazz scene. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TsVz3XzZBRg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Players who don’t perform regularly with the band are eager to contribute arrangements, like bassist Saul Sierra’s tasty version of late Cuban percussion legend Daniel Ponce’s “Bacalaitos,” a chart that celebrates the cultural kinship between Cuba and Puerto Rico (with an assist from Fania All-Stars percussion great \u003ca href=\"http://www.mazacote.com\">Louie Romero\u003c/a>). For blazing Latin jazz, it’s hard to beat Tumalan’s concise version of Chick Corea’s fusion flag-waver “Got a Match?”\u003c/p>\n\u003cp>\u003cem> \u003cimg class=\"alignnone size-medium wp-image-10879047\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/JamesCover-800x600.jpg\" alt=\"JamesCover\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>If Andres and the Afro-Cuban Jazz Cartel is busy lighting fires, guitarist \u003ca href=\"http://www.heydavidjames.com\">David James's GPS\u003c/a> demonstrate the power of cool on \"Billionaire Blues.\" James is a veteran sideman who has done memorable work in an array of contexts, including Michael Franti and Spearhead, Sila and the Afrofunk Experience, and the \u003ca href=\"http://bethcuster.com\">Beth Custer Ensemble\u003c/a> (he's still performing with the latter two ). \u003c/p>\n\u003cp>After three decades of elevating other bandleaders’ projects, he’s put out his first album. And it’s a stunner.\u003c/p>\n\u003cp>James is known as a groove master, and there are some fierce ones on \"Billionaire Blues,\" but he’s more interested in creating long sinuous melodies and transparent textures than displaying his rhythmic chops. The album explores an array of styles, from the lithe reggae of “Rubber Foot” and the sinewy bop of “Obama Hop” to the playfully cartoonish bounce of “Wag the Puppy” and the elegant Afrobeat of “Black Ops.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E55fb4850Mo\u003c/p>\n\u003cp>What makes the album cohere so beautifully is James’ uncluttered orchestrations. He makes brilliant use of his cast, creating spacious arrangements that leave plenty of space for his enviable cast of violist Dina Maccabee, bassist Lisa Mezzacappa, clarinetist Beth Custer, trombonist Alan Williams and drummer Jan Jackson (half of GPS — James, Jackson and Custer — can also be found in the Beth Custer Ensemble, as can entirely different versions of “Wag the Puppy” and “Black Ops” on her excellent new album \"For the Grace of Any Man\"). \u003c/p>\n\u003cp>A striking achievement by a player who’s been in the background far too long, \"Billionaire Blues\" is my favorite album of the year so far.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-10879048\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/kneedelus-main-800x800.jpg\" alt=\"kneedelus-main\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Where James’ album seemed to come out of nowhere, the collaboration between the great avant funk jazz combo \u003ca href=\"http://www.kneebody.com\">Kneebody\u003c/a> and Los Angeles producer and beat master \u003ca href=\"http://daedelusmusic.com\">Daedalus\u003c/a> (aka Alfred Darlington) comes with a great deal of history. A digital release on \u003ca href=\"http://www.brainfeedersite.com\">Brainfeeder\u003c/a>, the creatively charged L.A. label responsible for saxophonist Kamasi Washington’s 2015 breakout \"The Epic,\" \"Kneedelus\" is the latest and most extensive encounter between artists with ties dating back to high school (where Kneebody saxophonist Ben Wendel and Darlington first met).\u003c/p>\n\u003cp>Some of the music has a celestial Miles Davis \"In A Silent Way\" vibe, and other times it brings to mind the space funk of Herbie Hancock’s Mwandishi band. But there’s nothing retro about \"Kneedelus.\" \u003c/p>\n\u003cp>I love the way the push and pull of sound manipulation keeps me off balance. Kneebody has honed an expansive sonic palette wedded to a menagerie of circuitous grooves unlike any other band, and with Daedalus subtly manipulating the proceedings it’s a truly seamless merging of sensibilities.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LKq0Kv7GlgU\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I see a \"Daedebody\" project in the future, but in the meantime, Kneedelus is \u003ca href=\"http://www.kneebody.com/tour/\">performing around California\u003c/a>, including Feb. 26 in San Diego, March 3 in Santa Cruz and March 4 in San Jose.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California continues to serve as a musical laboratory for catalytic collaborations. Three recent releases bring musicians together in very different ways while all arriving at fascinating destinations.\u003c/p>\n\u003cp>\u003ca href=\"http://www.brianandres.com/afro-cuban-jazz-cartel\">Drummer Brian Andres\u003c/a> and the Afro-Cuban Jazz Cartel is a talent-laden ensemble that has steadily expanded its rhythmic purview over the past decade. \u003c/p>\n\u003caside class=\"alignright\">\n\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/249103637&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/249103637'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003cbr>\n\u003c/aside>\n\u003cp>With its third album, \"This Could Be That,\" the band delivers a consistently smart and entertaining program of Latin jazz and salsa. The Cartel’s core octet features some of the strongest players on the Bay Area scene, including a bevy of noted bandleaders (like \u003ca href=\"http://orquestadharma.com\">trombonist Jamie Dubberly\u003c/a>, and the co-leaders, Grammy Award-winning \u003ca href=\"http://www.pacificmambo.com\">Pacific Mambo Orchestra\u003c/a>, pianist Christian Tumalan and trumpeter Steffen Kuehn).\u003c/p>\n\u003cp>Just about every track features a noted guest artist, including Cuban-American vocalist \u003ca href=\"http://www.venissasanti.com\">Venissa Santi\u003c/a>, bata master \u003ca href=\"http://www.michaelspiro.com\">Michael Spiro\u003c/a>, Peruvian percussion star Alex Acuña and percussion maestro \u003ca href=\"http://johnsantos.com\">John Santos\u003c/a>. But what I love most about this band is the way it’s become a community affair in the Bay Area’s bustling Latin jazz scene. \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/TsVz3XzZBRg'\n title='//www.youtube.com/embed/TsVz3XzZBRg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Players who don’t perform regularly with the band are eager to contribute arrangements, like bassist Saul Sierra’s tasty version of late Cuban percussion legend Daniel Ponce’s “Bacalaitos,” a chart that celebrates the cultural kinship between Cuba and Puerto Rico (with an assist from Fania All-Stars percussion great \u003ca href=\"http://www.mazacote.com\">Louie Romero\u003c/a>). For blazing Latin jazz, it’s hard to beat Tumalan’s concise version of Chick Corea’s fusion flag-waver “Got a Match?”\u003c/p>\n\u003cp>\u003cem> \u003cimg class=\"alignnone size-medium wp-image-10879047\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/JamesCover-800x600.jpg\" alt=\"JamesCover\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>If Andres and the Afro-Cuban Jazz Cartel is busy lighting fires, guitarist \u003ca href=\"http://www.heydavidjames.com\">David James's GPS\u003c/a> demonstrate the power of cool on \"Billionaire Blues.\" James is a veteran sideman who has done memorable work in an array of contexts, including Michael Franti and Spearhead, Sila and the Afrofunk Experience, and the \u003ca href=\"http://bethcuster.com\">Beth Custer Ensemble\u003c/a> (he's still performing with the latter two ). \u003c/p>\n\u003cp>After three decades of elevating other bandleaders’ projects, he’s put out his first album. And it’s a stunner.\u003c/p>\n\u003cp>James is known as a groove master, and there are some fierce ones on \"Billionaire Blues,\" but he’s more interested in creating long sinuous melodies and transparent textures than displaying his rhythmic chops. The album explores an array of styles, from the lithe reggae of “Rubber Foot” and the sinewy bop of “Obama Hop” to the playfully cartoonish bounce of “Wag the Puppy” and the elegant Afrobeat of “Black Ops.”\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/E55fb4850Mo'\n title='//www.youtube.com/embed/E55fb4850Mo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What makes the album cohere so beautifully is James’ uncluttered orchestrations. He makes brilliant use of his cast, creating spacious arrangements that leave plenty of space for his enviable cast of violist Dina Maccabee, bassist Lisa Mezzacappa, clarinetist Beth Custer, trombonist Alan Williams and drummer Jan Jackson (half of GPS — James, Jackson and Custer — can also be found in the Beth Custer Ensemble, as can entirely different versions of “Wag the Puppy” and “Black Ops” on her excellent new album \"For the Grace of Any Man\"). \u003c/p>\n\u003cp>A striking achievement by a player who’s been in the background far too long, \"Billionaire Blues\" is my favorite album of the year so far.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-10879048\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/kneedelus-main-800x800.jpg\" alt=\"kneedelus-main\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Where James’ album seemed to come out of nowhere, the collaboration between the great avant funk jazz combo \u003ca href=\"http://www.kneebody.com\">Kneebody\u003c/a> and Los Angeles producer and beat master \u003ca href=\"http://daedelusmusic.com\">Daedalus\u003c/a> (aka Alfred Darlington) comes with a great deal of history. A digital release on \u003ca href=\"http://www.brainfeedersite.com\">Brainfeeder\u003c/a>, the creatively charged L.A. label responsible for saxophonist Kamasi Washington’s 2015 breakout \"The Epic,\" \"Kneedelus\" is the latest and most extensive encounter between artists with ties dating back to high school (where Kneebody saxophonist Ben Wendel and Darlington first met).\u003c/p>\n\u003cp>Some of the music has a celestial Miles Davis \"In A Silent Way\" vibe, and other times it brings to mind the space funk of Herbie Hancock’s Mwandishi band. But there’s nothing retro about \"Kneedelus.\" \u003c/p>\n\u003cp>I love the way the push and pull of sound manipulation keeps me off balance. Kneebody has honed an expansive sonic palette wedded to a menagerie of circuitous grooves unlike any other band, and with Daedalus subtly manipulating the proceedings it’s a truly seamless merging of sensibilities.\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/LKq0Kv7GlgU'\n title='//www.youtube.com/embed/LKq0Kv7GlgU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>I see a \"Daedebody\" project in the future, but in the meantime, Kneedelus is \u003ca href=\"http://www.kneebody.com/tour/\">performing around California\u003c/a>, including Feb. 26 in San Diego, March 3 in Santa Cruz and March 4 in San Jose.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Acid Flashback: Santa Cruz Bird Frenzy, Hitchcock and a Biological Whodunit",
"title": "Acid Flashback: Santa Cruz Bird Frenzy, Hitchcock and a Biological Whodunit",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Long before \u003ca href=\"http://www.nwfsc.noaa.gov/hab/habs_toxins/marine_biotoxins/da/\" target=\"_blank\">domoic acid\u003c/a> ruined Northern California's \u003ca href=\"http://ww2.kqed.org/science/2015/11/05/why-is-an-algae-bloom-closing-crab-season-in-california/\" target=\"_blank\">2015-16 Dungeness crab season\u003c/a>, it was responsible for a panic along the Santa Cruz County seashore, which in turn informed a classic piece of creepy California cinema.\u003c/p>\n\u003cp>Flashback to August 1961: In Germany, an enduring symbol of the Cold War -- \u003ca href=\"http://www.bbc.co.uk/history/places/berlin_wall\" target=\"_blank\">the Berlin Wall\u003c/a> -- is under construction. Barack Obama is born in Honolulu. No one but a handful of Japanese researchers has ever heard of domoic acid. And in beachside communities near Santa Cruz, birds are going nuts.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/249102907\" 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 Great Bird Frenzy took place early the morning of Friday, Aug. 18, 1961. Here's how longtime \u003ca href=\"http://www.santacruzsentinel.com/article/zz/20120115/NEWS/120117661\" target=\"_blank\">Santa Cruz Sentinel reporter and columnist Wally Trabing\u003c/a> described the scene that unfolded along the shoreline just east of Santa Cruz:\u003c/p>\n\u003cblockquote>\u003cp>A massive flight of \u003ca href=\"http://currents.ucsc.edu/06-07/08-14/shearwaters.asp\" target=\"_blank\">sooty shearwaters\u003c/a>, fresh from a feast of anchovies, collided with shoreside structures from Pleasure Point to Rio del Mar during the night.\u003c/p>\n\u003cp>Residents, especially in the Pleasure Point and Capitola area, were awakened about 3 a.m. today by the rain of birds slamming against their homes.\u003c/p>\n\u003cp>Dead and stunned seabirds littered the streets and roads in the foggy, early dawn. Startled by the invasion, residents rushed out on their lawns with flashlights, then rushed back inside, as the birds flew toward their light.\u003c/p>\n\u003cp>Television aerial supports were severed, and one power line was shorted out about 4 a.m. on Merrill Avenue when the birds hitting the lines slapped them together.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_10871218\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/hitchcockbirds.jpg\" rel=\"attachment wp-att-10871218\">\u003cimg class=\"size-thumbnail wp-image-10871218\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/hitchcockbirds-400x1042.jpg\" alt=\"Item from the Aug. 21, 1961, edition of the Santa Cruz Sentinel reporting Alfred Hitchcock's interest in the local bird 'invasion.'\" width=\"300\" height=\"781\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/hitchcockbirds-400x1042.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/hitchcockbirds.jpg 546w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Item from the Aug. 21, 1961, edition of the Santa Cruz Sentinel reporting Alfred Hitchcock's interest in the local bird 'invasion.' \u003ccite>(Newspapers.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the following days, the Sentinel reported crews picking up truckloads of dead birds from streets and lawns in the area. For an explanation of the avian behavior, the paper turned to \u003ca href=\"http://www.oac.cdlib.org/findaid/ark:/13030/c84b332g/\" target=\"_blank\">Ward Russell\u003c/a>, a specimen collector and preparator at UC Berkeley's Museum of Vertebrate Zoology. (Russell's \u003ca href=\"http://blogrr.blogspot.com/2009/06/meet-beetles.html\" target=\"_blank\">claim to fame\u003c/a>, it appears, is that he promoted the use of \u003ca href=\"http://voices.nationalgeographic.com/2013/01/17/flesh-eating-beetles-explained/\" target=\"_blank\">flesh-eating beetles\u003c/a> -- or dermestid beetles -- to clean skeletons.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Russell opined that the sooty shearwaters, which fly tens of thousands of miles around the Pacific basin each year, became confused by a thick fog and flapped in a blind panic toward lights onshore. Others thought the sound of gunfire from the Army's Fort Ord might have spooked the birds.\u003c/p>\n\u003cp>One of those who took note of the sooty shearwater episode was movie director Alfred Hitchcock, who owned \u003ca href=\"http://www.santacruzpl.org/history/articles/299/\" target=\"_blank\">a 200-acre estate\u003c/a> at the end of a narrow, winding road in the Santa Cruz Mountains. Three days after the invasion, the Sentinel buried an item on page 4: Hitchcock had read the paper's account of the invasion and planned to use it in his adaptation of the Daphne Du Maurier \u003ca href=\"https://northviewulrich.files.wordpress.com/2014/11/the-birds-full-text.pdf\" target=\"_blank\">short story\u003c/a> \"The Birds.\"\u003c/p>\n\u003cp>And in fact, the Santa Cruz incident and Ward Russell's theory both made it into Hitchcock's \u003ca href=\"http://the.hitchcock.zone/wiki/Scripts:_The_Birds_(final_draft,_2nd_rev,_02/Mar/1962)\" target=\"_blank\">final script\u003c/a>, set in Bodega Bay. In the film version of \"The Birds,\" Mitch Brenner, the character played by Rod Taylor, is trying to think of a way to drive away flocks of crows and gulls that have begun terrorizing the locals. Brenner has the following exchange with several other characters and a bird sympathizer identified only as Mrs. Bundy:\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>Mitch:\u003c/strong> Mrs. Bundy, you said something about Santa Cruz. About seagulls getting lost in the fog, and heading in for the lights.\u003c/p>\n\u003cp>\u003cstrong>Deke:\u003c/strong> We don't have any fog this time of year, Mitch.\u003c/p>\n\u003cp>\u003cstrong>Mitch:\u003c/strong> We'll make our own fog.\u003c/p>\n\u003cp>\u003cstrong>Sholes:\u003c/strong> How do you plan to do that?\u003c/p>\n\u003cp>\u003cstrong>Mitch\u003c/strong>: With smoke.\u003c/p>\n\u003cp>\u003cstrong>Malone:\u003c/strong> There's an ordinance against burning anything in this town, unless it's...\u003c/p>\n\u003cp>\u003cstrong>Mitch:\u003c/strong> We'll use smoke pots. Like the Army uses.\u003c/p>\n\u003cp>\u003cstrong>Deke:\u003c/strong> What good'll that do? Smoke's as bad as birds.\u003c/p>\n\u003cp>\u003cstrong>Mrs. Bundy:\u003c/strong> Birds are not bad!\u003c/p>\n\u003cp>\u003cstrong>Sholes:\u003c/strong> How can we go on living here if we blanket the town with smoke?\u003c/p>\n\u003cp>\u003cstrong>Mitch:\u003c/strong> Can we go on living here otherwise?\u003c/p>\u003c/blockquote>\n\u003cp>For decades, there was no better explanation for the the 1961 Santa Cruz bird mystery than they'd gotten lost in the fog.\u003c/p>\n\u003cp>But in 1991, a clue appeared. Hundreds of brown pelicans and cormorants were found sick or dead along the Monterey Bay shoreline. \u003ca href=\"http://www.jstor.org/stable/20460314?seq=1#page_scan_tab_contents\" target=\"_blank\">Veterinary researchers\u003c/a> eliminated viruses, bacteria or heavy-metal poisoning as the cause, then determined the birds had suffered acute poisoning by domoic acid. The toxin was found both in anchovies the birds had fed on and in plankton the fish had consumed.\u003c/p>\n\u003cp>UC Santa Cruz marine biologist David Garrison studied the 1991 incident and speculated several years later that domoic acid might have been responsible for the 1961 bird invasion. It wasn't until 2012, more than half a century after the episode, that researchers from UC San Diego's Scripps Institution of Oceanography found direct evidence that the sooty shearwaters had indeed suffered domoic acid poisoning.\u003c/p>\n\u003cp>The Scripps scientists used an archive of biological samples from California Cooperative Oceanic Fisheries Investigations, a marine monitoring program in operation since 1949, to try to investigate the conditions the birds would have encountered in Monterey Bay in the summer of 1961. Specifically, the team was looking for samples that might show the presence of Pseudo-nitzschia, a genus of diatoms that includes species known to produce domoic acid.\u003c/p>\n\u003cp>In a summary of the research published in Nature Geoscience, the Scripps oceanographers reported that Monterey Bay zooplankton collected in 1961 showed high levels of the toxin-producing diatoms. Here's the mildly worded conclusion to the Scripps team's findings:\u003c/p>\n\u003cblockquote>\u003cp>Given the similarities between events in 1961 and the domoic acid-induced poisoning of 1991, we suggest that toxic Pseudo-nitzschia were probably responsible for the odd behaviour and death of Sooty shearwaters in August 1961. This brief study therefore supports the contention that domoic acid caused the seabird frenzy ... and strongly suggests that domoic-acid-producing phytoplankton have been an agent of marine animal mortality in the California Current system for at least the past fifty years.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>OK -- maybe not quite \u003ca href=\"http://www.metv.com/shows/perry-mason\" target=\"_blank\">Perry Mason\u003c/a> stuff. But case closed.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before \u003ca href=\"http://www.nwfsc.noaa.gov/hab/habs_toxins/marine_biotoxins/da/\" target=\"_blank\">domoic acid\u003c/a> ruined Northern California's \u003ca href=\"http://ww2.kqed.org/science/2015/11/05/why-is-an-algae-bloom-closing-crab-season-in-california/\" target=\"_blank\">2015-16 Dungeness crab season\u003c/a>, it was responsible for a panic along the Santa Cruz County seashore, which in turn informed a classic piece of creepy California cinema.\u003c/p>\n\u003cp>Flashback to August 1961: In Germany, an enduring symbol of the Cold War -- \u003ca href=\"http://www.bbc.co.uk/history/places/berlin_wall\" target=\"_blank\">the Berlin Wall\u003c/a> -- is under construction. Barack Obama is born in Honolulu. No one but a handful of Japanese researchers has ever heard of domoic acid. And in beachside communities near Santa Cruz, birds are going nuts.\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/249102907&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/249102907'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Great Bird Frenzy took place early the morning of Friday, Aug. 18, 1961. Here's how longtime \u003ca href=\"http://www.santacruzsentinel.com/article/zz/20120115/NEWS/120117661\" target=\"_blank\">Santa Cruz Sentinel reporter and columnist Wally Trabing\u003c/a> described the scene that unfolded along the shoreline just east of Santa Cruz:\u003c/p>\n\u003cblockquote>\u003cp>A massive flight of \u003ca href=\"http://currents.ucsc.edu/06-07/08-14/shearwaters.asp\" target=\"_blank\">sooty shearwaters\u003c/a>, fresh from a feast of anchovies, collided with shoreside structures from Pleasure Point to Rio del Mar during the night.\u003c/p>\n\u003cp>Residents, especially in the Pleasure Point and Capitola area, were awakened about 3 a.m. today by the rain of birds slamming against their homes.\u003c/p>\n\u003cp>Dead and stunned seabirds littered the streets and roads in the foggy, early dawn. Startled by the invasion, residents rushed out on their lawns with flashlights, then rushed back inside, as the birds flew toward their light.\u003c/p>\n\u003cp>Television aerial supports were severed, and one power line was shorted out about 4 a.m. on Merrill Avenue when the birds hitting the lines slapped them together.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_10871218\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/hitchcockbirds.jpg\" rel=\"attachment wp-att-10871218\">\u003cimg class=\"size-thumbnail wp-image-10871218\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/hitchcockbirds-400x1042.jpg\" alt=\"Item from the Aug. 21, 1961, edition of the Santa Cruz Sentinel reporting Alfred Hitchcock's interest in the local bird 'invasion.'\" width=\"300\" height=\"781\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/hitchcockbirds-400x1042.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/hitchcockbirds.jpg 546w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Item from the Aug. 21, 1961, edition of the Santa Cruz Sentinel reporting Alfred Hitchcock's interest in the local bird 'invasion.' \u003ccite>(Newspapers.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the following days, the Sentinel reported crews picking up truckloads of dead birds from streets and lawns in the area. For an explanation of the avian behavior, the paper turned to \u003ca href=\"http://www.oac.cdlib.org/findaid/ark:/13030/c84b332g/\" target=\"_blank\">Ward Russell\u003c/a>, a specimen collector and preparator at UC Berkeley's Museum of Vertebrate Zoology. (Russell's \u003ca href=\"http://blogrr.blogspot.com/2009/06/meet-beetles.html\" target=\"_blank\">claim to fame\u003c/a>, it appears, is that he promoted the use of \u003ca href=\"http://voices.nationalgeographic.com/2013/01/17/flesh-eating-beetles-explained/\" target=\"_blank\">flesh-eating beetles\u003c/a> -- or dermestid beetles -- to clean skeletons.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Russell opined that the sooty shearwaters, which fly tens of thousands of miles around the Pacific basin each year, became confused by a thick fog and flapped in a blind panic toward lights onshore. Others thought the sound of gunfire from the Army's Fort Ord might have spooked the birds.\u003c/p>\n\u003cp>One of those who took note of the sooty shearwater episode was movie director Alfred Hitchcock, who owned \u003ca href=\"http://www.santacruzpl.org/history/articles/299/\" target=\"_blank\">a 200-acre estate\u003c/a> at the end of a narrow, winding road in the Santa Cruz Mountains. Three days after the invasion, the Sentinel buried an item on page 4: Hitchcock had read the paper's account of the invasion and planned to use it in his adaptation of the Daphne Du Maurier \u003ca href=\"https://northviewulrich.files.wordpress.com/2014/11/the-birds-full-text.pdf\" target=\"_blank\">short story\u003c/a> \"The Birds.\"\u003c/p>\n\u003cp>And in fact, the Santa Cruz incident and Ward Russell's theory both made it into Hitchcock's \u003ca href=\"http://the.hitchcock.zone/wiki/Scripts:_The_Birds_(final_draft,_2nd_rev,_02/Mar/1962)\" target=\"_blank\">final script\u003c/a>, set in Bodega Bay. In the film version of \"The Birds,\" Mitch Brenner, the character played by Rod Taylor, is trying to think of a way to drive away flocks of crows and gulls that have begun terrorizing the locals. Brenner has the following exchange with several other characters and a bird sympathizer identified only as Mrs. Bundy:\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>Mitch:\u003c/strong> Mrs. Bundy, you said something about Santa Cruz. About seagulls getting lost in the fog, and heading in for the lights.\u003c/p>\n\u003cp>\u003cstrong>Deke:\u003c/strong> We don't have any fog this time of year, Mitch.\u003c/p>\n\u003cp>\u003cstrong>Mitch:\u003c/strong> We'll make our own fog.\u003c/p>\n\u003cp>\u003cstrong>Sholes:\u003c/strong> How do you plan to do that?\u003c/p>\n\u003cp>\u003cstrong>Mitch\u003c/strong>: With smoke.\u003c/p>\n\u003cp>\u003cstrong>Malone:\u003c/strong> There's an ordinance against burning anything in this town, unless it's...\u003c/p>\n\u003cp>\u003cstrong>Mitch:\u003c/strong> We'll use smoke pots. Like the Army uses.\u003c/p>\n\u003cp>\u003cstrong>Deke:\u003c/strong> What good'll that do? Smoke's as bad as birds.\u003c/p>\n\u003cp>\u003cstrong>Mrs. Bundy:\u003c/strong> Birds are not bad!\u003c/p>\n\u003cp>\u003cstrong>Sholes:\u003c/strong> How can we go on living here if we blanket the town with smoke?\u003c/p>\n\u003cp>\u003cstrong>Mitch:\u003c/strong> Can we go on living here otherwise?\u003c/p>\u003c/blockquote>\n\u003cp>For decades, there was no better explanation for the the 1961 Santa Cruz bird mystery than they'd gotten lost in the fog.\u003c/p>\n\u003cp>But in 1991, a clue appeared. Hundreds of brown pelicans and cormorants were found sick or dead along the Monterey Bay shoreline. \u003ca href=\"http://www.jstor.org/stable/20460314?seq=1#page_scan_tab_contents\" target=\"_blank\">Veterinary researchers\u003c/a> eliminated viruses, bacteria or heavy-metal poisoning as the cause, then determined the birds had suffered acute poisoning by domoic acid. The toxin was found both in anchovies the birds had fed on and in plankton the fish had consumed.\u003c/p>\n\u003cp>UC Santa Cruz marine biologist David Garrison studied the 1991 incident and speculated several years later that domoic acid might have been responsible for the 1961 bird invasion. It wasn't until 2012, more than half a century after the episode, that researchers from UC San Diego's Scripps Institution of Oceanography found direct evidence that the sooty shearwaters had indeed suffered domoic acid poisoning.\u003c/p>\n\u003cp>The Scripps scientists used an archive of biological samples from California Cooperative Oceanic Fisheries Investigations, a marine monitoring program in operation since 1949, to try to investigate the conditions the birds would have encountered in Monterey Bay in the summer of 1961. Specifically, the team was looking for samples that might show the presence of Pseudo-nitzschia, a genus of diatoms that includes species known to produce domoic acid.\u003c/p>\n\u003cp>In a summary of the research published in Nature Geoscience, the Scripps oceanographers reported that Monterey Bay zooplankton collected in 1961 showed high levels of the toxin-producing diatoms. Here's the mildly worded conclusion to the Scripps team's findings:\u003c/p>\n\u003cblockquote>\u003cp>Given the similarities between events in 1961 and the domoic acid-induced poisoning of 1991, we suggest that toxic Pseudo-nitzschia were probably responsible for the odd behaviour and death of Sooty shearwaters in August 1961. This brief study therefore supports the contention that domoic acid caused the seabird frenzy ... and strongly suggests that domoic-acid-producing phytoplankton have been an agent of marine animal mortality in the California Current system for at least the past fifty years.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>OK -- maybe not quite \u003ca href=\"http://www.metv.com/shows/perry-mason\" target=\"_blank\">Perry Mason\u003c/a> stuff. But case closed.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "How CRISPR Made it Onto 'The X-Files'",
"title": "How CRISPR Made it Onto 'The X-Files'",
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"content": "\u003cp>\"The X-Files\" revival has gotten some \u003ca href=\"http://www.nytimes.com/2016/01/27/arts/television/x-files-ratings-stay-strong.html\" target=\"_blank\">big ratings\u003c/a>. Clearly a lot of fans (if \u003ca href=\"http://variety.com/2016/tv/features/the-x-files-season-finale-review-my-struggle-ii-1201712181/\" target=\"_blank\">not\u003c/a> \u003ca href=\"http://www.vox.com/2016/2/24/11104426/the-x-files-finale-recap-bad\" target=\"_blank\">critics\u003c/a>) are over the moon at its return, as this Twitter search on \"\u003ca href=\"https://twitter.com/search?q=x-files%20best%20show%20ever&src=typd\" target=\"_blank\">X-Files Best Show Ever\u003c/a>\" will attest.\u003c/p>\n\u003cp>As much as we'd love to jump on the bandwagon and cover the infiltration of alien DNA in our genome, the funding isn't quite there, yet. Luckily, the inclusion of CRISPR/Cas9 as a major plot point in the season finale Monday does give us a convenient excuse to get in on the action.\u003c/p>\n\u003cp>CRISPR/Cas9, as we have been \u003ca href=\"http://ww2.kqed.org/futureofyou/tag/crispr/\" target=\"_blank\">writing about\u003c/a>, is a cutting-edge gene-editing technique that has been heralded as a \u003ca href=\"http://ww2.kqed.org/futureofyou/CRISPR%3A-What-You-Need-to-Know-About-the-Medical-Science-%27Breakthrough-of-the-Year%27\" target=\"_blank\">breakthrough technology\u003c/a>, inspiring \u003ca href=\"http://ww2.kqed.org/futureofyou/2016/02/22/gene-editing-coming-to-a-kitchen-counter-near-you/\" target=\"_blank\">high expectations for\u003c/a> -- as well as \u003ca href=\"https://www.theguardian.com/science/2016/feb/12/rogue-scientists-could-exploit-gene-editing-technology-experts-warn\" target=\"_blank\">warnings about\u003c/a> -- potential uses.\u003c/p>\n\u003cfigure id=\"attachment_118123\" class=\"wp-caption alignright\" style=\"max-width: 338px\">\u003cimg class=\"wp-image-118123 size-medium\" src=\"http://ww2.kqed.org/futureofyou/wp-content/uploads/sites/13/2017/02/duchovny-e1456426674504-338x600.jpg\" alt=\"X-Files science advisor Anne Simon and David Duchovny in Vancouver, August 2015.\" width=\"338\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/13/2017/02/duchovny-e1456426674504-338x600.jpg 338w, https://ww2.kqed.org/app/uploads/sites/13/2017/02/duchovny-e1456426674504-400x711.jpg 400w, https://ww2.kqed.org/app/uploads/sites/13/2017/02/duchovny-e1456426674504-768x1365.jpg 768w, https://ww2.kqed.org/app/uploads/sites/13/2017/02/duchovny-e1456426674504-664x1180.jpg 664w, https://ww2.kqed.org/app/uploads/sites/13/2017/02/duchovny-e1456426674504-960x1707.jpg 960w, https://ww2.kqed.org/app/uploads/sites/13/2017/02/duchovny-e1456426674504.jpg 1080w\" sizes=\"(max-width: 338px) 100vw, 338px\">\u003cfigcaption class=\"wp-caption-text\">X-Files science advisor Anne Simon and David Duchovny in Vancouver, August 2015. \u003ccite>(Courtesy Anne Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anne Simon, a University of Maryland virologist who also happens to be a science advisor on \"The X-Files,\" has taken note. She co-wrote the finale's story, along with microbiologist Margaret Fearon and show creator Chris Carter. The plot involves humans who are stripped of their immune systems. This is accomplished via CRISPR/Cas9.\u003c/p>\n\u003cp>\"He asked me to come up with something that would kill off everybody,\" she said of Carter Wednesday. \"That took a lot of thought. It had to be something simple enough to get across to the public. I began thinking if you just got rid of the \u003ca href=\"http://ghr.nlm.nih.gov/gene/ADA\" target=\"_blank\">ADA gene\u003c/a> -- I teach this -- you would not have an immune system. That’s the \u003ca href=\"http://ww2.kqed.org/futureofyou/CRISPR%3A-What-You-Need-to-Know-About-the-Medical-Science-%27Breakthrough-of-the-Year%27\" target=\"_blank\">Boy in the Bubble syndrome\u003c/a>. The idea is that a long time ago [the aliens and human conspirators] must have put something in our genome that would get rid of the gene.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(In the show, the mechanism for introducing alien DNA into the human genome is the smallpox vaccine, which \"doubtless made \u003ca href=\"http://www.pbs.org/wgbh/frontline/article/jenny-mccarthy-were-not-an-anti-vaccine-movement-were-pro-safe-vaccine/\" target=\"_blank\">Jenny McCarthy\u003c/a> the happiest 'X-Files' viewer of the night,\" \u003ca href=\"https://www.yahoo.com/tv/x-files-finale-review-ep-6-my-struggle-141222649.html\" target=\"_blank\">wrote\u003c/a> a Yahoo! TV critic.)\u003c/p>\n\u003cp>Simon said she and co-writer Fearon had to do a lot of explaining to Carter as to how CRISPR works.\u003c/p>\n\u003cp>http://ww2.kqed.org/futureofyou/wp-content/uploads/sites/13/2016/02/CRISPR-is-Here.jpg\u003c/p>\n\u003cp>\"Between the two of us we’re trying to explain it to him on the phone and showing him YouTube videos and stuff, and he \u003cem>kind\u003c/em> of gets it.\"\u003c/p>\n\u003cp>She said she looked at the script every day to check on the science. \"It really is accurate. I was happy at the end.\"\u003c/p>\n\u003cp>Accurate within the bounds of sci-fi/conspiracy theory, of course. Simon said she suggested the story have the mass gene deletion triggered by the increase in CO2 -- global warming. But Carter opted to make the triggering mechanism ... \u003ca href=\"http://thevane.gawker.com/why-i-write-about-and-debunk-the-chemtrail-conspiracy-1581896346\" target=\"_blank\">chemtrails\u003c/a>.\u003c/p>\n\u003cp>\"Chris wanted to use chemtrails, which is \u003ca href=\"http://thevane.gawker.com/why-i-write-about-and-debunk-the-chemtrail-conspiracy-1581896346\" target=\"_blank\">big in conspiracy theories\u003c/a>. I don’t even know what it is,\" Simon said.\u003c/p>\n\u003cp>She first connected with Carter, back in the day, through a family connection. \"He needed to talk to a biologist. I thought, 'We'll get the microscopes right.\"\u003c/p>\n\u003cp>At one point, Carter named a character after Simon, but her fictional self was short-lived. \"I had visions of her being Scully and Mulder’s partner, and helping them solve cases scientifically. And then I get killed off. \"\u003c/p>\n\u003cp>She thinks the character of Dana Scully has been great for encouraging female scientists.\u003c/p>\n\u003cp>\"She has been a wonderful draw for young people. I hear from so many people over Twitter who say they went into science because of 'The X-Files.'\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whether the show comes back for more episodes is still an open question. But the signs are \u003ca href=\"http://www.ew.com/article/2016/01/29/x-files-ratings\" target=\"_blank\">encouraging\u003c/a>. FOX, no doubt, is suggesting we all stay tuned.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\"The X-Files\" revival has gotten some \u003ca href=\"http://www.nytimes.com/2016/01/27/arts/television/x-files-ratings-stay-strong.html\" target=\"_blank\">big ratings\u003c/a>. Clearly a lot of fans (if \u003ca href=\"http://variety.com/2016/tv/features/the-x-files-season-finale-review-my-struggle-ii-1201712181/\" target=\"_blank\">not\u003c/a> \u003ca href=\"http://www.vox.com/2016/2/24/11104426/the-x-files-finale-recap-bad\" target=\"_blank\">critics\u003c/a>) are over the moon at its return, as this Twitter search on \"\u003ca href=\"https://twitter.com/search?q=x-files%20best%20show%20ever&src=typd\" target=\"_blank\">X-Files Best Show Ever\u003c/a>\" will attest.\u003c/p>\n\u003cp>As much as we'd love to jump on the bandwagon and cover the infiltration of alien DNA in our genome, the funding isn't quite there, yet. Luckily, the inclusion of CRISPR/Cas9 as a major plot point in the season finale Monday does give us a convenient excuse to get in on the action.\u003c/p>\n\u003cp>CRISPR/Cas9, as we have been \u003ca href=\"http://ww2.kqed.org/futureofyou/tag/crispr/\" target=\"_blank\">writing about\u003c/a>, is a cutting-edge gene-editing technique that has been heralded as a \u003ca href=\"http://ww2.kqed.org/futureofyou/CRISPR%3A-What-You-Need-to-Know-About-the-Medical-Science-%27Breakthrough-of-the-Year%27\" target=\"_blank\">breakthrough technology\u003c/a>, inspiring \u003ca href=\"http://ww2.kqed.org/futureofyou/2016/02/22/gene-editing-coming-to-a-kitchen-counter-near-you/\" target=\"_blank\">high expectations for\u003c/a> -- as well as \u003ca href=\"https://www.theguardian.com/science/2016/feb/12/rogue-scientists-could-exploit-gene-editing-technology-experts-warn\" target=\"_blank\">warnings about\u003c/a> -- potential uses.\u003c/p>\n\u003cfigure id=\"attachment_118123\" class=\"wp-caption alignright\" style=\"max-width: 338px\">\u003cimg class=\"wp-image-118123 size-medium\" src=\"http://ww2.kqed.org/futureofyou/wp-content/uploads/sites/13/2017/02/duchovny-e1456426674504-338x600.jpg\" alt=\"X-Files science advisor Anne Simon and David Duchovny in Vancouver, August 2015.\" width=\"338\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/13/2017/02/duchovny-e1456426674504-338x600.jpg 338w, https://ww2.kqed.org/app/uploads/sites/13/2017/02/duchovny-e1456426674504-400x711.jpg 400w, https://ww2.kqed.org/app/uploads/sites/13/2017/02/duchovny-e1456426674504-768x1365.jpg 768w, https://ww2.kqed.org/app/uploads/sites/13/2017/02/duchovny-e1456426674504-664x1180.jpg 664w, https://ww2.kqed.org/app/uploads/sites/13/2017/02/duchovny-e1456426674504-960x1707.jpg 960w, https://ww2.kqed.org/app/uploads/sites/13/2017/02/duchovny-e1456426674504.jpg 1080w\" sizes=\"(max-width: 338px) 100vw, 338px\">\u003cfigcaption class=\"wp-caption-text\">X-Files science advisor Anne Simon and David Duchovny in Vancouver, August 2015. \u003ccite>(Courtesy Anne Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anne Simon, a University of Maryland virologist who also happens to be a science advisor on \"The X-Files,\" has taken note. She co-wrote the finale's story, along with microbiologist Margaret Fearon and show creator Chris Carter. The plot involves humans who are stripped of their immune systems. This is accomplished via CRISPR/Cas9.\u003c/p>\n\u003cp>\"He asked me to come up with something that would kill off everybody,\" she said of Carter Wednesday. \"That took a lot of thought. It had to be something simple enough to get across to the public. I began thinking if you just got rid of the \u003ca href=\"http://ghr.nlm.nih.gov/gene/ADA\" target=\"_blank\">ADA gene\u003c/a> -- I teach this -- you would not have an immune system. That’s the \u003ca href=\"http://ww2.kqed.org/futureofyou/CRISPR%3A-What-You-Need-to-Know-About-the-Medical-Science-%27Breakthrough-of-the-Year%27\" target=\"_blank\">Boy in the Bubble syndrome\u003c/a>. The idea is that a long time ago [the aliens and human conspirators] must have put something in our genome that would get rid of the gene.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(In the show, the mechanism for introducing alien DNA into the human genome is the smallpox vaccine, which \"doubtless made \u003ca href=\"http://www.pbs.org/wgbh/frontline/article/jenny-mccarthy-were-not-an-anti-vaccine-movement-were-pro-safe-vaccine/\" target=\"_blank\">Jenny McCarthy\u003c/a> the happiest 'X-Files' viewer of the night,\" \u003ca href=\"https://www.yahoo.com/tv/x-files-finale-review-ep-6-my-struggle-141222649.html\" target=\"_blank\">wrote\u003c/a> a Yahoo! TV critic.)\u003c/p>\n\u003cp>Simon said she and co-writer Fearon had to do a lot of explaining to Carter as to how CRISPR works.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\"Between the two of us we’re trying to explain it to him on the phone and showing him YouTube videos and stuff, and he \u003cem>kind\u003c/em> of gets it.\"\u003c/p>\n\u003cp>She said she looked at the script every day to check on the science. \"It really is accurate. I was happy at the end.\"\u003c/p>\n\u003cp>Accurate within the bounds of sci-fi/conspiracy theory, of course. Simon said she suggested the story have the mass gene deletion triggered by the increase in CO2 -- global warming. But Carter opted to make the triggering mechanism ... \u003ca href=\"http://thevane.gawker.com/why-i-write-about-and-debunk-the-chemtrail-conspiracy-1581896346\" target=\"_blank\">chemtrails\u003c/a>.\u003c/p>\n\u003cp>\"Chris wanted to use chemtrails, which is \u003ca href=\"http://thevane.gawker.com/why-i-write-about-and-debunk-the-chemtrail-conspiracy-1581896346\" target=\"_blank\">big in conspiracy theories\u003c/a>. I don’t even know what it is,\" Simon said.\u003c/p>\n\u003cp>She first connected with Carter, back in the day, through a family connection. \"He needed to talk to a biologist. I thought, 'We'll get the microscopes right.\"\u003c/p>\n\u003cp>At one point, Carter named a character after Simon, but her fictional self was short-lived. \"I had visions of her being Scully and Mulder’s partner, and helping them solve cases scientifically. And then I get killed off. \"\u003c/p>\n\u003cp>She thinks the character of Dana Scully has been great for encouraging female scientists.\u003c/p>\n\u003cp>\"She has been a wonderful draw for young people. I hear from so many people over Twitter who say they went into science because of 'The X-Files.'\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whether the show comes back for more episodes is still an open question. But the signs are \u003ca href=\"http://www.ew.com/article/2016/01/29/x-files-ratings\" target=\"_blank\">encouraging\u003c/a>. FOX, no doubt, is suggesting we all stay tuned.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A newly released study suggests diversity in TV and film is so bad that the hashtag #OscarsSoWhite should probably be changed to #HollywoodSoWhite.\u003c/p>\n\u003cp>That’s because of an “epidemic of invisibility” cited by researchers at the University of Southern California, who analyzed more than 21,000 characters and behind-the-scenes workers on more than 400 films and TV shows released from September 2014 through August 2015. They tabulated representations of gender, race, ethnicity and sexual status.\u003c/p>\n\u003cp>“We’re seeing that there’s not just a diversity problem in Hollywood; there’s actually an inclusion crisis,” Stacy L. Smith, one of the study’s authors and founding director of the Media, Diversity and Social Change Initiative at USC’s Annenberg School for Communication and Journalism, said in an interview.\u003c/p>\n\u003cp>The study, \u003ca href=\"http://annenberg.usc.edu/pages/~/media/MDSCI/CARDReport%20FINAL%2022216.ashx\">titled “Inclusion or Invisibility? Comprehensive Annenberg Report on Diversity in Entertainment,”\u003c/a> found just one-third of speaking characters were female (33.5 percent), despite the fact that women represent just over half the population in America. Just 28.3 percent of characters with dialogue were from nonwhite racial/ethnic groups, though such groups are nearly 40 percent of the U.S. population.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I think we’re seeing, across the landscape, an erasure of certain groups… This is really [an] epidemic of invisibility.’\u003ccite>USC study author Stacy L. Smith\u003c/cite>\u003c/aside>\n\u003cp>With less than a week before an Oscars ceremony that has already been criticized for an all-white slate of acting nominees, the study shows the film industry does worse than television.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just 3.4 percent of film directors were female, and only 7 percent of films had a cast whose balance of race and ethnicity reflected the country’s diversity. In broadcast TV, 17 percent of directors were female and 19 percent of programs were ethnically balanced.\u003c/p>\n\u003cp>Broadcast TV also saw a number of TV shows featuring characters of color debut during the study’s tabulation period, including \u003cem>Black-ish\u003c/em> and \u003cem>Fresh Off the Boat\u003c/em> on ABC, \u003cem>Jane the Virgin\u003c/em> on The CW, and \u003cem>Empire\u003c/em> on Fox.\u003c/p>\n\u003cp>Still, when researchers looked at all TV shows — including broadcast, cable and streaming services — they also found underrepresentation, noting that women of color over 40 were deemed “largely invisible” and just 22 percent of TV series creators were female.\u003c/p>\n\u003cp>Overall, the study found half the films and TV shows they analyzed had no Asian-speaking characters and more than one-fifth of them had no black characters with dialogue. Just 2 percent of speaking characters were identified as lesbian, gay, bisexual or transsexual, and more than half the LGBT characters in all the films they examined came from two movies.\u003c/p>\n\u003cp>“The film industry still functions as a straight, white, boy’s club,” the study states. In the interview, Smith says, “I think we’re seeing, across the landscape, an erasure of certain groups; women, people of color, the LGBT community … this is really [an] epidemic of invisibility that points to a lack of inclusivity across [film and TV].”\u003c/p>\n\u003cp>[contextly_sidebar id=”H0tNBlaRREak7fdaT3Do83mArhct2tNW”]\u003c/p>\n\u003cp>When looking at how women are depicted, the study found female characters were four times more likely to be shown in sexy attire, three times more likely to show some nudity and nearly four times as likely to be referred to as physically attractive.\u003c/p>\n\u003cp>But their results also indicated films and TV shows with women or people of color in the important jobs behind the scenes — director, producer or writer — tended to have better diversity numbers.\u003c/p>\n\u003cp>Across TV and film, the underrepresentation of nonwhite characters falls mostly on Hispanics. Among more than 10,000 characters whose race or ethnicity could be identified, proportions of white, black and Asian characters came close to U.S. population figures. But Hispanics were just 5.8 percent of characters, despite being about 17 percent of the U.S. population, according to Census Bureau data.\u003c/p>\n\u003cp>Researchers examined 109 films and 305 TV series across broadcast, cable and digital platforms. They also looked at more than 1,500 executives and graded 10 media companies for their onscreen and behind-the-scenes representation of women and people of color.\u003c/p>\n\u003cp>None of the six film distributors evaluated — 21st Century Fox, NBC Universal, Sony, the Walt Disney Company, Time Warner or Viacom — received a passing grade for inclusion. But among the TV companies they examined, Disney and the CW performed best, at 70 percent.\u003c/p>\n\u003cp>The study’s authors also suggest solutions for the lack of diversity, including creating target goals for inclusion that would be public and drawing up lists of potential hires for writing and directing jobs that would be 50 percent female and 38 percent people of color.\u003c/p>\n\u003cp>“It’s about who is greenlighting those decisions and who is giving the OK for certain stories to be told,” Smith says. “When a very narrow slice of the population is in control of power and has the ability to greenlight a project, then we are going to see products and stories that reflect that narrow worldview.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A newly released study suggests diversity in TV and film is so bad that the hashtag #OscarsSoWhite should probably be changed to #HollywoodSoWhite.\u003c/p>\n\u003cp>That’s because of an “epidemic of invisibility” cited by researchers at the University of Southern California, who analyzed more than 21,000 characters and behind-the-scenes workers on more than 400 films and TV shows released from September 2014 through August 2015. They tabulated representations of gender, race, ethnicity and sexual status.\u003c/p>\n\u003cp>“We’re seeing that there’s not just a diversity problem in Hollywood; there’s actually an inclusion crisis,” Stacy L. Smith, one of the study’s authors and founding director of the Media, Diversity and Social Change Initiative at USC’s Annenberg School for Communication and Journalism, said in an interview.\u003c/p>\n\u003cp>The study, \u003ca href=\"http://annenberg.usc.edu/pages/~/media/MDSCI/CARDReport%20FINAL%2022216.ashx\">titled “Inclusion or Invisibility? Comprehensive Annenberg Report on Diversity in Entertainment,”\u003c/a> found just one-third of speaking characters were female (33.5 percent), despite the fact that women represent just over half the population in America. Just 28.3 percent of characters with dialogue were from nonwhite racial/ethnic groups, though such groups are nearly 40 percent of the U.S. population.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I think we’re seeing, across the landscape, an erasure of certain groups… This is really [an] epidemic of invisibility.’\u003ccite>USC study author Stacy L. Smith\u003c/cite>\u003c/aside>\n\u003cp>With less than a week before an Oscars ceremony that has already been criticized for an all-white slate of acting nominees, the study shows the film industry does worse than television.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just 3.4 percent of film directors were female, and only 7 percent of films had a cast whose balance of race and ethnicity reflected the country’s diversity. In broadcast TV, 17 percent of directors were female and 19 percent of programs were ethnically balanced.\u003c/p>\n\u003cp>Broadcast TV also saw a number of TV shows featuring characters of color debut during the study’s tabulation period, including \u003cem>Black-ish\u003c/em> and \u003cem>Fresh Off the Boat\u003c/em> on ABC, \u003cem>Jane the Virgin\u003c/em> on The CW, and \u003cem>Empire\u003c/em> on Fox.\u003c/p>\n\u003cp>Still, when researchers looked at all TV shows — including broadcast, cable and streaming services — they also found underrepresentation, noting that women of color over 40 were deemed “largely invisible” and just 22 percent of TV series creators were female.\u003c/p>\n\u003cp>Overall, the study found half the films and TV shows they analyzed had no Asian-speaking characters and more than one-fifth of them had no black characters with dialogue. Just 2 percent of speaking characters were identified as lesbian, gay, bisexual or transsexual, and more than half the LGBT characters in all the films they examined came from two movies.\u003c/p>\n\u003cp>“The film industry still functions as a straight, white, boy’s club,” the study states. In the interview, Smith says, “I think we’re seeing, across the landscape, an erasure of certain groups; women, people of color, the LGBT community … this is really [an] epidemic of invisibility that points to a lack of inclusivity across [film and TV].”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When looking at how women are depicted, the study found female characters were four times more likely to be shown in sexy attire, three times more likely to show some nudity and nearly four times as likely to be referred to as physically attractive.\u003c/p>\n\u003cp>But their results also indicated films and TV shows with women or people of color in the important jobs behind the scenes — director, producer or writer — tended to have better diversity numbers.\u003c/p>\n\u003cp>Across TV and film, the underrepresentation of nonwhite characters falls mostly on Hispanics. Among more than 10,000 characters whose race or ethnicity could be identified, proportions of white, black and Asian characters came close to U.S. population figures. But Hispanics were just 5.8 percent of characters, despite being about 17 percent of the U.S. population, according to Census Bureau data.\u003c/p>\n\u003cp>Researchers examined 109 films and 305 TV series across broadcast, cable and digital platforms. They also looked at more than 1,500 executives and graded 10 media companies for their onscreen and behind-the-scenes representation of women and people of color.\u003c/p>\n\u003cp>None of the six film distributors evaluated — 21st Century Fox, NBC Universal, Sony, the Walt Disney Company, Time Warner or Viacom — received a passing grade for inclusion. But among the TV companies they examined, Disney and the CW performed best, at 70 percent.\u003c/p>\n\u003cp>The study’s authors also suggest solutions for the lack of diversity, including creating target goals for inclusion that would be public and drawing up lists of potential hires for writing and directing jobs that would be 50 percent female and 38 percent people of color.\u003c/p>\n\u003cp>“It’s about who is greenlighting those decisions and who is giving the OK for certain stories to be told,” Smith says. “When a very narrow slice of the population is in control of power and has the ability to greenlight a project, then we are going to see products and stories that reflect that narrow worldview.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Peter Mondavi, Napa Valley Wine Pioneer, Has Died at 101",
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"content": "\u003cp>Peter Mondavi, a Napa Valley wine country innovator who led his family's Charles Krug Winery through more than a half-century of change, has died. He was 101.\u003c/p>\n\u003cp>Mondavi died Saturday at his home in St. Helena, said Wendy Lane Stevens, a member of the C. Mondavi and Family board of directors.\u003c/p>\n\u003cp>Mondavi, who battled his more famous brother Robert Mondavi for control of Charles Krug, began his career at a time when the Napa Valley was known chiefly for cheap wine, and witnessed it grow into one of the world's premiere wine regions.\u003c/p>\n\u003cp>He played a part in that rise, pioneering a number of improvements to California winemaking, including the use of cold fermentation for white wines and sterile filtration. Charles Krug has been in the hands of the Mondavi family since 1943, when it was purchased by Mondavi's parents, Cesare and Rosa.\u003c/p>\n\u003cp>Peter and Robert ran the winery together after Cesare's death in 1959 but were unable to agree on management styles and split, with Robert founding the Robert Mondavi Winery in 1966. Later, the brothers reconciled and in 2005 celebrated their reunion by making a special blend of wine together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today, Peter Mondavi's sons lead the family business. Marc Mondavi heads the 1.4 million-case CK Mondavi Vineyards division, producer of a popular line of affordable wines, and Peter Jr. leads Charles Krug, producer of premium Napa Valley wines.\u003c/p>\n\u003cp>Born Nov. 8, 1914, the youngest of four children, Mondavi got his start as a boy packing boxes for his father's grape-shipping business. He went on to earn a degree in economics from Stanford University in 1937 and was drawn to the wine business, studying enology at UC Berkeley.\u003c/p>\n\u003cp>World War II interrupted his career and Mondavi served in the military, returning stateside in 1946. Four years later he married Blanche Hurtzig, who died in 2010. The couple had three children, Marc, Peter Jr. and a daughter, Siena.\u003c/p>\n\u003cp>In his studies, Mondavi had researched the effects of cold fermentation on white and rose wines, which then were being fermented at higher temperatures, which meant they lost their fruity character through oxidation. He applied what he learned at the winery to make fresher whites.\u003c/p>\n\u003cp>Charles Krug also was the first Napa Valley winery to import French oak barrels to use in aging wine, and in 1963 was among the first to vintage-date varietal wines.\u003c/p>\n\u003cp>Determined to keep the winery family-owned despite corporate buyouts happening throughout the valley — the Robert Mondavi Winery was sold to Constellation Brands in 2004 — Peter Mondavi worked to preserve the family holdings, investing $24 million over a nine-year period to replant most of the vineyards and farm them sustainably. Today, the Peter Mondavi family owns 850 acres of prime vineyards in the Napa Valley.\u003c/p>\n\u003cp>Though he didn't run the day-to-day business, Mondavi continued to be a fixture at the office, climbing the two flights of stairs to his office even as a centenarian. He credited his stamina to good genes, hard work, pasta Bolognese — and a daily glass of cabernet sauvignon.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story contains biographical information compiled by former Associated Press Writer Michelle Locke.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Peter Mondavi, a Napa Valley wine country innovator who led his family's Charles Krug Winery through more than a half-century of change, has died. He was 101.\u003c/p>\n\u003cp>Mondavi died Saturday at his home in St. Helena, said Wendy Lane Stevens, a member of the C. Mondavi and Family board of directors.\u003c/p>\n\u003cp>Mondavi, who battled his more famous brother Robert Mondavi for control of Charles Krug, began his career at a time when the Napa Valley was known chiefly for cheap wine, and witnessed it grow into one of the world's premiere wine regions.\u003c/p>\n\u003cp>He played a part in that rise, pioneering a number of improvements to California winemaking, including the use of cold fermentation for white wines and sterile filtration. Charles Krug has been in the hands of the Mondavi family since 1943, when it was purchased by Mondavi's parents, Cesare and Rosa.\u003c/p>\n\u003cp>Peter and Robert ran the winery together after Cesare's death in 1959 but were unable to agree on management styles and split, with Robert founding the Robert Mondavi Winery in 1966. Later, the brothers reconciled and in 2005 celebrated their reunion by making a special blend of wine together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today, Peter Mondavi's sons lead the family business. Marc Mondavi heads the 1.4 million-case CK Mondavi Vineyards division, producer of a popular line of affordable wines, and Peter Jr. leads Charles Krug, producer of premium Napa Valley wines.\u003c/p>\n\u003cp>Born Nov. 8, 1914, the youngest of four children, Mondavi got his start as a boy packing boxes for his father's grape-shipping business. He went on to earn a degree in economics from Stanford University in 1937 and was drawn to the wine business, studying enology at UC Berkeley.\u003c/p>\n\u003cp>World War II interrupted his career and Mondavi served in the military, returning stateside in 1946. Four years later he married Blanche Hurtzig, who died in 2010. The couple had three children, Marc, Peter Jr. and a daughter, Siena.\u003c/p>\n\u003cp>In his studies, Mondavi had researched the effects of cold fermentation on white and rose wines, which then were being fermented at higher temperatures, which meant they lost their fruity character through oxidation. He applied what he learned at the winery to make fresher whites.\u003c/p>\n\u003cp>Charles Krug also was the first Napa Valley winery to import French oak barrels to use in aging wine, and in 1963 was among the first to vintage-date varietal wines.\u003c/p>\n\u003cp>Determined to keep the winery family-owned despite corporate buyouts happening throughout the valley — the Robert Mondavi Winery was sold to Constellation Brands in 2004 — Peter Mondavi worked to preserve the family holdings, investing $24 million over a nine-year period to replant most of the vineyards and farm them sustainably. Today, the Peter Mondavi family owns 850 acres of prime vineyards in the Napa Valley.\u003c/p>\n\u003cp>Though he didn't run the day-to-day business, Mondavi continued to be a fixture at the office, climbing the two flights of stairs to his office even as a centenarian. He credited his stamina to good genes, hard work, pasta Bolognese — and a daily glass of cabernet sauvignon.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story contains biographical information compiled by former Associated Press Writer Michelle Locke.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Univision's Anchor Seeks New Audiences On Facebook — and Draws Millions",
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"content": "\u003cp>On the campaign trail, the chief anchor of the Spanish-language network Univision, Jorge Ramos, chases three quarries: voters, viewers and relevance.\u003c/p>\n\u003cp>A self-described dinosaur who insists on mastering new tricks, Ramos and his team now reach an audience of millions who are watching not on television, but via video streams on Facebook, captured by an iPhone clutched in a selfie stick.\u003c/p>\n\u003cp>The videos, long by network standards, sometimes run 45 minutes or an hour. They run on the social media platform's relatively new feature called Facebook Live. And they have achieved surprisingly strong results. On the night of the Iowa caucuses, Ramos' videos were viewed by 2.6 million people. On primary day in New Hampshire, his team posted three videos totaling 75 minutes. Although Univision did no marketing other than tweets and Facebook notifications, those videos from New Hampshire were collectively watched 4 million times. Those figures rival or exceed cable news figures, though they are not perfectly comparable.\u003c/p>\n\u003cp>\"We are going where the audience is,\" Ramos told me as I caught up to him on the day of the New Hampshire primaries earlier this month. \"There's a huge migration of eyes.\"\u003c/p>\n\u003cp>https://www.facebook.com/jorgeramosnews/videos/504564833062941/\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ramos has three regular outlets for his reporting already; he is the co-anchor of Univision's nightly newscast of record, \u003cem>Noticiero Univision,\u003c/em> and the host of its Sunday public affairs show, \u003cem>Al Punto\u003c/em>. In addition, he is anchor of a weekly newsmagazine, \u003cem>America\u003c/em>, on Fusion, Univision's English-language sister cable channel. In essence, Ramos considers Facebook Live yet another channel, reaching younger viewers more oriented to mobile devices than traditional televisions.\u003c/p>\n\u003cp>\"For the first time, we are showing them exactly what you and I are doing — which are the basics of reporting: walking, getting the place, talking to people and to voters,\" Ramos said. \"When people see the process at night on the network news, they see the refined product. And I think they're kind of tired of that. They want to see the real thing. And this is the real thing.\"\u003c/p>\n\u003cp>The experiment is driven by Ramos' team from Fusion, which is geared toward millennials, with a Latin flavor. Fusion has not been able to draw the audiences it had hoped for on television, but it has created an aggressive digital effort.\u003c/p>\n\u003cp>\"What we've known all the time for Fusion is that if we try to compete with CNN or Fox, and do their ideas for our audience, it won't work, because that model has been tried, tested, and they've perfected it,\" said Dax Tejera, executive producer of \u003cem>America with Jorge Ramos\u003c/em>. \"It was increasingly clear to us that people were coming to see us through Facebook. And when Facebook Live became an option, and there is a lot of live coverage right now, it was a no-brainer.\" (The network has not yet figured out how to derive revenues from the videos: audience first, profits to be determined.)\u003c/p>\n\u003cp>For all that, television has been the source of considerable success, fame and influence for Ramos, a veteran broadcaster of three decades. The Mexican-born anchor has been insistent that politicians and presidential candidates in both parties address thorny questions important to Latinos, especially those on immigration. Last August, Republican front-runner Donald Trump had Ramos thrown out of a press conference. Trump later relented and staffers let Ramos back in, but the incident sparked national attention.\u003c/p>\n\u003cp>Ramos' network shows continue unabated, as staffers toggle between platforms. Fusion anchor Mariana Atencio said she demanded to leave the network's Miami studios to join Ramos' team in New Hampshire so she could participate in the live-stream broadcasts as well.\u003c/p>\n\u003cp>The equipment is stripped down, almost entirely reliant on technology available to the average consumer. But it requires production vigilance nonetheless. Some footage is grainy, depending on the quality of wireless connections. There's also instant feedback, as viewers watching live can post reactions, emoticons and comments. Producers hover nearby to suggest questions or discussions based on the response on Facebook Live.\u003c/p>\n\u003cp>https://www.facebook.com/jorgeramosnews/videos/504555899730501/\u003c/p>\n\u003cp>And the data allow Ramos' team to track not just the size of the audience but how viewers use the videos.\u003c/p>\n\u003cp>\"Since we're doing kind of raw coverage, and we're going for long periods of time, we're experimenting with throwing some Spanish in,\" Tejera said, estimating the split of Ramos' audience at about 50-50 between English speakers and Spanish speakers. \"What I find remarkable is that when he switches languages ... the live viewing audience doesn't really take a major shift. Jorge will volley between [them] over the 90 minutes and serve those two audiences.\"\u003c/p>\n\u003cp>What appears on Facebook Live is extended and often proves thoughtful. Facebook offers its broadcast partners the right to stream up to 90 minutes a day live; the resulting videos are archived on one of the network's pages. The videos are raw in two senses. As they are initially streamed live, there can be no internal edits. And Ramos' celebrity and controversies make him a recognizable character.\u003c/p>\n\u003cp>At Merrimack High School in New Hampshire, Ramos held a microphone adorned with a symbol for Fusion, Univision's less well-known English-language network. Cars were backed up for an hour to park as voters sought to cast ballots. Despite a very slight Latino population in the state, many voters instantly recognized Ramos as Univision's most prominent journalist.\u003c/p>\n\u003cp>He pressed one vocal Trump supporter holding a big placard aloft about the openness of the billionaire's campaign: \"Interesting that you say, 'We're not haters,' \" Ramos started. \"Some people might think that Mexicans, Muslims, women might not be welcome.\"\u003c/p>\n\u003cp>Mike Malzone, owner of a ceramic tile company in Merrimack, said he disagreed. \"We've never looked at people as color until the last seven years in this country,\" Malzone said. \"Really. I mean, let's be honest with it.\"\u003c/p>\n\u003cp>Then Malzone turned the question back on Ramos: \"I was disappointed with your station for quite some time because I could never SAP your station in English\" — that is, receive translation of Univision's Spanish newscasts into English in real time. \"You made me pay for that station. ... That wasn't cool, man. Right? Right? Is that racism?\"\u003c/p>\n\u003cp>\"No — it's not racism,\" Ramos replied, calmly. \"We simply broadcast in Spanish. That's all. Now I am also working for Fusion, so you can watch whatever we do in both.\" The translation service is now available for Univision.\u003c/p>\n\u003cp>Ramos then moved the discussion of Trump and rival Ted Cruz forward. But it all was captured on the video stream. It's highly unlikely that a similar exchange would make ABC News' \u003cem>World News\u003c/em>, or CBS' \u003cem>Face the Nation\u003c/em>.\u003c/p>\n\u003cp>Ramos remains unsatisfied with the quality of the iPhone camera, but he thinks it will inevitably improve.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Still, he valued that contentious exchange with Malzone and the rawness of his stream. \"I don't have the prompter or the lights or the set. It's the nature of our business — it's true reporting,\" Ramos said.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Univision%27s+Ramos+Seeks+New+Audiences+On+Facebook+%E2%80%94+And+Draws+Millions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the campaign trail, the chief anchor of the Spanish-language network Univision, Jorge Ramos, chases three quarries: voters, viewers and relevance.\u003c/p>\n\u003cp>A self-described dinosaur who insists on mastering new tricks, Ramos and his team now reach an audience of millions who are watching not on television, but via video streams on Facebook, captured by an iPhone clutched in a selfie stick.\u003c/p>\n\u003cp>The videos, long by network standards, sometimes run 45 minutes or an hour. They run on the social media platform's relatively new feature called Facebook Live. And they have achieved surprisingly strong results. On the night of the Iowa caucuses, Ramos' videos were viewed by 2.6 million people. On primary day in New Hampshire, his team posted three videos totaling 75 minutes. Although Univision did no marketing other than tweets and Facebook notifications, those videos from New Hampshire were collectively watched 4 million times. Those figures rival or exceed cable news figures, though they are not perfectly comparable.\u003c/p>\n\u003cp>\"We are going where the audience is,\" Ramos told me as I caught up to him on the day of the New Hampshire primaries earlier this month. \"There's a huge migration of eyes.\"\u003c/p>\n\u003cp>https://www.facebook.com/jorgeramosnews/videos/504564833062941/\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ramos has three regular outlets for his reporting already; he is the co-anchor of Univision's nightly newscast of record, \u003cem>Noticiero Univision,\u003c/em> and the host of its Sunday public affairs show, \u003cem>Al Punto\u003c/em>. In addition, he is anchor of a weekly newsmagazine, \u003cem>America\u003c/em>, on Fusion, Univision's English-language sister cable channel. In essence, Ramos considers Facebook Live yet another channel, reaching younger viewers more oriented to mobile devices than traditional televisions.\u003c/p>\n\u003cp>\"For the first time, we are showing them exactly what you and I are doing — which are the basics of reporting: walking, getting the place, talking to people and to voters,\" Ramos said. \"When people see the process at night on the network news, they see the refined product. And I think they're kind of tired of that. They want to see the real thing. And this is the real thing.\"\u003c/p>\n\u003cp>The experiment is driven by Ramos' team from Fusion, which is geared toward millennials, with a Latin flavor. Fusion has not been able to draw the audiences it had hoped for on television, but it has created an aggressive digital effort.\u003c/p>\n\u003cp>\"What we've known all the time for Fusion is that if we try to compete with CNN or Fox, and do their ideas for our audience, it won't work, because that model has been tried, tested, and they've perfected it,\" said Dax Tejera, executive producer of \u003cem>America with Jorge Ramos\u003c/em>. \"It was increasingly clear to us that people were coming to see us through Facebook. And when Facebook Live became an option, and there is a lot of live coverage right now, it was a no-brainer.\" (The network has not yet figured out how to derive revenues from the videos: audience first, profits to be determined.)\u003c/p>\n\u003cp>For all that, television has been the source of considerable success, fame and influence for Ramos, a veteran broadcaster of three decades. The Mexican-born anchor has been insistent that politicians and presidential candidates in both parties address thorny questions important to Latinos, especially those on immigration. Last August, Republican front-runner Donald Trump had Ramos thrown out of a press conference. Trump later relented and staffers let Ramos back in, but the incident sparked national attention.\u003c/p>\n\u003cp>Ramos' network shows continue unabated, as staffers toggle between platforms. Fusion anchor Mariana Atencio said she demanded to leave the network's Miami studios to join Ramos' team in New Hampshire so she could participate in the live-stream broadcasts as well.\u003c/p>\n\u003cp>The equipment is stripped down, almost entirely reliant on technology available to the average consumer. But it requires production vigilance nonetheless. Some footage is grainy, depending on the quality of wireless connections. There's also instant feedback, as viewers watching live can post reactions, emoticons and comments. Producers hover nearby to suggest questions or discussions based on the response on Facebook Live.\u003c/p>\n\u003cp>https://www.facebook.com/jorgeramosnews/videos/504555899730501/\u003c/p>\n\u003cp>And the data allow Ramos' team to track not just the size of the audience but how viewers use the videos.\u003c/p>\n\u003cp>\"Since we're doing kind of raw coverage, and we're going for long periods of time, we're experimenting with throwing some Spanish in,\" Tejera said, estimating the split of Ramos' audience at about 50-50 between English speakers and Spanish speakers. \"What I find remarkable is that when he switches languages ... the live viewing audience doesn't really take a major shift. Jorge will volley between [them] over the 90 minutes and serve those two audiences.\"\u003c/p>\n\u003cp>What appears on Facebook Live is extended and often proves thoughtful. Facebook offers its broadcast partners the right to stream up to 90 minutes a day live; the resulting videos are archived on one of the network's pages. The videos are raw in two senses. As they are initially streamed live, there can be no internal edits. And Ramos' celebrity and controversies make him a recognizable character.\u003c/p>\n\u003cp>At Merrimack High School in New Hampshire, Ramos held a microphone adorned with a symbol for Fusion, Univision's less well-known English-language network. Cars were backed up for an hour to park as voters sought to cast ballots. Despite a very slight Latino population in the state, many voters instantly recognized Ramos as Univision's most prominent journalist.\u003c/p>\n\u003cp>He pressed one vocal Trump supporter holding a big placard aloft about the openness of the billionaire's campaign: \"Interesting that you say, 'We're not haters,' \" Ramos started. \"Some people might think that Mexicans, Muslims, women might not be welcome.\"\u003c/p>\n\u003cp>Mike Malzone, owner of a ceramic tile company in Merrimack, said he disagreed. \"We've never looked at people as color until the last seven years in this country,\" Malzone said. \"Really. I mean, let's be honest with it.\"\u003c/p>\n\u003cp>Then Malzone turned the question back on Ramos: \"I was disappointed with your station for quite some time because I could never SAP your station in English\" — that is, receive translation of Univision's Spanish newscasts into English in real time. \"You made me pay for that station. ... That wasn't cool, man. Right? Right? Is that racism?\"\u003c/p>\n\u003cp>\"No — it's not racism,\" Ramos replied, calmly. \"We simply broadcast in Spanish. That's all. Now I am also working for Fusion, so you can watch whatever we do in both.\" The translation service is now available for Univision.\u003c/p>\n\u003cp>Ramos then moved the discussion of Trump and rival Ted Cruz forward. But it all was captured on the video stream. It's highly unlikely that a similar exchange would make ABC News' \u003cem>World News\u003c/em>, or CBS' \u003cem>Face the Nation\u003c/em>.\u003c/p>\n\u003cp>Ramos remains unsatisfied with the quality of the iPhone camera, but he thinks it will inevitably improve.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, he valued that contentious exchange with Malzone and the rawness of his stream. \"I don't have the prompter or the lights or the set. It's the nature of our business — it's true reporting,\" Ramos said.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Univision%27s+Ramos+Seeks+New+Audiences+On+Facebook+%E2%80%94+And+Draws+Millions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Dating in a Post-Privacy World",
"title": "Dating in a Post-Privacy World",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>We live in an age of oversharing. Depending on your level of tolerance, perhaps you’ve just come to accept that too many people know too much about you, and sigh with resignation every time a family member or friend posts a photo of you with a double chin, or the dreaded red eye, or hoisting a pint at the bar when you told your boss you were home sick that day.\u003c/p>\n\u003cp>Privacy? Boundaries? Those went out with the advent of social media.\u003c/p>\n\u003cp>But some things require privacy to thrive. I’m not talking about illegal behavior, per se. There’s something about sex, love, even marriage, that prefers the candlelit corner, and not just because low lighting is so forgiving. Posting about everything -- the first date, the last fight -- can wound or kill a romantic relationship.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg class=\"alignleft\" src=\"http://u.s.kqed.net/2015/09/14/LITDApodcastlogo.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/love-in-the-digital-age/id1037051180?mt=2\">Subscribe in iTunes\u003c/a>\u003c/h3>\n\u003cp>Don't miss an episode of 'Love in the Digital Age'\u003c/p>\n\u003c/div>\n\u003cp>\u003cem>Love in the Digital Age\u003c/em> sat down with Rico Gagliano recently. He’s co-host of the radio show and podcast \u003ca href=\"http://www.dinnerpartydownload.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\"Dinner Party Download,\"\u003c/a> and while he wouldn’t claim to be the World’s Foremost Expert on Love -- who would? -- he’s had some experience having his personal life dragged out into the limelight for review and discussion.\u003c/p>\n\u003cp>“We all on some level understand, whether we consciously acknowledge it or not, know the way that people behave in their public lives may not necessarily jive with the way that they behave in their private lives,” Gagliano says. “Those are two different universes.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a perfect world, your private life would be yours to enjoy, observed only by those you choose to share it with. Right. Some of us are old enough to remember when that was possible. The choice today is not whether to document our private lives online, but how.\u003c/p>\n\u003cfigure id=\"attachment_10861524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10861524 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-800x449.jpg\" alt=\"“People think of the social media world as just an expansion of their normal social lives in some way, but it isn’t, to me,” says Rico Gagliano.\" width=\"800\" height=\"449\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-800x449.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-768x431.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-1440x809.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-960x539.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“People think of the social media world as just an expansion of their normal social lives in some way, but it isn’t, to me,” says Rico Gagliano. \u003ccite>(Katherine Streeter for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are plenty of people who look at my Facebook page who are not my close friends,\" Gagliano says. I don’t want to tell them about my relationships, or have them know exactly what I’m doing with my significant other. And yet, I feel like there’s the expectation that you do that.”\u003c/p>\n\u003cp>He’s not just speaking about the madding crowd he's friended over the years. He’s speaking about girlfriends, who expect to post -- or have posted -- a steady stream of sunny photos about meals in restaurants, weekend trips, and “\u003ca href=\"http://www.businessinsider.com/selfies-are-dead-its-all-about-the-usie-now-2014-1\" target=\"_blank\" rel=\"noopener noreferrer\">usies\u003c/a>” at various spots around town. If you refuse to post, or to allow others to post, “then what is that saying about your relationship?\"\u003c/p>\n\u003caside class=\"pullquote alignright\">'Are you trying to keep that relationship on the down low? You don’t want anyone to know that we’re dating? You want me to be your dirty little secret?'\u003c/aside>\n\u003cp>You can, of course, set specific limits on who sees what on Facebook, or evade older generations by seeking out younger social media networks like SnapChat. But unless you go off the grid entirely, your privacy strategy will never be better than partial.\u003c/p>\n\u003cp>Some people say Millennials, having grown up with the expectation there is no privacy, do better at proactively self-censoring than older generations, but there's a limit to how much of yourself you can hold back in the search for love.\u003c/p>\n\u003cp>\u003cstrong>An Early Lesson in Love Online\u003c/strong>\u003c/p>\n\u003cp>Back in the early 2000s, Gagliano was enthusiastically involved with a platform called \u003ca href=\"http://www.livejournal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Live Journal\u003c/a>. That is to say, he hung out with a group of people who blogged on it, read what others wrote on it and dated each other.\u003c/p>\n\u003cp>“I was on Live Journal,” say Gagliano. “My girlfriend was on Live Journal. We dated, and then we broke up. That was fine. We were still friends. Many months later, I started dating somebody else who was also on Live Journal and was friends with all of us, including my ex.”\u003c/p>\n\u003cp>[contextly_sidebar id=\"Kfo8j15BfaTtV778Jwzc55k9CalAykEQ\"]\u003c/p>\n\u003cp>Gagliano went to a movie with his ex. “We were still friends.” At the time, he thought there would be no need to tell the new woman, because he had just started seeing her, especially if he had no interest in rekindling a romantic relationship with his ex. “All it’s going to do is cause problems,” he thought.\u003c/p>\n\u003cp>He didn’t anticipate that his ex would post about the evening on her Live Journal. It didn’t help that she mentioned what a good time they had and how much she wished they were still together. “This girl that I’ve just started dating sees that I’ve gone out with my ex. And she’s like, ‘Why didn’t you tell me?’ ” You don't need to follow Gagliano's Facebook feed to guess how things progressed from there.\u003c/p>\n\u003cfigure id=\"attachment_10861523\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003cimg class=\"wp-image-10861523\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/RS18408_Rico-qut-400x400.jpg\" alt=\"This photo “cunningly doesn't show my who face,” says Rico Gagliano, "the better to protect my public anonymity. It shows the top of my head with a portrait of William Howard Taft, with whom I insist I have never had a relationship."\" width=\"250\" height=\"250\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut.jpg 912w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">This photo “cunningly doesn't show my who face,” says Rico Gagliano, \"the better to protect my public anonymity. It shows the top of my head with a portrait of William Howard Taft, with whom I insist I have never had a relationship.\" \u003ccite>(Courtesy Rico Gagliano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That episode may not have been the most painful thing he's experienced, but it did make Gagliano keenly aware some people are always watching him. Even though we’re talking about his friends, family and yes, exes, it doesn’t make that oversight feel less intrusive. There is always a camera somewhere, documenting your search for love in the digital age.\u003c/p>\n\u003cp>“To what extent do you have any control anymore?” Gagliano asks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This podcast features music by K. Flay (“It's Strange”) and the Candyland Remix of the same.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We live in an age of oversharing. Depending on your level of tolerance, perhaps you’ve just come to accept that too many people know too much about you, and sigh with resignation every time a family member or friend posts a photo of you with a double chin, or the dreaded red eye, or hoisting a pint at the bar when you told your boss you were home sick that day.\u003c/p>\n\u003cp>Privacy? Boundaries? Those went out with the advent of social media.\u003c/p>\n\u003cp>But some things require privacy to thrive. I’m not talking about illegal behavior, per se. There’s something about sex, love, even marriage, that prefers the candlelit corner, and not just because low lighting is so forgiving. Posting about everything -- the first date, the last fight -- can wound or kill a romantic relationship.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg class=\"alignleft\" src=\"http://u.s.kqed.net/2015/09/14/LITDApodcastlogo.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/love-in-the-digital-age/id1037051180?mt=2\">Subscribe in iTunes\u003c/a>\u003c/h3>\n\u003cp>Don't miss an episode of 'Love in the Digital Age'\u003c/p>\n\u003c/div>\n\u003cp>\u003cem>Love in the Digital Age\u003c/em> sat down with Rico Gagliano recently. He’s co-host of the radio show and podcast \u003ca href=\"http://www.dinnerpartydownload.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\"Dinner Party Download,\"\u003c/a> and while he wouldn’t claim to be the World’s Foremost Expert on Love -- who would? -- he’s had some experience having his personal life dragged out into the limelight for review and discussion.\u003c/p>\n\u003cp>“We all on some level understand, whether we consciously acknowledge it or not, know the way that people behave in their public lives may not necessarily jive with the way that they behave in their private lives,” Gagliano says. “Those are two different universes.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a perfect world, your private life would be yours to enjoy, observed only by those you choose to share it with. Right. Some of us are old enough to remember when that was possible. The choice today is not whether to document our private lives online, but how.\u003c/p>\n\u003cfigure id=\"attachment_10861524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10861524 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-800x449.jpg\" alt=\"“People think of the social media world as just an expansion of their normal social lives in some way, but it isn’t, to me,” says Rico Gagliano.\" width=\"800\" height=\"449\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-800x449.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-768x431.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-1440x809.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-960x539.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“People think of the social media world as just an expansion of their normal social lives in some way, but it isn’t, to me,” says Rico Gagliano. \u003ccite>(Katherine Streeter for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are plenty of people who look at my Facebook page who are not my close friends,\" Gagliano says. I don’t want to tell them about my relationships, or have them know exactly what I’m doing with my significant other. And yet, I feel like there’s the expectation that you do that.”\u003c/p>\n\u003cp>He’s not just speaking about the madding crowd he's friended over the years. He’s speaking about girlfriends, who expect to post -- or have posted -- a steady stream of sunny photos about meals in restaurants, weekend trips, and “\u003ca href=\"http://www.businessinsider.com/selfies-are-dead-its-all-about-the-usie-now-2014-1\" target=\"_blank\" rel=\"noopener noreferrer\">usies\u003c/a>” at various spots around town. If you refuse to post, or to allow others to post, “then what is that saying about your relationship?\"\u003c/p>\n\u003caside class=\"pullquote alignright\">'Are you trying to keep that relationship on the down low? You don’t want anyone to know that we’re dating? You want me to be your dirty little secret?'\u003c/aside>\n\u003cp>You can, of course, set specific limits on who sees what on Facebook, or evade older generations by seeking out younger social media networks like SnapChat. But unless you go off the grid entirely, your privacy strategy will never be better than partial.\u003c/p>\n\u003cp>Some people say Millennials, having grown up with the expectation there is no privacy, do better at proactively self-censoring than older generations, but there's a limit to how much of yourself you can hold back in the search for love.\u003c/p>\n\u003cp>\u003cstrong>An Early Lesson in Love Online\u003c/strong>\u003c/p>\n\u003cp>Back in the early 2000s, Gagliano was enthusiastically involved with a platform called \u003ca href=\"http://www.livejournal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Live Journal\u003c/a>. That is to say, he hung out with a group of people who blogged on it, read what others wrote on it and dated each other.\u003c/p>\n\u003cp>“I was on Live Journal,” say Gagliano. “My girlfriend was on Live Journal. We dated, and then we broke up. That was fine. We were still friends. Many months later, I started dating somebody else who was also on Live Journal and was friends with all of us, including my ex.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Gagliano went to a movie with his ex. “We were still friends.” At the time, he thought there would be no need to tell the new woman, because he had just started seeing her, especially if he had no interest in rekindling a romantic relationship with his ex. “All it’s going to do is cause problems,” he thought.\u003c/p>\n\u003cp>He didn’t anticipate that his ex would post about the evening on her Live Journal. It didn’t help that she mentioned what a good time they had and how much she wished they were still together. “This girl that I’ve just started dating sees that I’ve gone out with my ex. And she’s like, ‘Why didn’t you tell me?’ ” You don't need to follow Gagliano's Facebook feed to guess how things progressed from there.\u003c/p>\n\u003cfigure id=\"attachment_10861523\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003cimg class=\"wp-image-10861523\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/RS18408_Rico-qut-400x400.jpg\" alt=\"This photo “cunningly doesn't show my who face,” says Rico Gagliano, "the better to protect my public anonymity. It shows the top of my head with a portrait of William Howard Taft, with whom I insist I have never had a relationship."\" width=\"250\" height=\"250\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut.jpg 912w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">This photo “cunningly doesn't show my who face,” says Rico Gagliano, \"the better to protect my public anonymity. It shows the top of my head with a portrait of William Howard Taft, with whom I insist I have never had a relationship.\" \u003ccite>(Courtesy Rico Gagliano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That episode may not have been the most painful thing he's experienced, but it did make Gagliano keenly aware some people are always watching him. Even though we’re talking about his friends, family and yes, exes, it doesn’t make that oversight feel less intrusive. There is always a camera somewhere, documenting your search for love in the digital age.\u003c/p>\n\u003cp>“To what extent do you have any control anymore?” Gagliano asks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This podcast features music by K. Flay (“It's Strange”) and the Candyland Remix of the same.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "in-central-valley-park-graffitis-no-crime",
"title": "Wall in Fresno Park a Canvas for Graffiti Artists’ Tribute",
"publishDate": 1455005116,
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"headTitle": "Wall in Fresno Park a Canvas for Graffiti Artists’ Tribute | KQED",
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"content": "\u003cp>There aren’t many places in California that boast long, legal, public walls open to graffiti artists. But in southeast Fresno, in the unincorporated community of Calwa, there’s a quarter-mile cinderblock wall that’s open to street artists year-round.\u003c/p>\n\u003cp>“This wall is special,” says \u003ca href=\"http://www.rickywatts.com/\">Ricky Watts\u003c/a>, an aerosol artist from Sebastopol. “This is one of the few places in the state of California where they have a wall like this, this size. There’s no other place like this, really.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/246106574″ 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>And every year, for the past three years, Watts and other members of a graffiti crew called Lords have come from all over the state for a daylong festival in late January memorializing their founder. It’s called the \u003ca href=\"https://www.facebook.com/events/1154648487899512/\">Bizare Art Festival\u003c/a>, named after Salvador “Bizare” Lujan. Bizare started the crew 30 years ago in San Jose when he was just a teenager.\u003c/p>\n\u003cp>“A lot of guys here have been inspired by him,” says Bizare’s sister, Serena Lujan. “They were taken off the streets, taken away from gangs, to be a part of this crew that didn’t have anything to do with that type of lifestyle.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Serena says Bizare was a gentle character who wanted to unite his friends around something positive and creative — art, music and dance. “He was more of a quiet type, but he had a lot to say,” she adds.\u003c/p>\n\u003cfigure id=\"attachment_10858484\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/RickyWatts-800x794.jpg\" alt=\"Aerosol artist Ricky Watts.\" width=\"800\" height=\"794\" class=\"size-medium wp-image-10858484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-1440x1429.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-1180x1171.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-960x953.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aerosol artist Ricky Watts. \u003ccite>(Alice Daniel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bizare died of a heart attack three years ago when he was just 44. And that’s when Serena started this yearly festival.\u003c/p>\n\u003cp>“Instead of being at home mourning his passing, I’d rather be here celebrating his life,” she says.\u003c/p>\n\u003cp>About 80 artists typically paint the wall for the festival, including a tattoo artist from San Diego, whose graffiti name is Payne. But before he draws long lines of spray paint on a black surface, he shakes up one of his cans to make sure it has a good spray.\u003c/p>\n\u003cp>“This might be an old can,” he says. “I might need to get a different tip.” He searches through a box of caps and changes out the old one.\u003c/p>\n\u003cp>“Sometimes they take a little work, and also weather’s playing a part. It’s kind of cold out. Cans like to be warm,” he says with a laugh.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘We just have graffiti in our blood. This is the medium, it’s larger than life.’\u003ccite>Payne\u003c/cite>\u003c/aside>\n\u003cp>Like the other artists here, Payne is putting up his name in huge, colorful letters. He calls it a Payne piece, as in masterpiece. Although the crew started in San Jose, Payne says it has spread to other parts of the state and beyond.\u003c/p>\n\u003cp>“Now we’re all the way down south, across the pond and into Europe,” he says. “We got members all over the world now. It’s a big crew.”\u003c/p>\n\u003cp>He says it’s mostly made up of working-class guys who like hip-hop, letters, music and dancing.\u003c/p>\n\u003cfigure id=\"attachment_10858520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/PayneUp-800x541.jpg\" alt=\"Artist Payne puts up what he calls a ‘Payne Piece.’\" width=\"800\" height=\"541\" class=\"size-medium wp-image-10858520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-1440x974.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-960x650.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Payne puts up what he calls a ‘Payne Piece.’ \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We just have graffiti in our blood. We like to paint. We’re artists. This is the medium, it’s larger than life,” he says.\u003c/p>\n\u003cp>To become a crew member, you have to get noticed, he says. “Just kind of show dedication,” he says. “I won’t talk too much about exploits. But you know, it’s a lot of cred. What you do on the street. You know, just putting up the crew and representing.”\u003c/p>\n\u003cp>[contextly_sidebar id=”KQqEPm7fduo6mTbAsuLReVSY0R65Hdl3″]\u003c/p>\n\u003cp>Payne’s been putting up the crew for 20 years. He’s 44 now and owns a tattoo parlor in San Diego, so he treads a little more gently these days.\u003c/p>\n\u003cp>“I tend to keep it more legal. I have a family, I’ve got two little girls, I’ve got a business, you know, so I’m not trying to go out and kill it the way I did when I was a kid. But I still love to do it and as much as I can,” he says.\u003c/p>\n\u003cp>Farther down the wall, Match, a musician from the Bay Area, explains why choosing a graffiti name is important.\u003c/p>\n\u003cfigure id=\"attachment_10858529\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/Match-800x1067.jpg\" alt=\"Match says graffiti artists spend years mastering their letters.\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-10858529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-1440x1920.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-960x1280.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Match says graffiti artists spend years mastering their letters. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every one of us painting the wall today has a great appreciation of typography and fonts and letters in general,” he says.\u003c/p>\n\u003cp>Like everyone else here, he’s kind of secretive. He won’t tell his real name or the name of his band, or even what town he lives in.\u003c/p>\n\u003cp>He says good street art means mastering your letters. “We write them over and over again like crazy people on pads of paper from the day we start until the day we die. I’ve probably spent at least two hours every day of my life writing my name over and over again, destroying paperwork, scrap papers and phone books and Bibles in hotels.”\u003c/p>\n\u003cp>Forty-five-year-old Quake is a few spots down the wall from Match. He started writing graffiti some 30 years ago. He says he’s been caught for painting in illegal spots.\u003c/p>\n\u003cp>“I think I got busted for the first time big in 1989,” he says. “I got a lot of hours, 200 community service hours, $4,000 in fines. That’s actually what got me into the piecing aspect.”\u003c/p>\n\u003cp>Piecing is more labor intensive, more complex. It comes from the word masterpiece. “The essence of graffiti is through the tag,” Quake says. “You basically make it bigger, start adding fancy, pretty colors and people appreciate it a little more, I guess. It’s more acceptable.”\u003c/p>\n\u003cp>Today Quake owns an art and apparel company, but his background is in logistics. He worked in the corporate world for years, a kind of dual life, he says. These days, he still paints lots of illegal spots near his home in the East Bay.\u003c/p>\n\u003cfigure id=\"attachment_10858469\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/LordBiz-800x460.jpg\" alt=\"Aerosol artist RIcky Watts pays tribute to his crew founder, Bizare.\" width=\"800\" height=\"460\" class=\"size-medium wp-image-10858469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-800x460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-400x230.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-1440x828.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-960x552.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aerosol artist RIcky Watts pays tribute to his crew founder, Bizare. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Spillways, bridges, stuff like that. I just basically go where I can’t be bothered. I’m not really looking to do this to make money. It’s just my hobby. It’s something for me to release. All the frustrations of day-to-day life, I take them out on the wall.”\u003c/p>\n\u003cp>But others do make money using spray paint as their medium. Ricky Watts is a fine artist, muralist and illustrator. His most recent work was a huge mural on the old YMCA building in St. Petersburg, Florida.\u003c/p>\n\u003cp>He says he used to sneak out at night as a teenager to paint graffiti, but what he loved most was art.\u003c/p>\n\u003cp>“I knew early on I loved using spray paint. I wasn’t interested in the vandalism side of it, you know. I really wanted to do big colorful artistic pieces.”\u003c/p>\n\u003cp>And today, the colorful piece he’s doing is a tribute to Bizare.\u003c/p>\n\u003cp>“I’m doing these large simple letters that are going to be very readable, and then inside the letters, I’m gonna take Bizare’s old sketches, and I’m gonna sketch out his letters inside the big letters,” Watts says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s the kind of perspective Bizare would appreciate. Ricky Watts and other Lords crew members’ work can currently be seen on display at the \u003ca href=\"http://oaklandterminalartgallery.bigcartel.com/\">Oakland Terminal Gallery.\u003c/a>\u003c/p>\n\n",
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"excerpt": "Artists from across the state pay annual homage to Bizare, founder of the Lords crew, at a legal graffiti wall.",
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"title": "Wall in Fresno Park a Canvas for Graffiti Artists’ Tribute | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There aren’t many places in California that boast long, legal, public walls open to graffiti artists. But in southeast Fresno, in the unincorporated community of Calwa, there’s a quarter-mile cinderblock wall that’s open to street artists year-round.\u003c/p>\n\u003cp>“This wall is special,” says \u003ca href=\"http://www.rickywatts.com/\">Ricky Watts\u003c/a>, an aerosol artist from Sebastopol. “This is one of the few places in the state of California where they have a wall like this, this size. There’s no other place like this, really.”\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/246106574″&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/246106574″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And every year, for the past three years, Watts and other members of a graffiti crew called Lords have come from all over the state for a daylong festival in late January memorializing their founder. It’s called the \u003ca href=\"https://www.facebook.com/events/1154648487899512/\">Bizare Art Festival\u003c/a>, named after Salvador “Bizare” Lujan. Bizare started the crew 30 years ago in San Jose when he was just a teenager.\u003c/p>\n\u003cp>“A lot of guys here have been inspired by him,” says Bizare’s sister, Serena Lujan. “They were taken off the streets, taken away from gangs, to be a part of this crew that didn’t have anything to do with that type of lifestyle.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Serena says Bizare was a gentle character who wanted to unite his friends around something positive and creative — art, music and dance. “He was more of a quiet type, but he had a lot to say,” she adds.\u003c/p>\n\u003cfigure id=\"attachment_10858484\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/RickyWatts-800x794.jpg\" alt=\"Aerosol artist Ricky Watts.\" width=\"800\" height=\"794\" class=\"size-medium wp-image-10858484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-1440x1429.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-1180x1171.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-960x953.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aerosol artist Ricky Watts. \u003ccite>(Alice Daniel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bizare died of a heart attack three years ago when he was just 44. And that’s when Serena started this yearly festival.\u003c/p>\n\u003cp>“Instead of being at home mourning his passing, I’d rather be here celebrating his life,” she says.\u003c/p>\n\u003cp>About 80 artists typically paint the wall for the festival, including a tattoo artist from San Diego, whose graffiti name is Payne. But before he draws long lines of spray paint on a black surface, he shakes up one of his cans to make sure it has a good spray.\u003c/p>\n\u003cp>“This might be an old can,” he says. “I might need to get a different tip.” He searches through a box of caps and changes out the old one.\u003c/p>\n\u003cp>“Sometimes they take a little work, and also weather’s playing a part. It’s kind of cold out. Cans like to be warm,” he says with a laugh.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘We just have graffiti in our blood. This is the medium, it’s larger than life.’\u003ccite>Payne\u003c/cite>\u003c/aside>\n\u003cp>Like the other artists here, Payne is putting up his name in huge, colorful letters. He calls it a Payne piece, as in masterpiece. Although the crew started in San Jose, Payne says it has spread to other parts of the state and beyond.\u003c/p>\n\u003cp>“Now we’re all the way down south, across the pond and into Europe,” he says. “We got members all over the world now. It’s a big crew.”\u003c/p>\n\u003cp>He says it’s mostly made up of working-class guys who like hip-hop, letters, music and dancing.\u003c/p>\n\u003cfigure id=\"attachment_10858520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/PayneUp-800x541.jpg\" alt=\"Artist Payne puts up what he calls a ‘Payne Piece.’\" width=\"800\" height=\"541\" class=\"size-medium wp-image-10858520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-1440x974.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-960x650.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Payne puts up what he calls a ‘Payne Piece.’ \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We just have graffiti in our blood. We like to paint. We’re artists. This is the medium, it’s larger than life,” he says.\u003c/p>\n\u003cp>To become a crew member, you have to get noticed, he says. “Just kind of show dedication,” he says. “I won’t talk too much about exploits. But you know, it’s a lot of cred. What you do on the street. You know, just putting up the crew and representing.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Payne’s been putting up the crew for 20 years. He’s 44 now and owns a tattoo parlor in San Diego, so he treads a little more gently these days.\u003c/p>\n\u003cp>“I tend to keep it more legal. I have a family, I’ve got two little girls, I’ve got a business, you know, so I’m not trying to go out and kill it the way I did when I was a kid. But I still love to do it and as much as I can,” he says.\u003c/p>\n\u003cp>Farther down the wall, Match, a musician from the Bay Area, explains why choosing a graffiti name is important.\u003c/p>\n\u003cfigure id=\"attachment_10858529\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/Match-800x1067.jpg\" alt=\"Match says graffiti artists spend years mastering their letters.\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-10858529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-1440x1920.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-960x1280.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Match says graffiti artists spend years mastering their letters. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every one of us painting the wall today has a great appreciation of typography and fonts and letters in general,” he says.\u003c/p>\n\u003cp>Like everyone else here, he’s kind of secretive. He won’t tell his real name or the name of his band, or even what town he lives in.\u003c/p>\n\u003cp>He says good street art means mastering your letters. “We write them over and over again like crazy people on pads of paper from the day we start until the day we die. I’ve probably spent at least two hours every day of my life writing my name over and over again, destroying paperwork, scrap papers and phone books and Bibles in hotels.”\u003c/p>\n\u003cp>Forty-five-year-old Quake is a few spots down the wall from Match. He started writing graffiti some 30 years ago. He says he’s been caught for painting in illegal spots.\u003c/p>\n\u003cp>“I think I got busted for the first time big in 1989,” he says. “I got a lot of hours, 200 community service hours, $4,000 in fines. That’s actually what got me into the piecing aspect.”\u003c/p>\n\u003cp>Piecing is more labor intensive, more complex. It comes from the word masterpiece. “The essence of graffiti is through the tag,” Quake says. “You basically make it bigger, start adding fancy, pretty colors and people appreciate it a little more, I guess. It’s more acceptable.”\u003c/p>\n\u003cp>Today Quake owns an art and apparel company, but his background is in logistics. He worked in the corporate world for years, a kind of dual life, he says. These days, he still paints lots of illegal spots near his home in the East Bay.\u003c/p>\n\u003cfigure id=\"attachment_10858469\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/LordBiz-800x460.jpg\" alt=\"Aerosol artist RIcky Watts pays tribute to his crew founder, Bizare.\" width=\"800\" height=\"460\" class=\"size-medium wp-image-10858469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-800x460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-400x230.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-1440x828.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-960x552.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aerosol artist RIcky Watts pays tribute to his crew founder, Bizare. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Spillways, bridges, stuff like that. I just basically go where I can’t be bothered. I’m not really looking to do this to make money. It’s just my hobby. It’s something for me to release. All the frustrations of day-to-day life, I take them out on the wall.”\u003c/p>\n\u003cp>But others do make money using spray paint as their medium. Ricky Watts is a fine artist, muralist and illustrator. His most recent work was a huge mural on the old YMCA building in St. Petersburg, Florida.\u003c/p>\n\u003cp>He says he used to sneak out at night as a teenager to paint graffiti, but what he loved most was art.\u003c/p>\n\u003cp>“I knew early on I loved using spray paint. I wasn’t interested in the vandalism side of it, you know. I really wanted to do big colorful artistic pieces.”\u003c/p>\n\u003cp>And today, the colorful piece he’s doing is a tribute to Bizare.\u003c/p>\n\u003cp>“I’m doing these large simple letters that are going to be very readable, and then inside the letters, I’m gonna take Bizare’s old sketches, and I’m gonna sketch out his letters inside the big letters,” Watts says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s the kind of perspective Bizare would appreciate. Ricky Watts and other Lords crew members’ work can currently be seen on display at the \u003ca href=\"http://oaklandterminalartgallery.bigcartel.com/\">Oakland Terminal Gallery.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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