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"content": "\u003cp>[audio mp3=\"http://www.kqed.org/.stream/anon/radio/tcrmag/2014/10/2014-10-03c-tcrmag.mp3\"][/audio]\u003c/p>\n\u003cp>This weekend marks the culmination of the Days of Awe, a time of intense soul-searching that began with Rosh Hashanah, the Jewish new year. Jewish communities gather to listen to the trumpetlike blast of the shofar, a ram’s horn, to wake themselves up to the hopes and possibilities of a new year.\u003c/p>\n\u003cp>It’s one of Judaism’s most powerful traditions. But what happens if you can’t hear the shofar? Is the spiritual in the sound?\u003c/p>\n\u003cp>Temple Beth Solomon of the Deaf in Northridge spends a lot of time pondering these questions. The synagogue rents a chapel from a hearing synagogue, Temple Ahavat Shalom. Like any hearing community, Beth Solomon plans retreats, organizes weekly card games and has an active sisterhood. 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Slotnick lost his hearing to meningitis when he was 3. His parents used every means possible to keep him from feeling isolated in the world. Looking back, he’s still astonished at everything he has accomplished.\u003c/p>\n\u003cp>“I’m amazed that I went to Harvard,” he says. “I’m amazed. I don’t know how I did it.”\u003c/p>\n\u003cp>After Harvard, he worked for decades in computer programming. It’s almost as if no one ever told him that he’s deaf. But then this time of year comes around. The Jewish scholar Maimonides said that Jews are obligated to hear the sound of the shofar -- which is something that’s not part of his world at all.\u003c/p>\n\u003cp>“I know some people love it and they’re very moved by it, but for me, no,” he explains. “I have no concept of sound at all.”\u003c/p>\n\u003cfigure id=\"attachment_10342409\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/12553_transform.jpg\">\u003cimg class=\"size-medium wp-image-10342409\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/12553_transform-800x600.jpg\" alt=\"Joe Slotnick and Florence Haberman, congregants at Temple Beth Solomon of the Deaf in Northridge. (Jen Rice/KQED\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/12553_transform-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/12553_transform-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/12553_transform.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Slotnick and Florence Haberman, congregants at Temple Beth Solomon of the Deaf in Northridge. (Jen Rice/KQED\u003c/figcaption>\u003c/figure>\n\u003cp>He can feel the shofar’s vibrations, but that doesn’t make it meaningful for him. Instead, Slotnick’s spiritual wake-up call has to be seen. When he remembers moments of awe in his life, what comes to mind is a beautiful snowfall during his childhood in Massachusetts.\u003c/p>\n\u003cp>Other deaf congregants find the shofar deeply moving. Florence Haberman lost her hearing after two traumatic falls when she was a child. Even though she’s deaf, she can hear loud sounds with the help of her hearing aids. Growing up in a family that regularly attended a hearing synagogue, Florence found her religion isolating and confusing. It wasn’t until she heard the ear-splitting shofar blast that something finally reached her.\u003c/p>\n\u003cp>“When I was a child during the High Holiday, I would sit and just fidget and cry,” Haberman explains. “And they kept telling me to be quiet and sit still. ‘Be quiet!’ And then they would blow the shofar and I immediately would hear that sound. Like it was coming right to me and pulling me. It’s almost like the vibrations paint a picture. So it’s chilling.”\u003c/p>\n\u003cp>The Days of Awe are about what Jews call teshuvah, or return. It means returning to yourself, apologizing for missteps and remembering what really matters. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stephen Colbert has called out venture capitalist Vinod Khosla for blocking public access to Martins Beach. In a short \u003cem>Colbert Report\u003c/em> segment (\u003ca href=\"#colbertkhosla\">embedded below\u003c/a>) on the challenges facing \"Wealthmericans,\" the comic-commentator spoke up for the difficult choices facing him and his fellow plutocrats:\u003c/p>\n\u003cblockquote>\u003cp>We need to be away from your 'normals,' which is why I was so inspired by an innovation in exclusivity pioneered by Vinod Khosla, a Silicon Valley billionaire and Barack Obama vindaloo. Khosla owns 53 acres of beachfront property on the Pacific Coast, but because of some rule that you can't buy the ocean, the unwashed masses kept up-washing on his beach near his property. So he took action...\u003c/p>\u003c/blockquote>\n\u003cp>(A \"Barack Obama vindaloo\"? Can anyone help us interpet that?)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/2014/09/24/judge-rules-for-public-access-to-martins-beach-doesnt-fine-developer/\" target=\"_blank\">Khosla last week lost a lawsuit\u003c/a> challenging the Martins Beach closure, which led immediately to that \u003ca href=\"http://www.hmbreview.com/news/judge-opens-martin-s-beach/article_df91315e-4993-11e4-b954-87ece7c82e18.html\" target=\"_blank\">access being restored\u003c/a>. This week, Gov. Jerry Brown signed into law \u003ca href=\"http://www.sfgate.com/news/article/New-law-lets-state-reopen-Martins-Beach-to-public-5792062.php\" target=\"_blank\">a measure\u003c/a> that would permit the state to use eminent domain to guarantee future public access to the beach.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"//media.mtvnservices.com/embed/mgid:arc:video:comedycentral.com:f07e231f-14ca-4446-85cf-c02a44715d6a\" width=\"800\" height=\"500\" frameborder=\"0\" allowfullscreen=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Pop Music Review: Lucinda Williams' 'Down Where the Spirit Meets the Bone'",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/09/2014-09-26c-tcrmag.mp3\u003c/p>\n\u003cp>Throughout Lucinda Williams’ recording career, some 35 years now, she has sought out songwriting advice and criticism from one man, a noted poet who has served as her mentor. \u003ca href=\"http://www.poetryfoundation.org/bio/miller-williams\" target=\"_blank\">Miller Williams\u003c/a> also happens to be her dad, still going strong at age 84. But for the first time, with the song, “Compassion,” she sets one of his poems to music.\u003c/p>\n\u003cp>It’s an intimate, moving tribute that both opens and provides the title for her new album, “Down Where the Spirit Meets the Bone.”\u003c/p>\n\u003cp>Miller Williams is a strong proponent of economy of language. Over the years, Lucinda has embraced this paring of things down to the bone as her most immediately recognizable artistic trait — alongside her laconic, Southern-bred drawl. Often in the course of a song, she’ll craft one short phrase and repeat it over and over until it’s the very essence of emotion, as she does with the “spirit meets the bone” line.\u003c/p>\n\u003cp>It’s what ties this album together, across a sprawling span of 20 songs. It’s a vast sweep of emotions, from the tenderness of “Compassion” to the tart anger of “Foolishness.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Down Where the Spirit Meets the Bone” is an ambitious statement, arguably the most so of Williams’ already considerable career. And in another first for her, there’s an array of guests helping out, which for some artists would seem a sign of insecurity but here comes off as underscoring a sense of confidence.\u003c/p>\n\u003cp>Jakob Dylan joins her singing “It’s Gonna Rain,” at once hopeful and somber, the rain both a promise and a threat. The mixed emotions are further illustrated by the snaky lines of guest guitarist Bill Frisell darting around those of longtime Williams cohort Greg Leisz, who also served as co-producer for the album.\u003c/p>\n\u003cp>Other guests include Faces keyboardist Ian McLagan and drummer Pete Thomas of Elvis Costello’s Attractions. And Williams enlists Tony Joe White to thread his distinctively swampy guitar through “West Memphis,” the real-life tale of a famously disputed murder case from the ‘90s. In her hands it becomes an epic, backwoods gothic song-story in the mode of Bobbie Gentry or Tony Joe White.\u003c/p>\n\u003cp>That Southern, swampy feel is also found in the gospel-soul chorus of “Protection” and the Stax-like horns on “One More Day,” while “Burning Bridges” would make a solid cover candidate for Tom Petty (a fan who has done Williams \"I Changed the Locks” in the past). And there’s the sultry menace of “Something Wicked This Way Comes.” And she concludes with another homage to a master of economy, covering “Magnolia” by JJ Cale, who died last year.\u003c/p>\n\u003cp>When it’s all done, Williams has brought out the full range of country-folk-rock shadings she’s used in the past. And there’s at least one specific allusion to her catalog, as in the stern “Everything But the Truth” she tells a troubled friend to take charge of life — “you gotta settle up with this sweet old world” — citing her 1992 song “Sweet Old World,” a too-late note to a friend who’d committed suicide.\u003c/p>\n\u003cp>The difference is key. Where “Sweet Old World” was a tender, sorrowful scolding of a lost spirit, this is a get-it-together admonishment meant to have impact before it’s too late. Similarly, “Bone” is not a passive look back, not a career summation. This is a career-\u003ci>defining\u003c/i> album in its scope and sweep.\u003c/p>\n\u003cp>At the center of “Bone” is that thin line between hope and dread. Several songs catalog complaints, troubles, heartaches — a “Big Mess,” as one song title puts it, explicitly. Ultimately, though, it’s hope that tips the scale, no more profoundly than in “When I Look at the World.”\u003c/p>\n\u003cp>“I’ve been unwelcome, I’ve been unloved,” she sings — but then she sees the world “in all its glory,” in a different way every time she looks at it.\u003c/p>\n\u003cp>Simply putting out a 20-song double album is a risky move, and for someone known for artistic economy, it's something that might seem an indulgent disconnect. Is every song a treasure? Of course not. But with her spirited reach, Lucinda Williams at 61 has made an album that stands with her best, a series of songs that ask \u003ci>us\u003c/i> to join her in looking at the world anew.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://lucindawilliams.com/splash-page/\" target=\"_blank\">Lucinda WIlliams' Website\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Down Where the Spirit Meets the Bone” is an ambitious statement, arguably the most so of Williams’ already considerable career. And in another first for her, there’s an array of guests helping out, which for some artists would seem a sign of insecurity but here comes off as underscoring a sense of confidence.\u003c/p>\n\u003cp>Jakob Dylan joins her singing “It’s Gonna Rain,” at once hopeful and somber, the rain both a promise and a threat. The mixed emotions are further illustrated by the snaky lines of guest guitarist Bill Frisell darting around those of longtime Williams cohort Greg Leisz, who also served as co-producer for the album.\u003c/p>\n\u003cp>Other guests include Faces keyboardist Ian McLagan and drummer Pete Thomas of Elvis Costello’s Attractions. And Williams enlists Tony Joe White to thread his distinctively swampy guitar through “West Memphis,” the real-life tale of a famously disputed murder case from the ‘90s. In her hands it becomes an epic, backwoods gothic song-story in the mode of Bobbie Gentry or Tony Joe White.\u003c/p>\n\u003cp>That Southern, swampy feel is also found in the gospel-soul chorus of “Protection” and the Stax-like horns on “One More Day,” while “Burning Bridges” would make a solid cover candidate for Tom Petty (a fan who has done Williams \"I Changed the Locks” in the past). And there’s the sultry menace of “Something Wicked This Way Comes.” And she concludes with another homage to a master of economy, covering “Magnolia” by JJ Cale, who died last year.\u003c/p>\n\u003cp>When it’s all done, Williams has brought out the full range of country-folk-rock shadings she’s used in the past. And there’s at least one specific allusion to her catalog, as in the stern “Everything But the Truth” she tells a troubled friend to take charge of life — “you gotta settle up with this sweet old world” — citing her 1992 song “Sweet Old World,” a too-late note to a friend who’d committed suicide.\u003c/p>\n\u003cp>The difference is key. Where “Sweet Old World” was a tender, sorrowful scolding of a lost spirit, this is a get-it-together admonishment meant to have impact before it’s too late. Similarly, “Bone” is not a passive look back, not a career summation. This is a career-\u003ci>defining\u003c/i> album in its scope and sweep.\u003c/p>\n\u003cp>At the center of “Bone” is that thin line between hope and dread. Several songs catalog complaints, troubles, heartaches — a “Big Mess,” as one song title puts it, explicitly. Ultimately, though, it’s hope that tips the scale, no more profoundly than in “When I Look at the World.”\u003c/p>\n\u003cp>“I’ve been unwelcome, I’ve been unloved,” she sings — but then she sees the world “in all its glory,” in a different way every time she looks at it.\u003c/p>\n\u003cp>Simply putting out a 20-song double album is a risky move, and for someone known for artistic economy, it's something that might seem an indulgent disconnect. Is every song a treasure? Of course not. But with her spirited reach, Lucinda Williams at 61 has made an album that stands with her best, a series of songs that ask \u003ci>us\u003c/i> to join her in looking at the world anew.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://lucindawilliams.com/splash-page/\" target=\"_blank\">Lucinda WIlliams' Website\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Banned Books Week: Works Targeted in California",
"title": "Banned Books Week: Works Targeted in California",
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"content": "\u003cp>\u003cimg class=\"alignright wp-image-148517\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/The_Fault_in_Our_Stars-e1411588416954.jpg\" alt=\"The_Fault_in_Our_Stars\" width=\"181\" height=\"265\">We're in the middle of \u003ca href=\"http://www.bannedbooksweek.org/\" target=\"_blank\">Banned Books Week\u003c/a>, an annual event \"celebrating the freedom to read\" sponsored by the American Booksellers Association, the American Library Association and appromixately a dozen other organizations. The event puts the focus on books that have been targeted for removal or restriction at libraries and schools around the country due to their perceived inappropriateness.\u003c/p>\n\u003cp>Here in California, the Riverside Unified School District got the week off to a flying start by banning \"The Fault in Our Stars,\" John Green's wildly popular young adult novel about teenage cancer patients. The \u003ca href=\"http://www.pe.com/articles/book-750585-school-committee.html\" target=\"_blank\">Riverside Press Enterprise reports\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>On Monday afternoon, Riverside Unified School District’s book reconsideration committee voted 6-1 to pull all three copies of John Green’s 2012 novel from library shelves at Frank Augustus Miller Middle School and not to allow other schools to buy or accept the book as a donation.\u003c/p>\n\u003cp>The book will be allowed at high school libraries, said committee chairwoman Christine Allen, librarian at Arlington High School, where the meeting was held.\u003c/p>\n\u003cp>The vote was taken after parent Karen Krueger made her case to the committee and asked its members – teachers, parents, a principal, librarian and instructional services specialist – to remove the book or make it available for checkout only with parental consent.\u003c/p>\n\u003cp>Krueger said she didn’t want to “come off as a prude” or block anyone’s freedom to read. But she questioned whether the book should be available at the middle school library because the subject matter involves teens dying of cancer who use crude language and have sex.\u003c/p>\n\u003cp>“I just didn't think it was appropriate for an 11-, 12-, 13-year-old to read,” she said. “I was really shocked it was in a middle school.”\u003c/p>\u003c/blockquote>\n\u003cp>The Press enterprise says 37 books have been challenged in the district since 1988.\u003c/p>\n\u003cp>Earlier this month, officials at Rancho Cucamonga Middle School closed the school library after a parent tweeted complaints about her daughter coming home with \"Rabbit is Rich,\" by John Updike. From \u003ca href=\"http://losangeles.cbslocal.com/2014/09/17/district-investigates-after-12-year-old-checks-erotic-novel-out-of-schools-library/\"> CBS Los Angeles\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Rancho Cucamonga Middle School’s principal immediately removed the book from the school’s library. After the investigation, if it is determined that the book had been checked out by other students, those students’ parents will be notified.\u003c/p>\n\u003cp>The principal also audited the library in order to ensure that no other titles by Updike remained, and all other schools \u003ca id=\"itxthook5\" class=\"itxtnewhook itxthook\" style=\"font-weight: normal;font-size: 100%;font-style: normal;text-decoration: none;border: 0px none transparent;padding: 0px;background-color: transparent\" href=\"http://losangeles.cbslocal.com/2014/09/17/district-investigates-after-12-year-old-checks-erotic-novel-out-of-schools-library/#\" rel=\"nofollow\">\u003cspan id=\"itxthook5p\" class=\"itxtrst itxtrstspan itxtnowrap\">\u003cspan id=\"itxthook5w\" class=\"itxtrst itxtrstspan itxtnowrap itxtnewhookspan\" style=\"font-weight: normal;font-size: 100%;text-decoration: underline ! important;border-width: 0px 0px 1px;border-style: none none solid;border-color: transparent transparent #00cc00;padding: 0px 0px 1px ! important;color: #009900;background-color: transparent\">\u003c/span>\u003c/span>\u003c/a>in the district were notified to remove all titles by the author.\u003c/p>\u003c/blockquote>\n\u003cp>The library reopened this week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can check out some other books that have been targeted in California from 2007-2012 in this \u003ca href=\"https://maps.google.com/maps/ms?msid=201608118063299995048.00047051ed493efec0bb8&msa=0&ll=39.470125,-105.161133&spn=27.415774,55.107422\" target=\"_blank\">clickable map\u003c/a> from the Banned Books Week website. The incidents were documented by the American Library Association and the Kids' Right to Read Project. Targeted books in the Bay Area include T. Coraghessan Boyle's \"The Tortilla Curtain\"\u003ca href=\"http://extracredit.blogs.pressdemocrat.com/11762/parent-not-convinced-tortilla-curtain-belongs-in-class/\" target=\"_blank\"> in Santa Rosa\u003c/a>, Lois Lowry's \"The Giver' in the Mt. Diablo School District, and Mark Mathabane's \"Kaffir Boy,\" which was actually \u003ca href=\"http://www.sfgate.com/education/article/Burlingame-schools-pull-8th-grade-book-from-class-2565501.php\" target=\"_blank\">banned from Burlingame middle schools\u003c/a>.\u003c/p>\n\u003cp>[googlemaps https://maps.google.com/maps/ms?ie=UTF8&hl=en&oe=UTF8&source=embed&t=h&msa=0&msid=201608118063299995048.00047051ed493efec0bb8&ll=35.88905,-116.71875&spn=12.4491,18.676758&z=5&output=embed&w=425&h=350]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And here are the \u003ca href=\"http://www.ala.org/bbooks/frequentlychallengedbooks/top10#2013\" target=\"_blank\">most frequently challenged books in 2013\u003c/a>. In the make-of-it-what-you-will department is the fact that No. 1 on the list is the graphic novel \"Captain Underpants.\" NPR talked to author Dav Pilkey about the distinction, as well as to Jeff Smith, whose \"Bone\" graphic novel series was the 10th-most challenged work.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg class=\"alignright wp-image-148517\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/The_Fault_in_Our_Stars-e1411588416954.jpg\" alt=\"The_Fault_in_Our_Stars\" width=\"181\" height=\"265\">We're in the middle of \u003ca href=\"http://www.bannedbooksweek.org/\" target=\"_blank\">Banned Books Week\u003c/a>, an annual event \"celebrating the freedom to read\" sponsored by the American Booksellers Association, the American Library Association and appromixately a dozen other organizations. The event puts the focus on books that have been targeted for removal or restriction at libraries and schools around the country due to their perceived inappropriateness.\u003c/p>\n\u003cp>Here in California, the Riverside Unified School District got the week off to a flying start by banning \"The Fault in Our Stars,\" John Green's wildly popular young adult novel about teenage cancer patients. The \u003ca href=\"http://www.pe.com/articles/book-750585-school-committee.html\" target=\"_blank\">Riverside Press Enterprise reports\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>On Monday afternoon, Riverside Unified School District’s book reconsideration committee voted 6-1 to pull all three copies of John Green’s 2012 novel from library shelves at Frank Augustus Miller Middle School and not to allow other schools to buy or accept the book as a donation.\u003c/p>\n\u003cp>The book will be allowed at high school libraries, said committee chairwoman Christine Allen, librarian at Arlington High School, where the meeting was held.\u003c/p>\n\u003cp>The vote was taken after parent Karen Krueger made her case to the committee and asked its members – teachers, parents, a principal, librarian and instructional services specialist – to remove the book or make it available for checkout only with parental consent.\u003c/p>\n\u003cp>Krueger said she didn’t want to “come off as a prude” or block anyone’s freedom to read. But she questioned whether the book should be available at the middle school library because the subject matter involves teens dying of cancer who use crude language and have sex.\u003c/p>\n\u003cp>“I just didn't think it was appropriate for an 11-, 12-, 13-year-old to read,” she said. “I was really shocked it was in a middle school.”\u003c/p>\u003c/blockquote>\n\u003cp>The Press enterprise says 37 books have been challenged in the district since 1988.\u003c/p>\n\u003cp>Earlier this month, officials at Rancho Cucamonga Middle School closed the school library after a parent tweeted complaints about her daughter coming home with \"Rabbit is Rich,\" by John Updike. From \u003ca href=\"http://losangeles.cbslocal.com/2014/09/17/district-investigates-after-12-year-old-checks-erotic-novel-out-of-schools-library/\"> CBS Los Angeles\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Rancho Cucamonga Middle School’s principal immediately removed the book from the school’s library. After the investigation, if it is determined that the book had been checked out by other students, those students’ parents will be notified.\u003c/p>\n\u003cp>The principal also audited the library in order to ensure that no other titles by Updike remained, and all other schools \u003ca id=\"itxthook5\" class=\"itxtnewhook itxthook\" style=\"font-weight: normal;font-size: 100%;font-style: normal;text-decoration: none;border: 0px none transparent;padding: 0px;background-color: transparent\" href=\"http://losangeles.cbslocal.com/2014/09/17/district-investigates-after-12-year-old-checks-erotic-novel-out-of-schools-library/#\" rel=\"nofollow\">\u003cspan id=\"itxthook5p\" class=\"itxtrst itxtrstspan itxtnowrap\">\u003cspan id=\"itxthook5w\" class=\"itxtrst itxtrstspan itxtnowrap itxtnewhookspan\" style=\"font-weight: normal;font-size: 100%;text-decoration: underline ! important;border-width: 0px 0px 1px;border-style: none none solid;border-color: transparent transparent #00cc00;padding: 0px 0px 1px ! important;color: #009900;background-color: transparent\">\u003c/span>\u003c/span>\u003c/a>in the district were notified to remove all titles by the author.\u003c/p>\u003c/blockquote>\n\u003cp>The library reopened this week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You can check out some other books that have been targeted in California from 2007-2012 in this \u003ca href=\"https://maps.google.com/maps/ms?msid=201608118063299995048.00047051ed493efec0bb8&msa=0&ll=39.470125,-105.161133&spn=27.415774,55.107422\" target=\"_blank\">clickable map\u003c/a> from the Banned Books Week website. The incidents were documented by the American Library Association and the Kids' Right to Read Project. Targeted books in the Bay Area include T. Coraghessan Boyle's \"The Tortilla Curtain\"\u003ca href=\"http://extracredit.blogs.pressdemocrat.com/11762/parent-not-convinced-tortilla-curtain-belongs-in-class/\" target=\"_blank\"> in Santa Rosa\u003c/a>, Lois Lowry's \"The Giver' in the Mt. Diablo School District, and Mark Mathabane's \"Kaffir Boy,\" which was actually \u003ca href=\"http://www.sfgate.com/education/article/Burlingame-schools-pull-8th-grade-book-from-class-2565501.php\" target=\"_blank\">banned from Burlingame middle schools\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003ciframe\n src='https://maps.google.com/maps/ms?ie=UTF8&hl=en&oe=UTF8&source=embed&t=h&msa=0&msid=201608118063299995048.00047051ed493efec0bb8&ll=35.88905,-116.71875&spn=12.4491,18.676758&z=5&output=embed&w=425&h=350'\n title='https://maps.google.com/maps/ms?ie=UTF8&hl=en&oe=UTF8&source=embed&t=h&msa=0&msid=201608118063299995048.00047051ed493efec0bb8&ll=35.88905,-116.71875&spn=12.4491,18.676758&z=5&output=embed&w=425&h=350'\n width='425'\n height='350'\n scrolling='no'\n frameborder='no'>\u003c/iframe>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And here are the \u003ca href=\"http://www.ala.org/bbooks/frequentlychallengedbooks/top10#2013\" target=\"_blank\">most frequently challenged books in 2013\u003c/a>. In the make-of-it-what-you-will department is the fact that No. 1 on the list is the graphic novel \"Captain Underpants.\" NPR talked to author Dav Pilkey about the distinction, as well as to Jeff Smith, whose \"Bone\" graphic novel series was the 10th-most challenged work.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/09/2014-09-19d-tcrmag.mp3\u003c/p>\n\u003cfigure id=\"attachment_10341858\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/JazzEnsemble.jpg\">\u003cimg class=\"wp-image-10341858 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/JazzEnsemble-400x225.jpg\" alt=\"Ensemble director Eva Scow teaches seventh-, eighth- and ninth-graders how to improvise and play jazz. She's one of several musicians teaching for the Milestones Youth Jazz Workshop. (Alice Daniel/KQED)\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/09/JazzEnsemble-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/JazzEnsemble.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ensemble director Eva Scow teaches seventh-, eighth- and ninth-graders how to improvise and play jazz. She's one of several musicians teaching for the Milestones Youth Jazz Workshop. (Alice Daniel/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Jim Page feels the anxiety in the beat of his heart, but he tells himself that all that adrenaline rushing through his body is really just excitement.\u003c/p>\n\u003cp>And he is excited (OK, he concedes, he’s nervous, too) as he calls to kids and parents outside a band room at Alta Vista Middle School in Fresno to come in and sit down. It’s the first rehearsal night of the year for a program he started three years ago: the \u003ca href=\"http://milestonesjazz.org\" target=\"_blank\">Milestones Youth Jazz Workshop\u003c/a>.\u003c/p>\n\u003cp>“It occurred to me that so many kids didn’t have access to jazz education and performance programs,” he says. “It just didn’t seem fair.”\u003c/p>\n\u003cp>Fifty kids from middle and high schools in and around Fresno signed up this year to play in ensembles that meet once a week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“About half the schools where kids come from don’t have jazz programs. So, for them, Milestones is it,” says Page. “Jazz builds a kid’s confidence. If you can stand up in front of an audience full of people and play a solo, what else in life is going to bring you down?”\u003c/p>\n\u003cp>Jazz educators direct the program’s five ensembles. Mandolinist and violinist \u003ca href=\"http://www.evascowmusic.com\" target=\"_blank\">Eva Scow\u003c/a> works with an intermediate group of seventh-, eighth- and ninth-graders. Jazz is stimulating for them, she says. “It’s like learning how to speak another language. They’re all pretty competent on their instruments already. I don’t have to teach them how to play, so we can get right into improvisation and finding their own voice in this style.”\u003c/p>\n\u003cp>In fact, she begins the class with that very idea. “Our goal in Milestones is to teach you how to play jazz, but also to teach you how to play together, right?” Scow says to her group of eager students. “So playing in a jazz band, you’re going to come across a lot of different things that maybe aren’t going to be on paper or maybe you’re not going to be comfortable with or used to.”\u003c/p>\n\u003cp>Seventh-grader Leo Parrigilli says he likes being able to experiment with notes. “When you improvise, that’s where the creativeness comes in and even when you’re reading music, you can add little dynamics. You can do trills or maybe do a note that’s maybe a slightly bit higher, and it just makes it sound awesome with the rest of the group.”\u003c/p>\n\u003cp>Leo says he’s learned so many things through Milestones. “Like how to fix my ambusher, how to play my notes better and have a better airstream,” he says.\u003c/p>\n\u003cp>Scow plays a tune over the speaker and asks the class where samba originated. “Rio,” someone yells out. “Yes!” she replies. “Oh, my goodness! First try. Brazil. So this is a Brazilian rhythm,” she says and asks for a bossa nova beat. The drummer begins, followed by the bass player.\u003c/p>\n\u003cp>Scow asks someone to demonstrate the melody and eighth-grader Daeshavon Ricks raises her hand. She plays saxophone and says she loves Charlie Parker and John Coltrane.\u003c/p>\n\u003cp>Daeshavon says there isn’t a jazz program at her school, but when she heard a Milestones group play she immediately loved the sound.\u003c/p>\n\u003cp>“I had never heard of jazz. And the way that they played, it just really touched my heart,” she says. “What I like about jazz is that you can improvise and be yourself when you play.”\u003c/p>\n\u003cp>Daeshavon says she got a scholarship to join Milestones. “I live with my mom. She’s a single parent, and wouldn’t be able to afford it with four other kids,” she says. She’s quick to note her family loves to come hear her play.\u003c/p>\n\u003cp>Milestones operates under the nonprofit \u003ca href=\"http://www.jazzfresno.org/index.php/home/contacts/25-uncategorised/24-jim-page\" target=\"_blank\">Jazz Fresno\u003c/a> and has an open access policy. It doesn’t turn away any kid who really wants to participate, Page says. The project runs on grants and donations; the students help with fundraisers to bring in extra money.\u003c/p>\n\u003cp>\"This program, really it’s all about partnerships,” Page says. “We started out with the schools. Last summer, we provided scholarships to go to our summer program. And in return, two school districts are providing facilities for us for our school-year program at no cost.”\u003c/p>\n\u003cp>Classically trained violinist Scout Whitaker, 14, says she just started playing with Milestones this year. “I’ve never played jazz before,” she says. “There’s a form that you follow, but it’s much more relaxed. It brings more improvisation that really doesn’t happen in classical music, but it’s such an important musical quality.”\u003c/p>\n\u003cp>Still playing the Brazilian rhythm, Scow turns to Scout and asks, “My sight reader over here. Are you feeling comfortable with it? I bet you could play that, right? You wanna try? Are you feeling it?”\u003c/p>\n\u003cp>Scout picks up her violin and, by the end of tune, everyone in the room is clapping for her solo.\u003c/p>\n\u003cp>“I feel like it’s truly music because it’s emotions that you’re trying to portray. It’s not emotions that were written down for you,” Scout says. “It’s improv. You make it up as you go, it’s what you feel.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Leo puts it another way. “Jazz is just so fun!” he says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/09/2014-09-19d-tcrmag.mp3\u003c/p>\n\u003cfigure id=\"attachment_10341858\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/JazzEnsemble.jpg\">\u003cimg class=\"wp-image-10341858 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/JazzEnsemble-400x225.jpg\" alt=\"Ensemble director Eva Scow teaches seventh-, eighth- and ninth-graders how to improvise and play jazz. She's one of several musicians teaching for the Milestones Youth Jazz Workshop. (Alice Daniel/KQED)\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/09/JazzEnsemble-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/JazzEnsemble.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ensemble director Eva Scow teaches seventh-, eighth- and ninth-graders how to improvise and play jazz. She's one of several musicians teaching for the Milestones Youth Jazz Workshop. (Alice Daniel/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Jim Page feels the anxiety in the beat of his heart, but he tells himself that all that adrenaline rushing through his body is really just excitement.\u003c/p>\n\u003cp>And he is excited (OK, he concedes, he’s nervous, too) as he calls to kids and parents outside a band room at Alta Vista Middle School in Fresno to come in and sit down. It’s the first rehearsal night of the year for a program he started three years ago: the \u003ca href=\"http://milestonesjazz.org\" target=\"_blank\">Milestones Youth Jazz Workshop\u003c/a>.\u003c/p>\n\u003cp>“It occurred to me that so many kids didn’t have access to jazz education and performance programs,” he says. “It just didn’t seem fair.”\u003c/p>\n\u003cp>Fifty kids from middle and high schools in and around Fresno signed up this year to play in ensembles that meet once a week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“About half the schools where kids come from don’t have jazz programs. So, for them, Milestones is it,” says Page. “Jazz builds a kid’s confidence. If you can stand up in front of an audience full of people and play a solo, what else in life is going to bring you down?”\u003c/p>\n\u003cp>Jazz educators direct the program’s five ensembles. Mandolinist and violinist \u003ca href=\"http://www.evascowmusic.com\" target=\"_blank\">Eva Scow\u003c/a> works with an intermediate group of seventh-, eighth- and ninth-graders. Jazz is stimulating for them, she says. “It’s like learning how to speak another language. They’re all pretty competent on their instruments already. I don’t have to teach them how to play, so we can get right into improvisation and finding their own voice in this style.”\u003c/p>\n\u003cp>In fact, she begins the class with that very idea. “Our goal in Milestones is to teach you how to play jazz, but also to teach you how to play together, right?” Scow says to her group of eager students. “So playing in a jazz band, you’re going to come across a lot of different things that maybe aren’t going to be on paper or maybe you’re not going to be comfortable with or used to.”\u003c/p>\n\u003cp>Seventh-grader Leo Parrigilli says he likes being able to experiment with notes. “When you improvise, that’s where the creativeness comes in and even when you’re reading music, you can add little dynamics. You can do trills or maybe do a note that’s maybe a slightly bit higher, and it just makes it sound awesome with the rest of the group.”\u003c/p>\n\u003cp>Leo says he’s learned so many things through Milestones. “Like how to fix my ambusher, how to play my notes better and have a better airstream,” he says.\u003c/p>\n\u003cp>Scow plays a tune over the speaker and asks the class where samba originated. “Rio,” someone yells out. “Yes!” she replies. “Oh, my goodness! First try. Brazil. So this is a Brazilian rhythm,” she says and asks for a bossa nova beat. The drummer begins, followed by the bass player.\u003c/p>\n\u003cp>Scow asks someone to demonstrate the melody and eighth-grader Daeshavon Ricks raises her hand. She plays saxophone and says she loves Charlie Parker and John Coltrane.\u003c/p>\n\u003cp>Daeshavon says there isn’t a jazz program at her school, but when she heard a Milestones group play she immediately loved the sound.\u003c/p>\n\u003cp>“I had never heard of jazz. And the way that they played, it just really touched my heart,” she says. “What I like about jazz is that you can improvise and be yourself when you play.”\u003c/p>\n\u003cp>Daeshavon says she got a scholarship to join Milestones. “I live with my mom. She’s a single parent, and wouldn’t be able to afford it with four other kids,” she says. She’s quick to note her family loves to come hear her play.\u003c/p>\n\u003cp>Milestones operates under the nonprofit \u003ca href=\"http://www.jazzfresno.org/index.php/home/contacts/25-uncategorised/24-jim-page\" target=\"_blank\">Jazz Fresno\u003c/a> and has an open access policy. It doesn’t turn away any kid who really wants to participate, Page says. The project runs on grants and donations; the students help with fundraisers to bring in extra money.\u003c/p>\n\u003cp>\"This program, really it’s all about partnerships,” Page says. “We started out with the schools. Last summer, we provided scholarships to go to our summer program. And in return, two school districts are providing facilities for us for our school-year program at no cost.”\u003c/p>\n\u003cp>Classically trained violinist Scout Whitaker, 14, says she just started playing with Milestones this year. “I’ve never played jazz before,” she says. “There’s a form that you follow, but it’s much more relaxed. It brings more improvisation that really doesn’t happen in classical music, but it’s such an important musical quality.”\u003c/p>\n\u003cp>Still playing the Brazilian rhythm, Scow turns to Scout and asks, “My sight reader over here. Are you feeling comfortable with it? I bet you could play that, right? You wanna try? Are you feeling it?”\u003c/p>\n\u003cp>Scout picks up her violin and, by the end of tune, everyone in the room is clapping for her solo.\u003c/p>\n\u003cp>“I feel like it’s truly music because it’s emotions that you’re trying to portray. It’s not emotions that were written down for you,” Scout says. “It’s improv. You make it up as you go, it’s what you feel.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Leo puts it another way. “Jazz is just so fun!” he says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/09/2014-09-12d-tcrmag.mp3\u003c/p>\n\u003cp>As an artist rooted in jazz, pianist and arranger \u003ca href=\"http://www.billychilds.com/\" target=\"_blank\">Billy Childs\u003c/a> knows that the best way to honor another musician is not to try to recreate their sound. On his new concept album exploring the music of \u003ca href=\"http://www.lauranyro.com/\" target=\"_blank\">Laura Nyro\u003c/a>, he takes a deeply personal journey on which many paths converge.\u003c/p>\n\u003cp>Working with producer Larry Klein -- who’s known for his collaborations with A-list singer-songwriters like Joni Mitchell, Shawn Colvin, Melody Gardot, and Luciana Souza -- Childs arranges 10 poetically charged tunes by Nyro, whose death from cancer in 1997 still feels raw.\u003c/p>\n\u003cp>From the blockbuster opening track featuring the great soprano Renée Fleming tearing through “New York Tendaberry” with Yo-Yo Ma’s unmistakably lyrical cello, it’s clear this is an opulent project overstuffed with talent, emotion and musical ideas.\u003c/p>\n\u003cp>Superficially, “Map to the Treasure” resembles Herbie Hancock’s Grammy-winning 2007 album “River: The Joni Letters,” which was also produced by Klein. But Hancock was essentially discovering Joni Mitchell’s music. For Childs, a faithful Nyro fan who turned Klein onto her music when they were teenagers in the early ‘70s, the project cuts deeply, like only the music of your adolescence can. Their mutual love of Nyro’s songs provides a perfect meeting ground, like the dreamy dance between Esperanza Spalding’s vocals and Wayne Shorter’s soprano sax on “Upstairs by a Chinese Lamp.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Childs and Klein, a top-shelf jazz bassist, first gained national recognition in trumpet star Freddie Hubbard’s blazing band in the early 1980s. Their career paths diverged after that, with Klein eventually making a name for himself as a producer, while Childs recorded a series of acclaimed albums showcasing his improvisation prowess and passionately lyrical compositions.\u003c/p>\n\u003cp>http://youtu.be/S1b1MDl6Kc8\u003c/p>\n\u003cp>In recent years, Childs has concentrated on writing richly textured chamber jazz, and he brings a similar instrumental palette to Nyro’s songs, with a string quartet, jazz rhythm section, electric guitar, and Carol Robbins’ rhythmically assured harp on every track.\u003c/p>\n\u003cp>More than anything, this is an album that succeeds due to brilliant casting, as each song pairs a singular vocalist with a song that Childs cherishes.\u003c/p>\n\u003cp>Soul diva Ledisi infuses “Stoned Soul Picnic” with sweetness and light, while jazz queen Dianne Reeves, a longtime Childs’ confederate, gives “To a Child” a tenderly majestic reading.\u003c/p>\n\u003cp>Childs and Klein coaxed rhythm and blues great Lisa Fischer out of her comfort zone as a backup singer to give a tour-de-force interpretation of the title track, and they expertly deploy Ricki Lee Jones on “Been on a Train,” a shadowy nightmare ride into addiction. At the moment, my favorite track features folk and jazz singer Becca Stevens waxing Dionysian on “The Confession.”\u003c/p>\n\u003cp>If there’s one thing the album’s missing, it’s a little space to take in all of the roiling emotion and sonic information. A piece or two featuring Childs alone at the piano with a singer could have provided more room to absorb Nyro’s richly allusive lyrics. But that’s a quibble, as there’s not a track I would trade. A true act of devotion, “Map to the Treasure” delivers exactly what it promises, as Childs honors Nyro by revealing his own musical riches.\u003c/p>\n\u003cp>Childs premieres the project on Saturday, Sept. 20, at the Monterey Jazz Festival with violinist Jeremy Cohen’s Quartet San Francisco and special guests Lisa Fischer, Becca Stevens, and Shawn Colvin (whose version of “Save the Children” with trumpeter Chris Botti is yet another highpoint).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://www.billychilds.com/\" target=\"_blank\">About Billy Childs (official website)\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/09/2014-09-12d-tcrmag.mp3\u003c/p>\n\u003cp>As an artist rooted in jazz, pianist and arranger \u003ca href=\"http://www.billychilds.com/\" target=\"_blank\">Billy Childs\u003c/a> knows that the best way to honor another musician is not to try to recreate their sound. On his new concept album exploring the music of \u003ca href=\"http://www.lauranyro.com/\" target=\"_blank\">Laura Nyro\u003c/a>, he takes a deeply personal journey on which many paths converge.\u003c/p>\n\u003cp>Working with producer Larry Klein -- who’s known for his collaborations with A-list singer-songwriters like Joni Mitchell, Shawn Colvin, Melody Gardot, and Luciana Souza -- Childs arranges 10 poetically charged tunes by Nyro, whose death from cancer in 1997 still feels raw.\u003c/p>\n\u003cp>From the blockbuster opening track featuring the great soprano Renée Fleming tearing through “New York Tendaberry” with Yo-Yo Ma’s unmistakably lyrical cello, it’s clear this is an opulent project overstuffed with talent, emotion and musical ideas.\u003c/p>\n\u003cp>Superficially, “Map to the Treasure” resembles Herbie Hancock’s Grammy-winning 2007 album “River: The Joni Letters,” which was also produced by Klein. But Hancock was essentially discovering Joni Mitchell’s music. For Childs, a faithful Nyro fan who turned Klein onto her music when they were teenagers in the early ‘70s, the project cuts deeply, like only the music of your adolescence can. Their mutual love of Nyro’s songs provides a perfect meeting ground, like the dreamy dance between Esperanza Spalding’s vocals and Wayne Shorter’s soprano sax on “Upstairs by a Chinese Lamp.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Childs and Klein, a top-shelf jazz bassist, first gained national recognition in trumpet star Freddie Hubbard’s blazing band in the early 1980s. Their career paths diverged after that, with Klein eventually making a name for himself as a producer, while Childs recorded a series of acclaimed albums showcasing his improvisation prowess and passionately lyrical compositions.\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/S1b1MDl6Kc8'\n title='//www.youtube.com/embed/S1b1MDl6Kc8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In recent years, Childs has concentrated on writing richly textured chamber jazz, and he brings a similar instrumental palette to Nyro’s songs, with a string quartet, jazz rhythm section, electric guitar, and Carol Robbins’ rhythmically assured harp on every track.\u003c/p>\n\u003cp>More than anything, this is an album that succeeds due to brilliant casting, as each song pairs a singular vocalist with a song that Childs cherishes.\u003c/p>\n\u003cp>Soul diva Ledisi infuses “Stoned Soul Picnic” with sweetness and light, while jazz queen Dianne Reeves, a longtime Childs’ confederate, gives “To a Child” a tenderly majestic reading.\u003c/p>\n\u003cp>Childs and Klein coaxed rhythm and blues great Lisa Fischer out of her comfort zone as a backup singer to give a tour-de-force interpretation of the title track, and they expertly deploy Ricki Lee Jones on “Been on a Train,” a shadowy nightmare ride into addiction. At the moment, my favorite track features folk and jazz singer Becca Stevens waxing Dionysian on “The Confession.”\u003c/p>\n\u003cp>If there’s one thing the album’s missing, it’s a little space to take in all of the roiling emotion and sonic information. A piece or two featuring Childs alone at the piano with a singer could have provided more room to absorb Nyro’s richly allusive lyrics. But that’s a quibble, as there’s not a track I would trade. A true act of devotion, “Map to the Treasure” delivers exactly what it promises, as Childs honors Nyro by revealing his own musical riches.\u003c/p>\n\u003cp>Childs premieres the project on Saturday, Sept. 20, at the Monterey Jazz Festival with violinist Jeremy Cohen’s Quartet San Francisco and special guests Lisa Fischer, Becca Stevens, and Shawn Colvin (whose version of “Save the Children” with trumpeter Chris Botti is yet another highpoint).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://www.billychilds.com/\" target=\"_blank\">About Billy Childs (official website)\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Salvaged Beach Trash Becomes Art in Berkeley Resident's Front Yard",
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"content": "\u003cp>\u003cstrong>By Tom Dalzell, \u003ca href=\"http://www.berkeleyside.com/2014/09/04/how-quirky-is-berkeley-mark-oliviers-colusa-avenue-beach-trash-sculpture/\" target=\"_blank\">Berkeleyside\u003c/a>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_146922\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/RS11949_Cathy-ThirdBuddha1.jpg\">\u003cimg class=\"wp-image-146922 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/RS11949_Cathy-ThirdBuddha1-480x640.jpg\" alt=\"RS11949_Cathy-ThirdBuddha1\" width=\"480\" height=\"640\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Third Buddha and other sculpture at 1118 Colusa Ave. (Catherine MacNeal/Berkeleyside)\u003c/figcaption>\u003c/figure>\n\u003cp>Colusa Avenue between Marin and Hopkins is not well-traveled, but people who have heard about Mark Olivier’s incredible — as in unbelievable — front yard at 1118 Colusa often make a point to go there.\u003c/p>\n\u003cp>Olivier, a carpenter who found himself as a sculptor, has created a fantastical display from found objects. He walks the Albany Bulb and other beaches to collect trash, mostly plastic, that has washed up. He takes the trash home, sorts it in boxes and bins. And then the magic happens: unexpected animals and masks and figures and machines.\u003c/p>\n\u003cp>For some pieces, Olivier sticks to one basic trash commodity. Baseball caps wash up on the beaches with some regularity, and one man’s washed-up baseball cap is another man’s material for sculpture:\u003c/p>\n\u003cfigure id=\"attachment_146943\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/Nike-of-Samothrace.jpg\">\u003cimg class=\"wp-image-146943 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/Nike-of-Samothrace-640x488.jpg\" alt=\"Quirky Berkeley\" width=\"640\" height=\"488\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nike of Samothrace at 1118 Colusa Ave. (John Storey/Berkeleyside)\u003c/figcaption>\u003c/figure>\n\u003cp>This sculpture is one of the few Olivier sculptures which is an allusion to classical sculpture. The \u003cem>Winged Victory of Samothrace\u003c/em> or \u003cem>Nike of Samothrace\u003c/em> is a second-century B.C. marble sculpture found in the Louvre. It is believed that Pythokritos of Rhodes was the sculptor and that it was erected by Macedonian general Demetrius I Poliocretes after a naval victory at Cyprus. That is quite a bit of heritage for a bunch of washed-up baseball caps in Berkeley.\u003cbr>\nOlivier has created a series of thunderbird sculptures, also made primarily from baseball caps:\u003c/p>\n\u003cfigure id=\"attachment_146950\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/Thunderbird-series.jpg\">\u003cimg class=\"wp-image-146950 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/Thunderbird-series-640x443.jpg\" alt=\"Quirky Berkeley\" width=\"640\" height=\"443\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the Thunderbird Series at 1118 Colusa Ave. (John Storey/Berkeleyside)\u003c/figcaption>\u003c/figure>\n\u003cp>The number of disposable butane lighters that Olivier has rescued and repurposed is staggering. The Zippo lighter was introduced in 1932. Great thought was put into its design and care was exercised in preserving and using a Zippo for years of smoking pleasure. Not so with the disposables. Beaches are littered with them, and Olivier is especially fond of their symmetry and bright colors. He has several intricate bridge sculptures made almost entirely with lighters, as well as this serpent:\u003c/p>\n\u003cfigure id=\"attachment_146956\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/Doubleheaded-Aztec-Serpent.jpg\">\u003cimg class=\"wp-image-146956 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/Doubleheaded-Aztec-Serpent-640x399.jpg\" alt=\"Quirky Berkeley\" width=\"640\" height=\"399\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Double-headed Aztec serpent at 1118 Colusa Ave. (Tom Dalzell/Berkeleyside)\u003c/figcaption>\u003c/figure>\n\u003cp>Braided nylon rope, especially dynamic kernmantle rope, washes up by the mile on beaches. Olivier salvages the rope and builds around wooden frames. Margate, New Jersey may have Lucy the Elephant, but we have Mark Olivier’s Babu:\u003c/p>\n\u003cfigure id=\"attachment_146961\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/Sweet-Babu-Cathy.jpg\">\u003cimg class=\"wp-image-146961 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/Sweet-Babu-Cathy-640x480.jpg\" alt=\"Sweet-Babu-Cathy\" width=\"640\" height=\"480\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sweet Babu at 1118 Colusa Ave.\u003c/figcaption>\u003c/figure>\n\u003cp>Any one of Olivier’s sculptures is a marvel of color, form and reuse of trash. Seen as a whole in his front yard, the effect is overwhelming in a Dr. Seuss world kind of way. I visit every month or so, seeing old friends and making new ones. I am always amazed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For a fuller treatment of Mark Olivier’s beach detritus sculpture, see \u003ca href=\"http://quirkyberkeley.com/major-quirky-9-beach-detritus-art-1118-colusa/\" target=\"_blank\">Quirky Berkeley\u003c/a>.\u003c/p>\n\u003cp>Read the full article and see more photos \u003ca href=\"http://www.berkeleyside.com/2014/09/04/how-quirky-is-berkeley-mark-oliviers-colusa-avenue-beach-trash-sculpture/\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Tom Dalzell, a labor lawyer, created a website, Quirky Berkeley, to share all the whimsical objects he has captured with his iPhone. The site now has more than 8,400 photographs of quirky objects around town as well as posts where the 30-year resident muses on what it all means. This is the eighth installment in the series.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Berkeleyside publishes many articles every day. To see all our stories in chronological order, and read ones you may have missed, check out \u003ca href=\"http://www.berkeleyside.com/all-the-news/\" target=\"_blank\">All the News\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Tom Dalzell, \u003ca href=\"http://www.berkeleyside.com/2014/09/04/how-quirky-is-berkeley-mark-oliviers-colusa-avenue-beach-trash-sculpture/\" target=\"_blank\">Berkeleyside\u003c/a>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_146922\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/RS11949_Cathy-ThirdBuddha1.jpg\">\u003cimg class=\"wp-image-146922 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/RS11949_Cathy-ThirdBuddha1-480x640.jpg\" alt=\"RS11949_Cathy-ThirdBuddha1\" width=\"480\" height=\"640\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Third Buddha and other sculpture at 1118 Colusa Ave. (Catherine MacNeal/Berkeleyside)\u003c/figcaption>\u003c/figure>\n\u003cp>Colusa Avenue between Marin and Hopkins is not well-traveled, but people who have heard about Mark Olivier’s incredible — as in unbelievable — front yard at 1118 Colusa often make a point to go there.\u003c/p>\n\u003cp>Olivier, a carpenter who found himself as a sculptor, has created a fantastical display from found objects. He walks the Albany Bulb and other beaches to collect trash, mostly plastic, that has washed up. He takes the trash home, sorts it in boxes and bins. And then the magic happens: unexpected animals and masks and figures and machines.\u003c/p>\n\u003cp>For some pieces, Olivier sticks to one basic trash commodity. Baseball caps wash up on the beaches with some regularity, and one man’s washed-up baseball cap is another man’s material for sculpture:\u003c/p>\n\u003cfigure id=\"attachment_146943\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/Nike-of-Samothrace.jpg\">\u003cimg class=\"wp-image-146943 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/Nike-of-Samothrace-640x488.jpg\" alt=\"Quirky Berkeley\" width=\"640\" height=\"488\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nike of Samothrace at 1118 Colusa Ave. (John Storey/Berkeleyside)\u003c/figcaption>\u003c/figure>\n\u003cp>This sculpture is one of the few Olivier sculptures which is an allusion to classical sculpture. The \u003cem>Winged Victory of Samothrace\u003c/em> or \u003cem>Nike of Samothrace\u003c/em> is a second-century B.C. marble sculpture found in the Louvre. It is believed that Pythokritos of Rhodes was the sculptor and that it was erected by Macedonian general Demetrius I Poliocretes after a naval victory at Cyprus. That is quite a bit of heritage for a bunch of washed-up baseball caps in Berkeley.\u003cbr>\nOlivier has created a series of thunderbird sculptures, also made primarily from baseball caps:\u003c/p>\n\u003cfigure id=\"attachment_146950\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/Thunderbird-series.jpg\">\u003cimg class=\"wp-image-146950 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/Thunderbird-series-640x443.jpg\" alt=\"Quirky Berkeley\" width=\"640\" height=\"443\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the Thunderbird Series at 1118 Colusa Ave. (John Storey/Berkeleyside)\u003c/figcaption>\u003c/figure>\n\u003cp>The number of disposable butane lighters that Olivier has rescued and repurposed is staggering. The Zippo lighter was introduced in 1932. Great thought was put into its design and care was exercised in preserving and using a Zippo for years of smoking pleasure. Not so with the disposables. Beaches are littered with them, and Olivier is especially fond of their symmetry and bright colors. He has several intricate bridge sculptures made almost entirely with lighters, as well as this serpent:\u003c/p>\n\u003cfigure id=\"attachment_146956\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/Doubleheaded-Aztec-Serpent.jpg\">\u003cimg class=\"wp-image-146956 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/Doubleheaded-Aztec-Serpent-640x399.jpg\" alt=\"Quirky Berkeley\" width=\"640\" height=\"399\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Double-headed Aztec serpent at 1118 Colusa Ave. (Tom Dalzell/Berkeleyside)\u003c/figcaption>\u003c/figure>\n\u003cp>Braided nylon rope, especially dynamic kernmantle rope, washes up by the mile on beaches. Olivier salvages the rope and builds around wooden frames. Margate, New Jersey may have Lucy the Elephant, but we have Mark Olivier’s Babu:\u003c/p>\n\u003cfigure id=\"attachment_146961\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/Sweet-Babu-Cathy.jpg\">\u003cimg class=\"wp-image-146961 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/Sweet-Babu-Cathy-640x480.jpg\" alt=\"Sweet-Babu-Cathy\" width=\"640\" height=\"480\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sweet Babu at 1118 Colusa Ave.\u003c/figcaption>\u003c/figure>\n\u003cp>Any one of Olivier’s sculptures is a marvel of color, form and reuse of trash. Seen as a whole in his front yard, the effect is overwhelming in a Dr. Seuss world kind of way. I visit every month or so, seeing old friends and making new ones. I am always amazed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For a fuller treatment of Mark Olivier’s beach detritus sculpture, see \u003ca href=\"http://quirkyberkeley.com/major-quirky-9-beach-detritus-art-1118-colusa/\" target=\"_blank\">Quirky Berkeley\u003c/a>.\u003c/p>\n\u003cp>Read the full article and see more photos \u003ca href=\"http://www.berkeleyside.com/2014/09/04/how-quirky-is-berkeley-mark-oliviers-colusa-avenue-beach-trash-sculpture/\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Tom Dalzell, a labor lawyer, created a website, Quirky Berkeley, to share all the whimsical objects he has captured with his iPhone. The site now has more than 8,400 photographs of quirky objects around town as well as posts where the 30-year resident muses on what it all means. This is the eighth installment in the series.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Berkeleyside publishes many articles every day. To see all our stories in chronological order, and read ones you may have missed, check out \u003ca href=\"http://www.berkeleyside.com/all-the-news/\" target=\"_blank\">All the News\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Remembering Santa Monica's Seaside Amusement Park",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/09/2014-09-05e-tcrmag.mp3\u003c/p>\n\u003cp>From the late 1950s to the late ‘60s, Angelenos looking for music, dancing and rides, found the party at Pacific Ocean Park.\u003c/p>\n\u003cp>The beachside theme park that jetted out into the Pacific Ocean sat on 28 acres of land at the border of Santa Monica and Venice.\u003c/p>\n\u003cp>It featured rides created by Hollywood set designers, setting it apart from the standard, ordinary rides at Santa Monica Pier.\u003c/p>\n\u003cp>“This was a full blown theme park,” said Christopher Merritt, the park’s designer. “There were carnival-type attractions, but there were a lot of very high-end, super-stylized theme park attractions that were built and designed to take on other Southern California parks like Disneyland and Knott’s Berry Farm.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Merritt and pop culture historian Domenic Priore co-authored “Pacific Ocean Park: the Rise and Fall of Los Angeles’ Space-Age Nautical Pleasure Pier.” The two chronicled the park’s beginnings and endings – and its futuristic, cutting-edge design that made it so popular.\u003c/p>\n\u003cfigure id=\"attachment_10141295\" class=\"wp-caption alignright\" style=\"max-width: 444px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/MRDolphin.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/MRDolphin-444x450.jpg\" alt='Mr. Dolphin (later given the name Mahi-Mahi) was an oceanic redressing of the existing \"Strat-O-Liner\" which gave the sensation of flying over the water once it got going. (Pacific Ocean Park Book/Process)' width=\"444\" height=\"450\" class=\"size-medium wp-image-10141295\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mr. Dolphin (later given the name Mahi-Mahi) was an oceanic redressing of the existing \"Strat-O-Liner\" which gave the sensation of flying over the water once it got going. (Pacific Ocean Park Book/Process)\u003c/figcaption>\u003c/figure>\n\u003cp>Pacific Ocean Park was also a place to see live music. The Aragon Ballroom, which had been around for decades, brought in bands from all over the world -- from Frank Sinatra, to Harry Owens and his Royal Hawaiians, to Lawrence Welk, and later Pink Floyd, The Byrds and Janis Joplin.\u003c/p>\n\u003cp>The musicians who performed at Pacific Ocean Park were reflective of the time, and of a changing America.\u003c/p>\n\u003cp>If Pacific Ocean Park’s history is of coastal development and competition, its postmortem is practically the same.\u003c/p>\n\u003cp>The city of Santa Monica decided to redevelop the area. Beachfront condos replaced the bungalows across from the park. Streets leading to the park were closed, causing attendance to plummet.\u003c/p>\n\u003cfigure id=\"attachment_10141297\" class=\"wp-caption alignleft\" style=\"max-width: 231px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/KidTrain.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/KidTrain-231x225.jpg\" alt=\"A young boy stares in awe at the Banana Train, which pushed rather than pulled guests through the unique attraction. (Pacific Ocean Park Book/Process)\" width=\"231\" height=\"225\" class=\"size-thumbnail wp-image-10141297\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A young boy stares in awe at the Banana Train, which pushed rather than pulled guests through the unique attraction. (Pacific Ocean Park Book/Process)\u003c/figcaption>\u003c/figure>\n\u003cp>The city and the park’s creditors sued the park’s new owner to collect overdue rent and taxes. Pacific Ocean Park closed down for good in 1967, only nine years after it opened.\u003c/p>\n\u003cp>And its afterlife turned hellish.\u003c/p>\n\u003cp>“It sits there, from 1967 until 1975, rotting, burning, catching fire, falling apart, while the cities of Santa Monica and Los Angeles argue over who’s responsible for tearing down this eyesore,” Merritt said. “So all the kids in Venice are running through this incredibly unsafe environment. It looks like a war zone at the end.”\u003c/p>\n\u003cp>Eventually what was left of the park was demolished completely.\u003c/p>\n\u003cp>The condos are still there, overlooking a playground and a bike and walking path that meander the old footprint. The park however, is just a memory of a brighter time.\u003c/p>\n\u003cp>“There’s an overall sociology to this kind of park in the ‘50s in Los Angeles, where we had an idealism and optimism in L.A. at the time, and in America as a whole, that faded away with the coming ‘70s,” Priore said. “So these are things we try to recapture now that we can fix things again. It’s really a preservationist-oriented book.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He added, “We’re trying to show how beautiful things could be, rather than accepting the lowest common denominator. This was a highly designed park because people had that kind of optimism, and we need to start saving places that are really good.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/09/2014-09-05e-tcrmag.mp3\u003c/p>\n\u003cp>From the late 1950s to the late ‘60s, Angelenos looking for music, dancing and rides, found the party at Pacific Ocean Park.\u003c/p>\n\u003cp>The beachside theme park that jetted out into the Pacific Ocean sat on 28 acres of land at the border of Santa Monica and Venice.\u003c/p>\n\u003cp>It featured rides created by Hollywood set designers, setting it apart from the standard, ordinary rides at Santa Monica Pier.\u003c/p>\n\u003cp>“This was a full blown theme park,” said Christopher Merritt, the park’s designer. “There were carnival-type attractions, but there were a lot of very high-end, super-stylized theme park attractions that were built and designed to take on other Southern California parks like Disneyland and Knott’s Berry Farm.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Merritt and pop culture historian Domenic Priore co-authored “Pacific Ocean Park: the Rise and Fall of Los Angeles’ Space-Age Nautical Pleasure Pier.” The two chronicled the park’s beginnings and endings – and its futuristic, cutting-edge design that made it so popular.\u003c/p>\n\u003cfigure id=\"attachment_10141295\" class=\"wp-caption alignright\" style=\"max-width: 444px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/MRDolphin.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/MRDolphin-444x450.jpg\" alt='Mr. Dolphin (later given the name Mahi-Mahi) was an oceanic redressing of the existing \"Strat-O-Liner\" which gave the sensation of flying over the water once it got going. (Pacific Ocean Park Book/Process)' width=\"444\" height=\"450\" class=\"size-medium wp-image-10141295\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mr. Dolphin (later given the name Mahi-Mahi) was an oceanic redressing of the existing \"Strat-O-Liner\" which gave the sensation of flying over the water once it got going. (Pacific Ocean Park Book/Process)\u003c/figcaption>\u003c/figure>\n\u003cp>Pacific Ocean Park was also a place to see live music. The Aragon Ballroom, which had been around for decades, brought in bands from all over the world -- from Frank Sinatra, to Harry Owens and his Royal Hawaiians, to Lawrence Welk, and later Pink Floyd, The Byrds and Janis Joplin.\u003c/p>\n\u003cp>The musicians who performed at Pacific Ocean Park were reflective of the time, and of a changing America.\u003c/p>\n\u003cp>If Pacific Ocean Park’s history is of coastal development and competition, its postmortem is practically the same.\u003c/p>\n\u003cp>The city of Santa Monica decided to redevelop the area. Beachfront condos replaced the bungalows across from the park. Streets leading to the park were closed, causing attendance to plummet.\u003c/p>\n\u003cfigure id=\"attachment_10141297\" class=\"wp-caption alignleft\" style=\"max-width: 231px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/KidTrain.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/KidTrain-231x225.jpg\" alt=\"A young boy stares in awe at the Banana Train, which pushed rather than pulled guests through the unique attraction. (Pacific Ocean Park Book/Process)\" width=\"231\" height=\"225\" class=\"size-thumbnail wp-image-10141297\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A young boy stares in awe at the Banana Train, which pushed rather than pulled guests through the unique attraction. (Pacific Ocean Park Book/Process)\u003c/figcaption>\u003c/figure>\n\u003cp>The city and the park’s creditors sued the park’s new owner to collect overdue rent and taxes. Pacific Ocean Park closed down for good in 1967, only nine years after it opened.\u003c/p>\n\u003cp>And its afterlife turned hellish.\u003c/p>\n\u003cp>“It sits there, from 1967 until 1975, rotting, burning, catching fire, falling apart, while the cities of Santa Monica and Los Angeles argue over who’s responsible for tearing down this eyesore,” Merritt said. “So all the kids in Venice are running through this incredibly unsafe environment. It looks like a war zone at the end.”\u003c/p>\n\u003cp>Eventually what was left of the park was demolished completely.\u003c/p>\n\u003cp>The condos are still there, overlooking a playground and a bike and walking path that meander the old footprint. The park however, is just a memory of a brighter time.\u003c/p>\n\u003cp>“There’s an overall sociology to this kind of park in the ‘50s in Los Angeles, where we had an idealism and optimism in L.A. at the time, and in America as a whole, that faded away with the coming ‘70s,” Priore said. “So these are things we try to recapture now that we can fix things again. It’s really a preservationist-oriented book.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He added, “We’re trying to show how beautiful things could be, rather than accepting the lowest common denominator. This was a highly designed park because people had that kind of optimism, and we need to start saving places that are really good.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Female Dancers In Oakland Strut, Waack And Flex Their Way Into A Male-Dominated Scene",
"title": "Female Dancers In Oakland Strut, Waack And Flex Their Way Into A Male-Dominated Scene",
"headTitle": "News Fix | KQED News",
"content": "\u003caside class=\"aligncenter\">[vimeo 104668194 w=640 h=360]\u003c/aside>\n\u003cp>While hip-hop was born in New York City, one of the culture's elements — breakdancing — owes a lot to L.A. and the Bay Area. And one of the newer styles of hip-hop dance was created on the streets of Oakland. It’s called turfin, and it looks like a mix between breakdancing and ballet.\u003c/p>\n\u003cp>“Turf dancing consists of pantomiming, acting out a story, footwork, something like Michael Jackson — a little bit of slipping and sliding, popping, staying on beat. And just putting your own swagger to it,” explains Jasmine Haynes, who hails from Richmond and goes by TurferGirl. She’s one of a growing group of women trying to make their name in this male-dominated street-dance culture.\u003c/p>\n\u003cp>Turfin is the latest in a long line of street-dance styles that borrow and evolve from each other. Many people have heard of popping and locking, popularized during the 1980s breakdancing craze. But there’s also strutting, waacking, flexing, roboting, tutting and — going way back to the 1960s — boogalooing, which was also an Oakland creation.\u003c/p>\n\u003cp>“Strutting, boogaloo and robot started first, and then it went in to popping in the '80s,” explains \u003ca href=\"http://agatron.carbonmade.com/\" target=\"_blank\">Agatha Rupniewski, also known as Agatron\u003c/a>. After competing in organized dance battles in Oakland for years as one of very few women, she became a promoter and has put on several all-female dance battles. A \u003ca href=\"https://www.facebook.com/events/655507991195038/\" target=\"_blank\">July 26 event\u003c/a>, held in a classic car restoration shop, was open to all styles, not just turfin.\u003c/p>\n\u003cfigure id=\"attachment_146189\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/08/Turfing-Screen4.png\">\u003cimg class=\"wp-image-146189 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/08/Turfing-Screen4-640x360.png\" alt=\"Jasmine Haynes, AKA TurferGirl, "finger tutting," a key element of Turfin', a hip-hop dance style that originated in Oakland. (Jeremy Raff/KQED)\" width=\"640\" height=\"360\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jasmine Haynes, AKA TurferGirl, \"finger tutting,\" a key element of Turfin', a hip-hop dance style that originated in Oakland. (Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Dance battles like these date back at least to the 1970s. Two dancers get about a minute apiece going back and forth a couple of times before a panel of judges decides who won that round. Like any sports tournament, the winners of each match advance to the next round; the final winner gets a $500 prize.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We didn't have as many women involved in the '70s and '80s, so it’s nice to see such a big number,” says \u003ca href=\"http://broadwaydancecenter.com/faculty/bios/shirakawa_aiko.shtml\" target=\"_blank\">Aiko Shirakawa\u003c/a>, one of the judges. She’s a bit of a street-dance legend, having started back in 1979 in San Jose.\u003c/p>\n\u003cp>“They (men) would make fun of you ... and then copy you and make fun of your move as if it was weak. ... And you’re like ‘Aww, really? OK, forget it, I’m never stepping in.’ Then next thing you know, some girls couldn't take it and they just wouldn’t dance anymore.”\u003c/p>\n\u003cp>Those who buy tickets get to see an open battle as well, where anyone can compete. But it’s almost exclusively men. There’s a lot of posturing on stage, some aggressive dance moves, and it’s very competitive. In contrast, none of the women say they’re here to win, but just to support each other.\u003c/p>\n\u003cp>“Hip-hop culture is a male-dominated thing, so I think women can get intimidated by going against men” says Angel, who flew all the way from New York to Oakland. She mixes grand modern dance gestures with robotic facial expressions, and she battles a lot. But she says battling men has different dynamics.\u003c/p>\n\u003cfigure id=\"attachment_146188\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/08/Turfing-Screen.png\">\u003cimg class=\"wp-image-146188 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/08/Turfing-Screen-640x360.png\" alt=\"Sixteen women competed for $500 at an all-female, all-styles dance battle in Oakland. (Jeremy Raff/KQED)\" width=\"640\" height=\"360\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sixteen women competed for $500 at an all-female, all-styles dance battle in Oakland. (Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“A girl will enter a battle and she’s amazing. And then a guy will enter a battle who’s just as amazing, and sometimes they’ll pick her just because she’s a girl ... she doesn’t have to try as hard,\" Angel explains.\u003c/p>\n\u003cp>Angel makes it to the finals. But working the hometown advantage, TurferGirl gets the loudest cheers, and takes home the $500 prize. In her day job as a schoolteacher, she says the kids, especially girls, love to see her dance.\u003c/p>\n\u003cp>“I’m sure there’s more girls that turf that are underground right now but haven’t exactly made it to this point. ... You know if you’re breakdancing, you’re popping, you’re strutting, boogalooing, turfin, you just got to come out and do your thing!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Building a truly integrated dance community will take some time. This Oakland series of events, put on by a group called \u003ca href=\"https://www.facebook.com/2012TURFinc\" target=\"_blank\">Turf Inc.\u003c/a>, will feature a two-on-two team ladies battle this fall. Agatron says all-female battles have been taking place in France and New York for many years, so California has some catching up to do ... one step at a time.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>While hip-hop was born in New York City, one of the culture's elements — breakdancing — owes a lot to L.A. and the Bay Area. And one of the newer styles of hip-hop dance was created on the streets of Oakland. It’s called turfin, and it looks like a mix between breakdancing and ballet.\u003c/p>\n\u003cp>“Turf dancing consists of pantomiming, acting out a story, footwork, something like Michael Jackson — a little bit of slipping and sliding, popping, staying on beat. And just putting your own swagger to it,” explains Jasmine Haynes, who hails from Richmond and goes by TurferGirl. She’s one of a growing group of women trying to make their name in this male-dominated street-dance culture.\u003c/p>\n\u003cp>Turfin is the latest in a long line of street-dance styles that borrow and evolve from each other. Many people have heard of popping and locking, popularized during the 1980s breakdancing craze. But there’s also strutting, waacking, flexing, roboting, tutting and — going way back to the 1960s — boogalooing, which was also an Oakland creation.\u003c/p>\n\u003cp>“Strutting, boogaloo and robot started first, and then it went in to popping in the '80s,” explains \u003ca href=\"http://agatron.carbonmade.com/\" target=\"_blank\">Agatha Rupniewski, also known as Agatron\u003c/a>. After competing in organized dance battles in Oakland for years as one of very few women, she became a promoter and has put on several all-female dance battles. A \u003ca href=\"https://www.facebook.com/events/655507991195038/\" target=\"_blank\">July 26 event\u003c/a>, held in a classic car restoration shop, was open to all styles, not just turfin.\u003c/p>\n\u003cfigure id=\"attachment_146189\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/08/Turfing-Screen4.png\">\u003cimg class=\"wp-image-146189 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/08/Turfing-Screen4-640x360.png\" alt=\"Jasmine Haynes, AKA TurferGirl, "finger tutting," a key element of Turfin', a hip-hop dance style that originated in Oakland. (Jeremy Raff/KQED)\" width=\"640\" height=\"360\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jasmine Haynes, AKA TurferGirl, \"finger tutting,\" a key element of Turfin', a hip-hop dance style that originated in Oakland. (Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Dance battles like these date back at least to the 1970s. Two dancers get about a minute apiece going back and forth a couple of times before a panel of judges decides who won that round. Like any sports tournament, the winners of each match advance to the next round; the final winner gets a $500 prize.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We didn't have as many women involved in the '70s and '80s, so it’s nice to see such a big number,” says \u003ca href=\"http://broadwaydancecenter.com/faculty/bios/shirakawa_aiko.shtml\" target=\"_blank\">Aiko Shirakawa\u003c/a>, one of the judges. She’s a bit of a street-dance legend, having started back in 1979 in San Jose.\u003c/p>\n\u003cp>“They (men) would make fun of you ... and then copy you and make fun of your move as if it was weak. ... And you’re like ‘Aww, really? OK, forget it, I’m never stepping in.’ Then next thing you know, some girls couldn't take it and they just wouldn’t dance anymore.”\u003c/p>\n\u003cp>Those who buy tickets get to see an open battle as well, where anyone can compete. But it’s almost exclusively men. There’s a lot of posturing on stage, some aggressive dance moves, and it’s very competitive. In contrast, none of the women say they’re here to win, but just to support each other.\u003c/p>\n\u003cp>“Hip-hop culture is a male-dominated thing, so I think women can get intimidated by going against men” says Angel, who flew all the way from New York to Oakland. She mixes grand modern dance gestures with robotic facial expressions, and she battles a lot. But she says battling men has different dynamics.\u003c/p>\n\u003cfigure id=\"attachment_146188\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/08/Turfing-Screen.png\">\u003cimg class=\"wp-image-146188 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/08/Turfing-Screen-640x360.png\" alt=\"Sixteen women competed for $500 at an all-female, all-styles dance battle in Oakland. (Jeremy Raff/KQED)\" width=\"640\" height=\"360\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sixteen women competed for $500 at an all-female, all-styles dance battle in Oakland. (Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“A girl will enter a battle and she’s amazing. And then a guy will enter a battle who’s just as amazing, and sometimes they’ll pick her just because she’s a girl ... she doesn’t have to try as hard,\" Angel explains.\u003c/p>\n\u003cp>Angel makes it to the finals. But working the hometown advantage, TurferGirl gets the loudest cheers, and takes home the $500 prize. In her day job as a schoolteacher, she says the kids, especially girls, love to see her dance.\u003c/p>\n\u003cp>“I’m sure there’s more girls that turf that are underground right now but haven’t exactly made it to this point. ... You know if you’re breakdancing, you’re popping, you’re strutting, boogalooing, turfin, you just got to come out and do your thing!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Building a truly integrated dance community will take some time. This Oakland series of events, put on by a group called \u003ca href=\"https://www.facebook.com/2012TURFinc\" target=\"_blank\">Turf Inc.\u003c/a>, will feature a two-on-two team ladies battle this fall. Agatron says all-female battles have been taking place in France and New York for many years, so California has some catching up to do ... one step at a time.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Oakland Pride to Celebrate its Fifth Year With First Parade Ever",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/08/11908_transform.jpg\">\u003cimg class=\"alignnone size-full wp-image-146288\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/08/11908_transform.jpg\" alt=\"11908_transform\" width=\"639\" height=\"480\">\u003c/a>\u003c/p>\n\u003cp style=\"color: #444444\">By \u003ca href=\"http://oaklandlocal.com/author/jeanhlee/\">Jean Lee\u003c/a>\u003c/p>\n\u003cp style=\"color: #444444\">\u003ca href=\"http://oaklandlocal.com/2014/08/oakland-pride-to-celebrate-its-fifth-year-with-parade/\">Oakland Local \u003c/a>\u003c/p>\n\u003cp style=\"color: #444444\">The \u003ca style=\"font-weight: inherit;font-style: inherit;color: #ff9100\" title=\"Oakland Pride Festival\" href=\"http://www.oaklandpride.org/\">Oakland Pride Festival\u003c/a> returns to Oakland for its fifth year this Sunday, with the city’s first LGBT Pride Parade also added to the event’s festivities.\u003c/p>\n\u003cp style=\"color: #444444\">The parade helps celebrate the festival’s five-year anniversary, according to Oakland Pride board member Carlos Uribe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"color: #444444\">“As a board we decided to move forward with the parade,” Uribe said. “Last year we did a community survey just asking them, ‘What more do you want to see?’ Overwhelmingly, people were very much in favor of the parade.\"\u003c/p>\n\u003cp style=\"color: #444444\">Starting at 10:30 a.m., the parade begins at 14th Street and Broadway and goes up to the festival’s main entrance at 20th Street and Broadway. The festival begins at 11 a.m. and goes on until 7 p.m.; admission is $10, and $5 for children under 12.\u003c/p>\n\u003cp style=\"color: #444444\">Festival-goers have a chance to catch numerous performances across four stages, each with different themes: the Pride (Main) Stage, the Womyn’s Stage, the Latin Stage and the White Horse Stage. Grammy award-nominated artist Sheila E — best known for her collaboration with Prince on \"Erotic City\" — will be the festival’s headliner and will perform at the Pride Stage, along with being the celebrity grand marshal for the parade.\u003c/p>\n\u003cp style=\"color: #444444\">Other festival activities include a Family and Children’s Garden, where LGBT parents and caregivers can take part in specially designated activities — like face-painting and a petting zoo — with their kids. It’ll be located at the Union Bank parking lot, on Franklin and 20th Streets.\u003c/p>\n\u003cp style=\"color: #444444\">According to Uribe, the festival is about “bringing folks more of what they’ve come to love from Oakland Pride: a safe, family-friendly environment.”\u003c/p>\n\u003cp style=\"color: #444444\">Sponsors this year include companies like Tesla Motors and Pandora, along with longtime supporters like PG&E and the City of Oakland. Support also comes from Assembly members Rob Bonta and Nancy Skinner.\u003c/p>\n\u003cp style=\"color: #444444\">The Oakland Pride team has been moving over the past year to make the event “more Oakland.” “We’re encouraging local vendors and local community groups to be a part of Oakland pride — and to bridge any kind of gap that would be between various groups in Oakland,” said Uribe.\u003c/p>\n\u003cp style=\"color: #444444\">The\u003ca href=\"http://www.oaklandpride.org/official_pride_after_party\"> Official Pride After-Party\u003c/a> will be at Club 21 from 7 p.m. to midnight. It is an 18+ event and costs $10 at the gate.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"color: #444444\">Also happening this week is the 2014 Revolve Fest, a seven-day Oakland event featuring LGBTQIA-related art, music and film with each day carrying a different theme. Its final day is Saturday, so make sure to \u003ca href=\"http://www.spectrumqueermedia.com/\">check it out\u003c/a> before it ends.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp style=\"color: #444444\">“As a board we decided to move forward with the parade,” Uribe said. “Last year we did a community survey just asking them, ‘What more do you want to see?’ Overwhelmingly, people were very much in favor of the parade.\"\u003c/p>\n\u003cp style=\"color: #444444\">Starting at 10:30 a.m., the parade begins at 14th Street and Broadway and goes up to the festival’s main entrance at 20th Street and Broadway. The festival begins at 11 a.m. and goes on until 7 p.m.; admission is $10, and $5 for children under 12.\u003c/p>\n\u003cp style=\"color: #444444\">Festival-goers have a chance to catch numerous performances across four stages, each with different themes: the Pride (Main) Stage, the Womyn’s Stage, the Latin Stage and the White Horse Stage. Grammy award-nominated artist Sheila E — best known for her collaboration with Prince on \"Erotic City\" — will be the festival’s headliner and will perform at the Pride Stage, along with being the celebrity grand marshal for the parade.\u003c/p>\n\u003cp style=\"color: #444444\">Other festival activities include a Family and Children’s Garden, where LGBT parents and caregivers can take part in specially designated activities — like face-painting and a petting zoo — with their kids. It’ll be located at the Union Bank parking lot, on Franklin and 20th Streets.\u003c/p>\n\u003cp style=\"color: #444444\">According to Uribe, the festival is about “bringing folks more of what they’ve come to love from Oakland Pride: a safe, family-friendly environment.”\u003c/p>\n\u003cp style=\"color: #444444\">Sponsors this year include companies like Tesla Motors and Pandora, along with longtime supporters like PG&E and the City of Oakland. Support also comes from Assembly members Rob Bonta and Nancy Skinner.\u003c/p>\n\u003cp style=\"color: #444444\">The Oakland Pride team has been moving over the past year to make the event “more Oakland.” “We’re encouraging local vendors and local community groups to be a part of Oakland pride — and to bridge any kind of gap that would be between various groups in Oakland,” said Uribe.\u003c/p>\n\u003cp style=\"color: #444444\">The\u003ca href=\"http://www.oaklandpride.org/official_pride_after_party\"> Official Pride After-Party\u003c/a> will be at Club 21 from 7 p.m. to midnight. It is an 18+ event and costs $10 at the gate.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"color: #444444\">Also happening this week is the 2014 Revolve Fest, a seven-day Oakland event featuring LGBTQIA-related art, music and film with each day carrying a different theme. Its final day is Saturday, so make sure to \u003ca href=\"http://www.spectrumqueermedia.com/\">check it out\u003c/a> before it ends.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/08/2014-08-29d-tcrmag.mp3\u003c/p>\n\u003cp>A ganglion is a cluster of nerve cells. \"Ganglion Reef\" is the title of the debut album from the Los Angeles band Wand. If that makes you expect some sensory overload, you’d be right.\u003c/p>\n\u003cp>The quartet brings spirit, style and appealing pop sensibilities to the world of fuzzed-out, DIY psychedelia. But it also brings wit and whimsy, as the song titles “Flying Golem” and “Strange Inertia (Cntl Alt Death)” make plain. Throughout this album, the band is as equally inclined to poke fun at its chosen genre as it is to embrace it.\u003c/p>\n\u003cp>But of course if “Strange Inertia”and “Flying Golem” were only whimsy, they wouldn’t, well, fly. The thing is, these are good songs. Wand may joke, but this is no joke act. And the band does embrace the genre: Right from the start, with the album’s opening song “Send/Receive (Mind),” Wand firmly sets the controls for the heart of the sun.\u003c/p>\n\u003cp>Listen to \"Flying Golem\":\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/151929554\" 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>Early Pink Floyd, the Syd Barrett years in particular, are at the heart of Wand’s sun. Frontman Cory Hanson has affection for and affinity with Barrett’s askew, lysergic bent. But a range of psychedelic styles get the nod here: “Clearer” recalls Status Quo’s ‘60s classic “Pictures of Matchstick Men”—and while it’s hard to make out the lyrics, it sounds like Hanson sings something about Lucy? Maybe in the skies? Distinct lyrics are not the Wand's strong point, nor really the point.\u003c/p>\n\u003cp>In the context of the current, vibrant California fuzz-rock scene, Wand at times leans closer to the pop fun of fellow Angelenos Foxygen than to tireless garage-savant Ty Segall, who is putting this album out on his new GOD? Records label and taking the band on tour as his opening act.\u003c/p>\n\u003cp>Where Wand comes into its own is in some of the textures, including places where Hanson adds occasional electronic noises to the guitar-centric sound — think Brian Eno in early \u003ca href=\"http://www.roxymusic.co.uk/\" target=\"_blank\">Roxy Music\u003c/a>, not Rick Wakeman in Yes. And there are signs of ambition to balance the whimsy: “Fire On the Mountain” goes through several phases in the course of its five minutes, from floaty to funky-bouncy to freak-folky.\u003c/p>\n\u003cp>Ganglion Reef ends with “Generator Larping,” its longest and most sonically refined piece, a closing note pointing to a world of possibilities. Not that we’re predicting this will be the next Radiohead, let alone Pink Floyd. Of course, Radiohead has never really been known for a sense of humor. Nor has Pink Floyd. Maybe that will be the Wand magic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://www.dragcity.com/artists/wand\" target=\"_blank\">About Wand (DragCity.com)\u003c/a>\u003c/p>\n\n",
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"content": "\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/165184212&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true\" width=\"100%\" height=\"450\" frameborder=\"no\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Castro Theatre regulars know to come early.\u003c/p>\n\u003cp>They know to sink deep into the plush red seats and to to savor the intricate details around them: golden woodwork, the art deco chandelier, a pair of unexpected murals on the theater's side walls.\u003c/p>\n\u003cp>But mostly, they know to listen. Because 15 minutes before each movie showing, the organ music begins.\u003c/p>\n\u003cp>Rising from the orchestra pit on a lift, organist David Hegarty plays a dramatic tune on the theater's creamy yellow Wurlitzer. He started playing at the Castro 36 years ago -- before the current organ was even installed in the space.\u003c/p>\n\u003cfigure id=\"attachment_146107\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg class=\"wp-image-146107\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/08/2014-08-06-14.41.01-640x480.jpg\" alt=\"Hegarty practices the Castro's signature song, "San Francisco." (Olivia Allen-Price/KQED)\" width=\"320\" height=\"240\">\u003cfigcaption class=\"wp-caption-text\">Hegarty practices the Castro's signature song, \"San Francisco.\" (Olivia Allen-Price/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>And he'll be around after it's gone, too. The Wurlitzer that has entertained audiences for 30 years is up for sale.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Castro Theatre doesn't actually own the organ, and the man who does has decided to move from the Bay Area and sell the instrument.\u003c/p>\n\u003cp>\"It's been considered one of the finest organs in the country,\" says Hegarty. \"It's been a great pleasure for me to play it all these years.\"\u003c/p>\n\u003cp>Hegarty is the president of the Castro Organ Devotees Association (SFCODA), a nonprofit working to bring a new organ to the Castro. For a time, they considered purchasing the current Wurlitzer.\u003c/p>\n\u003cp>\"Unfortunately, this organ, having been played constantly for over 30 years, is wearing out. It needs a total rebuild, which is very expensive,\" he says. \"Recently we've received a donation of a very fine pipe organ that doesn't need all of this refurbishing.\"\u003c/p>\n\u003cp>Though some parts of the organ have been donated, SFCODA still needs about $700,000 to complete the organ and install it in the theater. They are working to raise money through private and corporate donations, grants and public funding. An \u003ca href=\"https://www.indiegogo.com/projects/the-castro-symphonic-theatre-organ\" target=\"_blank\">Indiegogo campaign\u003c/a> ends on Sept. 25.\u003c/p>\n\u003cp>The new symphonic organ will have seven keyboards, 800 stop tabs and 400 ranks -- for those of you not versed in organ lingo, that's really, really big. It's so big that if the organ were made only of pipes, it would nearly fill the 1,400-seat theater. But because it will incorporate digital technology, the new organ will fit into the same space as the current Wurlitzer.\u003c/p>\n\u003cp>After it's finished, Hegarty says, the Castro's new organ will be the third largest in the world -- behind only the \u003ca href=\"http://www.wanamakerorgan.com/\" target=\"_blank\">Macy's Wanamaker Organ\u003c/a> in Philadelphia and the \u003ca href=\"http://www.boardwalkhall.com/organs.asp\" target=\"_blank\">Boardwalk Hall Organ\u003c/a> in Atlantic City, New Jersey.\u003c/p>\n\u003cp>\"If you took the sound you hear in the Castro at the present and envision a symphony orchestra sitting up there with the organ, that's the sound you're going to hear from the new organ,\" says instrument designer Allen Harrah. He's been a pioneer in melding digital systems with all-pipe organs, and is designing the new organ for the Castro.\u003c/p>\n\u003cp>Built around a theater organ core, the new instrument will have the capability of sounding just like the current Wurlitzer, Harrah says. Additional classical pipework will give it a wider range, and an advanced digital system will make the virtual sounds of many other instruments accessible.\u003c/p>\n\u003cp>\"These virtual sounds are extremely highly developed recordings of the actual instruments that are stored in massive amounts of memory,\" says Harrah. \"It's very, very difficult to tell that they're not the real thing.\"\u003c/p>\n\u003cp>Listen to David Hegarty playing music from \"2001: Space Odyssey\" on an organ similar to the one planned for the Castro. An organ is the only instrument being played here, though it sounds as if a whole orchestra may be at work:\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/165183121&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If all goes well, SFCODA hopes to have the new organ in the theater by spring 2015. If the current Wurlitzer sells before the new organ is ready, Hegarty plans to bring an organ from his house to use temporarily. So fear not, Castro patrons, the music will not stop.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Castro Theatre doesn't actually own the organ, and the man who does has decided to move from the Bay Area and sell the instrument.\u003c/p>\n\u003cp>\"It's been considered one of the finest organs in the country,\" says Hegarty. \"It's been a great pleasure for me to play it all these years.\"\u003c/p>\n\u003cp>Hegarty is the president of the Castro Organ Devotees Association (SFCODA), a nonprofit working to bring a new organ to the Castro. For a time, they considered purchasing the current Wurlitzer.\u003c/p>\n\u003cp>\"Unfortunately, this organ, having been played constantly for over 30 years, is wearing out. It needs a total rebuild, which is very expensive,\" he says. \"Recently we've received a donation of a very fine pipe organ that doesn't need all of this refurbishing.\"\u003c/p>\n\u003cp>Though some parts of the organ have been donated, SFCODA still needs about $700,000 to complete the organ and install it in the theater. They are working to raise money through private and corporate donations, grants and public funding. An \u003ca href=\"https://www.indiegogo.com/projects/the-castro-symphonic-theatre-organ\" target=\"_blank\">Indiegogo campaign\u003c/a> ends on Sept. 25.\u003c/p>\n\u003cp>The new symphonic organ will have seven keyboards, 800 stop tabs and 400 ranks -- for those of you not versed in organ lingo, that's really, really big. It's so big that if the organ were made only of pipes, it would nearly fill the 1,400-seat theater. But because it will incorporate digital technology, the new organ will fit into the same space as the current Wurlitzer.\u003c/p>\n\u003cp>After it's finished, Hegarty says, the Castro's new organ will be the third largest in the world -- behind only the \u003ca href=\"http://www.wanamakerorgan.com/\" target=\"_blank\">Macy's Wanamaker Organ\u003c/a> in Philadelphia and the \u003ca href=\"http://www.boardwalkhall.com/organs.asp\" target=\"_blank\">Boardwalk Hall Organ\u003c/a> in Atlantic City, New Jersey.\u003c/p>\n\u003cp>\"If you took the sound you hear in the Castro at the present and envision a symphony orchestra sitting up there with the organ, that's the sound you're going to hear from the new organ,\" says instrument designer Allen Harrah. He's been a pioneer in melding digital systems with all-pipe organs, and is designing the new organ for the Castro.\u003c/p>\n\u003cp>Built around a theater organ core, the new instrument will have the capability of sounding just like the current Wurlitzer, Harrah says. Additional classical pipework will give it a wider range, and an advanced digital system will make the virtual sounds of many other instruments accessible.\u003c/p>\n\u003cp>\"These virtual sounds are extremely highly developed recordings of the actual instruments that are stored in massive amounts of memory,\" says Harrah. \"It's very, very difficult to tell that they're not the real thing.\"\u003c/p>\n\u003cp>Listen to David Hegarty playing music from \"2001: Space Odyssey\" on an organ similar to the one planned for the Castro. An organ is the only instrument being played here, though it sounds as if a whole orchestra may be at work:\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/165183121&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If all goes well, SFCODA hopes to have the new organ in the theater by spring 2015. If the current Wurlitzer sells before the new organ is ready, Hegarty plans to bring an organ from his house to use temporarily. So fear not, Castro patrons, the music will not stop.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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