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"content": "\u003cfigure id=\"attachment_140349\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/RS11076_photo-lpr.jpg\">\u003cimg class=\"size-medium wp-image-140349\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/RS11076_photo-lpr-640x480.jpg\" alt=\"The 'Let There Be' art installation, near 6th and Market streets in San Francisco. (Cy Musiker/KQED)\" width=\"640\" height=\"480\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The \"Let There Be\" art installation, near Sixth and Market streets in San Francisco. (Cy Musiker/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>A new public art piece debuted Thursday evening on San Francisco’s Market Street. It's called \"Let There Be\" and, for the moment at least, it features a series of photographs by Bay Area artists projected onto the east wall of the \u003ca href=\"http://www.zendesk.com/\" target=\"_blank\">recently renovated home of Zendesk\u003c/a>.\u003c/p>\n\u003cp>Ben Davis runs \u003ca href=\"http://illuminatethearts.org/\" target=\"_blank\">Illuminate the Arts\u003c/a>, the nonprofit that raised funds for \"\u003ca href=\"http://illuminatethearts.org/our-projects/the-bay-lights/\" target=\"_blank\">The Bay Lights\u003c/a>,\" the Leo Villareal light sculpture on the western span of the Bay Bridge. He says he designed this new piece as a way to celebrate the neighborhood's past, present and hoped-for future.\u003c/p>\n\u003cp>“I think it’s about letting the innate energy of Market Street reveal itself,” Davis said, “If you look at the rich history of the street, it has always performed a really important cultural and creative role in our community.”\u003c/p>\n\u003cp>I talked to Davis Wednesday night as we watched a test run of \"Let There Be\" from the offices of music-streaming service Spotify, just across Market Street.\u003c/p>\n\u003cp>Zendesk and Spotify, along with Twitter's headquarters just up the street and a host of major new residential developments, are transforming a neighborhood that's been an affordable haven for artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It's important to find a way to unleash that creativity, and put a marker down again.” Davis said. “At the same time respecting absolutely everyone who's here. This is not about asking anyone to leave. This is about encouraging more people to come.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Davis and his team raised $60,000 for \"Let There Be\" from what Davis calls anonymous donors. He says the project will open with contemporary and historical images of Market Street taken or collected by local photographer Mark Ellinger . They’ll be interspersed with images or videos by artists showing their work at neighborhood galleries, including SF Camerawork, the Luggage Gallery and the Yerba Buena Center For the Arts.\u003c/p>\n\n",
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"content": "\u003cfigure id=\"attachment_125203\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/Screenshot-2014-02-04-00.18.06.png\">\u003cimg class=\"wp-image-125203 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/Screenshot-2014-02-04-00.18.06-640x353.png\" alt=\"Artist's rendering of George Lucas' proposed art museum in San Francisco's Presidio. (Lucas Cultural Arts Museum presentation, January 2014)\" width=\"640\" height=\"353\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist's rendering of George Lucas' proposed art museum in San Francisco's Presidio. (Lucas Cultural Arts Museum presentation, January 2014)\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco has lost to Chicago in the high-profile contest to host filmmaker George Lucas' museum of popular and cinematic art. Lucas announced today that the new facility will be built on a 17-acre parcel on Chicago's Lake Michigan waterfront. The site of the newly rechristened \u003ca href=\"http://www.lucasmuseum.org/\" target=\"_blank\">Lucas Museum of Narrative Art\u003c/a> is close to a cluster of established museums, including the Field Museum of Natural History, Shedd Aquarium and Adler Planetarium.\u003c/p>\n\u003cp>In a statement, Lucas said:\u003c/p>\n\u003cblockquote>\u003cp>“We are honored to be partnering with the city of Chicago and the many cultural, educational and community groups that have come forward with ideas about how the LMNA will add to their vibrant work. I am humbled to be joining such an extraordinary museum community and to be creating the museum in a city that has a long tradition of embracing the arts.”\u003c/p>\u003c/blockquote>\n\u003cp>Lucas \u003ca href=\"http://www.sfgate.com/default/article/George-Lucas-proposes-Presidio-museum-4331417.php\" target=\"_blank\">originally proposed building the museum\u003c/a> on a site adjacent to Crissy Field in the Presidio. When he presented the plan in March 2013, the San Francisco Chronicle reported that Lucas planned to spend $250 million to $300 million to build the museum and grant the institution $800 million in endowments. The filmmaker's vision for the San Francisco museum was a grand one, the Chronicle said:\u003c/p>\n\u003cblockquote>\u003cp>Lucas is confident that his proposal, three years in the making, would fulfill those goals at no cost to the Presidio Trust. He will pay for everything. The museum would be a gathering place for families, he said, and showcase 150 years of populist art, including the illustrations of Norman Rockwell and Maxfield Parrish, comics, children's books, fashion, cinema and digital technology. There would be permanent and rotating exhibitions, and programs that would be an extension of Edutopia, the educational foundation he started in 1991 to improve K-12 learning.\u003c/p>\u003c/blockquote>\n\u003cp>But that plan collapsed last February when the group that controls development at the historic former Army base, the Presidio Trust, \u003ca href=\"http://ww2.kqed.org/news/2014/02/03/presidio-group-rejects-lucas-museum-proposal/\" target=\"_blank\">rejected a scaled-down Lucas museum plan\u003c/a> and two other proposals for the site. The trust said none of the plans was appropriate for what is considered a marquee property.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'I am humbled to be joining such an extraordinary museum community and to be creating the museum in a city that has a long tradition of embracing the arts.'\u003ccite>— Filmmaker George Lucas,\u003cbr>\nOn choosing Chicago site for new museum\u003c/cite>\u003c/aside>\n\u003cp>Lucas' representatives immediately declared that the museum would consider sites in other cities, and Chicago quickly emerged as the leading contender. Lucas's wife, \u003ca href=\"http://www.ted.com/speakers/mellody_hobson\" target=\"_blank\">investment banker Mellody Hobson\u003c/a>, is a Chicago native and reportedly lobbied fiercely for the Lake Michigan waterfront site. Los Angeles also began courting the filmmaker this month.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Presidio Trust and San Francisco city officials offered alternatives to the Crissy Field property — one near the Presidio's Letterman Digital Arts Center, which Lucas helped create, and one on the Embarcadero across the street from Piers 30-32. But Lucas opted for Chicago's offer of a $1-a-year lease for the lakefront real estate. The property, just south of Soldier Field and a mile and a half or so from the center of downtown, is currently occupied by two city-owned parking lots.\u003c/p>\n\u003cp>When Lucas and company announced their decision Tuesday, the Chronicle's Phil Matier and Andy Ross were ready with a piece saying that \u003ca href=\"http://blog.sfgate.com/matierandross/2014/06/24/san-francisco-saw-lucas-decision-coming/\" target=\"_blank\">the outcome came as little surprise to San Francisco city officials\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Team Lucas never seemed to think much of the [alternative] Presidio site — a spokesman all but dismissed it as a “Hail Mary” play after the trust came up with it. But they showed more interest in the city’s spot along the Embarcadero — although, unlike in Chicago, Lucas would have had to pay $30 million or more to buy the port property.\u003c/p>\n\u003cp>Lee and Company cranked up the PR campaign to try to win Lucas over, including taking out a full-page Chronicle ad signed by every living former San Francisco mayor and hundreds of community leaders.\u003c/p>\n\u003cp>Sources tell us that Lee had been preparing to sweeten the pot by pledging to help turn Piers 30-32 into a gateway park — possibly with an amphitheater or other public amenities — that would have protected the views of whatever museum Lucas built across the way. ...\u003c/p>\n\u003cp>... But there were plenty of unresolved issues. For openers, it would probably cost more than $100 million to transform Piers 30-32 into a park — so even if the city put up the $30 million-plus from the land sale to Lucas, it would still have been tens of millions of dollars short.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"http://www.chicagotribune.com/business/breaking/chi-sources-say-chicago-to-win-lucas-museum-20140624,0,6741871.story\" target=\"_blank\">Chicago Tribune reports \u003c/a>that the Lucas museum will face development challenges in the Windy City, too:\u003c/p>\n\u003cblockquote>\u003cp>... The museum is expected to draw opposition from open space advocates. Friends of the Parks has opposed the Soldier Field site because it would violate one of the 14 basic policies of the Lakefront Plan of Chicago, which prohibits further private development east of Lake Shore Drive.\u003c/p>\n\u003cp>Under Emanuel’s plan, ... two Chicago Park District-owned parking lots would be leased to the museum for $1, which is similar to arrangements other large cultural institutions have with the Park District. However, unlike other museums, the Lucas museum would not receive taxpayer subsidies to cover a portion of its operations, mayoral aides have said.\u003c/p>\n\u003cp>The theory is that the museum will draw conventioneers from neighboring McCormick Place and that the 17-acre plot of land being offered is large enough to both house the museum while leaving about 12 acres for additional green space.\u003c/p>\n\u003cp>The parking lots would be moved underground at Lucas’ expense, the city has said. In addition to paying construction costs, Lucas has said the museum would receive a $400 million endowment over time.\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_125203\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/Screenshot-2014-02-04-00.18.06.png\">\u003cimg class=\"wp-image-125203 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/Screenshot-2014-02-04-00.18.06-640x353.png\" alt=\"Artist's rendering of George Lucas' proposed art museum in San Francisco's Presidio. (Lucas Cultural Arts Museum presentation, January 2014)\" width=\"640\" height=\"353\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist's rendering of George Lucas' proposed art museum in San Francisco's Presidio. (Lucas Cultural Arts Museum presentation, January 2014)\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco has lost to Chicago in the high-profile contest to host filmmaker George Lucas' museum of popular and cinematic art. Lucas announced today that the new facility will be built on a 17-acre parcel on Chicago's Lake Michigan waterfront. The site of the newly rechristened \u003ca href=\"http://www.lucasmuseum.org/\" target=\"_blank\">Lucas Museum of Narrative Art\u003c/a> is close to a cluster of established museums, including the Field Museum of Natural History, Shedd Aquarium and Adler Planetarium.\u003c/p>\n\u003cp>In a statement, Lucas said:\u003c/p>\n\u003cblockquote>\u003cp>“We are honored to be partnering with the city of Chicago and the many cultural, educational and community groups that have come forward with ideas about how the LMNA will add to their vibrant work. I am humbled to be joining such an extraordinary museum community and to be creating the museum in a city that has a long tradition of embracing the arts.”\u003c/p>\u003c/blockquote>\n\u003cp>Lucas \u003ca href=\"http://www.sfgate.com/default/article/George-Lucas-proposes-Presidio-museum-4331417.php\" target=\"_blank\">originally proposed building the museum\u003c/a> on a site adjacent to Crissy Field in the Presidio. When he presented the plan in March 2013, the San Francisco Chronicle reported that Lucas planned to spend $250 million to $300 million to build the museum and grant the institution $800 million in endowments. The filmmaker's vision for the San Francisco museum was a grand one, the Chronicle said:\u003c/p>\n\u003cblockquote>\u003cp>Lucas is confident that his proposal, three years in the making, would fulfill those goals at no cost to the Presidio Trust. He will pay for everything. The museum would be a gathering place for families, he said, and showcase 150 years of populist art, including the illustrations of Norman Rockwell and Maxfield Parrish, comics, children's books, fashion, cinema and digital technology. There would be permanent and rotating exhibitions, and programs that would be an extension of Edutopia, the educational foundation he started in 1991 to improve K-12 learning.\u003c/p>\u003c/blockquote>\n\u003cp>But that plan collapsed last February when the group that controls development at the historic former Army base, the Presidio Trust, \u003ca href=\"http://ww2.kqed.org/news/2014/02/03/presidio-group-rejects-lucas-museum-proposal/\" target=\"_blank\">rejected a scaled-down Lucas museum plan\u003c/a> and two other proposals for the site. The trust said none of the plans was appropriate for what is considered a marquee property.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'I am humbled to be joining such an extraordinary museum community and to be creating the museum in a city that has a long tradition of embracing the arts.'\u003ccite>— Filmmaker George Lucas,\u003cbr>\nOn choosing Chicago site for new museum\u003c/cite>\u003c/aside>\n\u003cp>Lucas' representatives immediately declared that the museum would consider sites in other cities, and Chicago quickly emerged as the leading contender. Lucas's wife, \u003ca href=\"http://www.ted.com/speakers/mellody_hobson\" target=\"_blank\">investment banker Mellody Hobson\u003c/a>, is a Chicago native and reportedly lobbied fiercely for the Lake Michigan waterfront site. Los Angeles also began courting the filmmaker this month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Presidio Trust and San Francisco city officials offered alternatives to the Crissy Field property — one near the Presidio's Letterman Digital Arts Center, which Lucas helped create, and one on the Embarcadero across the street from Piers 30-32. But Lucas opted for Chicago's offer of a $1-a-year lease for the lakefront real estate. The property, just south of Soldier Field and a mile and a half or so from the center of downtown, is currently occupied by two city-owned parking lots.\u003c/p>\n\u003cp>When Lucas and company announced their decision Tuesday, the Chronicle's Phil Matier and Andy Ross were ready with a piece saying that \u003ca href=\"http://blog.sfgate.com/matierandross/2014/06/24/san-francisco-saw-lucas-decision-coming/\" target=\"_blank\">the outcome came as little surprise to San Francisco city officials\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Team Lucas never seemed to think much of the [alternative] Presidio site — a spokesman all but dismissed it as a “Hail Mary” play after the trust came up with it. But they showed more interest in the city’s spot along the Embarcadero — although, unlike in Chicago, Lucas would have had to pay $30 million or more to buy the port property.\u003c/p>\n\u003cp>Lee and Company cranked up the PR campaign to try to win Lucas over, including taking out a full-page Chronicle ad signed by every living former San Francisco mayor and hundreds of community leaders.\u003c/p>\n\u003cp>Sources tell us that Lee had been preparing to sweeten the pot by pledging to help turn Piers 30-32 into a gateway park — possibly with an amphitheater or other public amenities — that would have protected the views of whatever museum Lucas built across the way. ...\u003c/p>\n\u003cp>... But there were plenty of unresolved issues. For openers, it would probably cost more than $100 million to transform Piers 30-32 into a park — so even if the city put up the $30 million-plus from the land sale to Lucas, it would still have been tens of millions of dollars short.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"http://www.chicagotribune.com/business/breaking/chi-sources-say-chicago-to-win-lucas-museum-20140624,0,6741871.story\" target=\"_blank\">Chicago Tribune reports \u003c/a>that the Lucas museum will face development challenges in the Windy City, too:\u003c/p>\n\u003cblockquote>\u003cp>... The museum is expected to draw opposition from open space advocates. Friends of the Parks has opposed the Soldier Field site because it would violate one of the 14 basic policies of the Lakefront Plan of Chicago, which prohibits further private development east of Lake Shore Drive.\u003c/p>\n\u003cp>Under Emanuel’s plan, ... two Chicago Park District-owned parking lots would be leased to the museum for $1, which is similar to arrangements other large cultural institutions have with the Park District. However, unlike other museums, the Lucas museum would not receive taxpayer subsidies to cover a portion of its operations, mayoral aides have said.\u003c/p>\n\u003cp>The theory is that the museum will draw conventioneers from neighboring McCormick Place and that the 17-acre plot of land being offered is large enough to both house the museum while leaving about 12 acres for additional green space.\u003c/p>\n\u003cp>The parking lots would be moved underground at Lucas’ expense, the city has said. In addition to paying construction costs, Lucas has said the museum would receive a $400 million endowment over time.\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Ken Kesey and the Merry Pranksters -- a Celebration of Going Further",
"title": "Ken Kesey and the Merry Pranksters -- a Celebration of Going Further",
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"content": "\u003cfigure id=\"attachment_139497\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/keseybus.jpg\">\u003cimg class=\"size-medium wp-image-139497\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/keseybus-640x424.jpg\" alt=\"Ken Kesey's replica of the bus he used to tour across the United States in the mid-1960s. (Joe Mabel/Wikimedia Commons)\" width=\"640\" height=\"424\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ken Kesey's replica of the bus he used to tour across the United States in the mid-1960s. (Joe Mabel/Wikimedia Commons)\u003c/figcaption>\u003c/figure>\n\u003cp>In June of 1964, Ken Kesey was a hot young writer. His novel, \"One Flew Over the Cuckoo’s Nest,\" had been a best-seller and then a hit Broadway play. He needed to get to New York City, because his publisher was bringing out his second novel, \"Sometimes A Great Notion.\" And some of Kesey's pals wanted to make the trip, too.\u003c/p>\n\u003cp>\"The World’s Fair was there, and so a bunch of us wanted to go,\" says Ken Babbs, who had met Kesey at Stanford in the late '50s. After a stint as a Marine helicopter pilot that took him to Vietnam during the war's earliest stages, Babbs returned to Stanford and reconnected with Kesey.\u003c/p>\n\u003cp>Kesey, Babbs and friends were experimenting with filmmaking and with LSD. Kesey had encountered the drug while volunteering for a CIA-sponsored test at the Menlo Park VA hospital. So the trip to New York, to be made in a 1939 International Harvester school bus painted in wild colors and named \"Further\" (a.k.a. \"Furthur\"), was meant to be a psychic journey as well as a physical one.\u003c/p>\n\u003cp>\"We had this movie that we were going to make called 'Intrepid Travelers,' and this merry band of pranksters look for a cool place — the cool place that exists in you in your mind and your body,\" Babbs says.\u003c/p>\n\u003cp>With that vision in mind, Babbs and the rest of the Merry Pranksters boarded the bus at Kesey's home in La Honda. And at first, they didn't go anywhere.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'When we talk about expanding your consciousness ... what it really meant was to connect with other people in a positive way and to be kind.'\u003ccite>— Ken Babbs,\u003cbr>\nMerry Prankster\u003c/cite>\u003c/aside>\n\u003cp>\"We got the bus cranked up, we were ready to go, firing on all cylinders, headed out across the bridge there at La Honda. And ... the engine died,\" Babbs recalls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eventually, most of the Pranksters made it to New York, with Kesey’s friend Neal Cassady in the driver's seat much of the time. Cassady was famous as Jack Kerouac’s friend and the basis for the character Dean Moriarty in \"On The Road.\" And so Cassady and Kesey were like a bridge between the beats and the hippies that followed.\u003c/p>\n\u003cp>The thing that distinguished the beats from the hippies was the psychedelic drugs that Kesey had discovered. LSD was still legal, but Ken Babbs says the Pranksters were not trying to turn on the country. The Pranksters' act was more of a theatrical performance, with the bus, painted in spectacular colors, their stage.\u003c/p>\n\u003cp>\"In '64 there was nothing like it,\" Babbs says. \"Today, you know, they're all over the place. But then nobody knew what it was. They thought the circus had come to town. \"\u003c/p>\n\u003cp>Kesey’s bus ride remains famous partly because writer Tom Wolfe chronicled the story in 1968's \"The Electric Kool-Aid Acid Test.\"\u003c/p>\n\u003cp>Kesey and Babbs organized their so-called acid tests up and down the West Coast in 1966, featuring spiked Kool-Aid, light shows and music by the Grateful Dead.\u003c/p>\n\u003cp>The acid tests were part of the wave of cultural change in the mid-1960s that included the folk music revival, rock 'n' roll, feminism, black power and the antiwar movement. But Kesey and the Pranksters weren’t political. Babbs says Kesey always believed the only true currency is that of the spirit.\u003c/p>\n\u003cp>\"When we talk about expanding your consciousness, which we were doing, what it really meant was to connect with other people in a positive way and to be kind,\" Babbs says.\u003c/p>\n\u003cp>And the legend lives on. Kesey's son, Zane, has \u003ca href=\"https://www.kickstarter.com/projects/furthur50/furthur-bus-50th-anniversary-trip\" target=\"_blank\">raised more than $40,000\u003c/a> to stage a 50th anniversary cross-country road trip, minus the LSD that played such a big role in 1964.\u003c/p>\n\u003cp>The trip will use Ken Kesey's updated version of Further. As for the original 1939 vehicle, the author \u003ca href=\"http://furthurdowntheroad.org/index.php/history/furthur-the-bus-then-now/\" target=\"_blank\">parked it in a swamp\u003c/a> on his Oregon farm. Despite \u003ca href=\"http://www.sfgate.com/bayarea/article/Ken-Kesey-s-Furthur-bus-on-new-trip-to-5160396.php\" target=\"_blank\">talk about restoring it\u003c/a> and \u003ca href=\"http://community.seattletimes.nwsource.com/archive/?date=19901102&slug=1101869\" target=\"_blank\">a 1990 Kesey prank\u003c/a> involving the Smithsonian's supposed acquisition of the vehicle, it remains an undrivable hulk.\u003c/p>\n\u003cp>Except, of course, in memory, where it's still tooling down the byways of rebellious fun and psychic discovery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/154935170&color=ff5500&auto_play=false&hide_related=false&show_artwork=true&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_139497\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/keseybus.jpg\">\u003cimg class=\"size-medium wp-image-139497\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/keseybus-640x424.jpg\" alt=\"Ken Kesey's replica of the bus he used to tour across the United States in the mid-1960s. (Joe Mabel/Wikimedia Commons)\" width=\"640\" height=\"424\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ken Kesey's replica of the bus he used to tour across the United States in the mid-1960s. (Joe Mabel/Wikimedia Commons)\u003c/figcaption>\u003c/figure>\n\u003cp>In June of 1964, Ken Kesey was a hot young writer. His novel, \"One Flew Over the Cuckoo’s Nest,\" had been a best-seller and then a hit Broadway play. He needed to get to New York City, because his publisher was bringing out his second novel, \"Sometimes A Great Notion.\" And some of Kesey's pals wanted to make the trip, too.\u003c/p>\n\u003cp>\"The World’s Fair was there, and so a bunch of us wanted to go,\" says Ken Babbs, who had met Kesey at Stanford in the late '50s. After a stint as a Marine helicopter pilot that took him to Vietnam during the war's earliest stages, Babbs returned to Stanford and reconnected with Kesey.\u003c/p>\n\u003cp>Kesey, Babbs and friends were experimenting with filmmaking and with LSD. Kesey had encountered the drug while volunteering for a CIA-sponsored test at the Menlo Park VA hospital. So the trip to New York, to be made in a 1939 International Harvester school bus painted in wild colors and named \"Further\" (a.k.a. \"Furthur\"), was meant to be a psychic journey as well as a physical one.\u003c/p>\n\u003cp>\"We had this movie that we were going to make called 'Intrepid Travelers,' and this merry band of pranksters look for a cool place — the cool place that exists in you in your mind and your body,\" Babbs says.\u003c/p>\n\u003cp>With that vision in mind, Babbs and the rest of the Merry Pranksters boarded the bus at Kesey's home in La Honda. And at first, they didn't go anywhere.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'When we talk about expanding your consciousness ... what it really meant was to connect with other people in a positive way and to be kind.'\u003ccite>— Ken Babbs,\u003cbr>\nMerry Prankster\u003c/cite>\u003c/aside>\n\u003cp>\"We got the bus cranked up, we were ready to go, firing on all cylinders, headed out across the bridge there at La Honda. And ... the engine died,\" Babbs recalls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eventually, most of the Pranksters made it to New York, with Kesey’s friend Neal Cassady in the driver's seat much of the time. Cassady was famous as Jack Kerouac’s friend and the basis for the character Dean Moriarty in \"On The Road.\" And so Cassady and Kesey were like a bridge between the beats and the hippies that followed.\u003c/p>\n\u003cp>The thing that distinguished the beats from the hippies was the psychedelic drugs that Kesey had discovered. LSD was still legal, but Ken Babbs says the Pranksters were not trying to turn on the country. The Pranksters' act was more of a theatrical performance, with the bus, painted in spectacular colors, their stage.\u003c/p>\n\u003cp>\"In '64 there was nothing like it,\" Babbs says. \"Today, you know, they're all over the place. But then nobody knew what it was. They thought the circus had come to town. \"\u003c/p>\n\u003cp>Kesey’s bus ride remains famous partly because writer Tom Wolfe chronicled the story in 1968's \"The Electric Kool-Aid Acid Test.\"\u003c/p>\n\u003cp>Kesey and Babbs organized their so-called acid tests up and down the West Coast in 1966, featuring spiked Kool-Aid, light shows and music by the Grateful Dead.\u003c/p>\n\u003cp>The acid tests were part of the wave of cultural change in the mid-1960s that included the folk music revival, rock 'n' roll, feminism, black power and the antiwar movement. But Kesey and the Pranksters weren’t political. Babbs says Kesey always believed the only true currency is that of the spirit.\u003c/p>\n\u003cp>\"When we talk about expanding your consciousness, which we were doing, what it really meant was to connect with other people in a positive way and to be kind,\" Babbs says.\u003c/p>\n\u003cp>And the legend lives on. Kesey's son, Zane, has \u003ca href=\"https://www.kickstarter.com/projects/furthur50/furthur-bus-50th-anniversary-trip\" target=\"_blank\">raised more than $40,000\u003c/a> to stage a 50th anniversary cross-country road trip, minus the LSD that played such a big role in 1964.\u003c/p>\n\u003cp>The trip will use Ken Kesey's updated version of Further. As for the original 1939 vehicle, the author \u003ca href=\"http://furthurdowntheroad.org/index.php/history/furthur-the-bus-then-now/\" target=\"_blank\">parked it in a swamp\u003c/a> on his Oregon farm. Despite \u003ca href=\"http://www.sfgate.com/bayarea/article/Ken-Kesey-s-Furthur-bus-on-new-trip-to-5160396.php\" target=\"_blank\">talk about restoring it\u003c/a> and \u003ca href=\"http://community.seattletimes.nwsource.com/archive/?date=19901102&slug=1101869\" target=\"_blank\">a 1990 Kesey prank\u003c/a> involving the Smithsonian's supposed acquisition of the vehicle, it remains an undrivable hulk.\u003c/p>\n\u003cp>Except, of course, in memory, where it's still tooling down the byways of rebellious fun and psychic discovery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/154935170&color=ff5500&auto_play=false&hide_related=false&show_artwork=true&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "News Pix: Resident Physicians Picket, Saline Shortage and San Jose Rep Closes",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/resident-strike.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-139134\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/resident-strike-640x450.jpg\" alt=\"resident strike\" width=\"640\" height=\"450\">\u003c/a>\u003cbr>\nResident physicians at UCSF Benioff Children’s Hospital Oakland say their salaries aren't keeping up with the cost of living in the Bay Area. Theirs is one of the latest \u003ca href=\"http://blogs.kqed.org/stateofhealth/2014/06/10/resident-physicians-at-childrens-oakland-rally-over-contract-stalemate/\" target=\"_blank\">health care union battles to heat up\u003c/a> in California between workers and hospital administration, and is drawing a new generation of members to union organizing. \"A lot of people think being a doctor is super glamorous and you make tons of money and everyone loves you,\" said Alana Arnold, a second-year resident. “But in fact, residency is difficult. We’re here to learn and train. And we have to protect ourselves just like any other workforce.\" (Mark Andrew Boyer/KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/saline.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-139135\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/saline-640x450.jpg\" alt=\"saline\" width=\"640\" height=\"450\">\u003c/a>\u003cbr>\nSan Francisco General Hospital's materials manager Reid Kennedy reviews his notes in the materials storage room. S.F. General is one of many hospitals across the country struggling to deal with a \u003ca href=\"http://blogs.kqed.org/science/audio/saline-shortage-plagues-hospitals/\" target=\"_blank\">shortage of saline\u003c/a>, an essential product used all over the hospital to clean wounds, mix medications or treat dehydration. Now drug companies say they won't be able to catch up with demand until next year, so hospitals are trying to ration supplies. (Mark Andrew Boyer/KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/sjrep640.jpg\">\u003cimg class=\"aligncenter size-full wp-image-139142\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/sjrep640.jpg\" alt=\"sjrep640\" width=\"640\" height=\"360\">\u003c/a>\u003cbr>\nThe San Jose Repertory Theatre company announced Wednesday that it has \u003ca href=\"http://ww2.kqed.org/arts/2014/06/11/san-jose-rep-announces-closure/\" target=\"_blank\">ceased operations and is filing for bankruptcy\u003c/a>. The 34-year-old organization has been struggling with financial issues for a number of years. “We regret the impact on the city of San Jose and the local arts community,\" said Holly Walter, president of the San Jose Rep’s board of trustees. However, after months of trying to solve our financial issues, reduce our debts and construct a sustainable model for the organization, we felt we had no choice but to take this action.\" (Wikimedia Commons)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/domestic-violence.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-139136\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/domestic-violence-640x478.jpg\" alt=\"domestic violence\" width=\"640\" height=\"478\">\u003c/a>\u003cbr>\nStanford student Leah Francis led a chant at a June 12 \u003ca href=\"http://ww2.kqed.org/news/2014/06/12/students-host-rally-stanford-sexual-assault-policy/\" target=\"_blank\">protest against the university's policies on sexual assault\u003c/a>. Stanford announced that it will not expel a student it found responsible for sexual assault, rejecting an appeal from Francis, who thinks the university treated her alleged assailant too leniently. Universities across the country are under fire for mishandling sexual assault cases. (Peter Jon Shuler/KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/bees.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-139138\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/bees-640x449.jpg\" alt=\"bees\" width=\"640\" height=\"449\">\u003c/a>\u003cbr>\nA beekeeper for Bradshaw Honey Farm wears protective clothing to check the health of the bees. Bradshaw says he'll spend about $80,000 to feed his bees artificial nectar this summer. Typically he would take them to hills laden with wildflowers, but this year those hills are bone-dry because of the drought. (Alice Daniels/KQED)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/RS10853_233.jpg\">\u003cbr>\n\u003c/a>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/RS10853_233.jpg\">\u003cimg class=\"aligncenter\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/RS10853_233-480x640.jpg\" alt=\"RS10853_233\" width=\"480\" height=\"640\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The owners of a 14-room Victorian in San Francisco's Mission District have agreed to sell the building to the San Francisco Community Land Trust, which will allow tenants to run the building as a cooperative. Tenant Rose O'Kane poses in her kitchen at 2976 23rd St. with a celebratory glass of champagne after the deal was announced. (Adizah Eghan/KQED)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/resident-strike.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-139134\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/resident-strike-640x450.jpg\" alt=\"resident strike\" width=\"640\" height=\"450\">\u003c/a>\u003cbr>\nResident physicians at UCSF Benioff Children’s Hospital Oakland say their salaries aren't keeping up with the cost of living in the Bay Area. Theirs is one of the latest \u003ca href=\"http://blogs.kqed.org/stateofhealth/2014/06/10/resident-physicians-at-childrens-oakland-rally-over-contract-stalemate/\" target=\"_blank\">health care union battles to heat up\u003c/a> in California between workers and hospital administration, and is drawing a new generation of members to union organizing. \"A lot of people think being a doctor is super glamorous and you make tons of money and everyone loves you,\" said Alana Arnold, a second-year resident. “But in fact, residency is difficult. We’re here to learn and train. And we have to protect ourselves just like any other workforce.\" (Mark Andrew Boyer/KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/saline.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-139135\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/saline-640x450.jpg\" alt=\"saline\" width=\"640\" height=\"450\">\u003c/a>\u003cbr>\nSan Francisco General Hospital's materials manager Reid Kennedy reviews his notes in the materials storage room. S.F. General is one of many hospitals across the country struggling to deal with a \u003ca href=\"http://blogs.kqed.org/science/audio/saline-shortage-plagues-hospitals/\" target=\"_blank\">shortage of saline\u003c/a>, an essential product used all over the hospital to clean wounds, mix medications or treat dehydration. Now drug companies say they won't be able to catch up with demand until next year, so hospitals are trying to ration supplies. (Mark Andrew Boyer/KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/sjrep640.jpg\">\u003cimg class=\"aligncenter size-full wp-image-139142\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/sjrep640.jpg\" alt=\"sjrep640\" width=\"640\" height=\"360\">\u003c/a>\u003cbr>\nThe San Jose Repertory Theatre company announced Wednesday that it has \u003ca href=\"http://ww2.kqed.org/arts/2014/06/11/san-jose-rep-announces-closure/\" target=\"_blank\">ceased operations and is filing for bankruptcy\u003c/a>. The 34-year-old organization has been struggling with financial issues for a number of years. “We regret the impact on the city of San Jose and the local arts community,\" said Holly Walter, president of the San Jose Rep’s board of trustees. However, after months of trying to solve our financial issues, reduce our debts and construct a sustainable model for the organization, we felt we had no choice but to take this action.\" (Wikimedia Commons)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/domestic-violence.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-139136\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/domestic-violence-640x478.jpg\" alt=\"domestic violence\" width=\"640\" height=\"478\">\u003c/a>\u003cbr>\nStanford student Leah Francis led a chant at a June 12 \u003ca href=\"http://ww2.kqed.org/news/2014/06/12/students-host-rally-stanford-sexual-assault-policy/\" target=\"_blank\">protest against the university's policies on sexual assault\u003c/a>. Stanford announced that it will not expel a student it found responsible for sexual assault, rejecting an appeal from Francis, who thinks the university treated her alleged assailant too leniently. Universities across the country are under fire for mishandling sexual assault cases. (Peter Jon Shuler/KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/bees.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-139138\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/bees-640x449.jpg\" alt=\"bees\" width=\"640\" height=\"449\">\u003c/a>\u003cbr>\nA beekeeper for Bradshaw Honey Farm wears protective clothing to check the health of the bees. Bradshaw says he'll spend about $80,000 to feed his bees artificial nectar this summer. Typically he would take them to hills laden with wildflowers, but this year those hills are bone-dry because of the drought. (Alice Daniels/KQED)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/RS10853_233.jpg\">\u003cbr>\n\u003c/a>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/RS10853_233.jpg\">\u003cimg class=\"aligncenter\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/RS10853_233-480x640.jpg\" alt=\"RS10853_233\" width=\"480\" height=\"640\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The owners of a 14-room Victorian in San Francisco's Mission District have agreed to sell the building to the San Francisco Community Land Trust, which will allow tenants to run the building as a cooperative. Tenant Rose O'Kane poses in her kitchen at 2976 23rd St. with a celebratory glass of champagne after the deal was announced. (Adizah Eghan/KQED)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Illegal Professional Studios Thrive in L.A.",
"title": "Illegal Professional Studios Thrive in L.A.",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/06/2014-06-13e-tcrmag.mp3\u003c/p>\n\u003cp>When is a garage not a garage? When it’s a professional recording studio. Tucked away among the quiet neighborhood streets of L.A., there are untold numbers of them. From these discrete refigured spaces come the scores, soundtracks and songs that feed the insatiable appetite of the entertainment industry. And, thanks to zoning laws, it’s all illegal.\u003c/p>\n\u003cp>“You know, I’m breaking the law right now. I’m an outlaw, but it’s perfect. It suits the rock and roll mystique,” says producer/engineer/musician Maurice, who’s not using his real name for this story as his studio — like the majority of them — is flying under the legal radar. He has garnered gold and platinum albums for production over a 20-year career, and currently works out of his recently converted 1920s garage in Pasadena, which took him six months and $10,000 to turn into a studio.\u003c/p>\n\u003cp>“The reality is that there’s less money running around the music industry to make records with,” Maurice offers. “I’m sure that Lady Gaga doesn’t have trouble getting a budget to make her record, but for bands that play real instruments — rock bands, folk bands, country bands —anything that includes a drum set and a guitar, those people are really hard pressed to get a record deal or a record budget.”\u003c/p>\n\u003cp>And when wallets are slim, the home studio is a musician’s best friend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The only way for me to make it affordable for bands is to own my own facility so that they don’t have to go to a commercial studio and pay $1,200 or $2,200 a day to rent the studio and then pay an engineer a day rate and a producer.”\u003c/p>\n\u003cp>But that’s where the risk of running a business where you’re not supposed to comes in. The biggest fear of any home studio owner is coming under the scrutiny of the city.\u003c/p>\n\u003cp>“A professional recording studio is not allowed in a residential zone,” says Luke Zamperini, the chief building inspector for the city of Los Angeles. “The zoning code specifies it needs to be in a commercial zone, but that doesn’t mean that one can’t have a recording studio in their home for their own personal use.”\u003c/p>\n\u003cp>When he’s not inspecting buildings, Zamperini likes to strap on a guitar himself. In fact, in the mid-‘70’s he toured in the band Sparks. Maybe you recall its song, “Angst In My Pants,” which was featured in the film “Valley Girl.” Or maybe you don’t.\u003c/p>\n\u003cp>In theory, Zamperini is the pro home studio owner’s biggest nightmare, but the chief inspector says his department isn’t out hunting down offenders.\u003c/p>\n\u003cp>“We’re not really interested in going around dictating what people can and can’t do in the privacy of their own home,” he says. “I’ve been at this for 23 years and I can count all the complaints we’ve had on recording studios in residences on one hand. We just don’t hear about it.”\u003c/p>\n\u003cp>In fact, the studios do such a good job of not being heard that no one really knows how many exist in L.A. That includes Zamperini. “There’s probably 650,000 parcels in the city that are in residential zones,” he says, “so your guess is as good as mine as to how many have converted their garages or parts of their home into a studio.”\u003c/p>\n\u003cfigure id=\"attachment_10140873\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/MauriceProducer2.jpg\">\u003cimg class=\"size-thumbnail wp-image-10140873\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/MauriceProducer2-400x492.jpg\" alt=\"Producer Maurice in his garage recording studio with faithful mascot Harry the chihuahua. (Peter Gilstrap/KQED)\" width=\"400\" height=\"492\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Producer Maurice in his garage recording studio with faithful mascot Harry the chihuahua. (Peter Gilstrap/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The best way to avoid appearing on the city’s complaint radar is simple: Keep your neighbors happy. It’s something that producer-composer Pete, who’s using his first name only, appreciates. Though he permitted his Studio City add-on to his home, that doesn’t make running a business there legal. He made sure to curry favor with the folks in his ‘hood.\u003c/p>\n\u003cp>“When I moved in, the first thing I did was introduce myself to all my immediate neighbors,” he explains. “Then I started doing construction, and when I finished I gave everybody cupcakes, all of them. And I find that that goes a very long way because they think I’m a nice guy. If you have a neighbor who has too much time on their hands and for whatever reason doesn’t like what you’re doing, they can make your life miserable.”\u003c/p>\n\u003cp>Avoiding a neighbor’s wrath is a matter of survival in today’s music business.\u003c/p>\n\u003cp>“Everybody has to have a space if you want to make a living,” he states. “I write, I produce, I engineer, I mix, I master and I didn’t used to do all that stuff but I do it now, and everybody that I know does the same thing.”\u003c/p>\n\u003cp>The fact that Pete permitted the 900-square-foot addition at least allows him to claim the space if he decides to sell. Homeowners who spend big bucks building off the books are faced with a grim truth if they put their pad on the market.\u003c/p>\n\u003cp>It’s a situation that real estate agent Rozz Gallaher is familiar with. He’s the proprietor of L.A. Houses That Rock, a company that deals exclusively with homes that offer studios. Before his current gig, Gallaher was a 1980s hair metal practitioner with a band called Liquor Sweet. He still has the piercings and tats to prove it.\u003c/p>\n\u003cp>“Unfortunately, for the sellers, it doesn’t create a lot of value,” he explains. “It’s not like remodeling a kitchen. The average Joe obviously isn’t going to see any value in a pre-existing studio.”\u003c/p>\n\u003cp>Musician Vincent Jones has worked with names like Morrissey and Alanis Morissette, and has been Sarah McLachlan’s musical director since 1997. He also co-wrote, arranged and recorded the theme to “Parks and Recreation,” using only a laptop on a dining room table.\u003c/p>\n\u003cp>Jones’s current workspace is a bit more elaborate. Part of his rented home, the 900-square-foot studio, began life as a guesthouse. Now “it sounds as good as any studio that I’ve been in with the exception of Abbey Road,” he says. “They spent a lot of money on it.”\u003c/p>\n\u003cp>No matter how much a home studio costs, how good it sounds or how vital it may be to the artist in today’s cutthroat music business, there are certain aspects of the commercial spaces that can’t be replicated.\u003c/p>\n\u003cp>“The thing about a big recording studio that I always miss is the interaction with other people,” Jones says. “In random conversations, you can be creatively inspired by other creative people. And then also recording in a nice, big space where the actual air is moving around the microphones more. Nothing sounds like that.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As audio software gets better and cheaper, the next chapter in professional home recording may stretch the definition of professional. As Pete says, now any kid with a computer, a credit card and a bedroom can call himself a producer.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/06/2014-06-13e-tcrmag.mp3\u003c/p>\n\u003cp>When is a garage not a garage? When it’s a professional recording studio. Tucked away among the quiet neighborhood streets of L.A., there are untold numbers of them. From these discrete refigured spaces come the scores, soundtracks and songs that feed the insatiable appetite of the entertainment industry. And, thanks to zoning laws, it’s all illegal.\u003c/p>\n\u003cp>“You know, I’m breaking the law right now. I’m an outlaw, but it’s perfect. It suits the rock and roll mystique,” says producer/engineer/musician Maurice, who’s not using his real name for this story as his studio — like the majority of them — is flying under the legal radar. He has garnered gold and platinum albums for production over a 20-year career, and currently works out of his recently converted 1920s garage in Pasadena, which took him six months and $10,000 to turn into a studio.\u003c/p>\n\u003cp>“The reality is that there’s less money running around the music industry to make records with,” Maurice offers. “I’m sure that Lady Gaga doesn’t have trouble getting a budget to make her record, but for bands that play real instruments — rock bands, folk bands, country bands —anything that includes a drum set and a guitar, those people are really hard pressed to get a record deal or a record budget.”\u003c/p>\n\u003cp>And when wallets are slim, the home studio is a musician’s best friend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The only way for me to make it affordable for bands is to own my own facility so that they don’t have to go to a commercial studio and pay $1,200 or $2,200 a day to rent the studio and then pay an engineer a day rate and a producer.”\u003c/p>\n\u003cp>But that’s where the risk of running a business where you’re not supposed to comes in. The biggest fear of any home studio owner is coming under the scrutiny of the city.\u003c/p>\n\u003cp>“A professional recording studio is not allowed in a residential zone,” says Luke Zamperini, the chief building inspector for the city of Los Angeles. “The zoning code specifies it needs to be in a commercial zone, but that doesn’t mean that one can’t have a recording studio in their home for their own personal use.”\u003c/p>\n\u003cp>When he’s not inspecting buildings, Zamperini likes to strap on a guitar himself. In fact, in the mid-‘70’s he toured in the band Sparks. Maybe you recall its song, “Angst In My Pants,” which was featured in the film “Valley Girl.” Or maybe you don’t.\u003c/p>\n\u003cp>In theory, Zamperini is the pro home studio owner’s biggest nightmare, but the chief inspector says his department isn’t out hunting down offenders.\u003c/p>\n\u003cp>“We’re not really interested in going around dictating what people can and can’t do in the privacy of their own home,” he says. “I’ve been at this for 23 years and I can count all the complaints we’ve had on recording studios in residences on one hand. We just don’t hear about it.”\u003c/p>\n\u003cp>In fact, the studios do such a good job of not being heard that no one really knows how many exist in L.A. That includes Zamperini. “There’s probably 650,000 parcels in the city that are in residential zones,” he says, “so your guess is as good as mine as to how many have converted their garages or parts of their home into a studio.”\u003c/p>\n\u003cfigure id=\"attachment_10140873\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/MauriceProducer2.jpg\">\u003cimg class=\"size-thumbnail wp-image-10140873\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/MauriceProducer2-400x492.jpg\" alt=\"Producer Maurice in his garage recording studio with faithful mascot Harry the chihuahua. (Peter Gilstrap/KQED)\" width=\"400\" height=\"492\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Producer Maurice in his garage recording studio with faithful mascot Harry the chihuahua. (Peter Gilstrap/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The best way to avoid appearing on the city’s complaint radar is simple: Keep your neighbors happy. It’s something that producer-composer Pete, who’s using his first name only, appreciates. Though he permitted his Studio City add-on to his home, that doesn’t make running a business there legal. He made sure to curry favor with the folks in his ‘hood.\u003c/p>\n\u003cp>“When I moved in, the first thing I did was introduce myself to all my immediate neighbors,” he explains. “Then I started doing construction, and when I finished I gave everybody cupcakes, all of them. And I find that that goes a very long way because they think I’m a nice guy. If you have a neighbor who has too much time on their hands and for whatever reason doesn’t like what you’re doing, they can make your life miserable.”\u003c/p>\n\u003cp>Avoiding a neighbor’s wrath is a matter of survival in today’s music business.\u003c/p>\n\u003cp>“Everybody has to have a space if you want to make a living,” he states. “I write, I produce, I engineer, I mix, I master and I didn’t used to do all that stuff but I do it now, and everybody that I know does the same thing.”\u003c/p>\n\u003cp>The fact that Pete permitted the 900-square-foot addition at least allows him to claim the space if he decides to sell. Homeowners who spend big bucks building off the books are faced with a grim truth if they put their pad on the market.\u003c/p>\n\u003cp>It’s a situation that real estate agent Rozz Gallaher is familiar with. He’s the proprietor of L.A. Houses That Rock, a company that deals exclusively with homes that offer studios. Before his current gig, Gallaher was a 1980s hair metal practitioner with a band called Liquor Sweet. He still has the piercings and tats to prove it.\u003c/p>\n\u003cp>“Unfortunately, for the sellers, it doesn’t create a lot of value,” he explains. “It’s not like remodeling a kitchen. The average Joe obviously isn’t going to see any value in a pre-existing studio.”\u003c/p>\n\u003cp>Musician Vincent Jones has worked with names like Morrissey and Alanis Morissette, and has been Sarah McLachlan’s musical director since 1997. He also co-wrote, arranged and recorded the theme to “Parks and Recreation,” using only a laptop on a dining room table.\u003c/p>\n\u003cp>Jones’s current workspace is a bit more elaborate. Part of his rented home, the 900-square-foot studio, began life as a guesthouse. Now “it sounds as good as any studio that I’ve been in with the exception of Abbey Road,” he says. “They spent a lot of money on it.”\u003c/p>\n\u003cp>No matter how much a home studio costs, how good it sounds or how vital it may be to the artist in today’s cutthroat music business, there are certain aspects of the commercial spaces that can’t be replicated.\u003c/p>\n\u003cp>“The thing about a big recording studio that I always miss is the interaction with other people,” Jones says. “In random conversations, you can be creatively inspired by other creative people. And then also recording in a nice, big space where the actual air is moving around the microphones more. Nothing sounds like that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Reliving the Glory Days of the Bay Bridge Through Hollywood Movies",
"title": "Reliving the Glory Days of the Bay Bridge Through Hollywood Movies",
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"content": "\u003cp>Shoddy bolts, bad welds, dangerous rust, frayed cables. With \u003cem>even more\u003c/em> reports of problems on the new eastern span of the Bay Bridge, we — like everyone in the Bay Area — are suffering from bad news fatigue.\u003c/p>\n\u003cp>We thought we’d remedy this by basking in the glory of the old San Francisco-Oakland Bay Bridge, relived through decades of Hollywood movies.\u003c/p>\n\u003cp>When the Bay Bridge opened to the public in November 1936, it was seen as a technological marvel, an engineering feat that exemplified mankind’s ability. Since then, the bridge has made numerous notable film appearances over the years.\u003c/p>\n\u003caside class=\"aligncenter\">[vimeo 97857852 w=640 h=360]\u003c/aside>\n\u003cp>Unsurprisingly, all the clips we scrounged up show the still-functioning, towered suspension span of the bridge west of Yerba Buena Island, overlooking the more modest beauty of the cantilevered eastern stretch that is disappearing piece-by-piece in front of our eyes.\u003c/p>\n\u003cp>With sometimes glaring anachronistic errors, relive the 75-year history of the Bay Bridge in stunning Technicolor (and less-stunning black and white).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0034172/\" target=\"_blank\">\"Shadow of the Thin Man\"\u003c/a>\u003c/strong> (1941) (0:00-1:15) (\u003ca href=\"https://www.youtube.com/watch?v=T6cvDVgz_OE\" target=\"_blank\">Trailer\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138711\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/shadow-still.jpg\">\u003cimg class=\"size-full wp-image-138711\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/shadow-still.jpg\" alt=\"\" width=\"640\" height=\"482\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"Shadow of the Thin Man\" (1941), directed by W.S. Van Dyke.\u003c/figcaption>\u003c/figure>\n\u003cp>Myrna Loy and the mustachioed William Powell are pulled over for speeding on the upper deck of the bridge. The outdoor scene on the bridge, with Coit Tower and Telegraph Hill visible in the background, includes an impressive tracking shot amid three lanes of traffic. In what will become a bit of a trend, the plot has the two characters traveling eastbound (the next shots include the MacArthur Maze and later, Golden Gate Fields) despite heading west toward the city. \u003cem>(*the clip has been edited from the original).\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0037366/?ref_=nv_sr_1\" target=\"_blank\">\"Thirty Seconds Over Tokyo\"\u003c/a>\u003c/strong> (1944) (\u003ca href=\"https://www.youtube.com/watch?v=eaLgSlbS1lk\" target=\"_blank\">1:15-2:05\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138713\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/thirty-seconds-still.jpg\">\u003cimg class=\"size-full wp-image-138713\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/thirty-seconds-still.jpg\" alt=\"\" width=\"640\" height=\"468\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"Thirty Seconds Over Tokyo\" (1944), directed by Mervyn LeRoy.\u003c/figcaption>\u003c/figure>\n\u003cp>It's easy to forget the still-new \"superstructure\" was still awe-inspiring nearly 10 years after it was completed. Also impressive, the terrific shot of a B-25 bomber flying under the Bay Bridge. Such shots led to the film, starring Spencer Tracy as Lt. Col. James Doolittle of \"Doolittle Raid\" fame, winning an Oscar for Best Special Effects.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0061722/?ref_=fn_al_tt_1\" target=\"_blank\">\"The Graduate\"\u003c/a>\u003c/strong> (1967) (2:04-2:40)(\u003ca href=\"https://www.youtube.com/watch?v=hsdvhJTqLak\" target=\"_blank\">Trailer\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138718\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/graduate-still2.jpg\">\u003cimg class=\"size-full wp-image-138718\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/graduate-still2.jpg\" alt=\"\" width=\"640\" height=\"350\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"The Graduate\" (1967), directed by Mike Nichols.\u003c/figcaption>\u003c/figure>\n\u003cp>The dulcet tones of Simon & Garfunkel and vivid Technicolor bring us to the most recognizable Bay Bridge clip. Dustin Hoffman's character, Ben Braddock, inconceivably travels westbound ... to Berkeley?! An anachronism that's hard to ignore, bested only by the beauty of the single, slow-moving 35-second tracking shot revealing the towered suspension span.\u003c/p>\n\u003cp>\u003ca href=\"http://www.imdb.com/title/tt0085809/?ref_=nv_sr_2\" target=\"_blank\">\u003cstrong>\"Koyaanisqatsi\"\u003c/strong>\u003c/a> (1982) (2:40-2:50)(\u003ca href=\"https://www.youtube.com/watch?v=PirH8PADDgQ\" target=\"_blank\">Trailer\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138703\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/bay-bridge-still-koyaanisqatsi.jpg\">\u003cimg class=\"size-full wp-image-138703\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/bay-bridge-still-koyaanisqatsi.jpg\" alt=\"\" width=\"640\" height=\"352\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"Koyaanisqatsi\" (1982), directed by Godfrey Reggio.\u003c/figcaption>\u003c/figure>\n\u003cp>Blink and you'll miss it. The Godfrey Reggio-directed visual documentary, accompanied by the rhythmic chaos of Philip Glass' score, features two incredibly brief POV shots driving through the Yerba Buena Island tunnel into the sunlight of the western span. But strangely, in typical anachronistic mystery, those shots are cut out-of-order.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0119190/?ref_=nv_sr_1\" target=\"_blank\">\"George of the Jungle\"\u003c/a>\u003c/strong> (1997) (\u003ca href=\"https://www.youtube.com/watch?v=0WtqtD--OiE\" target=\"_blank\">2:50-5:25\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138715\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/george-still.jpg\">\u003cimg class=\"size-full wp-image-138715\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/george-still.jpg\" alt=\"\" width=\"640\" height=\"471\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"George of the Jungle\" (1997), directed by Sam Weisman.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Hunky, 1990s Brendan Fraser swings on \"the biggest rope bridge he had ever seen.\" Complete with stranded parachutist, sweeping aerial shots and the poetic line, \"To swing, or not to swing?\" (yes, really), the \"George of the Jungle\" action sequence is perhaps the climax of the Bay Bridge's cinematic history. \"Watch out for that ...\" straight-to-video sequel, \"George of the Jungle 2\" (2003).\u003cem> (*the clip has been edited from the original)\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shoddy bolts, bad welds, dangerous rust, frayed cables. With \u003cem>even more\u003c/em> reports of problems on the new eastern span of the Bay Bridge, we — like everyone in the Bay Area — are suffering from bad news fatigue.\u003c/p>\n\u003cp>We thought we’d remedy this by basking in the glory of the old San Francisco-Oakland Bay Bridge, relived through decades of Hollywood movies.\u003c/p>\n\u003cp>When the Bay Bridge opened to the public in November 1936, it was seen as a technological marvel, an engineering feat that exemplified mankind’s ability. Since then, the bridge has made numerous notable film appearances over the years.\u003c/p>\n\u003caside class=\"aligncenter\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>Unsurprisingly, all the clips we scrounged up show the still-functioning, towered suspension span of the bridge west of Yerba Buena Island, overlooking the more modest beauty of the cantilevered eastern stretch that is disappearing piece-by-piece in front of our eyes.\u003c/p>\n\u003cp>With sometimes glaring anachronistic errors, relive the 75-year history of the Bay Bridge in stunning Technicolor (and less-stunning black and white).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0034172/\" target=\"_blank\">\"Shadow of the Thin Man\"\u003c/a>\u003c/strong> (1941) (0:00-1:15) (\u003ca href=\"https://www.youtube.com/watch?v=T6cvDVgz_OE\" target=\"_blank\">Trailer\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138711\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/shadow-still.jpg\">\u003cimg class=\"size-full wp-image-138711\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/shadow-still.jpg\" alt=\"\" width=\"640\" height=\"482\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"Shadow of the Thin Man\" (1941), directed by W.S. Van Dyke.\u003c/figcaption>\u003c/figure>\n\u003cp>Myrna Loy and the mustachioed William Powell are pulled over for speeding on the upper deck of the bridge. The outdoor scene on the bridge, with Coit Tower and Telegraph Hill visible in the background, includes an impressive tracking shot amid three lanes of traffic. In what will become a bit of a trend, the plot has the two characters traveling eastbound (the next shots include the MacArthur Maze and later, Golden Gate Fields) despite heading west toward the city. \u003cem>(*the clip has been edited from the original).\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0037366/?ref_=nv_sr_1\" target=\"_blank\">\"Thirty Seconds Over Tokyo\"\u003c/a>\u003c/strong> (1944) (\u003ca href=\"https://www.youtube.com/watch?v=eaLgSlbS1lk\" target=\"_blank\">1:15-2:05\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138713\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/thirty-seconds-still.jpg\">\u003cimg class=\"size-full wp-image-138713\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/thirty-seconds-still.jpg\" alt=\"\" width=\"640\" height=\"468\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"Thirty Seconds Over Tokyo\" (1944), directed by Mervyn LeRoy.\u003c/figcaption>\u003c/figure>\n\u003cp>It's easy to forget the still-new \"superstructure\" was still awe-inspiring nearly 10 years after it was completed. Also impressive, the terrific shot of a B-25 bomber flying under the Bay Bridge. Such shots led to the film, starring Spencer Tracy as Lt. Col. James Doolittle of \"Doolittle Raid\" fame, winning an Oscar for Best Special Effects.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0061722/?ref_=fn_al_tt_1\" target=\"_blank\">\"The Graduate\"\u003c/a>\u003c/strong> (1967) (2:04-2:40)(\u003ca href=\"https://www.youtube.com/watch?v=hsdvhJTqLak\" target=\"_blank\">Trailer\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138718\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/graduate-still2.jpg\">\u003cimg class=\"size-full wp-image-138718\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/graduate-still2.jpg\" alt=\"\" width=\"640\" height=\"350\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"The Graduate\" (1967), directed by Mike Nichols.\u003c/figcaption>\u003c/figure>\n\u003cp>The dulcet tones of Simon & Garfunkel and vivid Technicolor bring us to the most recognizable Bay Bridge clip. Dustin Hoffman's character, Ben Braddock, inconceivably travels westbound ... to Berkeley?! An anachronism that's hard to ignore, bested only by the beauty of the single, slow-moving 35-second tracking shot revealing the towered suspension span.\u003c/p>\n\u003cp>\u003ca href=\"http://www.imdb.com/title/tt0085809/?ref_=nv_sr_2\" target=\"_blank\">\u003cstrong>\"Koyaanisqatsi\"\u003c/strong>\u003c/a> (1982) (2:40-2:50)(\u003ca href=\"https://www.youtube.com/watch?v=PirH8PADDgQ\" target=\"_blank\">Trailer\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138703\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/bay-bridge-still-koyaanisqatsi.jpg\">\u003cimg class=\"size-full wp-image-138703\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/bay-bridge-still-koyaanisqatsi.jpg\" alt=\"\" width=\"640\" height=\"352\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"Koyaanisqatsi\" (1982), directed by Godfrey Reggio.\u003c/figcaption>\u003c/figure>\n\u003cp>Blink and you'll miss it. The Godfrey Reggio-directed visual documentary, accompanied by the rhythmic chaos of Philip Glass' score, features two incredibly brief POV shots driving through the Yerba Buena Island tunnel into the sunlight of the western span. But strangely, in typical anachronistic mystery, those shots are cut out-of-order.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.imdb.com/title/tt0119190/?ref_=nv_sr_1\" target=\"_blank\">\"George of the Jungle\"\u003c/a>\u003c/strong> (1997) (\u003ca href=\"https://www.youtube.com/watch?v=0WtqtD--OiE\" target=\"_blank\">2:50-5:25\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_138715\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/george-still.jpg\">\u003cimg class=\"size-full wp-image-138715\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/06/george-still.jpg\" alt=\"\" width=\"640\" height=\"471\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \"George of the Jungle\" (1997), directed by Sam Weisman.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Hunky, 1990s Brendan Fraser swings on \"the biggest rope bridge he had ever seen.\" Complete with stranded parachutist, sweeping aerial shots and the poetic line, \"To swing, or not to swing?\" (yes, really), the \"George of the Jungle\" action sequence is perhaps the climax of the Bay Bridge's cinematic history. \"Watch out for that ...\" straight-to-video sequel, \"George of the Jungle 2\" (2003).\u003cem> (*the clip has been edited from the original)\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "California Visual Effects Industry Struggles in Face of Foreign Subsidies",
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"content": "\u003cp>The news that Sony Imageworks is headed to Vancouver -- taking roughly 300 jobs with it -- is just the latest in a string of depressing headlines for Los Angeles visual effects workers. Nearly two dozen VFX firms have closed or gone bankrupt in the last decade. State lawmakers are \u003ca class=\"rssmi_more\" href=\"http://www.californiareport.org/archive/R201406060850/a\" target=\"_blank\"> ...read more\u003c/a>\u003c/p>\n\u003cp>Source: \u003ca title=\"Calif. Visual Effects Industry Struggles in Face of Foreign Subsidies\" href=\"http://www.californiareport.org/archive/R201406060850/a\" target=\"_blank\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The news that Sony Imageworks is headed to Vancouver -- taking roughly 300 jobs with it -- is just the latest in a string of depressing headlines for Los Angeles visual effects workers. Nearly two dozen VFX firms have closed or gone bankrupt in the last decade. State lawmakers are \u003ca class=\"rssmi_more\" href=\"http://www.californiareport.org/archive/R201406060850/a\" target=\"_blank\"> ...read more\u003c/a>\u003c/p>\n\u003cp>Source: \u003ca title=\"Calif. Visual Effects Industry Struggles in Face of Foreign Subsidies\" href=\"http://www.californiareport.org/archive/R201406060850/a\" target=\"_blank\">Arts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Cultural Battle Over 'Comfort Women' Statue Heads to Court",
"title": "Cultural Battle Over 'Comfort Women' Statue Heads to Court",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/06/2014-06-06d-tcrmag.mp3\u003c/p>\n\u003cp>She sits silently, with her hands folded in her lap and tears in her eyes. People have left fresh flowers around her. Someone placed a pair of silver ballet flats by her bare feet.\u003c/p>\n\u003cp>The lifelike bronze statue in Glendale Central Park honors the “comfort women.\" They were mostly Korean and Chinese women and girls forced to work the brothels for Japanese troops before and during World War II.\u003c/p>\n\u003cp>Historians estimate up to 200,000 women and girls were forced to become comfort women. There are 55 Korean comfort women alive today, according Phyllis Kim of the \u003ca href=\"http://kaforumca.org/\" target=\"_blank\">Korean American Forum of California\u003c/a>, which helped pay for the statue and pushed for its installation in Glendale last July.\u003c/p>\n\u003cp>\"This event has ruined their lives and ... they could not have a normal life as a woman. Many of them could not get married because of what they went through. Many of them did not have children,\" Kim said. which helped pay for the statue and pushed for its installation in Glendale last July.\u003c/p>\n\u003cfigure id=\"attachment_10341790\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/ComfortWomenStatue2.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/ComfortWomenStatue2-400x422.jpg\" alt=\"Kimberly Choi of Glendale removes dead flowers and waters fresh flowers at the statue honoring comfort women. She says she stops by when she can to take care of the memorial. (Susan Valot/KQED)\" width=\"400\" height=\"422\" class=\"size-thumbnail wp-image-10341790\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/09/ComfortWomenStatue2-400x422.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/ComfortWomenStatue2.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kimberly Choi of Glendale removes dead flowers and waters fresh flowers at the statue honoring comfort women. She says she stops by when she can to take care of the memorial. (Susan Valot/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\"They were shunned by their own family and community when their past was known,\" Kim said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The memorial is the first comfort women statue to be installed on public land in the western U.S.\u003c/p>\n\u003cp>Why Glendale? Kim said the city was willing to give up some public space for the statue.\u003c/p>\n\u003cp>\"So many people are unaware of it,” Kim said, “so we thought it was important to raise the public awareness about it.\"\u003c/p>\n\u003cp>But the statue has caused a rift between some in the local Korean and Japanese communities.\u003c/p>\n\u003cp>A group of older Japanese-Americans is suing the city in federal court to try to get rid of it. Michiko Gingery, 90, is the lead plaintiff. She says the statue doesn't belong here.\u003c/p>\n\u003cp>\"Things happened ... during the wartime, between Japan and Korea. And I don't know why they brought such a statue against Japan for this during-the-war story about comfort women,” Gingery said. Any location in the U.S., Gingery added, would be inappropriate for the statue.\u003c/p>\n\u003cp>Gingery said the statue ruins relations with Japan the city has established through its sister city program. The program lists Gingery’s hometown of Higashiosaka, Japan, as one of seven sister cities. Goseong and Gimpo, Korea, are also Glendale sister cities.\u003c/p>\n\u003cp>The lawsuit was filed earlier this year by Gingery, a group against recognizing the comfort women, and its president, L.A. resident Koichi Mera.\u003c/p>\n\u003cp>The suit argues Glendale has infringed upon the federal government's power to conduct foreign affairs.\u003c/p>\n\u003cp>Constitutional law professor Aaron Caplan of Loyola Law School in L.A. does not think that argument will hold up in court.\u003c/p>\n\u003cp>“The U.S. Constitution says that state and local governments can't enter into treaties,” Caplan said. “It says that they can't make war. There's a handful of other things that it says they can't do.\"\u003c/p>\n\u003cfigure id=\"attachment_10341791\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/ComfortWomenSilhouette.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/ComfortWomenSilhouette-400x377.jpg\" alt=\"Next to the life-like bronze statue is a mosaic of an older woman, depicting the age of the remaining comfort women today. Up to 200,000 women and girls were forced to work in brothels for the troops by the Japanese army before and during World War II. (Susan Valot/KQED)\" width=\"400\" height=\"377\" class=\"size-thumbnail wp-image-10341791\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/09/ComfortWomenSilhouette-400x377.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/ComfortWomenSilhouette.jpg 560w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Next to the life-like bronze statue is a mosaic of an older woman, depicting the age of the remaining comfort women today. Up to 200,000 women and girls were forced to work in brothels for the troops by the Japanese army before and during World War II. (Susan Valot/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>He added: “It doesn't say anything about, 'You can't put up a statue.'\"\u003c/p>\n\u003cp>Caplan said there are many occasions where cities put up statues that some people might not like.\u003c/p>\n\u003cp>“There might be some war memorials, which people opposed because they were opposed to that war, or they might just oppose a statue because they think it's ugly,\" Caplan said. “The way we resolve that is through the political process. You elect new people to the city council who are going to put up a statue that you think is better.\"\u003c/p>\n\u003cp>The story of the comfort women is not well known in the U.S., but it's taught in school in Korea, where Kimberly Choi of Glendale grew up. Choi stops by the statue whenever she gets a chance, to straighten up and water the fresh flowers.\u003c/p>\n\u003cp>Choi said the statue makes sure that the next generation does not forget what happened.\u003c/p>\n\u003cp>\"It's hope,\" Choi said. “It's a symbol of peace.\"\u003c/p>\n\u003cp>Kim said the statue brings awareness to a human rights issue. She pointed out that sexual slavery continues today in other parts of the world, making the comfort women statue relevant.\u003c/p>\n\u003cp>\"No matter ... to whom it happened, where it happened, when it happened, it is important to remember and work together,\" Kim said, adding that is the best way to prevent similar things from happening again.\u003c/p>\n\u003cp>The Koreans want a formal apology from Japan's government, issued by their national legislature. A Japanese prime minister and several other Japanese officials have apologized for the comfort women in the past, but conservative political activists in Japan are lobbying to retract those apologies. Several Japanese officials have asked Glendale to remove the statue.\u003c/p>\n\u003cp>The battle over the statue runs deeper than legal arguments, said Asian studies expert Tom Plate of Loyola Marymount University. Plate said Japan's culture of “ichiban” — or perfection — makes it difficult for that country to apologize because an “ichiban” country could not have lost World War II.\u003c/p>\n\u003cp>“So it is a source of incredible identity crisis for Japan, that is has lost, and therefore, they feel shamed — the shame that they lost,\" Plate said. “And so when reminders that they lost pop up in front of them, their reaction is very primal. They go into denial, particularly in the older generation.\"\u003c/p>\n\u003cp>Plate said that makes it impossible for Japan to bow down and apologize in the way the Koreans would like.\u003c/p>\n\u003cp>“And they want the Japanese to bow so deeply. Well, if you bow too deeply in Japan, it means you are a subservient of the person you're bowing to,\" Plate said. “You bow deeply to the emperor.\"\u003c/p>\n\u003cp>U.S. Congressman Adam Schiff (D-Burbank) recently visited the Glendale statue for the first time.\u003c/p>\n\u003cp>“I think what Glendale has done here is quite beautiful and moving, and it will provoke people who come to this park to ask about this part of history and hopefully lead to the education of another generation,\" Schiff said. \"That's our best hope of avoiding these kind of terrible chapters in the future.\"\u003c/p>\n\u003cp>The story of the comfort women resonates with many immigrants who've come to California with similar stories of survival, Schiff said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Both sides of the dispute over the statue are waiting for a resolution in federal court.\u003c/p>\n\n",
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"excerpt": "Historians estimate up to 200,000 women and girls were forced to become comfort women during World War II.",
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"title": "Cultural Battle Over 'Comfort Women' Statue Heads to Court | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/06/2014-06-06d-tcrmag.mp3\u003c/p>\n\u003cp>She sits silently, with her hands folded in her lap and tears in her eyes. People have left fresh flowers around her. Someone placed a pair of silver ballet flats by her bare feet.\u003c/p>\n\u003cp>The lifelike bronze statue in Glendale Central Park honors the “comfort women.\" They were mostly Korean and Chinese women and girls forced to work the brothels for Japanese troops before and during World War II.\u003c/p>\n\u003cp>Historians estimate up to 200,000 women and girls were forced to become comfort women. There are 55 Korean comfort women alive today, according Phyllis Kim of the \u003ca href=\"http://kaforumca.org/\" target=\"_blank\">Korean American Forum of California\u003c/a>, which helped pay for the statue and pushed for its installation in Glendale last July.\u003c/p>\n\u003cp>\"This event has ruined their lives and ... they could not have a normal life as a woman. Many of them could not get married because of what they went through. Many of them did not have children,\" Kim said. which helped pay for the statue and pushed for its installation in Glendale last July.\u003c/p>\n\u003cfigure id=\"attachment_10341790\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/ComfortWomenStatue2.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/ComfortWomenStatue2-400x422.jpg\" alt=\"Kimberly Choi of Glendale removes dead flowers and waters fresh flowers at the statue honoring comfort women. She says she stops by when she can to take care of the memorial. (Susan Valot/KQED)\" width=\"400\" height=\"422\" class=\"size-thumbnail wp-image-10341790\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/09/ComfortWomenStatue2-400x422.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/ComfortWomenStatue2.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kimberly Choi of Glendale removes dead flowers and waters fresh flowers at the statue honoring comfort women. She says she stops by when she can to take care of the memorial. (Susan Valot/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\"They were shunned by their own family and community when their past was known,\" Kim said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The memorial is the first comfort women statue to be installed on public land in the western U.S.\u003c/p>\n\u003cp>Why Glendale? Kim said the city was willing to give up some public space for the statue.\u003c/p>\n\u003cp>\"So many people are unaware of it,” Kim said, “so we thought it was important to raise the public awareness about it.\"\u003c/p>\n\u003cp>But the statue has caused a rift between some in the local Korean and Japanese communities.\u003c/p>\n\u003cp>A group of older Japanese-Americans is suing the city in federal court to try to get rid of it. Michiko Gingery, 90, is the lead plaintiff. She says the statue doesn't belong here.\u003c/p>\n\u003cp>\"Things happened ... during the wartime, between Japan and Korea. And I don't know why they brought such a statue against Japan for this during-the-war story about comfort women,” Gingery said. Any location in the U.S., Gingery added, would be inappropriate for the statue.\u003c/p>\n\u003cp>Gingery said the statue ruins relations with Japan the city has established through its sister city program. The program lists Gingery’s hometown of Higashiosaka, Japan, as one of seven sister cities. Goseong and Gimpo, Korea, are also Glendale sister cities.\u003c/p>\n\u003cp>The lawsuit was filed earlier this year by Gingery, a group against recognizing the comfort women, and its president, L.A. resident Koichi Mera.\u003c/p>\n\u003cp>The suit argues Glendale has infringed upon the federal government's power to conduct foreign affairs.\u003c/p>\n\u003cp>Constitutional law professor Aaron Caplan of Loyola Law School in L.A. does not think that argument will hold up in court.\u003c/p>\n\u003cp>“The U.S. Constitution says that state and local governments can't enter into treaties,” Caplan said. “It says that they can't make war. There's a handful of other things that it says they can't do.\"\u003c/p>\n\u003cfigure id=\"attachment_10341791\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/ComfortWomenSilhouette.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/ComfortWomenSilhouette-400x377.jpg\" alt=\"Next to the life-like bronze statue is a mosaic of an older woman, depicting the age of the remaining comfort women today. Up to 200,000 women and girls were forced to work in brothels for the troops by the Japanese army before and during World War II. (Susan Valot/KQED)\" width=\"400\" height=\"377\" class=\"size-thumbnail wp-image-10341791\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/09/ComfortWomenSilhouette-400x377.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/ComfortWomenSilhouette.jpg 560w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Next to the life-like bronze statue is a mosaic of an older woman, depicting the age of the remaining comfort women today. Up to 200,000 women and girls were forced to work in brothels for the troops by the Japanese army before and during World War II. (Susan Valot/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>He added: “It doesn't say anything about, 'You can't put up a statue.'\"\u003c/p>\n\u003cp>Caplan said there are many occasions where cities put up statues that some people might not like.\u003c/p>\n\u003cp>“There might be some war memorials, which people opposed because they were opposed to that war, or they might just oppose a statue because they think it's ugly,\" Caplan said. “The way we resolve that is through the political process. You elect new people to the city council who are going to put up a statue that you think is better.\"\u003c/p>\n\u003cp>The story of the comfort women is not well known in the U.S., but it's taught in school in Korea, where Kimberly Choi of Glendale grew up. Choi stops by the statue whenever she gets a chance, to straighten up and water the fresh flowers.\u003c/p>\n\u003cp>Choi said the statue makes sure that the next generation does not forget what happened.\u003c/p>\n\u003cp>\"It's hope,\" Choi said. “It's a symbol of peace.\"\u003c/p>\n\u003cp>Kim said the statue brings awareness to a human rights issue. She pointed out that sexual slavery continues today in other parts of the world, making the comfort women statue relevant.\u003c/p>\n\u003cp>\"No matter ... to whom it happened, where it happened, when it happened, it is important to remember and work together,\" Kim said, adding that is the best way to prevent similar things from happening again.\u003c/p>\n\u003cp>The Koreans want a formal apology from Japan's government, issued by their national legislature. A Japanese prime minister and several other Japanese officials have apologized for the comfort women in the past, but conservative political activists in Japan are lobbying to retract those apologies. Several Japanese officials have asked Glendale to remove the statue.\u003c/p>\n\u003cp>The battle over the statue runs deeper than legal arguments, said Asian studies expert Tom Plate of Loyola Marymount University. Plate said Japan's culture of “ichiban” — or perfection — makes it difficult for that country to apologize because an “ichiban” country could not have lost World War II.\u003c/p>\n\u003cp>“So it is a source of incredible identity crisis for Japan, that is has lost, and therefore, they feel shamed — the shame that they lost,\" Plate said. “And so when reminders that they lost pop up in front of them, their reaction is very primal. They go into denial, particularly in the older generation.\"\u003c/p>\n\u003cp>Plate said that makes it impossible for Japan to bow down and apologize in the way the Koreans would like.\u003c/p>\n\u003cp>“And they want the Japanese to bow so deeply. Well, if you bow too deeply in Japan, it means you are a subservient of the person you're bowing to,\" Plate said. “You bow deeply to the emperor.\"\u003c/p>\n\u003cp>U.S. Congressman Adam Schiff (D-Burbank) recently visited the Glendale statue for the first time.\u003c/p>\n\u003cp>“I think what Glendale has done here is quite beautiful and moving, and it will provoke people who come to this park to ask about this part of history and hopefully lead to the education of another generation,\" Schiff said. \"That's our best hope of avoiding these kind of terrible chapters in the future.\"\u003c/p>\n\u003cp>The story of the comfort women resonates with many immigrants who've come to California with similar stories of survival, Schiff said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Both sides of the dispute over the statue are waiting for a resolution in federal court.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "San Jose Skate Closes Saturday, Leaving Decades of Memories Behind",
"title": "San Jose Skate Closes Saturday, Leaving Decades of Memories Behind",
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"content": "\u003cp>\u003cstrong>By Samantha Clark\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_137500\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/8111794267_a67ca672f0_b.jpg\">\u003cimg class=\"size-medium wp-image-137500\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/8111794267_a67ca672f0_b-640x395.jpg\" alt=\"The Silicon Valley Rollergirls play BADG Berkeley Resistance. (Mark Nockleby/Flickr)\" width=\"640\" height=\"395\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Silicon Valley Roller Girls play BADG Berkeley Resistance. (Mark Nockleby/Flickr)\u003c/figcaption>\u003c/figure>\n\u003cp>San Jose Skate smells like nacho cheese, plus decades of sweat sealed into the leather of its roller skates and the peeling carpet. “There’s that smell,” someone said as he walked through the doors. Still, the place is cool, with arcade games, rattan '70s-era lamps and a disco ball.\u003c/p>\n\u003cp>But San Jose Skate on Blossom Hill is closing the doors Saturday, and people want to say goodbye. One woman walked her husband to the rink blindfolded for a surprise date at their old hangout.\u003c/p>\n\u003cp>It is the first place Sam Carrington could go without parents. She and about 20 friends held a reunion at the rink.\u003c/p>\n\u003cp>“What happened inside these walls, stayed inside these walls,” Carrington said. “At San Jose Skate, it was the first time my lips touched someone else’s for the purpose of romance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carrington also met her first boyfriend and then her first girlfriend at San Jose Skate.\u003c/p>\n\u003cp>The rink opened as Aloha Roller Palace in 1977, and since then it has hosted countless birthday parties and skating lessons. Now it’s slated for redevelopment as a retail space, said Don Imwalle, president of local developer Imwalle Properties.\u003c/p>\n\u003cp>\"The bottom line is that there are just not a lot of people roller-skating,” he said. “While there are some passionate groups, there are not enough people who are patronizing the business to make it any way viable.”\u003c/p>\n\u003cp>For skating groups, the loss of a rink leaves them without a home.\u003c/p>\n\u003cp>Ten-year-old Sayer McDonald is a competitive inline skater on the \u003ca href=\"https://www.facebook.com/pages/Milpitas-Speed-Team/183193556230\">Milpitas Speed Team\u003c/a>. Her mother drove her to south San Jose three days a week for practice. The team’s old rink was demolished for housing, and now Sayer will have to practice outside.\u003c/p>\n\u003cp>“The wind blows, and there can be dog droppings,” she said.\u003c/p>\n\u003cp>San Jose Skate has also been home to \u003ca href=\"http://svrollergirls.com/\">the Silicon Valley Roller Girls\u003c/a> for seven years, which is raising $20,000 to secure a new space. The leagues are saying aloha to the rink by competing in a doubleheader on Saturday. The Silicon Valley Killabytes will take on the \u003ca href=\"https://www.facebook.com/FaultlineDerbyDollz\">Faultline Derby Devilz\u003c/a> from Hollister, and the Silicon Valley Dot.Kamikazes will play the \u003ca href=\"http://www.bayareaderbygirls.com/teams/berkeley-resistance\">Bay Area Berkeley Resistance\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Underground Rock Scene\u003c/strong>\u003c/p>\n\u003cp>In the mid-2000s, San Jose Skate was also home to the underground music scene. Local bands and big bands played metal and hard-core rock loudly, often featuring lots of blood-curdling, and unintelligible, screaming. However, when San Jose Skate stopped hosting shows in 2008, the scene died.\u003c/p>\n\u003cfigure id=\"attachment_137685\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/photo-4.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/photo-4-300x300.jpg\" alt=\"Andrew Tucker and Matt Mrizek of North of the Woods play at San Jose Skate one last time. (Samantha Clark/KQED)\" width=\"300\" height=\"300\" class=\"size-thumbnail wp-image-137685\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andrew Tucker and Matt Mrizek of North of the Woods play at San Jose Skate one last time. (Samantha Clark/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>High school students and 20-somethings came to hear music at the rink Friday and Saturday nights dressed in black and skinny jeans. They swung their arms in mosh pits, and the neighbors called the cops.\u003c/p>\n\u003cp>“If I told my parents I was going to a metal show, they would say, ‘No you’re not,’ ” said Andrew Tucker who went to the shows when he was in high school. “I could just say I’m going to the roller rink.”\u003c/p>\n\u003cp>That crowd is now grown up. Tucker teaches a freshman writing course at San Jose State, where he is also working toward his MFA in creative writing.\u003c/p>\n\u003cp>He and hundreds of folks from the scene showed up to the rink this weekend for a farewell concert series featuring 17 out of 19 bands that reunited just to play one last time at the venue. Some bands even flew in members from other states to practice, and many practiced daily in the week leading up to San Jose Skate’s last breakdown.\u003c/p>\n\u003cp>San Jose Skate got them to pick up their guitars and drumsticks again. Tucker’s band, \u003ca href=\"https://www.facebook.com/pages/North-of-the-Woods/147807758622609\">North of the Woods\u003c/a>, said that even though the shows now are over, they want to keep playing music.\u003c/p>\n\u003cp>“We haven’t played together in four years,” said Matt Mrizek, a guitarist in the band. “The show kind of kick-started us to get back in the swing of things.”\u003c/p>\n\u003cp>Andrew Kutsenda, a former general manager, used to organize the shows. Now he runs his own online marketing company. But when he heard about San Jose Skate’s sale, he messaged all the bands and booked the lineup the next day.\u003c/p>\n\u003cp>“It’s a place that we’ll talk about for the rest of our lives. A lot of people won’t understand it, a lot of people won’t get it, but what we had here was sacred, too,” Kutsenda said. “We hear crazy stories about guys who, like I said earlier, picked up their first guitar because of a band or like, met their now-wife at San Jose Skate. We’ve heard crazy, crazy stories like that, and it just became ingrained with who we all were.”\u003c/p>\n\u003cp>Kutsenda said that it was important to send off the rink with a proper farewell after being such a part of their adolescence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s sad because San Jose Skate’s closing is like the last nail in the scene’s coffin,” Tucker said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Samantha Clark\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_137500\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/8111794267_a67ca672f0_b.jpg\">\u003cimg class=\"size-medium wp-image-137500\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/8111794267_a67ca672f0_b-640x395.jpg\" alt=\"The Silicon Valley Rollergirls play BADG Berkeley Resistance. (Mark Nockleby/Flickr)\" width=\"640\" height=\"395\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Silicon Valley Roller Girls play BADG Berkeley Resistance. (Mark Nockleby/Flickr)\u003c/figcaption>\u003c/figure>\n\u003cp>San Jose Skate smells like nacho cheese, plus decades of sweat sealed into the leather of its roller skates and the peeling carpet. “There’s that smell,” someone said as he walked through the doors. Still, the place is cool, with arcade games, rattan '70s-era lamps and a disco ball.\u003c/p>\n\u003cp>But San Jose Skate on Blossom Hill is closing the doors Saturday, and people want to say goodbye. One woman walked her husband to the rink blindfolded for a surprise date at their old hangout.\u003c/p>\n\u003cp>It is the first place Sam Carrington could go without parents. She and about 20 friends held a reunion at the rink.\u003c/p>\n\u003cp>“What happened inside these walls, stayed inside these walls,” Carrington said. “At San Jose Skate, it was the first time my lips touched someone else’s for the purpose of romance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carrington also met her first boyfriend and then her first girlfriend at San Jose Skate.\u003c/p>\n\u003cp>The rink opened as Aloha Roller Palace in 1977, and since then it has hosted countless birthday parties and skating lessons. Now it’s slated for redevelopment as a retail space, said Don Imwalle, president of local developer Imwalle Properties.\u003c/p>\n\u003cp>\"The bottom line is that there are just not a lot of people roller-skating,” he said. “While there are some passionate groups, there are not enough people who are patronizing the business to make it any way viable.”\u003c/p>\n\u003cp>For skating groups, the loss of a rink leaves them without a home.\u003c/p>\n\u003cp>Ten-year-old Sayer McDonald is a competitive inline skater on the \u003ca href=\"https://www.facebook.com/pages/Milpitas-Speed-Team/183193556230\">Milpitas Speed Team\u003c/a>. Her mother drove her to south San Jose three days a week for practice. The team’s old rink was demolished for housing, and now Sayer will have to practice outside.\u003c/p>\n\u003cp>“The wind blows, and there can be dog droppings,” she said.\u003c/p>\n\u003cp>San Jose Skate has also been home to \u003ca href=\"http://svrollergirls.com/\">the Silicon Valley Roller Girls\u003c/a> for seven years, which is raising $20,000 to secure a new space. The leagues are saying aloha to the rink by competing in a doubleheader on Saturday. The Silicon Valley Killabytes will take on the \u003ca href=\"https://www.facebook.com/FaultlineDerbyDollz\">Faultline Derby Devilz\u003c/a> from Hollister, and the Silicon Valley Dot.Kamikazes will play the \u003ca href=\"http://www.bayareaderbygirls.com/teams/berkeley-resistance\">Bay Area Berkeley Resistance\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Underground Rock Scene\u003c/strong>\u003c/p>\n\u003cp>In the mid-2000s, San Jose Skate was also home to the underground music scene. Local bands and big bands played metal and hard-core rock loudly, often featuring lots of blood-curdling, and unintelligible, screaming. However, when San Jose Skate stopped hosting shows in 2008, the scene died.\u003c/p>\n\u003cfigure id=\"attachment_137685\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/photo-4.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/photo-4-300x300.jpg\" alt=\"Andrew Tucker and Matt Mrizek of North of the Woods play at San Jose Skate one last time. (Samantha Clark/KQED)\" width=\"300\" height=\"300\" class=\"size-thumbnail wp-image-137685\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andrew Tucker and Matt Mrizek of North of the Woods play at San Jose Skate one last time. (Samantha Clark/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>High school students and 20-somethings came to hear music at the rink Friday and Saturday nights dressed in black and skinny jeans. They swung their arms in mosh pits, and the neighbors called the cops.\u003c/p>\n\u003cp>“If I told my parents I was going to a metal show, they would say, ‘No you’re not,’ ” said Andrew Tucker who went to the shows when he was in high school. “I could just say I’m going to the roller rink.”\u003c/p>\n\u003cp>That crowd is now grown up. Tucker teaches a freshman writing course at San Jose State, where he is also working toward his MFA in creative writing.\u003c/p>\n\u003cp>He and hundreds of folks from the scene showed up to the rink this weekend for a farewell concert series featuring 17 out of 19 bands that reunited just to play one last time at the venue. Some bands even flew in members from other states to practice, and many practiced daily in the week leading up to San Jose Skate’s last breakdown.\u003c/p>\n\u003cp>San Jose Skate got them to pick up their guitars and drumsticks again. Tucker’s band, \u003ca href=\"https://www.facebook.com/pages/North-of-the-Woods/147807758622609\">North of the Woods\u003c/a>, said that even though the shows now are over, they want to keep playing music.\u003c/p>\n\u003cp>“We haven’t played together in four years,” said Matt Mrizek, a guitarist in the band. “The show kind of kick-started us to get back in the swing of things.”\u003c/p>\n\u003cp>Andrew Kutsenda, a former general manager, used to organize the shows. Now he runs his own online marketing company. But when he heard about San Jose Skate’s sale, he messaged all the bands and booked the lineup the next day.\u003c/p>\n\u003cp>“It’s a place that we’ll talk about for the rest of our lives. A lot of people won’t understand it, a lot of people won’t get it, but what we had here was sacred, too,” Kutsenda said. “We hear crazy stories about guys who, like I said earlier, picked up their first guitar because of a band or like, met their now-wife at San Jose Skate. We’ve heard crazy, crazy stories like that, and it just became ingrained with who we all were.”\u003c/p>\n\u003cp>Kutsenda said that it was important to send off the rink with a proper farewell after being such a part of their adolescence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s sad because San Jose Skate’s closing is like the last nail in the scene’s coffin,” Tucker said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>By The Associated Press\u003cbr>\n\u003c/strong>\u003cbr>\nSan Francisco Mayor Edwin Lee is offering George Lucas a spot on the city's scenic waterfront for the future home of the \"Star Wars\" creator's lifetime collection of art and movie memorabilia.\u003c/p>\n\u003cp>In a letter sent to Lucas on Thursday, Lee proposes building the Lucas Cultural Arts Museum on a 2.3-acre site known as Seawall Lot 330, which is owned by the Port of San Francisco and is situated along the Embarcadero, south of the Bay Bridge and north of AT&T Park. The letter was shared with the Associated Press by Lee's spokeswoman, Christine Falvey.\u003c/p>\n\u003cp>\"On behalf of the City and County of San Francisco, I write to propose an extraordinary location along our City's waterfront as the iconic new home for the Lucas Cultural Arts Museum,'' Lee wrote.\u003c/p>\n\u003cp>\"Seawall Lot 330 sits across from Piers 30-32, which, should you be interested, offers a unique opportunity to partner with the City and Port to transform crumbling piers and parking lots into complementary new waterfront educational and public open space.''\u003c/p>\n\u003cp>In a handwritten message at the bottom of the letter, Lee added: \"George, thank you for your utmost consideration. You know we enthusiastically support your project and our history!''\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Earlier this year, the Presidio Trust rejected Lucas' proposal to build the museum at Crissy Field, on a former commissary site currently occupied by Sports Basement. However, it then offered him another location near the home of Lucasfilm's special effects, game unit and corporate offices. Lucas is considering that offer.\u003c/p>\n\u003cfigure id=\"attachment_137540\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/Screenshot-2014-02-04-00.18.06-640x353.png\">\u003cimg class=\"size-full wp-image-137540\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/Screenshot-2014-02-04-00.18.06-640x353.png\" alt=\"Artist’s rendering of proposed Lucas Cultural Arts Museum in San Francisco’s Presidio. (Lucas Cultural Art Museum presentation, January 2014)\" width=\"640\" height=\"353\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist’s rendering of proposed Lucas Cultural Arts Museum in San Francisco’s Presidio. (Lucas Cultural Art Museum presentation, January 2014)\u003c/figcaption>\u003c/figure>\n\u003cp>Lee had given his staff until the end of May to come up with a list of possible locations for the museum because of increasing interest from other cities, particularly Chicago.\u003c/p>\n\u003cp>A task force appointed by Chicago Mayor Rahm Emanuel recommended last week that the museum be built on parking lots south of its Soldier Field football stadium.\u003c/p>\n\u003cp>Chicago is considered a front-runner in part because Lucas is married to Chicago businesswoman Mellody Hobson.\u003c/p>\n\u003cp>Lucas wants a showcase for his collection of popular art, including illustrations by Norman Rockwell, Maxfield Parrish and N.C. Wyeth, as well as works by Lucas's visual effects company, Industrial Light and Magic, and other companies.\u003c/p>\n\u003cp>The museum will also feature temporary exhibits from other collections.\u003c/p>\n\u003cp>Raised in Modesto, Lucas has said he doesn't have enough wall space at his 6,000-acre Skywalker Ranch in Marin County, and he intends to invest up to $300 million of his money, with another $400 million endowment upon his death.\u003c/p>\n\u003cp>David Perry, Lucas's spokesman, didn't immediately return messages from the AP requesting comment.\u003c/p>\n\u003cp>Read the full letter below:\u003c/p>\n\u003cp style=\"margin: 12px auto 6px auto;font-family: Helvetica,Arial,Sans-serif;font-style: normal;font-variant: normal;font-weight: normal;font-size: 14px;line-height: normal\">\u003ca style=\"text-decoration: underline\" title=\"View Mayor Lee's Letter to George Lucas on Scribd\" href=\"http://www.scribd.com/doc/227094595/Mayor-Lee-s-Letter-to-George-Lucas\">Mayor Lee's Letter to George Lucas\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe id=\"doc_28532\" class=\"scribd_iframe_embed\" src=\"//www.scribd.com/embeds/227094595/content?start_page=1&view_mode=scroll&show_recommendations=true\" width=\"100%\" height=\"600\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By The Associated Press\u003cbr>\n\u003c/strong>\u003cbr>\nSan Francisco Mayor Edwin Lee is offering George Lucas a spot on the city's scenic waterfront for the future home of the \"Star Wars\" creator's lifetime collection of art and movie memorabilia.\u003c/p>\n\u003cp>In a letter sent to Lucas on Thursday, Lee proposes building the Lucas Cultural Arts Museum on a 2.3-acre site known as Seawall Lot 330, which is owned by the Port of San Francisco and is situated along the Embarcadero, south of the Bay Bridge and north of AT&T Park. The letter was shared with the Associated Press by Lee's spokeswoman, Christine Falvey.\u003c/p>\n\u003cp>\"On behalf of the City and County of San Francisco, I write to propose an extraordinary location along our City's waterfront as the iconic new home for the Lucas Cultural Arts Museum,'' Lee wrote.\u003c/p>\n\u003cp>\"Seawall Lot 330 sits across from Piers 30-32, which, should you be interested, offers a unique opportunity to partner with the City and Port to transform crumbling piers and parking lots into complementary new waterfront educational and public open space.''\u003c/p>\n\u003cp>In a handwritten message at the bottom of the letter, Lee added: \"George, thank you for your utmost consideration. You know we enthusiastically support your project and our history!''\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Earlier this year, the Presidio Trust rejected Lucas' proposal to build the museum at Crissy Field, on a former commissary site currently occupied by Sports Basement. However, it then offered him another location near the home of Lucasfilm's special effects, game unit and corporate offices. Lucas is considering that offer.\u003c/p>\n\u003cfigure id=\"attachment_137540\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/Screenshot-2014-02-04-00.18.06-640x353.png\">\u003cimg class=\"size-full wp-image-137540\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/Screenshot-2014-02-04-00.18.06-640x353.png\" alt=\"Artist’s rendering of proposed Lucas Cultural Arts Museum in San Francisco’s Presidio. (Lucas Cultural Art Museum presentation, January 2014)\" width=\"640\" height=\"353\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist’s rendering of proposed Lucas Cultural Arts Museum in San Francisco’s Presidio. (Lucas Cultural Art Museum presentation, January 2014)\u003c/figcaption>\u003c/figure>\n\u003cp>Lee had given his staff until the end of May to come up with a list of possible locations for the museum because of increasing interest from other cities, particularly Chicago.\u003c/p>\n\u003cp>A task force appointed by Chicago Mayor Rahm Emanuel recommended last week that the museum be built on parking lots south of its Soldier Field football stadium.\u003c/p>\n\u003cp>Chicago is considered a front-runner in part because Lucas is married to Chicago businesswoman Mellody Hobson.\u003c/p>\n\u003cp>Lucas wants a showcase for his collection of popular art, including illustrations by Norman Rockwell, Maxfield Parrish and N.C. Wyeth, as well as works by Lucas's visual effects company, Industrial Light and Magic, and other companies.\u003c/p>\n\u003cp>The museum will also feature temporary exhibits from other collections.\u003c/p>\n\u003cp>Raised in Modesto, Lucas has said he doesn't have enough wall space at his 6,000-acre Skywalker Ranch in Marin County, and he intends to invest up to $300 million of his money, with another $400 million endowment upon his death.\u003c/p>\n\u003cp>David Perry, Lucas's spokesman, didn't immediately return messages from the AP requesting comment.\u003c/p>\n\u003cp>Read the full letter below:\u003c/p>\n\u003cp style=\"margin: 12px auto 6px auto;font-family: Helvetica,Arial,Sans-serif;font-style: normal;font-variant: normal;font-weight: normal;font-size: 14px;line-height: normal\">\u003ca style=\"text-decoration: underline\" title=\"View Mayor Lee's Letter to George Lucas on Scribd\" href=\"http://www.scribd.com/doc/227094595/Mayor-Lee-s-Letter-to-George-Lucas\">Mayor Lee's Letter to George Lucas\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe id=\"doc_28532\" class=\"scribd_iframe_embed\" src=\"//www.scribd.com/embeds/227094595/content?start_page=1&view_mode=scroll&show_recommendations=true\" width=\"100%\" height=\"600\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Maya Angelou: Remembering a Cultural Giant's Life in San Francisco",
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"content": "\u003cp>\u003cstrong>By Olivia Allen-Price and Dan Brekke\u003c/strong>\u003c/p>\n\u003cp>When veteran KQED journalist Belva Davis bowed out of her longtime post as host of \"This Week in Northern California\" 18 months ago, she asked her longtime friend Maya Angelou to sum up the importance of enduring relationships and friendship.\u003c/p>\n\u003cp>Davis visited Angelou, then 84, at her home in North Carolina. She talked about the literature that mattered most to her, from Shakespeare to Amiri Baraka, and recapped her career as entertainer, novelist, poet and cultural inspiration. That arc brought her at one point to KQED, where in 1968 she wrote, produced and narrated a documentary series called \"Blacks, Blues, Black!\"\u003c/p>\n\u003cp>As the Associated Press recounts, San Francisco was an important part of Angelou's early life, too:\u003c/p>\n\u003cblockquote>\u003cp>Her very name as an adult was a reinvention. Angelou was born Marguerite Johnson in St. Louis and raised in Stamps, Arkansas, and San Francisco, moving back and forth between her parents and her grandmother. She was smart and fresh to the point of danger, packed off by her family to California after sassing a white store clerk in Arkansas. Other times, she didn't speak at all: At age 7, she was raped by her mother's boyfriend and didn't talk for years. She learned by reading, and listening.\u003c/p>\n\u003cp>...At age 9, she was writing poetry. By 17, she was a single mother. In her early 20s, she danced at a strip joint, ran a brothel, was married, and then divorced. But by her mid-20s, she was performing at the Purple Onion in San Francisco, where she shared billing with another future star, Phyllis Diller. She also spent a few days with Billie Holiday, who was kind enough to sing a lullaby to Angelou's son, Guy, surly enough to heckle her off the stage and astute enough to tell her: \"You're going to be famous. But it won't be for singing.\"\u003c/p>\u003c/blockquote>\n\u003cp>WNYC (yes, a New York public media outlet beating us to the punch) relates Angelou's story of being the city's first African-American streetcar conductor:\u003c/p>\n\u003cblockquote>\u003cp>Angelou ... also has a place in civil rights transportation history: At the age of 16, she said she became San Francisco's first black streetcar conductor.\u003c/p>\n\u003cp>In an interview with Oprah Winfrey, she said \"I loved the uniforms. So I said, 'That's the job I want!' \"\u003c/p>\n\u003cp>But when she applied for the job, at first the office wouldn't give her an application. On the advice of her mother, she essentially staged a sit-in.\u003c/p>\n\u003cp>\"I sat there (at the office) for two weeks, every day. And then after two weeks, a man came out of his office and said, 'Come here.' And he asked me 'why do you want the job?' I said, 'I like the uniforms.' And I said, 'And I like people.' And so I got the job.\"\u003c/p>\u003c/blockquote>\n\u003cp>That would have been around 1944. Angela also told Winfrey that her mother kept a watchful eye on the brand-new streetcar conductor when she began her first run every morning:\u003c/p>\n\u003cblockquote>\u003cp>She would drive me out to the beach, and she would have her pistol on the seat of the car, and she would follow the streetcar all the way from the beach to the Ferry Building, right through San Francisco, and back again out to the beach, until daybreak. I mean, stayed close so that nobody got on that she didn't see. ...\u003c/p>\u003c/blockquote>\n\u003cp>Muni said last year that \"anecdotal evidence we’ve gathered over the years indicate several African-Americans found employment on the streetcars a little earlier than Dr. Angelou,\" but added that that didn't diminish the 16-year-old's accomplishment in getting the job. Here is Muni's link to Angelou's story, complete with a video of the \"Oprah\" appearance: \"\u003ca href=\"http://www.streetcar.org/blog/2013/05/maya-angelou-and-market-street-railway.html\" target=\"_blank\">Maya Angelou and the Market Street Railway\u003c/a>.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In her interview with Belva Davis, Angelou declared she had a firm notion of life's cardinal virtue:\u003c/p>\n\u003cblockquote>\u003cp>I owe it to another to say what I've learned. I think each one of us lives in direct relation to the heroes and sheroes we have, always and in all ways. And you have to have enough courage to be a hero/shero. Courage is the most important of all the virtues, because without courage you can't practice any of the other virtues consistently; you can be anything erratically — kind, fair, true, generous, blah, blah, blah. But to be that thing time after time, you have to have courage.\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Olivia Allen-Price and Dan Brekke\u003c/strong>\u003c/p>\n\u003cp>When veteran KQED journalist Belva Davis bowed out of her longtime post as host of \"This Week in Northern California\" 18 months ago, she asked her longtime friend Maya Angelou to sum up the importance of enduring relationships and friendship.\u003c/p>\n\u003cp>Davis visited Angelou, then 84, at her home in North Carolina. She talked about the literature that mattered most to her, from Shakespeare to Amiri Baraka, and recapped her career as entertainer, novelist, poet and cultural inspiration. That arc brought her at one point to KQED, where in 1968 she wrote, produced and narrated a documentary series called \"Blacks, Blues, Black!\"\u003c/p>\n\u003cp>As the Associated Press recounts, San Francisco was an important part of Angelou's early life, too:\u003c/p>\n\u003cblockquote>\u003cp>Her very name as an adult was a reinvention. Angelou was born Marguerite Johnson in St. Louis and raised in Stamps, Arkansas, and San Francisco, moving back and forth between her parents and her grandmother. She was smart and fresh to the point of danger, packed off by her family to California after sassing a white store clerk in Arkansas. Other times, she didn't speak at all: At age 7, she was raped by her mother's boyfriend and didn't talk for years. She learned by reading, and listening.\u003c/p>\n\u003cp>...At age 9, she was writing poetry. By 17, she was a single mother. In her early 20s, she danced at a strip joint, ran a brothel, was married, and then divorced. But by her mid-20s, she was performing at the Purple Onion in San Francisco, where she shared billing with another future star, Phyllis Diller. She also spent a few days with Billie Holiday, who was kind enough to sing a lullaby to Angelou's son, Guy, surly enough to heckle her off the stage and astute enough to tell her: \"You're going to be famous. But it won't be for singing.\"\u003c/p>\u003c/blockquote>\n\u003cp>WNYC (yes, a New York public media outlet beating us to the punch) relates Angelou's story of being the city's first African-American streetcar conductor:\u003c/p>\n\u003cblockquote>\u003cp>Angelou ... also has a place in civil rights transportation history: At the age of 16, she said she became San Francisco's first black streetcar conductor.\u003c/p>\n\u003cp>In an interview with Oprah Winfrey, she said \"I loved the uniforms. So I said, 'That's the job I want!' \"\u003c/p>\n\u003cp>But when she applied for the job, at first the office wouldn't give her an application. On the advice of her mother, she essentially staged a sit-in.\u003c/p>\n\u003cp>\"I sat there (at the office) for two weeks, every day. And then after two weeks, a man came out of his office and said, 'Come here.' And he asked me 'why do you want the job?' I said, 'I like the uniforms.' And I said, 'And I like people.' And so I got the job.\"\u003c/p>\u003c/blockquote>\n\u003cp>That would have been around 1944. Angela also told Winfrey that her mother kept a watchful eye on the brand-new streetcar conductor when she began her first run every morning:\u003c/p>\n\u003cblockquote>\u003cp>She would drive me out to the beach, and she would have her pistol on the seat of the car, and she would follow the streetcar all the way from the beach to the Ferry Building, right through San Francisco, and back again out to the beach, until daybreak. I mean, stayed close so that nobody got on that she didn't see. ...\u003c/p>\u003c/blockquote>\n\u003cp>Muni said last year that \"anecdotal evidence we’ve gathered over the years indicate several African-Americans found employment on the streetcars a little earlier than Dr. Angelou,\" but added that that didn't diminish the 16-year-old's accomplishment in getting the job. Here is Muni's link to Angelou's story, complete with a video of the \"Oprah\" appearance: \"\u003ca href=\"http://www.streetcar.org/blog/2013/05/maya-angelou-and-market-street-railway.html\" target=\"_blank\">Maya Angelou and the Market Street Railway\u003c/a>.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In her interview with Belva Davis, Angelou declared she had a firm notion of life's cardinal virtue:\u003c/p>\n\u003cblockquote>\u003cp>I owe it to another to say what I've learned. I think each one of us lives in direct relation to the heroes and sheroes we have, always and in all ways. And you have to have enough courage to be a hero/shero. Courage is the most important of all the virtues, because without courage you can't practice any of the other virtues consistently; you can be anything erratically — kind, fair, true, generous, blah, blah, blah. But to be that thing time after time, you have to have courage.\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/05/20140523ctcrmag.mp3\u003c/p>\n\u003cp>A Santa Barbara group’s unique approach to helping vulnerable teens was recently recognized as one of the top youth programs in the country. The program is called AHA! and it teaches middle and high school kids how to cope with their feelings through games, dialogue, and performance.\u003c/p>\n\u003cp>Wild cheers and applause greet 18-year-old Samantha as she strides onstage in front of a packed auditorium at AHA’s annual Sing It Out performance. AHA stands for attitude, harmony, and achievement. Most of the teen performers have never sung in public before. This show is the crowning moment of their AHA journey.\u003c/p>\n\u003cp>Before the performance, Samantha describes AHA. “It’s such a sense of community that I’ve never felt before,” she says. “They’re people that I can rely on, all of them, even the adults, which is something as a teen I think is hard to find.”\u003c/p>\n\u003cp>Samantha didn’t want to give her last name. Before finding AHA in the ninth grade, she’d been through some tough times.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In sixth grade, I began self-harming.” She pauses. “There wasn’t really a concrete reason, a lot of it had to do with body image. And then I found AHA and I got better.”\u003c/p>\n\u003cp>But better only lasted for a while.\u003c/p>\n\u003cp>“I got extremely, extremely depressed,” Samantha explains. “And I had stopped going to AHA, and then one of the facilitators called me, she said ‘why don’t you come back, it’s not good for you to be isolated.’ And I came back, and it’s probably one of the best decisions so far that I’ve made, for sure.”\u003c/p>\n\u003cp>Jennifer Freed is co-executive director of AHA. She says the strong relationship between teens and their adult mentors makes the program unique.\u003c/p>\n\u003cfigure id=\"attachment_10140897\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/Singitoutcrop2.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/Singitoutcrop2-400x285.jpg\" alt=\"Joseph Ortiz and his AHA mentor Martin Leyva hang out backstage before the Sing It Out show. (Noah Dalton Schneider/KQED)\" width=\"400\" height=\"285\" class=\"size-thumbnail wp-image-10140897\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joseph Ortiz and his AHA mentor Martin Leyva hang out backstage before the Sing It Out show. (Noah Dalton Schneider/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“The community aspect of this, we’re all in it together, and we’re better together really makes a point in terms of teen brain development and seeing a possible future for themselves,” Freed says.\u003c/p>\n\u003cp> Freed and fellow psychotherapist and educator Renny Freedman founded AHA in 1999. Motivated by the shootings at Columbine high school, they created a year-round program at a few local public schools to help teens feel connected and safe. The idea was for the students -- and adults -- to learn and grow together, and improve their social and emotional skills. Weekly group counseling sessions are a key part of the program.\u003c/p>\n\u003cp>At a rehearsal for their annual Sing It Out show, the teens and their mentors sit in a circle to share what they call “thorns and roses”-- their highs and lows of the week.\u003c/p>\n\u003cp>“My thorn is that I’m kind of behind in some English work,” one of the students says. “But my rose is that I went to the beach last night by myself, and it was just very relaxing.”\u003c/p>\n\u003cp>AHA’s methods also include games, icebreakers, and trust activities, where the teens and adults play together. And this approach is getting some attention. Earlier this month, a Chicago-based philanthropist tapped AHA to help establish a national curriculum for social and emotional learning.\u003c/p>\n\u003cp>“It’s a whole set of skills that allows somebody to become a really good relationship person which is now proven to be the skill set needed in all facets of life,” Freed explains.\u003c/p>\n\u003cp>Skills like managing moods, self-awareness, self-motivation, empathy, and compassion--skills Joseph Ortiz was lacking when he first started the program.\u003c/p>\n\u003cp>I had a bad attitude to everything,” Ortiz says. “I just had a lot of anger and no outlet, ‘cause guys are supposed to be super tough and everything and can’t talk about your emotions. I just needed somebody to talk with.”\u003c/p>\n\u003cp>Ortiz opens up about being bullied in grade school.\u003c/p>\n\u003cp>“And I guess that’s where the anger first started because I felt I was being hated on, bullied, called names for everything for no reason, and what I call six years of probably the rough times of my life,” Ortiz says. “I just wanted to stay home and cry at times.”\u003c/p>\n\u003cp>Today, he’s a happy, enthusiastic college freshman -- and he still attends AHA groups. Next year, he’ll be part of the alumni group. He says he’s never performed at any of the Sing It Out shows, but he finally worked up the courage this year.\u003c/p>\n\u003cp>“I’m a shower singer, never sang in public before, really, so this is a huge step for me.” He smiles “I’m singing Ben E. King’s ‘Stand by Me’.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At Sing It out, the audience claps and sings along to his performance. Ortiz exits the stage to a standing ovation.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In sixth grade, I began self-harming.” She pauses. “There wasn’t really a concrete reason, a lot of it had to do with body image. And then I found AHA and I got better.”\u003c/p>\n\u003cp>But better only lasted for a while.\u003c/p>\n\u003cp>“I got extremely, extremely depressed,” Samantha explains. “And I had stopped going to AHA, and then one of the facilitators called me, she said ‘why don’t you come back, it’s not good for you to be isolated.’ And I came back, and it’s probably one of the best decisions so far that I’ve made, for sure.”\u003c/p>\n\u003cp>Jennifer Freed is co-executive director of AHA. She says the strong relationship between teens and their adult mentors makes the program unique.\u003c/p>\n\u003cfigure id=\"attachment_10140897\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/Singitoutcrop2.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/Singitoutcrop2-400x285.jpg\" alt=\"Joseph Ortiz and his AHA mentor Martin Leyva hang out backstage before the Sing It Out show. (Noah Dalton Schneider/KQED)\" width=\"400\" height=\"285\" class=\"size-thumbnail wp-image-10140897\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joseph Ortiz and his AHA mentor Martin Leyva hang out backstage before the Sing It Out show. (Noah Dalton Schneider/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“The community aspect of this, we’re all in it together, and we’re better together really makes a point in terms of teen brain development and seeing a possible future for themselves,” Freed says.\u003c/p>\n\u003cp> Freed and fellow psychotherapist and educator Renny Freedman founded AHA in 1999. Motivated by the shootings at Columbine high school, they created a year-round program at a few local public schools to help teens feel connected and safe. The idea was for the students -- and adults -- to learn and grow together, and improve their social and emotional skills. Weekly group counseling sessions are a key part of the program.\u003c/p>\n\u003cp>At a rehearsal for their annual Sing It Out show, the teens and their mentors sit in a circle to share what they call “thorns and roses”-- their highs and lows of the week.\u003c/p>\n\u003cp>“My thorn is that I’m kind of behind in some English work,” one of the students says. “But my rose is that I went to the beach last night by myself, and it was just very relaxing.”\u003c/p>\n\u003cp>AHA’s methods also include games, icebreakers, and trust activities, where the teens and adults play together. And this approach is getting some attention. Earlier this month, a Chicago-based philanthropist tapped AHA to help establish a national curriculum for social and emotional learning.\u003c/p>\n\u003cp>“It’s a whole set of skills that allows somebody to become a really good relationship person which is now proven to be the skill set needed in all facets of life,” Freed explains.\u003c/p>\n\u003cp>Skills like managing moods, self-awareness, self-motivation, empathy, and compassion--skills Joseph Ortiz was lacking when he first started the program.\u003c/p>\n\u003cp>I had a bad attitude to everything,” Ortiz says. “I just had a lot of anger and no outlet, ‘cause guys are supposed to be super tough and everything and can’t talk about your emotions. I just needed somebody to talk with.”\u003c/p>\n\u003cp>Ortiz opens up about being bullied in grade school.\u003c/p>\n\u003cp>“And I guess that’s where the anger first started because I felt I was being hated on, bullied, called names for everything for no reason, and what I call six years of probably the rough times of my life,” Ortiz says. “I just wanted to stay home and cry at times.”\u003c/p>\n\u003cp>Today, he’s a happy, enthusiastic college freshman -- and he still attends AHA groups. Next year, he’ll be part of the alumni group. He says he’s never performed at any of the Sing It Out shows, but he finally worked up the courage this year.\u003c/p>\n\u003cp>“I’m a shower singer, never sang in public before, really, so this is a huge step for me.” He smiles “I’m singing Ben E. King’s ‘Stand by Me’.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At Sing It out, the audience claps and sings along to his performance. Ortiz exits the stage to a standing ovation.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"link": "/radio/program/code-switch-life-kit",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
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