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"content": "\u003cfigure id=\"attachment_129490\" class=\"wp-caption alignleft\" style=\"max-width: 193px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-129490\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/03/LEVIDEO-193x640.jpg\" alt=\"Le Video website takes aim at Netflix. \" width=\"193\" height=\"640\">\u003cfigcaption class=\"wp-caption-text\">Le Video website takes aim at Netflix.\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this week, Le Video, a favorite place to rent movies among San Francisco film lovers, said its financial circumstances had become dire, and barring a “miracle” \u003ca href=\"https://www.facebook.com/LeVideoSF/posts/10152027502870765?stream_ref=10\" target=\"_blank\" rel=\"noopener\">would close\u003c/a> at the end of April. Or, as the site \u003ca href=\"http://frenchmorning.com/le-video-veritable-tresor-culturel-francophone-se-meurt/#\" target=\"_blank\" rel=\"noopener\">French Morning put it\u003c/a>: “Le Video, véritable trésor culturel francophone, \u003ca href=\"https://www.google.com/search?q=%27se+meurt%22&ie=utf-8&oe=utf-8&aq=t&rls=org.mozilla:en-US:official&client=firefox-a&channel=sb#channel=sb&q=%27se+meurt%22+translation&rls=org.mozilla:en-US:official\" target=\"_blank\" rel=\"noopener\">se meurt\u003c/a>.”\u003c/p>\n\u003cp>Well, se meurt, maybe. Fifteen-year employee John Taylor, who works as a buyer for the store, said the outpouring of goodwill that the announcement prompted has made him a “little more hopeful” the store would survive.\u003c/p>\n\u003cp>“There’s been a ton of good response on Facebook,” he said. “People have been tweeting about it. Different people have come forward with ideas, either coming into the store or in emails.”\u003c/p>\n\u003cp>The Inner Sunset neighborhood fixture opened in 1980. Owner Catherine Tchen, who was born in Paris, told the \u003ca href=\"http://www.sunsetbeacon.com/archives/SunsetBeacon/2012editions/Nov12/levideo.html\" target=\"_blank\" rel=\"noopener\">Sunset Beacon\u003c/a> in 2012 that she launched the store because of the dearth of French and other foreign films available in San Francisco. “Tchen searched the globe to find a wide range of silent, black-and-white, experimental, independent, cult and foreign films,” the Beacon wrote.\u003c/p>\n\u003cp>“I wanted to create my own personal \u003ca href=\"http://www.cinematheque.fr/\" target=\"_blank\" rel=\"noopener\">Cinématheque\u003c/a> and to give customers their own personal Cinématheque in their backyard,” Tchen said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>John Taylor said the store has been losing money for years. While some \u003ca href=\"http://ww2.kqed.org/news/2013/01/23/adobe-books-an-appreciation/\" target=\"_blank\" rel=\"noopener\">other treasured cultural retail outposts\u003c/a> have come under financial pressure due to rising rents in the city, Tchen actually owns the building that her business is located in. But Taylor said she can no longer afford to keep the unprofitable business afloat instead of renting out the 3,000-square-foot ground floor that it now occupies.\u003c/p>\n\u003cp>Taylor said the store wants to implement a plan in which it would move the 80,000-90,000 titles in stock to an upstairs space. There customers would not be able to browse the films, but could peruse the titles in copious binders. Ideally, the store wants to switch to a rent-by-mail business, like Netflix. Le Video has been working on cleaning up its database and creating software for such a transition, Taylor said.\u003c/p>\n\u003cp>“My hope is that we’ll go upstairs, keep the collection alive,” he said. “We’re working on doing a Kickstarter or Indiegogo.”\u003c/p>\n\u003cp>In the meantime, the store has truncated its hours. Le Video is also asking that anyone who has prepaid for movies to use their remaining credits while they can.\u003c/p>\n\u003cp>The widespread changes in media delivery over the past few years may have some observers amazed that the store has lasted this long. As Netflix has gradually swelled into a movie rental colossus, the city’s video stores, independent and \u003ca href=\"http://www.sfgate.com/business/bottomline/article/Final-curtain-for-Blockbuster-stores-4962081.php\">chain store alike\u003c/a>, have shut down. Taylor attributes the lousy video business climate to “people’s interest in having things streaming to them and not having to leave the house to get stuff. They want instant gratification for their entertainment, and even though they have less of a choice it doesn’t matter to a lot of people.”\u003c/p>\n\u003cp>Sounds about right. Years ago, serious cinema fans automatically put Le Video on their must-visit list. The store says it has “the largest rental selection in California,” and anyone who’s snaked his or her way through the aisles, awestruck at the breadth and depth of the selection, wouldn’t doubt it. While I made that pilgrimage many times awhile back, I also stand as a good example of why even the most exceptional video stores are moribund. I used to actually schlep to Le Video on Muni for the privilege of renting an obscure Werner Herzog film or something. But when Netflix came along with its so-called \u003ca href=\"http://www.wired.com/wired/archive/12.10/tail.html\">long tail\u003c/a>, the strategy of stockpiling a vast array of niche content so that it becomes profitable in the aggregate, I more and more made the decision to have my hard-to-find movies delivered direct.\u003c/p>\n\u003cp>Netflix’s \u003ca href=\"http://blogs.reuters.com/felix-salmon/2011/07/12/did-netflix-just-kill-its-long-tail-model/\">business model has changed\u003c/a>, however. They’re very much trying to \u003ca href=\"http://www.businessweek.com/articles/2013-10-21/netflix-may-ditch-dvds-sooner-rather-than-later\">move people away from DVDs and onto streaming\u003c/a>, a service that currently has a much more limited selection of titles. Perhaps, consequently, the famous long tail has been trimmed. Strictly anecdotal, but I’ve noticed some DVDs that used to sit patiently waiting their turn in my queue have now dropped down to the “saved” section, where the time of their availability is “unknown.” Le Video’s John Taylor pointed out Netflix’s collection now omits many standard titles — like some Woody Allen movies. A quick check reveals “Bananas,” “Mighty Aphrodite,” “Everyone Says I Love You,” “Deconstructing Harry,” “Sweet and Lowdown,” “Everything You Wanted to Know About Sex *But Were Afraid to Ask” and “September” — all unavailable. Via streaming, it’s really slim Woody-pickings: Just “Manhattan” and “Play It Again Sam.” A Netflix spokeswoman emailed me that it doesn’t publicize numbers for its library. She did not respond to the question of why some DVDs previously available on Netflix are now MIA.\u003c/p>\n\u003cp>I encountered a problem stemming from this trend recently, when I needed to get hold of “Sweet Sweetback’s Baadasssss Song,” the seminal black independent film by Melvin Van Peebles, for a piece I’m writing. I had rented it through Netflix in the past, but it’s currently unavailable. I couldn’t find it for rent on Amazon or iTunes either. I would have run down to my local video store, but I don’t have a local video store. My wife eventually snared a copy at a library in Marin.\u003c/p>\n\u003cp>One moral of that story is the lengths to which I went to avoid having to head over to Le Video to get the film. But there’s another point as well: For those who want to get hold of more obscure titles, subscriptions to multiple services may now be necessary. And a one-stop movie shop like Le Video, long tail intact, may still be relevant.\u003c/p>\n\u003cp>In the meantime, ideas for keeping Le Video afloat are all over its \u003ca href=\"https://www.facebook.com/LeVideoSF\">Facebook page\u003c/a>. Said one customer: “It’s crazy, but someone find a way to contact Tarantino. He’s a well known lover of the SF movie scene and has a special place in his heart for video stores for true film fanatics like himself.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Anyone?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_129490\" class=\"wp-caption alignleft\" style=\"max-width: 193px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-129490\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/03/LEVIDEO-193x640.jpg\" alt=\"Le Video website takes aim at Netflix. \" width=\"193\" height=\"640\">\u003cfigcaption class=\"wp-caption-text\">Le Video website takes aim at Netflix.\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this week, Le Video, a favorite place to rent movies among San Francisco film lovers, said its financial circumstances had become dire, and barring a “miracle” \u003ca href=\"https://www.facebook.com/LeVideoSF/posts/10152027502870765?stream_ref=10\" target=\"_blank\" rel=\"noopener\">would close\u003c/a> at the end of April. Or, as the site \u003ca href=\"http://frenchmorning.com/le-video-veritable-tresor-culturel-francophone-se-meurt/#\" target=\"_blank\" rel=\"noopener\">French Morning put it\u003c/a>: “Le Video, véritable trésor culturel francophone, \u003ca href=\"https://www.google.com/search?q=%27se+meurt%22&ie=utf-8&oe=utf-8&aq=t&rls=org.mozilla:en-US:official&client=firefox-a&channel=sb#channel=sb&q=%27se+meurt%22+translation&rls=org.mozilla:en-US:official\" target=\"_blank\" rel=\"noopener\">se meurt\u003c/a>.”\u003c/p>\n\u003cp>Well, se meurt, maybe. Fifteen-year employee John Taylor, who works as a buyer for the store, said the outpouring of goodwill that the announcement prompted has made him a “little more hopeful” the store would survive.\u003c/p>\n\u003cp>“There’s been a ton of good response on Facebook,” he said. “People have been tweeting about it. Different people have come forward with ideas, either coming into the store or in emails.”\u003c/p>\n\u003cp>The Inner Sunset neighborhood fixture opened in 1980. Owner Catherine Tchen, who was born in Paris, told the \u003ca href=\"http://www.sunsetbeacon.com/archives/SunsetBeacon/2012editions/Nov12/levideo.html\" target=\"_blank\" rel=\"noopener\">Sunset Beacon\u003c/a> in 2012 that she launched the store because of the dearth of French and other foreign films available in San Francisco. “Tchen searched the globe to find a wide range of silent, black-and-white, experimental, independent, cult and foreign films,” the Beacon wrote.\u003c/p>\n\u003cp>“I wanted to create my own personal \u003ca href=\"http://www.cinematheque.fr/\" target=\"_blank\" rel=\"noopener\">Cinématheque\u003c/a> and to give customers their own personal Cinématheque in their backyard,” Tchen said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>John Taylor said the store has been losing money for years. While some \u003ca href=\"http://ww2.kqed.org/news/2013/01/23/adobe-books-an-appreciation/\" target=\"_blank\" rel=\"noopener\">other treasured cultural retail outposts\u003c/a> have come under financial pressure due to rising rents in the city, Tchen actually owns the building that her business is located in. But Taylor said she can no longer afford to keep the unprofitable business afloat instead of renting out the 3,000-square-foot ground floor that it now occupies.\u003c/p>\n\u003cp>Taylor said the store wants to implement a plan in which it would move the 80,000-90,000 titles in stock to an upstairs space. There customers would not be able to browse the films, but could peruse the titles in copious binders. Ideally, the store wants to switch to a rent-by-mail business, like Netflix. Le Video has been working on cleaning up its database and creating software for such a transition, Taylor said.\u003c/p>\n\u003cp>“My hope is that we’ll go upstairs, keep the collection alive,” he said. “We’re working on doing a Kickstarter or Indiegogo.”\u003c/p>\n\u003cp>In the meantime, the store has truncated its hours. Le Video is also asking that anyone who has prepaid for movies to use their remaining credits while they can.\u003c/p>\n\u003cp>The widespread changes in media delivery over the past few years may have some observers amazed that the store has lasted this long. As Netflix has gradually swelled into a movie rental colossus, the city’s video stores, independent and \u003ca href=\"http://www.sfgate.com/business/bottomline/article/Final-curtain-for-Blockbuster-stores-4962081.php\">chain store alike\u003c/a>, have shut down. Taylor attributes the lousy video business climate to “people’s interest in having things streaming to them and not having to leave the house to get stuff. They want instant gratification for their entertainment, and even though they have less of a choice it doesn’t matter to a lot of people.”\u003c/p>\n\u003cp>Sounds about right. Years ago, serious cinema fans automatically put Le Video on their must-visit list. The store says it has “the largest rental selection in California,” and anyone who’s snaked his or her way through the aisles, awestruck at the breadth and depth of the selection, wouldn’t doubt it. While I made that pilgrimage many times awhile back, I also stand as a good example of why even the most exceptional video stores are moribund. I used to actually schlep to Le Video on Muni for the privilege of renting an obscure Werner Herzog film or something. But when Netflix came along with its so-called \u003ca href=\"http://www.wired.com/wired/archive/12.10/tail.html\">long tail\u003c/a>, the strategy of stockpiling a vast array of niche content so that it becomes profitable in the aggregate, I more and more made the decision to have my hard-to-find movies delivered direct.\u003c/p>\n\u003cp>Netflix’s \u003ca href=\"http://blogs.reuters.com/felix-salmon/2011/07/12/did-netflix-just-kill-its-long-tail-model/\">business model has changed\u003c/a>, however. They’re very much trying to \u003ca href=\"http://www.businessweek.com/articles/2013-10-21/netflix-may-ditch-dvds-sooner-rather-than-later\">move people away from DVDs and onto streaming\u003c/a>, a service that currently has a much more limited selection of titles. Perhaps, consequently, the famous long tail has been trimmed. Strictly anecdotal, but I’ve noticed some DVDs that used to sit patiently waiting their turn in my queue have now dropped down to the “saved” section, where the time of their availability is “unknown.” Le Video’s John Taylor pointed out Netflix’s collection now omits many standard titles — like some Woody Allen movies. A quick check reveals “Bananas,” “Mighty Aphrodite,” “Everyone Says I Love You,” “Deconstructing Harry,” “Sweet and Lowdown,” “Everything You Wanted to Know About Sex *But Were Afraid to Ask” and “September” — all unavailable. Via streaming, it’s really slim Woody-pickings: Just “Manhattan” and “Play It Again Sam.” A Netflix spokeswoman emailed me that it doesn’t publicize numbers for its library. She did not respond to the question of why some DVDs previously available on Netflix are now MIA.\u003c/p>\n\u003cp>I encountered a problem stemming from this trend recently, when I needed to get hold of “Sweet Sweetback’s Baadasssss Song,” the seminal black independent film by Melvin Van Peebles, for a piece I’m writing. I had rented it through Netflix in the past, but it’s currently unavailable. I couldn’t find it for rent on Amazon or iTunes either. I would have run down to my local video store, but I don’t have a local video store. My wife eventually snared a copy at a library in Marin.\u003c/p>\n\u003cp>One moral of that story is the lengths to which I went to avoid having to head over to Le Video to get the film. But there’s another point as well: For those who want to get hold of more obscure titles, subscriptions to multiple services may now be necessary. And a one-stop movie shop like Le Video, long tail intact, may still be relevant.\u003c/p>\n\u003cp>In the meantime, ideas for keeping Le Video afloat are all over its \u003ca href=\"https://www.facebook.com/LeVideoSF\">Facebook page\u003c/a>. Said one customer: “It’s crazy, but someone find a way to contact Tarantino. He’s a well known lover of the SF movie scene and has a special place in his heart for video stores for true film fanatics like himself.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/03/20140314dtcrmag.mp3\u003c/p>\n\u003cp>About 10 years ago, when trumpeter \u003ca href=\"http://www.ambroseakinmusire.com/\" target=\"_blank\">Ambrose Akinmusire\u003c/a> was getting ready to start the Thelonious Monk Institute’s prestigious master’s program, I tried to set up an interview with him to talk about some Bay Area gigs he had coming up. He politely declined, saying he felt that his music hadn’t developed enough to talk about yet.\u003c/p>\n\u003cp>Now based in Los Angeles, he’s taken much the same approach to his recording career. Rather than jumping into the studio to get his name out there, he has bided his time, waiting until he had something to say.\u003c/p>\n\u003cp>With his 2011 debut for \u003ca href=\"http://www.bluenote.com/\" target=\"_blank\">Blue Note\u003c/a>, “When The Heart Emerges Glistening,” he delivered a poised program of original material, music that bristled with commitment, intelligence and simmering emotion.\u003c/p>\n\u003cp>His enthralling new album, “the imagined savior is far easier to paint,” comes freighted with an even more evocative title, and represents a leap in creative ambition. The album features settings for string quartet, probing character studies inspired by stories of his own invention and art songs, like “Our Basement” by folk/jazz vocalist Becca Stevens, who sings on the album’s only track not written by Akinmusire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The trumpeter often composes by writing a title first. Sometimes it’s a name that he supplies with a backstory, and other times it’s a poetic phrase. While he designs his music for his working quintet, Akinmusire isn’t interested in supplying the band with catchy themes or showcases for virtuosic soloing. He wants to paint pictures and tell stories, like on the surprisingly calm “Ceaseless Inexhaustible Child” featuring the craggy soul of Canadian singer/songwriter Cold Speck.\u003c/p>\n\u003cp>Akinmusire’s trumpet, warm, pliant and deeply burnished, is an expressive match for any of the vocalists. On “The Beauty of Dissolving Portraits,” featuring the OSSO String Quartet and 19-year-old Berkeley flautist Elena Pinderhughes, the pastel wash coheres rather than breaks apart.\u003c/p>\n\u003cp>In many ways, he’s a proud product of the Bay Area scene. He started immersing himself in jazz through a program at Oakland’s Alice Arts Center run by saxophonist Jessica Jones, another noted Berkeley High alum. Trumpeter Khalil Shaheed provided more information and playing opportunities at the Oaktown Jazz Workshop, and bandleaders Howard Wiley and Marcus Shelby started hiring the teenage trumpeter for gigs.\u003c/p>\n\u003cp>A full scholarship to the Manhattan School of Music put Akinmusire in the thick of the New York scene, where he thrived. After four years, another scholarship brought him back to the West Coast, where he earned a master’s at the Thelonious Monk Institute’s elite program run by trumpeter Terence Blanchard at the University of Southern California.\u003c/p>\n\u003cp>What’s most impressive about Akinmusire is that he’s dedicated to a band sound that flows from the musicians who surround him. On “the imagined savior” he is joined by pianist Sam Harris, bassist Harish Raghavan, tenor saxophonist Walter Smith III and drummer Justin Brown, a tremendously resourceful drummer who’s also a Berkeley High grad.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For jazz fans who often despair about the music’s miniscule market share, the search is always on for a figure who will lead jazz back to the center of American culture. Though he’s sometimes been cast in the role, Akinmusire isn’t letting anyone paint him into a corner. “the imagined savior” is nothing like one might expect from jazz’s hottest young trumpeter, which is to say it’s a true reflection of Akinmusire’s expansive creative vision.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>About 10 years ago, when trumpeter \u003ca href=\"http://www.ambroseakinmusire.com/\" target=\"_blank\">Ambrose Akinmusire\u003c/a> was getting ready to start the Thelonious Monk Institute’s prestigious master’s program, I tried to set up an interview with him to talk about some Bay Area gigs he had coming up. He politely declined, saying he felt that his music hadn’t developed enough to talk about yet.\u003c/p>\n\u003cp>Now based in Los Angeles, he’s taken much the same approach to his recording career. Rather than jumping into the studio to get his name out there, he has bided his time, waiting until he had something to say.\u003c/p>\n\u003cp>With his 2011 debut for \u003ca href=\"http://www.bluenote.com/\" target=\"_blank\">Blue Note\u003c/a>, “When The Heart Emerges Glistening,” he delivered a poised program of original material, music that bristled with commitment, intelligence and simmering emotion.\u003c/p>\n\u003cp>His enthralling new album, “the imagined savior is far easier to paint,” comes freighted with an even more evocative title, and represents a leap in creative ambition. The album features settings for string quartet, probing character studies inspired by stories of his own invention and art songs, like “Our Basement” by folk/jazz vocalist Becca Stevens, who sings on the album’s only track not written by Akinmusire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The trumpeter often composes by writing a title first. Sometimes it’s a name that he supplies with a backstory, and other times it’s a poetic phrase. While he designs his music for his working quintet, Akinmusire isn’t interested in supplying the band with catchy themes or showcases for virtuosic soloing. He wants to paint pictures and tell stories, like on the surprisingly calm “Ceaseless Inexhaustible Child” featuring the craggy soul of Canadian singer/songwriter Cold Speck.\u003c/p>\n\u003cp>Akinmusire’s trumpet, warm, pliant and deeply burnished, is an expressive match for any of the vocalists. On “The Beauty of Dissolving Portraits,” featuring the OSSO String Quartet and 19-year-old Berkeley flautist Elena Pinderhughes, the pastel wash coheres rather than breaks apart.\u003c/p>\n\u003cp>In many ways, he’s a proud product of the Bay Area scene. He started immersing himself in jazz through a program at Oakland’s Alice Arts Center run by saxophonist Jessica Jones, another noted Berkeley High alum. Trumpeter Khalil Shaheed provided more information and playing opportunities at the Oaktown Jazz Workshop, and bandleaders Howard Wiley and Marcus Shelby started hiring the teenage trumpeter for gigs.\u003c/p>\n\u003cp>A full scholarship to the Manhattan School of Music put Akinmusire in the thick of the New York scene, where he thrived. After four years, another scholarship brought him back to the West Coast, where he earned a master’s at the Thelonious Monk Institute’s elite program run by trumpeter Terence Blanchard at the University of Southern California.\u003c/p>\n\u003cp>What’s most impressive about Akinmusire is that he’s dedicated to a band sound that flows from the musicians who surround him. On “the imagined savior” he is joined by pianist Sam Harris, bassist Harish Raghavan, tenor saxophonist Walter Smith III and drummer Justin Brown, a tremendously resourceful drummer who’s also a Berkeley High grad.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For jazz fans who often despair about the music’s miniscule market share, the search is always on for a figure who will lead jazz back to the center of American culture. Though he’s sometimes been cast in the role, Akinmusire isn’t letting anyone paint him into a corner. “the imagined savior” is nothing like one might expect from jazz’s hottest young trumpeter, which is to say it’s a true reflection of Akinmusire’s expansive creative vision.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/03/20140307etcrmag.mp3\u003c/p>\n\u003cp>The sport of bocce ball is played all over the world. In Northern California, it has traditionally been an Italian game, but as the community of Italian immigrants continues to shrink, one San Mateo social club is struggling to keep the tradition alive.\u003c/p>\n\u003cp>On Wednesday nights it’s league play at the \u003ca href=\"http://www.peninsulasocialclub.org/index.php#\" target=\"_blank\">Peninsula Italian American Social Club\u003c/a>. Two dozen people fill the echo-prone hall that houses the club’s two bocce courts. One wall is painted to look like the view from a Tuscan veranda -- with stone archways and rolling hills. The other is covered with team photos dating back to the ‘70s when the bocce league first got started.\u003c/p>\n\u003cp>Tonight, Nerina DiBella’s team is winning. She stands at one end of a court made of sand and crushed oyster shells that’s a little shorter than a bowling lane. “Come on, Bruno! Come on, come on!” she shouts, bracing as her teammate takes a shot. It’s green team versus red team, and DiBella is watching Bruno try to roll his green balls closer to the pallino -- the little white ball that’s their target. “It’s a good one,” she says. “He’s going to make it. Done!”\u003c/p>\n\u003cp>Teams play year-round at the club. These aren’t pros. In fact, most of the players are in their 70s, and they don’t play for big prizes. They play for fun -- mostly. “Sometimes you play for a dollar here and you’d think their life was riding on it,” says Joseph Lencioni, aka Joe, the resident jokester. “They get down on their knees and they’re checking it and they’re like, ‘Don’t touch it’ and oh boy!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mario Conti runs the league. “Just because you’re Italian doesn’t make you a good bocce player, let me tell you,” he says, “It’s like any other game – either you have it or you don’t.” Being Italian does help get you into this social club. When it was started in the ‘30s it was called the \u003ca href=\"http://www.peninsulasocialclub.org/index.php/component/content/article?id=2\" target=\"_blank\">New Deal Italian American Federation\u003c/a>. At first they held meetings in members’ basements. Now it’s mostly a place where people socialize at dinners and cultural events.\u003c/p>\n\u003cp>Mario and his wife, Nella, were born in Italy and grew up in the Bay Area. Nella Conti remembers the South San Francisco of her childhood as a tight-knit Italian community. The city was completely Italian, she says, “It was like being in Italy almost. It was great.” Mario Conti remembers it the same way. “You go to the bank, everyone spoke Italian,” he says. “Just like now you walk downtown South San Francisco, everyone speaks Spanish.”\u003c/p>\n\u003cp>The Contis say the social club keeps them tied to their roots, to their families and to their dwindling Italian American community here.\u003c/p>\n\u003cp>For Alberto Biancalana, who’s originally from Lucca, Italy, this club is one of the best in the Bay Area. He points out that the club has more than 800 members, and it’s just one of many in the area. But they’re all in trouble if young people don’t show interest. “If the young people don’t come in, we are an endangered species,” he says. “If the young people don’t carry on with the tradition, what are you gonna do? Everything’s gonna end, see.”\u003c/p>\n\u003cp>In fact, on this night, there were no young players in sight, but Biancalana is hopeful that it will change. “I bet you my son would like to play if he ever felt like coming here to try,” he says. “Because that’s what it takes -- it takes a little bit to try and then you get hooked.”\u003c/p>\n\u003cp>Nerina DiBella watches as her teammate is inches from hitting the pallino.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We got 2 points now!” she says. “This is it -- it’s game! We won both games. We did it, Bruno!”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sport of bocce ball is played all over the world. In Northern California, it has traditionally been an Italian game, but as the community of Italian immigrants continues to shrink, one San Mateo social club is struggling to keep the tradition alive.\u003c/p>\n\u003cp>On Wednesday nights it’s league play at the \u003ca href=\"http://www.peninsulasocialclub.org/index.php#\" target=\"_blank\">Peninsula Italian American Social Club\u003c/a>. Two dozen people fill the echo-prone hall that houses the club’s two bocce courts. One wall is painted to look like the view from a Tuscan veranda -- with stone archways and rolling hills. The other is covered with team photos dating back to the ‘70s when the bocce league first got started.\u003c/p>\n\u003cp>Tonight, Nerina DiBella’s team is winning. She stands at one end of a court made of sand and crushed oyster shells that’s a little shorter than a bowling lane. “Come on, Bruno! Come on, come on!” she shouts, bracing as her teammate takes a shot. It’s green team versus red team, and DiBella is watching Bruno try to roll his green balls closer to the pallino -- the little white ball that’s their target. “It’s a good one,” she says. “He’s going to make it. Done!”\u003c/p>\n\u003cp>Teams play year-round at the club. These aren’t pros. In fact, most of the players are in their 70s, and they don’t play for big prizes. They play for fun -- mostly. “Sometimes you play for a dollar here and you’d think their life was riding on it,” says Joseph Lencioni, aka Joe, the resident jokester. “They get down on their knees and they’re checking it and they’re like, ‘Don’t touch it’ and oh boy!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mario Conti runs the league. “Just because you’re Italian doesn’t make you a good bocce player, let me tell you,” he says, “It’s like any other game – either you have it or you don’t.” Being Italian does help get you into this social club. When it was started in the ‘30s it was called the \u003ca href=\"http://www.peninsulasocialclub.org/index.php/component/content/article?id=2\" target=\"_blank\">New Deal Italian American Federation\u003c/a>. At first they held meetings in members’ basements. Now it’s mostly a place where people socialize at dinners and cultural events.\u003c/p>\n\u003cp>Mario and his wife, Nella, were born in Italy and grew up in the Bay Area. Nella Conti remembers the South San Francisco of her childhood as a tight-knit Italian community. The city was completely Italian, she says, “It was like being in Italy almost. It was great.” Mario Conti remembers it the same way. “You go to the bank, everyone spoke Italian,” he says. “Just like now you walk downtown South San Francisco, everyone speaks Spanish.”\u003c/p>\n\u003cp>The Contis say the social club keeps them tied to their roots, to their families and to their dwindling Italian American community here.\u003c/p>\n\u003cp>For Alberto Biancalana, who’s originally from Lucca, Italy, this club is one of the best in the Bay Area. He points out that the club has more than 800 members, and it’s just one of many in the area. But they’re all in trouble if young people don’t show interest. “If the young people don’t come in, we are an endangered species,” he says. “If the young people don’t carry on with the tradition, what are you gonna do? Everything’s gonna end, see.”\u003c/p>\n\u003cp>In fact, on this night, there were no young players in sight, but Biancalana is hopeful that it will change. “I bet you my son would like to play if he ever felt like coming here to try,” he says. “Because that’s what it takes -- it takes a little bit to try and then you get hooked.”\u003c/p>\n\u003cp>Nerina DiBella watches as her teammate is inches from hitting the pallino.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We got 2 points now!” she says. “This is it -- it’s game! We won both games. We did it, Bruno!”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco Artists Struggle to Stay in City as Housing Costs Skyrocket",
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"content": "\u003cfigure id=\"attachment_128394\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/03/RS9092_2014-01-17-07.45.23-lpr.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-128394\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/03/RS9092_2014-01-17-07.45.23-lpr-640x480.jpg\" alt='A man toasts marshmallows for the crowd gathered to hear \"Eviction Ghost Stories and Other Housing Horrors.\" (Stephanie Martin/KQED)' width=\"640\" height=\"480\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A man toasts marshmallows for the crowd gathered to hear “Eviction Ghost Stories and Other Housing Horrors.” (Stephanie Martin/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>For almost two decades, LisaRuth Elliott has lived a colorful, bohemian life in San Francisco — painting murals, making collages and working as a community historian.\u003c/p>\n\u003cp>She also lived in Seattle, Southern California and Europe, but she says it was San Francisco’s vibrant cultural scene that energized her life and her work.\u003c/p>\n\u003cp>Not now, though.\u003c/p>\n\u003cp>“There was a time when artists would get together and say, ‘Hey, what are you working on?’ ‘Well, I’m really inspired by Pluto!’ or, ‘I’m really inspired by this technological creation!’ Whatever that topic might be,” Elliott says. “Now, it’s, ‘Ugh, how long am I going to be able to stay in the city?’ ”\u003c/p>\n\u003cp>Housing is a major issue for artists in San Francisco. The city does well compared with others around the nation when it comes to \u003ca href=\"http://www.americansforthearts.org/\">funding artists’ work\u003c/a>. But the city’s efforts to create affordable live/work spaces for artists haven’t panned out. Many local artists are now worrying the high cost of housing will force them to leave the city and abandon their creative community.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elliott is one of dozens of artists and community activists who cram into a small courtyard behind a coffee house in San Francisco’s Mission District. A campfire burns before a makeshift stage.\u003c/p>\n\u003cp>She steps up to the microphone.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>Floating, drifting — I have been living as a sort of ghost for the last five months,” she says. The event is called \u003ca href=\"https://www.facebook.com/events/730582570300323/?ref=22\"> “Eviction Ghost Stories and Other Housing Horrors”.\u003c/a>\u003c/p>\n\u003cp>As Elliott talks about her eviction from her home in the Haight, a man sitting next to the fire toasts marshmallows and passes out s’mores to the crowd. The event is supposed to be campy, but the storytellers strain to contain their emotions.\u003c/p>\n\u003cp>If there’s anyone who wants to prevent artists from leaving, it’s Tom DeCaigny, cultural affairs director for the \u003ca href=\"http://www.sfartscommission.org/\">San Francisco Arts Commission\u003c/a>.\u003c/p>\n\u003cp>“I’ve had a couple of artists who are personal friends in the city who have faced eviction and a couple of them have had to leave the city. And on a personal level that’s hard,” DeCaigny says.\u003c/p>\n\u003cp>It’s DeCaigny’s job to promote and preserve the city’s arts and culture industry, which pumps roughly $1.4 billion a year into the local economy. He remembers the last artist exodus, spurred by the dot-com boom of the late 1990s. He’s asking city leaders to study that era to see what worked and what went wrong.\u003c/p>\n\u003cp>“Looking back at ’99 and 2000, the city did make some financial contributions to specific shared-space initiatives,” he says.\u003c/p>\n\u003cp>Those investments gave San Francisco dancers a \u003ca href=\"http://www.odcdance.org/\">state-of-the-art performance and training complex\u003c/a> in the Mission. Independent filmmakers got a new place to screen their work at a new \u003ca href=\"http://www.ninthstreet.org/building\">facility in the mid-Market area\u003c/a>.\u003c/p>\n\u003cp>“So, we know there are solutions by which the city can make investments, and private philanthropy and the nonprofit sector, to foster new innovations in both shared nonprofit space but also developments around artists’ housing,” DeCaigny says.\u003c/p>\n\u003cfigure id=\"attachment_128400\" class=\"wp-caption alignleft\" style=\"max-width: 288px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/03/RS9090_2014-01-17-08.10.31-lpr1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128400 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/03/RS9090_2014-01-17-08.10.31-lpr1-480x640.jpg\" alt=\"San Francisco artist and activist LisaRuth Elliott tells her eviction horror story at an event in the Mission. (Stepha\" width=\"288\" height=\"384\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco artist and activist LisaRuth Elliott tells her eviction horror story at an event in the Mission. (Stephanie Martin/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>But the last dot-com boom also hurt rezoning efforts designed to create affordable housing for artists. The new live-work spaces attracted an affluent crowd, and artists were priced out.\u003c/p>\n\u003cp>“Art is part of the brand for San Francisco,” says Randy Cohen, who researches and promotes sustainable arts policies at \u003ca href=\"http://www.americansforthearts.org/\">Americans for the Arts\u003c/a>, a nonprofit based in Washington, D.C.\u003c/p>\n\u003cp>“You know San Francisco has many positive attributes, but, globally, it’s thought of as a great cultural city,” he says. “If your artists are leaving town, you’re putting a key component of your brand at risk.”\u003c/p>\n\u003cp>Cohen says that while San Francisco searches for solutions to its housing crunch, less expensive cities like Seattle, Baltimore and Detroit are jumping on the opportunity to cultivate their own cultural brand, and they’re offering artists some enticing housing incentives. In Detroit, for example, homesteading is all the rage, says Cohen.\u003c/p>\n\u003cp>“You know: Live here, move here, work here for five years, and you get the deed,” he adds.\u003c/p>\n\u003cp>Of course, economic factors have long dictated where artists live and work: Artists priced out of Manhattan have moved to Brooklyn. Boston artists have moved to Rhode Island.\u003c/p>\n\u003cp>Right now, Oakland is luring artists from San Francisco and beyond, says Kelley Kahn, Oakland’s economic development director.\u003c/p>\n\u003cp>“I think there’s a sense here that you can come here and actually have a really high quality of life and, at the same time, be able to make a living in fine arts or the industrial art,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, some artists hope Oakland won’t get too popular. Housing costs here are also on the rise.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_128394\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/03/RS9092_2014-01-17-07.45.23-lpr.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-128394\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/03/RS9092_2014-01-17-07.45.23-lpr-640x480.jpg\" alt='A man toasts marshmallows for the crowd gathered to hear \"Eviction Ghost Stories and Other Housing Horrors.\" (Stephanie Martin/KQED)' width=\"640\" height=\"480\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A man toasts marshmallows for the crowd gathered to hear “Eviction Ghost Stories and Other Housing Horrors.” (Stephanie Martin/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>For almost two decades, LisaRuth Elliott has lived a colorful, bohemian life in San Francisco — painting murals, making collages and working as a community historian.\u003c/p>\n\u003cp>She also lived in Seattle, Southern California and Europe, but she says it was San Francisco’s vibrant cultural scene that energized her life and her work.\u003c/p>\n\u003cp>Not now, though.\u003c/p>\n\u003cp>“There was a time when artists would get together and say, ‘Hey, what are you working on?’ ‘Well, I’m really inspired by Pluto!’ or, ‘I’m really inspired by this technological creation!’ Whatever that topic might be,” Elliott says. “Now, it’s, ‘Ugh, how long am I going to be able to stay in the city?’ ”\u003c/p>\n\u003cp>Housing is a major issue for artists in San Francisco. The city does well compared with others around the nation when it comes to \u003ca href=\"http://www.americansforthearts.org/\">funding artists’ work\u003c/a>. But the city’s efforts to create affordable live/work spaces for artists haven’t panned out. Many local artists are now worrying the high cost of housing will force them to leave the city and abandon their creative community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elliott is one of dozens of artists and community activists who cram into a small courtyard behind a coffee house in San Francisco’s Mission District. A campfire burns before a makeshift stage.\u003c/p>\n\u003cp>She steps up to the microphone.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>Floating, drifting — I have been living as a sort of ghost for the last five months,” she says. The event is called \u003ca href=\"https://www.facebook.com/events/730582570300323/?ref=22\"> “Eviction Ghost Stories and Other Housing Horrors”.\u003c/a>\u003c/p>\n\u003cp>As Elliott talks about her eviction from her home in the Haight, a man sitting next to the fire toasts marshmallows and passes out s’mores to the crowd. The event is supposed to be campy, but the storytellers strain to contain their emotions.\u003c/p>\n\u003cp>If there’s anyone who wants to prevent artists from leaving, it’s Tom DeCaigny, cultural affairs director for the \u003ca href=\"http://www.sfartscommission.org/\">San Francisco Arts Commission\u003c/a>.\u003c/p>\n\u003cp>“I’ve had a couple of artists who are personal friends in the city who have faced eviction and a couple of them have had to leave the city. And on a personal level that’s hard,” DeCaigny says.\u003c/p>\n\u003cp>It’s DeCaigny’s job to promote and preserve the city’s arts and culture industry, which pumps roughly $1.4 billion a year into the local economy. He remembers the last artist exodus, spurred by the dot-com boom of the late 1990s. He’s asking city leaders to study that era to see what worked and what went wrong.\u003c/p>\n\u003cp>“Looking back at ’99 and 2000, the city did make some financial contributions to specific shared-space initiatives,” he says.\u003c/p>\n\u003cp>Those investments gave San Francisco dancers a \u003ca href=\"http://www.odcdance.org/\">state-of-the-art performance and training complex\u003c/a> in the Mission. Independent filmmakers got a new place to screen their work at a new \u003ca href=\"http://www.ninthstreet.org/building\">facility in the mid-Market area\u003c/a>.\u003c/p>\n\u003cp>“So, we know there are solutions by which the city can make investments, and private philanthropy and the nonprofit sector, to foster new innovations in both shared nonprofit space but also developments around artists’ housing,” DeCaigny says.\u003c/p>\n\u003cfigure id=\"attachment_128400\" class=\"wp-caption alignleft\" style=\"max-width: 288px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/03/RS9090_2014-01-17-08.10.31-lpr1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128400 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/03/RS9090_2014-01-17-08.10.31-lpr1-480x640.jpg\" alt=\"San Francisco artist and activist LisaRuth Elliott tells her eviction horror story at an event in the Mission. (Stepha\" width=\"288\" height=\"384\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco artist and activist LisaRuth Elliott tells her eviction horror story at an event in the Mission. (Stephanie Martin/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>But the last dot-com boom also hurt rezoning efforts designed to create affordable housing for artists. The new live-work spaces attracted an affluent crowd, and artists were priced out.\u003c/p>\n\u003cp>“Art is part of the brand for San Francisco,” says Randy Cohen, who researches and promotes sustainable arts policies at \u003ca href=\"http://www.americansforthearts.org/\">Americans for the Arts\u003c/a>, a nonprofit based in Washington, D.C.\u003c/p>\n\u003cp>“You know San Francisco has many positive attributes, but, globally, it’s thought of as a great cultural city,” he says. “If your artists are leaving town, you’re putting a key component of your brand at risk.”\u003c/p>\n\u003cp>Cohen says that while San Francisco searches for solutions to its housing crunch, less expensive cities like Seattle, Baltimore and Detroit are jumping on the opportunity to cultivate their own cultural brand, and they’re offering artists some enticing housing incentives. In Detroit, for example, homesteading is all the rage, says Cohen.\u003c/p>\n\u003cp>“You know: Live here, move here, work here for five years, and you get the deed,” he adds.\u003c/p>\n\u003cp>Of course, economic factors have long dictated where artists live and work: Artists priced out of Manhattan have moved to Brooklyn. Boston artists have moved to Rhode Island.\u003c/p>\n\u003cp>Right now, Oakland is luring artists from San Francisco and beyond, says Kelley Kahn, Oakland’s economic development director.\u003c/p>\n\u003cp>“I think there’s a sense here that you can come here and actually have a really high quality of life and, at the same time, be able to make a living in fine arts or the industrial art,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, some artists hope Oakland won’t get too popular. Housing costs here are also on the rise.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'Yosemite HD II': An Awe-Inspiring Time-Lapse Video",
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"content": "\u003cdiv class=\"single-video\">\u003ciframe src=\"//player.vimeo.com/video/87701971\" frameborder=\"0\" width=\"600\" height=\"337\">\u003c/iframe>\u003c/div>\n\u003cp>Since the video embedded above is going to be dropped multiple times into your Facebook feed any minute now, let's just get it over with and have you take a look-see.\u003c/p>\n\u003cp>Because while gorgeous time-lapse videos overlaid with musical arrangements meant to evoke awe and wonder at the profundity of existence have become something of a web cliche, \u003cem>this\u003c/em> time-lapse video overlaid with a musical arrangement meant to evoke awe and wonder at the profundity of existence is a \u003cem>really good \u003c/em>one.\u003c/p>\n\u003cp>Posted last Thursday, the \u003ca href=\"http://vimeo.com/87701971\" target=\"_blank\">video\u003c/a> of Yosemite National Park was created by Colin Delehanty and Sheldon Neill as part of what they call \"\u003ca href=\"http://www.projectyose.com/\" target=\"_blank\">Project Yosemite\u003c/a>,\" in which they hiked more than 200 miles in the process of capturing the images. Here is a \u003ca href=\"http://www.projectyose.com/list\" target=\"_blank\">list of the 24 locations in the film\u003c/a>, as well as the camera equipment and outdoor gear they used.\u003c/p>\n\u003cp>Delehanty, 27, who lives in Burlingame, says he and Neill captured the images over nine separate trips and 45 days. They decided to embark on the project after an earlier less ambitious video received positive feedback online.\u003c/p>\n\u003cp>\"After we made the first video, we got a lot of recommendations,\" he says. \"I also did a lot of research online, or would read about a trail. Over time I X’ed out all these places on the map.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Post-production took hundreds of hours over three months. Delahanty and Neill licensed the music after Delahanty heard it as part of M83's soundtrack for the film \"Winter's Tale.\" The song is called \"Lower Your Eyelids to Die with the Sun,\" but try to ignore that while you're watching the video.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And speaking of Yosemite videos, check out our report from last week on the \u003ca href=\"http://ww2.kqed.org/news/2014/02/26/first-ever-yosemite-film-festival-kicks-off/\" target=\"_blank\">first-ever Yosemite film festival\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv class=\"single-video\">\u003ciframe src=\"//player.vimeo.com/video/87701971\" frameborder=\"0\" width=\"600\" height=\"337\">\u003c/iframe>\u003c/div>\n\u003cp>Since the video embedded above is going to be dropped multiple times into your Facebook feed any minute now, let's just get it over with and have you take a look-see.\u003c/p>\n\u003cp>Because while gorgeous time-lapse videos overlaid with musical arrangements meant to evoke awe and wonder at the profundity of existence have become something of a web cliche, \u003cem>this\u003c/em> time-lapse video overlaid with a musical arrangement meant to evoke awe and wonder at the profundity of existence is a \u003cem>really good \u003c/em>one.\u003c/p>\n\u003cp>Posted last Thursday, the \u003ca href=\"http://vimeo.com/87701971\" target=\"_blank\">video\u003c/a> of Yosemite National Park was created by Colin Delehanty and Sheldon Neill as part of what they call \"\u003ca href=\"http://www.projectyose.com/\" target=\"_blank\">Project Yosemite\u003c/a>,\" in which they hiked more than 200 miles in the process of capturing the images. Here is a \u003ca href=\"http://www.projectyose.com/list\" target=\"_blank\">list of the 24 locations in the film\u003c/a>, as well as the camera equipment and outdoor gear they used.\u003c/p>\n\u003cp>Delehanty, 27, who lives in Burlingame, says he and Neill captured the images over nine separate trips and 45 days. They decided to embark on the project after an earlier less ambitious video received positive feedback online.\u003c/p>\n\u003cp>\"After we made the first video, we got a lot of recommendations,\" he says. \"I also did a lot of research online, or would read about a trail. Over time I X’ed out all these places on the map.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Dolby Labs Serves Up a Video Appetizer for Oscars",
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"content": "\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/KA6azZALMiE\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>San Francisco's \u003ca href=\"http://www.dolby.com/us/en/index.html\" target=\"_blank\">Dolby Laboratories\u003c/a>, known worldwide for pushing the envelope of entertainment sound, has released a fine little animated short to: a) promote its role in films up for Academy Awards this year (including Best Picture nominee \"\u003ca href=\"http://www.imdb.com/title/tt1454468/\" target=\"_blank\">Gravity\u003c/a>\"), and b) highlight the role of sound in creating memorable movie experiences (we all have our own personal cinema-sound moment; for me, it's virtually all of Stanley Kubrick's \"\u003ca href=\"http://www.artofthetitle.com/title/the-shining/\" target=\"_blank\">The Shining\u003c/a>,\" and especially \u003ca href=\"http://www.youtube.com/watch?v=TgCejsyS0t8\" target=\"_blank\">the title sequence\u003c/a>).\u003c/p>\n\u003cp>Dolby's short — embedded above — is called \"Silent.\" The plot line — well, watch it for yourself. On one level it's a happy fantasy, on another it's a whirlwind tour through more than a century of cinema audio technology and effects. In an accompanying \u003ca href=\"http://www.youtube.com/watch?v=f_EgPZESA5M\" target=\"_blank\">\"making of\" video\u003c/a>, the short's producers also take time out to praise Dolby's technology and show that they used the company's current cutting-edge movie sound system, Dolby Atmos, in making the short.\u003c/p>\n\u003cp>\"Silent\" was produced by Moonbot Studios, the Shreveport, La.-based outfit that created \"\u003ca href=\"http://morrislessmore.com/\" target=\"_blank\">The Fantastic Flying Books of Mr. Morris Lessmore\u003c/a>,\" which won the Oscar for best animated short last year. Like \"Silent,\" that short pays tribute to classic cinema. But it's much more, too: a moving celebration of storytelling, literature and the life of the printed word. To steal \u003ca href=\"http://www.joebobbriggs.com/\" target=\"_blank\">another guy's\u003c/a> tag line: I say check it out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/KA6azZALMiE\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>San Francisco's \u003ca href=\"http://www.dolby.com/us/en/index.html\" target=\"_blank\">Dolby Laboratories\u003c/a>, known worldwide for pushing the envelope of entertainment sound, has released a fine little animated short to: a) promote its role in films up for Academy Awards this year (including Best Picture nominee \"\u003ca href=\"http://www.imdb.com/title/tt1454468/\" target=\"_blank\">Gravity\u003c/a>\"), and b) highlight the role of sound in creating memorable movie experiences (we all have our own personal cinema-sound moment; for me, it's virtually all of Stanley Kubrick's \"\u003ca href=\"http://www.artofthetitle.com/title/the-shining/\" target=\"_blank\">The Shining\u003c/a>,\" and especially \u003ca href=\"http://www.youtube.com/watch?v=TgCejsyS0t8\" target=\"_blank\">the title sequence\u003c/a>).\u003c/p>\n\u003cp>Dolby's short — embedded above — is called \"Silent.\" The plot line — well, watch it for yourself. On one level it's a happy fantasy, on another it's a whirlwind tour through more than a century of cinema audio technology and effects. In an accompanying \u003ca href=\"http://www.youtube.com/watch?v=f_EgPZESA5M\" target=\"_blank\">\"making of\" video\u003c/a>, the short's producers also take time out to praise Dolby's technology and show that they used the company's current cutting-edge movie sound system, Dolby Atmos, in making the short.\u003c/p>\n\u003cp>\"Silent\" was produced by Moonbot Studios, the Shreveport, La.-based outfit that created \"\u003ca href=\"http://morrislessmore.com/\" target=\"_blank\">The Fantastic Flying Books of Mr. Morris Lessmore\u003c/a>,\" which won the Oscar for best animated short last year. Like \"Silent,\" that short pays tribute to classic cinema. But it's much more, too: a moving celebration of storytelling, literature and the life of the printed word. To steal \u003ca href=\"http://www.joebobbriggs.com/\" target=\"_blank\">another guy's\u003c/a> tag line: I say check it out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Using Art to Reinforce Identity and Ties to the Philippines",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/03/20140228dtcrmag.mp3\u003c/p>\n\u003cp>A projector casts four images on a wall. It makes a clicking sound, and then the images spin, as if they were reels on a slot machine. The piece, by artist Mark Salvatus, shows the gritty streets and graffiti of Manila.\u003c/p>\n\u003cp>In one of the first museum exhibits of its kind, a broad swath of Filipino art has been assembled into a traveling exhibition, currently on view at the \u003ca href=\"http://fisher.usc.edu/\" target=\"_blank\">USC Fisher Museum of Art in Los Angeles\u003c/a>. Speaking of the projected photo piece, the exhibit's curator, Maria Teresa Lapid Rodriguez, called it \"a confessional of the masses,\" showing, as it does, many of the words scribbled on the urban landscape.\u003c/p>\n\u003cp>\"The artist, Mark Salvatus, was so fascinated to go to the city. He grew up in the countryside and when he saw the city, he just started photographing it.\"\u003c/p>\n\u003cfigure id=\"attachment_10141503\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/philart1.jpg\">\u003cimg class=\"wp-image-10141503 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/philart1-400x225.jpg\" alt=\"Opening night at "The Triumph of Philippine Art," a traveling exhibit currently on view at USC's Fisher Art Museum in Los Angeles. (Courtesy of Pilar Brooks)\" width=\"400\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Opening night at \"The Triumph of Philippine Art,\" a traveling exhibit currently on view at USC's Fisher Art Museum in Los Angeles. (Courtesy of Pilar Brooks)\u003c/figcaption>\u003c/figure>\n\u003cp>The show covers the period of martial law implemented under \u003ca href=\"http://en.wikipedia.org/wiki/Ferdinand_Marcos\" target=\"_blank\">Ferdinand Marcos\u003c/a> in 1972, through the People Power movement that removed him and restored democracy in the '80s, to the present day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"The Philippines has been struggling for a long time, and they're coming out now,\" Rodriguez said. \"The sense of freedom, nationalism, it's all in this show.\"\u003c/p>\n\u003cp>Other pieces in the exhibition include a long pencil sketch of a grand Philippines estate drawn on a roll of toilet paper, and a video of a performance piece with the artist hacking at white laundry, as blood spurts out and reddens the pile.\u003c/p>\n\u003cp>It took Rodriguez 20 years to generate the interest and funds for an exhibition like this. She took it as a challenge -- and an indication that there was no consciousness of contemporary Filipino art -- and stuck with the idea.\u003c/p>\n\u003cp>Los Angeles is a case in point. The city is home to more than 600,000 Filipino-Americans, but this show is the first time some of them have seen art from the Philippines. Ivan Blanco, a fine arts student at USC, wandered into the museum.\u003c/p>\n\u003cp>\"Well, I'm Filipino, so I figured I'd check out some art made by Filipino artists,\" Blanco remarked. \"I don't really know that much about my culture as I thought I did, but seeing art made by other Filipinos is cool and it's making me more interested in uncovering my culture.\"\u003c/p>\n\u003cfigure id=\"attachment_10141507\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/philart2.jpg\">\u003cimg class=\"size-thumbnail wp-image-10141507\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/philart2-400x299.jpg\" alt=\"Art from the opening night at "The Triumph of Philippine Art," a traveling exhibit currently on view at USC's Fisher Art Museum in Los Angeles. (Courtesy of Pilar Brooks)\" width=\"400\" height=\"299\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Art from the opening night at \"The Triumph of Philippine Art,\" a traveling exhibit currently on view at USC's Fisher Art Museum in Los Angeles. (Courtesy of Pilar Brooks)\u003c/figcaption>\u003c/figure>\n\u003cp>A divide with the home country is common in the Filipino-American community. Geography is one barrier. But according to Evelyn Rodriguez, a professor of sociology at the University of San Francisco, there’s also the issue of fading into the woodwork as a distinct ethnic group.\u003c/p>\n\u003cp>\"Filipinos are part of this brown population in the States that a lot of people sort of homogenize,\" Rodriguez said. \"So people classify a lot of us with other Asian-American groups or even Latinos. So, it's a community that has been invisible for a long time.\"\u003c/p>\n\u003cp>But in L.A., that community has been creating distinct cultural capital for about two decades. There’s Filipino-American painting, performance art, animation, a yearly cultural festival and a thriving music video scene.\u003c/p>\n\u003cp>At a recent festival devoted exclusively to Filipino and Filipino-American music videos, viewers laughed at inside jokes as they watched Filipino-Americans rap as they drove around the streets of Los Angeles. In other videos, campy game-show hosts introduced singers in Tagalog. The festival was co-sponsored by the organization FilAm ARTS, which connects artists and stages shows and festivals around California.\u003c/p>\n\u003cp>\"Having more of these shows is really important because it solidifies our identity,\" said artist Tala Mateo, who works with FilAm ARTS. Mateo thinks an artistic identity can help the sizable Filipino-American population in Los Angeles be heard. And developing ties with the home country would also give U.S.-based Filipino-American artists an important historical reference point upon which to draw.\u003c/p>\n\u003cp>\"Who we're a part of, who we're attached to, who we're related to. If we get lost in any way, shape or form, at least we can hold onto that and know we come from somewhere,\" she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mateo believes that developing ties and understanding between the U.S. and the Philippines is a matter of survival, on both sides of the ocean. Art can be one way to foster that.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A projector casts four images on a wall. It makes a clicking sound, and then the images spin, as if they were reels on a slot machine. The piece, by artist Mark Salvatus, shows the gritty streets and graffiti of Manila.\u003c/p>\n\u003cp>In one of the first museum exhibits of its kind, a broad swath of Filipino art has been assembled into a traveling exhibition, currently on view at the \u003ca href=\"http://fisher.usc.edu/\" target=\"_blank\">USC Fisher Museum of Art in Los Angeles\u003c/a>. Speaking of the projected photo piece, the exhibit's curator, Maria Teresa Lapid Rodriguez, called it \"a confessional of the masses,\" showing, as it does, many of the words scribbled on the urban landscape.\u003c/p>\n\u003cp>\"The artist, Mark Salvatus, was so fascinated to go to the city. He grew up in the countryside and when he saw the city, he just started photographing it.\"\u003c/p>\n\u003cfigure id=\"attachment_10141503\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/philart1.jpg\">\u003cimg class=\"wp-image-10141503 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/philart1-400x225.jpg\" alt=\"Opening night at "The Triumph of Philippine Art," a traveling exhibit currently on view at USC's Fisher Art Museum in Los Angeles. (Courtesy of Pilar Brooks)\" width=\"400\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Opening night at \"The Triumph of Philippine Art,\" a traveling exhibit currently on view at USC's Fisher Art Museum in Los Angeles. (Courtesy of Pilar Brooks)\u003c/figcaption>\u003c/figure>\n\u003cp>The show covers the period of martial law implemented under \u003ca href=\"http://en.wikipedia.org/wiki/Ferdinand_Marcos\" target=\"_blank\">Ferdinand Marcos\u003c/a> in 1972, through the People Power movement that removed him and restored democracy in the '80s, to the present day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"The Philippines has been struggling for a long time, and they're coming out now,\" Rodriguez said. \"The sense of freedom, nationalism, it's all in this show.\"\u003c/p>\n\u003cp>Other pieces in the exhibition include a long pencil sketch of a grand Philippines estate drawn on a roll of toilet paper, and a video of a performance piece with the artist hacking at white laundry, as blood spurts out and reddens the pile.\u003c/p>\n\u003cp>It took Rodriguez 20 years to generate the interest and funds for an exhibition like this. She took it as a challenge -- and an indication that there was no consciousness of contemporary Filipino art -- and stuck with the idea.\u003c/p>\n\u003cp>Los Angeles is a case in point. The city is home to more than 600,000 Filipino-Americans, but this show is the first time some of them have seen art from the Philippines. Ivan Blanco, a fine arts student at USC, wandered into the museum.\u003c/p>\n\u003cp>\"Well, I'm Filipino, so I figured I'd check out some art made by Filipino artists,\" Blanco remarked. \"I don't really know that much about my culture as I thought I did, but seeing art made by other Filipinos is cool and it's making me more interested in uncovering my culture.\"\u003c/p>\n\u003cfigure id=\"attachment_10141507\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/philart2.jpg\">\u003cimg class=\"size-thumbnail wp-image-10141507\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/philart2-400x299.jpg\" alt=\"Art from the opening night at "The Triumph of Philippine Art," a traveling exhibit currently on view at USC's Fisher Art Museum in Los Angeles. (Courtesy of Pilar Brooks)\" width=\"400\" height=\"299\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Art from the opening night at \"The Triumph of Philippine Art,\" a traveling exhibit currently on view at USC's Fisher Art Museum in Los Angeles. (Courtesy of Pilar Brooks)\u003c/figcaption>\u003c/figure>\n\u003cp>A divide with the home country is common in the Filipino-American community. Geography is one barrier. But according to Evelyn Rodriguez, a professor of sociology at the University of San Francisco, there’s also the issue of fading into the woodwork as a distinct ethnic group.\u003c/p>\n\u003cp>\"Filipinos are part of this brown population in the States that a lot of people sort of homogenize,\" Rodriguez said. \"So people classify a lot of us with other Asian-American groups or even Latinos. So, it's a community that has been invisible for a long time.\"\u003c/p>\n\u003cp>But in L.A., that community has been creating distinct cultural capital for about two decades. There’s Filipino-American painting, performance art, animation, a yearly cultural festival and a thriving music video scene.\u003c/p>\n\u003cp>At a recent festival devoted exclusively to Filipino and Filipino-American music videos, viewers laughed at inside jokes as they watched Filipino-Americans rap as they drove around the streets of Los Angeles. In other videos, campy game-show hosts introduced singers in Tagalog. The festival was co-sponsored by the organization FilAm ARTS, which connects artists and stages shows and festivals around California.\u003c/p>\n\u003cp>\"Having more of these shows is really important because it solidifies our identity,\" said artist Tala Mateo, who works with FilAm ARTS. Mateo thinks an artistic identity can help the sizable Filipino-American population in Los Angeles be heard. And developing ties with the home country would also give U.S.-based Filipino-American artists an important historical reference point upon which to draw.\u003c/p>\n\u003cp>\"Who we're a part of, who we're attached to, who we're related to. If we get lost in any way, shape or form, at least we can hold onto that and know we come from somewhere,\" she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mateo believes that developing ties and understanding between the U.S. and the Philippines is a matter of survival, on both sides of the ocean. Art can be one way to foster that.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Craftsmen Create Fantasy Worlds for Set of Oscars",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/02/20140228ctcrmag.mp3\u003c/p>\n\u003cfigure id=\"attachment_10141487\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/Beth2.jpg\">\u003cimg class=\"wp-image-10141487 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/Beth2-400x225.jpg\" alt=\"Beth Goodnight, owner of Goodnight & Co. (Caitlin Esch/KQED)\" width=\"400\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Beth Goodnight, owner of Goodnight & Co. (Caitlin Esch/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The Academy Awards are all about glitz and glamour, but it takes real people to build all that fantasy. As film and TV productions are \u003ca href=\"http://www.latimes.com/entertainment/envelope/cotown/la-et-ct-fi-film-tax-credits-20140831-story.html#page=1\" target=\"_blank\">lured out of state by tax\u003c/a> and other incentives, awards season is a real boon for the carpenters, welders and sculptors who build the stages and props.\u003c/p>\n\u003cp>At Goodnight & Co., a set-building shop in the San Fernando Valley, sculptor Tim Baker is putting the finishing touches on small replicas of the Oscar statue. They look like they’re made out of ice. They’re actually made out of resin.\u003c/p>\n\u003cp>“It’s nice and clear,” Baker says. “I use a vacuum chamber and suck out all the bubbles.”\u003c/p>\n\u003cp>Baker says he’s been up all night long working on the statues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It takes about three hours for each one, so I have just enough time to get a little nap in and run the next one,” Baker says. “I have a little cot in the back.”\u003c/p>\n\u003cp>Owner Beth Goodnight says her shop builds sets for just about everything: TV shows, commercials, music videos.\u003c/p>\n\u003cp>“The jobs I enjoy the most are always the ones that are the most challenging,” she says. “And one of the more difficult pieces was the 30-foot-wide Lamborghini from the BET awards. We had 10 days to build a 30-foot Lamborghini they could dance on, with a 30-foot windshield and 25-foot suicide doors, and it was fun.”\u003c/p>\n\u003cp>And for the \u003ca href=\"http://www.thewire.com/entertainment/2014/03/2013-oscar-winners-live-blog/358707/\" target=\"_blank\">86th Academy Awards\u003c/a>, Goodnight production designer Sam Rhymes built 1,208 oversized roses made from stiffened and treated polyester fabric.\u003c/p>\n\u003cp>This boost in business is coming at a great time for craftsmen like Rhymes. Production work has steadily been leaving for other states. But AB1839, introduced last week, would offer incentives for big-budget films to move production back to California, and provide more tax breaks to the entertainment industry.\u003c/p>\n\u003cp>“There really has been an exodus of feature film work, large TV shows. There’s been a lot of that going out of state,” Goodnight says. “There are a ton of guys living very this gypsylike existence.”\u003c/p>\n\u003cp>Beth Goodnight says the Oscars and other awards shows make up about a quarter of the year’s business. This season, Goodnight’s mostly freelance workforce swelled from about 25 positions to more than 100.\u003c/p>\n\u003cp>Craftsmen at shops like Goodnight & Co. are executing the artistic vision of Oscar set designer Derek McLane. The theme this year is heroes in cinema.\u003c/p>\n\u003cp>“Designing for the theme of heroes is a tricky theme to actually design for,” McLane says. “Because if you’re too literal about it, I think you end up designing something that looks simply grandiose.”\u003c/p>\n\u003cp>McLane typically designs sets for Broadway, but last year he ventured into live TV. For the 85th Academy Awards, he designed a stunning stage inspired by the musicals of the 1930s and '40s.\u003c/p>\n\u003cp>“Finding ways that evoke that -- that don’t feel pompous -- was the biggest challenge,” he says. “And that, for me, requires trying to come up with something that you don’t quite feel like you’ve seen before.\"\u003c/p>\n\u003cp>While McLane cannot give too much away about what this year’s Oscars stage will look like, he can say it was a challenge. There will be about 10 different looks to the stage, rotated out during commercial breaks.\u003c/p>\n\u003cp>Growing up in Oklahoma, Rhymes says, he dreamed about working on movie sets.\u003c/p>\n\u003cp>“I remember being a kid and watching Disney movies, and I didn’t know the words for it, didn’t know the terminology for it, but seeing these lands that they created. And uh, and just going wow, I wanna do that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rhymes says this Sunday, he’ll be watching the Oscars with all of his friends, feeling a special kind of pride.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It takes about three hours for each one, so I have just enough time to get a little nap in and run the next one,” Baker says. “I have a little cot in the back.”\u003c/p>\n\u003cp>Owner Beth Goodnight says her shop builds sets for just about everything: TV shows, commercials, music videos.\u003c/p>\n\u003cp>“The jobs I enjoy the most are always the ones that are the most challenging,” she says. “And one of the more difficult pieces was the 30-foot-wide Lamborghini from the BET awards. We had 10 days to build a 30-foot Lamborghini they could dance on, with a 30-foot windshield and 25-foot suicide doors, and it was fun.”\u003c/p>\n\u003cp>And for the \u003ca href=\"http://www.thewire.com/entertainment/2014/03/2013-oscar-winners-live-blog/358707/\" target=\"_blank\">86th Academy Awards\u003c/a>, Goodnight production designer Sam Rhymes built 1,208 oversized roses made from stiffened and treated polyester fabric.\u003c/p>\n\u003cp>This boost in business is coming at a great time for craftsmen like Rhymes. Production work has steadily been leaving for other states. But AB1839, introduced last week, would offer incentives for big-budget films to move production back to California, and provide more tax breaks to the entertainment industry.\u003c/p>\n\u003cp>“There really has been an exodus of feature film work, large TV shows. There’s been a lot of that going out of state,” Goodnight says. “There are a ton of guys living very this gypsylike existence.”\u003c/p>\n\u003cp>Beth Goodnight says the Oscars and other awards shows make up about a quarter of the year’s business. This season, Goodnight’s mostly freelance workforce swelled from about 25 positions to more than 100.\u003c/p>\n\u003cp>Craftsmen at shops like Goodnight & Co. are executing the artistic vision of Oscar set designer Derek McLane. The theme this year is heroes in cinema.\u003c/p>\n\u003cp>“Designing for the theme of heroes is a tricky theme to actually design for,” McLane says. “Because if you’re too literal about it, I think you end up designing something that looks simply grandiose.”\u003c/p>\n\u003cp>McLane typically designs sets for Broadway, but last year he ventured into live TV. For the 85th Academy Awards, he designed a stunning stage inspired by the musicals of the 1930s and '40s.\u003c/p>\n\u003cp>“Finding ways that evoke that -- that don’t feel pompous -- was the biggest challenge,” he says. “And that, for me, requires trying to come up with something that you don’t quite feel like you’ve seen before.\"\u003c/p>\n\u003cp>While McLane cannot give too much away about what this year’s Oscars stage will look like, he can say it was a challenge. There will be about 10 different looks to the stage, rotated out during commercial breaks.\u003c/p>\n\u003cp>Growing up in Oklahoma, Rhymes says, he dreamed about working on movie sets.\u003c/p>\n\u003cp>“I remember being a kid and watching Disney movies, and I didn’t know the words for it, didn’t know the terminology for it, but seeing these lands that they created. And uh, and just going wow, I wanna do that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rhymes says this Sunday, he’ll be watching the Oscars with all of his friends, feeling a special kind of pride.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Paul Elias\u003cbr>\nAssociated Press\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_127843\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/152882416.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-127843\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/152882416-640x425.jpg\" alt=\"Filipino Muslims in September 2012, part of worldwide protest against an anti-Muslim film produced in the United States. (Noel Celis/AFP-Getty Images)\" width=\"640\" height=\"425\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filipino Muslims in September 2012, part of worldwide protest against an anti-Muslim film produced in the United States. (Noel Celis/AFP-Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco’s 9th U.S. Circuit Court of Appeals has ordered YouTube to take down an anti-Muslim film that sparked widespread riots in 2012 and prompted clerics to call for the death of an American actress whose image appeared in the movie without her permission.\u003c/p>\n\u003cp>The Wednesday decision by a divided three-judge appeals panel reinstated a lawsuit filed against YouTube by the actress who appeared briefly in the film, which included a highly negative portrayal of the Prophet Muhammad.\u003c/p>\n\u003cp>YouTube resisted calls by President Barack Obama and other world leaders to take down the video, arguing that to do so amounted to unwarranted government censorship and would violate the Google-owned company’s free-speech protections. Besides, the company argued that the filmmakers and not the actors of “Innocence of Muslims” owned the copyright and only they could remove it from YouTube.\u003c/p>\n\u003caside class=\"pullquote alignleft\">Actress ‘was duped into providing an artistic performance that was used in a way she never could have foreseen.’\u003ccite>— Appeals court decision\u003c/cite>\u003c/aside>\n\u003cp>And typically that’s the case with the vast majority of clips posted on YouTube — and Hollywood in general — that don’t violate decency laws and policies. But the 9th Circuit said Wednesday that this case was far from typical and that the actress, Cindy Lee Garcia, retained a copyright claim that YouTube must respect. That’s because she believed she was acting in a different production than the one that ultimately appeared online.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Had Ms. Garcia known the true nature of the propaganda film the producers were planning, she would never had agreed to appear in the movie,” said Cris Armenta, Garcia’s attorney.\u003c/p>\n\u003cp>Google argues that the actress had no claim to the film because filmmaker Mark Basseley Youssef wrote the dialogue, managed the entire production and dubbed over Garcia’s dialogue during postproduction editing.\u003c/p>\n\u003cp>Writing for the court, Chief Judge Alex Kozinski said the ruling was not a blanket order giving copyright protection to every actor, but that in this case, Garcia’s performance was worthy of copyright protection.\u003c/p>\n\u003cp>“We need not and do not decide whether every actor has a copyright in his performance within a movie,” the judge wrote. “It suffices for now to hold that, while the matter is fairly debatable, Garcia is likely to prevail.”\u003c/p>\n\u003cp>Judge N. Randy Smith dissented, arguing that Garcia’s five-second appearance gave her no ownership claims.\u003c/p>\n\u003cp>“Her brief appearance in the film, even if a valuable contribution to the film, does not make her an author,” Smith wrote. “Indeed, it is difficult to understand how she can be considered an ‘inventive or master mind’ of her performance under these facts.”\u003c/p>\n\u003cp>Garcia was paid $500 to appear for five seconds in a film she was told was called “Desert Warrior” that she thought had nothing to do with religion or radical Islam. When the clip was released, her lines were dubbed to have her character asking Muhammad if he was a child molester.\u003c/p>\n\u003cp>“This is a troubling case,” Kozinski wrote. “Garcia was duped into providing an artistic performance that was used in a way she never could have foreseen. Her unwitting and unwilling inclusion in ‘Innocence of Muslims’ led to serious threats against her life. It’s disappointing, though perhaps not surprising, that Garcia needed to sue in order to protect herself and her rights.”\u003c/p>\n\u003cp>For Google, the ruling represents a nettlesome issue if allowed to stand. The company fears that bit players and extras appearing in popular clips will now be emboldened to send take-down notices to YouTube unless settlements can be reached with the filmmakers.\u003c/p>\n\u003cp>Google, which has removed the clip, said it will appeal the decision. It could ask a special panel of 11 judges of the 9th Circuit to rehear the case or petition the U.S. Supreme Court to take the case.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" id=\"doc_66508\" src=\"//www.scribd.com/embeds/209480265/content?start_page=1&view_mode=scroll&show_recommendations=true\" frameborder=\"0\" scrolling=\"no\" width=\"100%\" height=\"600\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Paul Elias\u003cbr>\nAssociated Press\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_127843\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/152882416.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-127843\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/152882416-640x425.jpg\" alt=\"Filipino Muslims in September 2012, part of worldwide protest against an anti-Muslim film produced in the United States. (Noel Celis/AFP-Getty Images)\" width=\"640\" height=\"425\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filipino Muslims in September 2012, part of worldwide protest against an anti-Muslim film produced in the United States. (Noel Celis/AFP-Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco’s 9th U.S. Circuit Court of Appeals has ordered YouTube to take down an anti-Muslim film that sparked widespread riots in 2012 and prompted clerics to call for the death of an American actress whose image appeared in the movie without her permission.\u003c/p>\n\u003cp>The Wednesday decision by a divided three-judge appeals panel reinstated a lawsuit filed against YouTube by the actress who appeared briefly in the film, which included a highly negative portrayal of the Prophet Muhammad.\u003c/p>\n\u003cp>YouTube resisted calls by President Barack Obama and other world leaders to take down the video, arguing that to do so amounted to unwarranted government censorship and would violate the Google-owned company’s free-speech protections. Besides, the company argued that the filmmakers and not the actors of “Innocence of Muslims” owned the copyright and only they could remove it from YouTube.\u003c/p>\n\u003caside class=\"pullquote alignleft\">Actress ‘was duped into providing an artistic performance that was used in a way she never could have foreseen.’\u003ccite>— Appeals court decision\u003c/cite>\u003c/aside>\n\u003cp>And typically that’s the case with the vast majority of clips posted on YouTube — and Hollywood in general — that don’t violate decency laws and policies. But the 9th Circuit said Wednesday that this case was far from typical and that the actress, Cindy Lee Garcia, retained a copyright claim that YouTube must respect. That’s because she believed she was acting in a different production than the one that ultimately appeared online.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Had Ms. Garcia known the true nature of the propaganda film the producers were planning, she would never had agreed to appear in the movie,” said Cris Armenta, Garcia’s attorney.\u003c/p>\n\u003cp>Google argues that the actress had no claim to the film because filmmaker Mark Basseley Youssef wrote the dialogue, managed the entire production and dubbed over Garcia’s dialogue during postproduction editing.\u003c/p>\n\u003cp>Writing for the court, Chief Judge Alex Kozinski said the ruling was not a blanket order giving copyright protection to every actor, but that in this case, Garcia’s performance was worthy of copyright protection.\u003c/p>\n\u003cp>“We need not and do not decide whether every actor has a copyright in his performance within a movie,” the judge wrote. “It suffices for now to hold that, while the matter is fairly debatable, Garcia is likely to prevail.”\u003c/p>\n\u003cp>Judge N. Randy Smith dissented, arguing that Garcia’s five-second appearance gave her no ownership claims.\u003c/p>\n\u003cp>“Her brief appearance in the film, even if a valuable contribution to the film, does not make her an author,” Smith wrote. “Indeed, it is difficult to understand how she can be considered an ‘inventive or master mind’ of her performance under these facts.”\u003c/p>\n\u003cp>Garcia was paid $500 to appear for five seconds in a film she was told was called “Desert Warrior” that she thought had nothing to do with religion or radical Islam. When the clip was released, her lines were dubbed to have her character asking Muhammad if he was a child molester.\u003c/p>\n\u003cp>“This is a troubling case,” Kozinski wrote. “Garcia was duped into providing an artistic performance that was used in a way she never could have foreseen. Her unwitting and unwilling inclusion in ‘Innocence of Muslims’ led to serious threats against her life. It’s disappointing, though perhaps not surprising, that Garcia needed to sue in order to protect herself and her rights.”\u003c/p>\n\u003cp>For Google, the ruling represents a nettlesome issue if allowed to stand. The company fears that bit players and extras appearing in popular clips will now be emboldened to send take-down notices to YouTube unless settlements can be reached with the filmmakers.\u003c/p>\n\u003cp>Google, which has removed the clip, said it will appeal the decision. It could ask a special panel of 11 judges of the 9th Circuit to rehear the case or petition the U.S. Supreme Court to take the case.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" id=\"doc_66508\" src=\"//www.scribd.com/embeds/209480265/content?start_page=1&view_mode=scroll&show_recommendations=true\" frameborder=\"0\" scrolling=\"no\" width=\"100%\" height=\"600\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Yosemite Kicks Off Its First-Ever Film Festival",
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"content": "\u003cfigure id=\"attachment_127732\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/el-capitan-640.jpg\">\u003cimg class=\"size-full wp-image-127732\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/el-capitan-640.jpg\" alt=\"El Capitan, in Yosemite National Park (Craig Miller/KQED)\" width=\"640\" height=\"400\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">El Capitan in Yosemite National Park (Craig Miller/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Yosemite National Park is kicking off its first-ever film festival Thursday to mark the 150th anniversary of the signing of the \u003ca href=\"http://www.nps.gov/featurecontent/yose/anniversary/index.html\" target=\"_blank\">Yosemite Grant Act\u003c/a>, the document that set aside Yosemite Valley and Mariposa Grove as protected lands.\u003c/p>\n\u003cp>Steven Bumgardner, director of the \u003ca href=\"http://www.rolff.org/\" target=\"_blank\">Range of Light Film Festival\u003c/a>, said there are more than enough films about the park to fill the five-day marathon that runs through Sunday. He spoke with \"The California Report’s\" Rachael Myrow.\u003c/p>\n\u003cp>“We’ve got quite a long film history here in Yosemite, and this is definitely a retrospective film festival. We’re looking at the history of Yosemite through film,” Bumgardner said. “But we’re also going to be having some premieres of films making their debut right here in the valley.”\u003c/p>\n\u003cp>The festival will feature more than two dozen films, and more than 16 visiting filmmakers and artists will attend.\u003c/p>\n\u003caside class=\"pullquote alignleft\">\u003ciframe src=\"//www.youtube.com/embed/uQb4_8PyZBM\" frameborder=\"0\" width=\"320\" height=\"180\">\u003c/iframe>\u003c/aside>\n\u003cp>Ken Burns’ documentary, “\u003ca href=\"http://www.rolff.org/yosemite-a-gathering-of-spirit/\" target=\"_blank\">Yosemite: A Gathering of Spirit\u003c/a>,” is one of those documentaries. Bumgardner describes it as a repackaged version of Burns’ “America’s Best Idea” into a 25-minute definitive history of the creation of Yosemite National Park, from the 1864 grant signed by President Abraham Lincoln during the Civil War to the importance of people like Galen Clark and John Muir.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“\u003ca href=\"http://www.rolff.org/yosemite-fate-of-heaven/\" target=\"_blank\">Yosemite: The Fate of Heaven\u003c/a>,” a documentary from 1989, explores the juxtaposition between nature and people visiting the park, according to Bumgardner.\u003c/p>\n\u003cp>“It’s kind of a behind-the-scenes tour of Yosemite in many ways,” Bumgardner said. “They shadow park rangers, folks who drive the trash trucks, but they also interview visitors in the campgrounds and things like that. So it’s a neat story of how Yosemite inspires people, but also that human and natural relationship and sort of the conflicts that result.”\u003c/p>\n\u003cp>And for the hikers, rock climbers and thrill-seekers who flock to Yosemite, there’s “\u003ca href=\"http://www.rolff.org/honnold-3-0/\" target=\"_blank\">Honnold 3.0\u003c/a>,” a documentary about \u003ca href=\"http://www.alexhonnold.com/\" target=\"_blank\">Alex Honnold\u003c/a>, a free climber known for his ascents of El Capitan and Half Dome.\u003c/p>\n\u003cp>“You know, the vast majority of those climbers, they’re securely anchored with ropes. There are still some hazards associated with that,” Bumgardner said. “But the idea of climbing that without a rope, the idea that ... one slip and you’re dead. There’s only a handful -- literally -- a few people in the world that can do what Alex Honnold does. And this film’s a great portrait of him. And I think people who might think he might be crazy. ... When you watch it, you realize that he’s just really good.”\u003c/p>\n\u003cp>The Range of Light Film Festival runs through Sunday at the park's Yosemite Valley Visitor Center. For more information about the festival, go \u003ca href=\"http://www.rolff.org/about/\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>Listen to Rachael Myrow's full interview with Steven Bumgardner below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/136882310&color=ff5500&auto_play=false&hide_related=false&show_artwork=true\" frameborder=\"no\" scrolling=\"no\" width=\"100%\" height=\"166\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_127732\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/el-capitan-640.jpg\">\u003cimg class=\"size-full wp-image-127732\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/el-capitan-640.jpg\" alt=\"El Capitan, in Yosemite National Park (Craig Miller/KQED)\" width=\"640\" height=\"400\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">El Capitan in Yosemite National Park (Craig Miller/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Yosemite National Park is kicking off its first-ever film festival Thursday to mark the 150th anniversary of the signing of the \u003ca href=\"http://www.nps.gov/featurecontent/yose/anniversary/index.html\" target=\"_blank\">Yosemite Grant Act\u003c/a>, the document that set aside Yosemite Valley and Mariposa Grove as protected lands.\u003c/p>\n\u003cp>Steven Bumgardner, director of the \u003ca href=\"http://www.rolff.org/\" target=\"_blank\">Range of Light Film Festival\u003c/a>, said there are more than enough films about the park to fill the five-day marathon that runs through Sunday. He spoke with \"The California Report’s\" Rachael Myrow.\u003c/p>\n\u003cp>“We’ve got quite a long film history here in Yosemite, and this is definitely a retrospective film festival. We’re looking at the history of Yosemite through film,” Bumgardner said. “But we’re also going to be having some premieres of films making their debut right here in the valley.”\u003c/p>\n\u003cp>The festival will feature more than two dozen films, and more than 16 visiting filmmakers and artists will attend.\u003c/p>\n\u003caside class=\"pullquote alignleft\">\u003ciframe src=\"//www.youtube.com/embed/uQb4_8PyZBM\" frameborder=\"0\" width=\"320\" height=\"180\">\u003c/iframe>\u003c/aside>\n\u003cp>Ken Burns’ documentary, “\u003ca href=\"http://www.rolff.org/yosemite-a-gathering-of-spirit/\" target=\"_blank\">Yosemite: A Gathering of Spirit\u003c/a>,” is one of those documentaries. Bumgardner describes it as a repackaged version of Burns’ “America’s Best Idea” into a 25-minute definitive history of the creation of Yosemite National Park, from the 1864 grant signed by President Abraham Lincoln during the Civil War to the importance of people like Galen Clark and John Muir.\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://www.rolff.org/yosemite-fate-of-heaven/\" target=\"_blank\">Yosemite: The Fate of Heaven\u003c/a>,” a documentary from 1989, explores the juxtaposition between nature and people visiting the park, according to Bumgardner.\u003c/p>\n\u003cp>“It’s kind of a behind-the-scenes tour of Yosemite in many ways,” Bumgardner said. “They shadow park rangers, folks who drive the trash trucks, but they also interview visitors in the campgrounds and things like that. So it’s a neat story of how Yosemite inspires people, but also that human and natural relationship and sort of the conflicts that result.”\u003c/p>\n\u003cp>And for the hikers, rock climbers and thrill-seekers who flock to Yosemite, there’s “\u003ca href=\"http://www.rolff.org/honnold-3-0/\" target=\"_blank\">Honnold 3.0\u003c/a>,” a documentary about \u003ca href=\"http://www.alexhonnold.com/\" target=\"_blank\">Alex Honnold\u003c/a>, a free climber known for his ascents of El Capitan and Half Dome.\u003c/p>\n\u003cp>“You know, the vast majority of those climbers, they’re securely anchored with ropes. There are still some hazards associated with that,” Bumgardner said. “But the idea of climbing that without a rope, the idea that ... one slip and you’re dead. There’s only a handful -- literally -- a few people in the world that can do what Alex Honnold does. And this film’s a great portrait of him. And I think people who might think he might be crazy. ... When you watch it, you realize that he’s just really good.”\u003c/p>\n\u003cp>The Range of Light Film Festival runs through Sunday at the park's Yosemite Valley Visitor Center. For more information about the festival, go \u003ca href=\"http://www.rolff.org/about/\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>Listen to Rachael Myrow's full interview with Steven Bumgardner below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/136882310&color=ff5500&auto_play=false&hide_related=false&show_artwork=true\" frameborder=\"no\" scrolling=\"no\" width=\"100%\" height=\"166\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Michael Tilson Thomas: Nearing 20 Years on S.F. Symphony Podium",
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"content": "\u003cfigure id=\"attachment_91333\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/03/Symphony-MTT.jpg\">\u003cimg class=\"size-medium wp-image-91333\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/03/Symphony-MTT-640x426.jpg\" alt=\"San Francisco Symphony Music Director Michael Tilson Thomas conducts. (Courtesy San Francisco Symphony)\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Symphony Music Director Michael Tilson Thomas conducts. (Courtesy San Francisco Symphony)\u003c/figcaption>\u003c/figure>\n\u003cp>Next year will mark \u003ca href=\"http://www.michaeltilsonthomas.com/Home.aspx\" target=\"_blank\">Michael Tilson Thomas\u003c/a>’ 20th season as music director for the \u003ca href=\"http://www.sfsymphony.org/index.aspx\" target=\"_blank\">San Francisco Symphony\u003c/a>. That kind of longevity is increasingly rare — few music directors these days last more than a decade with one orchestra.\u003c/p>\n\u003cp>At a news conference Monday, Tilson Thomas talked about the programs he’s planning for next year, including some newer work by American composers. Adventurous programming has been a hallmark of Tilson Thomas’ tenure.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'These big symphonies for me are like national parks. ... My sense of wonder in approaching them is absolutely as profound as it ever was. And now a certain savvy as a trail guide I have, perhaps becomes more useful to work things out with my colleagues on stage.'\u003ccite>— Michael Tilson Thomas\u003c/cite>\u003c/aside>\n\u003cp>“I think it's really important for everyone — composers, performers, everyone — to really be free to consider all kinds of ideas, and even trying all kinds of ideas, some of which may not entirely work,” he said.\u003c/p>\n\u003cp>There will be at least one work by an American composer on nearly every subscription program. The symphony is also planning to convert a rehearsal space at the back of Davies Hall into a kind of laboratory for musical experiments, dubbed Soundbox. The new space will feature a tunable sound system from Berkeley's \u003ca href=\"http://www.meyersound.com/\" target=\"_blank\">Meyer Sound.\u003c/a>\u003c/p>\n\u003cp>I sat down with Tilson Thomas after the news conference, and he talked about how he and orchestra musicians are still finding fresh things to say about even the most-often-played classical music warhorses.\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>MTT:\u003c/strong> I think the way we play is in far greater detail all of the time. I mean the kinds of subtle things we can talk about now, because of the shared history we have. And so that’s fun, to be always able to go always another dimension deeper into the piece. Letting the piece become more personal, more of an opportunity for the extraordinary soloists in different sections of the orchestra to show uniquely what they can do.\u003c/p>\n\u003cp>\u003cstrong>Cy Musiker:\u003c/strong> How do you keep performances of the standards fresh, pieces like the Mahler \"Third\" you’re doing later this week, and which you recorded a few years ago for an album that won a Grammy Award?\u003c/p>\n\u003cp>\u003cstrong>MTT:\u003c/strong> These big symphonies for me are like national parks. And coming back to them again, I’m certainly long familiar with them. But my sense of wonder in approaching them is absolutely as profound as it ever was. And now a certain savvy as a trail guide I have, perhaps becomes more useful to work things out with my colleagues on stage. And then ultimately we take the audience by the hand and take them with us through the park.\u003c/p>\u003c/blockquote>\n\u003cp>I also asked Tilson Thomas how he manages his relationship with orchestra members, especially after musicians went on strike last year for more pay, forcing the cancellation of an East Coast tour, including an appearance at Carnegie Hall. The strike was settled, but many musicians were still bitter with management over how negotiations were handled.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the news conference, cellist Margaret Tait, celebrating 40 years with the symphony this year, talked warmly about Tilson Thomas, who remains on excellent terms with musicians.\u003c/p>\n\u003cp>“It’s been very, very refreshing for the orchestra that he would take us to new and bold places,” Tait said. “There’s a sense of it which is very American, which is very adventuresome, and there’s a deep appreciation of that in the orchestra.”\u003c/p>\n\u003cp>So maybe it’s understandable that Tilson Thomas bristled a bit when I asked him if the strike has changed his relationship with the musicians.\u003c/p>\n\u003cp>“We go back a very long way, and there is a kind of sense of trust that evolves from being trail-mates together in these national parks,\" he said. \"In the moment of the performance, a huge amount is at stake, a huge amount is at risk, and the sense of longtime respect and affection that you have for those who have traveled those trails together with you, the feeling we have together about one another is a very powerful and profound thing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The man everyone calls \"MTT\" turns 70 this December. There’s a celebration for that event, too, next Jan. 15, with plans for five pianists — Yuja Wang, Jean-Yves Thibaudet, Emanuel Ax, Jeremy Denk, and Marc-André Hamelin — in concert together in Liszt’s rarely performed \"Hexameron.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_91333\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/03/Symphony-MTT.jpg\">\u003cimg class=\"size-medium wp-image-91333\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/03/Symphony-MTT-640x426.jpg\" alt=\"San Francisco Symphony Music Director Michael Tilson Thomas conducts. (Courtesy San Francisco Symphony)\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Symphony Music Director Michael Tilson Thomas conducts. (Courtesy San Francisco Symphony)\u003c/figcaption>\u003c/figure>\n\u003cp>Next year will mark \u003ca href=\"http://www.michaeltilsonthomas.com/Home.aspx\" target=\"_blank\">Michael Tilson Thomas\u003c/a>’ 20th season as music director for the \u003ca href=\"http://www.sfsymphony.org/index.aspx\" target=\"_blank\">San Francisco Symphony\u003c/a>. That kind of longevity is increasingly rare — few music directors these days last more than a decade with one orchestra.\u003c/p>\n\u003cp>At a news conference Monday, Tilson Thomas talked about the programs he’s planning for next year, including some newer work by American composers. Adventurous programming has been a hallmark of Tilson Thomas’ tenure.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'These big symphonies for me are like national parks. ... My sense of wonder in approaching them is absolutely as profound as it ever was. And now a certain savvy as a trail guide I have, perhaps becomes more useful to work things out with my colleagues on stage.'\u003ccite>— Michael Tilson Thomas\u003c/cite>\u003c/aside>\n\u003cp>“I think it's really important for everyone — composers, performers, everyone — to really be free to consider all kinds of ideas, and even trying all kinds of ideas, some of which may not entirely work,” he said.\u003c/p>\n\u003cp>There will be at least one work by an American composer on nearly every subscription program. The symphony is also planning to convert a rehearsal space at the back of Davies Hall into a kind of laboratory for musical experiments, dubbed Soundbox. The new space will feature a tunable sound system from Berkeley's \u003ca href=\"http://www.meyersound.com/\" target=\"_blank\">Meyer Sound.\u003c/a>\u003c/p>\n\u003cp>I sat down with Tilson Thomas after the news conference, and he talked about how he and orchestra musicians are still finding fresh things to say about even the most-often-played classical music warhorses.\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>MTT:\u003c/strong> I think the way we play is in far greater detail all of the time. I mean the kinds of subtle things we can talk about now, because of the shared history we have. And so that’s fun, to be always able to go always another dimension deeper into the piece. Letting the piece become more personal, more of an opportunity for the extraordinary soloists in different sections of the orchestra to show uniquely what they can do.\u003c/p>\n\u003cp>\u003cstrong>Cy Musiker:\u003c/strong> How do you keep performances of the standards fresh, pieces like the Mahler \"Third\" you’re doing later this week, and which you recorded a few years ago for an album that won a Grammy Award?\u003c/p>\n\u003cp>\u003cstrong>MTT:\u003c/strong> These big symphonies for me are like national parks. And coming back to them again, I’m certainly long familiar with them. But my sense of wonder in approaching them is absolutely as profound as it ever was. And now a certain savvy as a trail guide I have, perhaps becomes more useful to work things out with my colleagues on stage. And then ultimately we take the audience by the hand and take them with us through the park.\u003c/p>\u003c/blockquote>\n\u003cp>I also asked Tilson Thomas how he manages his relationship with orchestra members, especially after musicians went on strike last year for more pay, forcing the cancellation of an East Coast tour, including an appearance at Carnegie Hall. The strike was settled, but many musicians were still bitter with management over how negotiations were handled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the news conference, cellist Margaret Tait, celebrating 40 years with the symphony this year, talked warmly about Tilson Thomas, who remains on excellent terms with musicians.\u003c/p>\n\u003cp>“It’s been very, very refreshing for the orchestra that he would take us to new and bold places,” Tait said. “There’s a sense of it which is very American, which is very adventuresome, and there’s a deep appreciation of that in the orchestra.”\u003c/p>\n\u003cp>So maybe it’s understandable that Tilson Thomas bristled a bit when I asked him if the strike has changed his relationship with the musicians.\u003c/p>\n\u003cp>“We go back a very long way, and there is a kind of sense of trust that evolves from being trail-mates together in these national parks,\" he said. \"In the moment of the performance, a huge amount is at stake, a huge amount is at risk, and the sense of longtime respect and affection that you have for those who have traveled those trails together with you, the feeling we have together about one another is a very powerful and profound thing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The man everyone calls \"MTT\" turns 70 this December. There’s a celebration for that event, too, next Jan. 15, with plans for five pianists — Yuja Wang, Jean-Yves Thibaudet, Emanuel Ax, Jeremy Denk, and Marc-André Hamelin — in concert together in Liszt’s rarely performed \"Hexameron.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "News Pix: It's the Year of the Horse, Trapping Berkeley Squirrels and Curling",
"title": "News Pix: It's the Year of the Horse, Trapping Berkeley Squirrels and Curling",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/ChineseNewYear.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-127222\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/ChineseNewYear-640x450.jpg\" alt=\"ChineseNewYear\" width=\"640\" height=\"450\">\u003c/a>\u003cbr>\nThousands turned out to ring in the Year of the Horse at the \u003ca href=\"http://ww2.kqed.org/news/2014/02/15/san-francisco-celebrates-chinese-new-year/\" target=\"_blank\">Chinese New Year Parade in downtown San Francisco\u003c/a> on Feb. 15, despite the threat of rain. Spectators packed the parade route, stretching from Market Street to Chinatown, to see dozens of colorful floats, marching bands, dragon dancers, lions and other creatures (including San Francisco politicians), in one of the city's most colorful annual events. (Mark Andrew Boyer/KQED)\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/ChineseNewYear2.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-127223\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/ChineseNewYear2-640x450.jpg\" alt=\"ChineseNewYear2\" width=\"640\" height=\"450\">\u003c/a>\u003cbr>\nThe highlight of the celebration was the 268-foot-long Golden Dragon, which brought up the rear of the parade. (Mark Andrew Boyer / KQED)\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/curling.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-127224\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/curling-640x449.jpg\" alt=\"curling\" width=\"640\" height=\"449\">\u003c/a>\u003cbr>\nAs the Olympics continue in Sochi, new curling enthusiasts flock to the San Francisco Bay Area Curling Club to \u003ca href=\"http://ww2.kqed.org/news/2014/02/20/wannabe-curlers-hurry-hard-to-sf-bay-area-curling-clubs-clinics/\" target=\"_blank\">learn the basics of the sport\u003c/a>. The club holds extra clinics during the Winter Olympics to capitalize on the surge of interest. \"It's a real easy sport to get started, and be decent,\" said curling member Brian Davidson. \"It's a real hard sport to get good at.\" (Nina Thorsen/KQED)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/squirrel.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-127225\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/squirrel-640x450.jpg\" alt=\"squirrel\" width=\"640\" height=\"450\">\u003c/a>\u003cbr>\nIn Berkeley, squirrels are in the \u003ca href=\"http://www.berkeleyside.com/2014/02/19/berkeley-to-kill-squirrels-gophers-to-protect-bay/\" target=\"_blank\">crossfire\u003c/a>. In an attempt to make sure no toxins leak out of the old landfill under Cesar Chavez Park and leach into San Francisco Bay, Berkeley is hiring a pest control company to trap and kill hundreds of squirrels and gophers that make their home there. (Bill Williams/\u003ca href=\"http://www.berkeleyside.com/\" target=\"_blank\">Berkeleyside\u003c/a>)\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/IMG_4886-copy.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-127169\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/02/IMG_4886-copy-640x426.jpg\" alt=\"Gregory Kloehn's tiny houses for homeless people\" width=\"640\" height=\"426\">\u003c/a>\u003cbr>\nPart artist, part housing activist, Gregory Kloehn works on his newest tiny house, which is made mostly from former beds. Kloehn splits his time between New York City and Oakland, building tiny houses for homeless people. (Mark Andrew Boyer/KQED)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"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.",
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"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.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
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