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"content": "\u003cp>\u003cstrong>By Kelly Baker, \u003ca href=\"http://oaklandlocal.com/2014/01/seizing-the-economic-opportunity-of-first-friday/\" target=\"_blank\" rel=\"noopener\">Oakland Local\u003c/a>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_124643\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/first-friday.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-124643\" title=\"Thousands of people attend First Friday each month. (Oakland Local)\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/first-friday-640x424.jpg\" alt=\"Thousands of people attend First Friday each month. (Oakland Local)\" width=\"640\" height=\"424\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thousands of people attend First Friday each month. (Oakland Local)\u003c/figcaption>\u003c/figure>\n\u003cp>It’s been nearly a year since the shooting that took the life of young Kiante Campbell and \u003ca href=\"http://www.38thnotes.com/2013/02/02/the-last-first-friday-reflections-on-oaklands-battle-with-violence/\" target=\"_blank\" rel=\"noopener\">sent shock waves through the community\u003c/a>. In the wake of the tragedy, many questioned the future of Oakland’s \u003ca href=\"http://www.oaklandfirstfridays.org/\" target=\"_blank\" rel=\"noopener\">First Fridays event\u003c/a>. Over the summer, the city dealt another blow by scaling back its financial support of the monthly event. \u003ca href=\"http://www.koreatownnorthgate.org/\" target=\"_blank\" rel=\"noopener\">Koreatown Northgate Community Benefits District\u003c/a> (KONO) has since taken the reins of the once entirely volunteer and community-run monthly street festival. But now, more than ever, KONO believes First Fridays are here to stay.\u003c/p>\n\u003cp>Last week, KONO released a \u003ca href=\"http://www.scribd.com/fullscreen/199399474\" target=\"_blank\" rel=\"noopener\">report \u003c/a> on the benefits the monthly event has for local businesses, vendors and attendees. Key findings show that event attendees spend, on average, $80 per visit, and revenue for business owners increases 100 to 250 percent on event nights. Moreover, 48 percent of survey respondents reported that they would need to find replacement income if the event were no longer to occur.\u003c/p>\n\u003cp>Highlighting the importance of First Fridays for budding entrepreneurs, 38 percent of street vendors reported that Oakland First Fridays was their first vendor experience. Victoria Swift, the Mills College graduate student who implemented the five-month study, said this response indicates that “First Friday can be a mechanism to promote economic opportunity for hyper-localized business and entrepreneurs who otherwise wouldn’t be able to get a foot into the marketplace.” With its low vendor fees — starting at just $10 for a table — First Fridays presents resource-strapped entrepreneurs a unique opportunity to test out their business ideas and make valuable connections.\u003c/p>\n\u003cp>The surveys were collected between March and July 2013, beginning right after the shooting and ending around the time when the city cut off its funding for the event. Through some of the most uncertain months in the festival’s history, Swift diligently followed up with business owners in order to get a clearer picture about how the event impacts their businesses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Swift said that at first she was surprised by the community response. “When I went to do the initial interviews, a lot of feedback was venting about the shooting,” she explained. But as she continued to follow up with local business owners, she said their attitudes turned away from wanting to shut the whole thing down. “Talking things through with them was a nice exercise to help them walk through their emotions.”\u003c/p>\n\u003cp>Now local businesses are stepping up to offer sponsorships for the event. The commercial vacancy rate in the KONO district fell to just 12 percent, down from 47 percent two years ago. KONO Executive Director Shari Godinez believes this achievement is attributable to the popularity of First Fridays. Swift explained that “business owners are incorporating the event into their business plans.”\u003c/p>\n\u003cp>Swift also added that “city officials have been monumental in supporting First Friday.” However, she points out some critical needs for increased cooperation at the end of her report. She suggests that the city:\u003c/p>\n\u003cul>\n\u003cli>Reallocate some Measure C funding to event organizers to better stabilize its infrastructure\u003c/li>\n\u003cli>Work with the Special Business Permits office and Economic Workforce Development to find creative solutions that will protect and foster the entrepreneurial environment of Oakland First Fridays\u003c/li>\n\u003cli>Encourage further cooperation among city agencies like the Oakland Police Department and Public Works to address public safety and cleanliness concerns for areas beyond the event footprint\u003c/li>\n\u003cli>Promote Oakland First Fridays in official city marketing campaigns and Visit Oakland materials as a tourist destination for the region\u003c/li>\n\u003c/ul>\n\u003cp>In all, the future is looking bright for First Fridays. Instead of continuing as a volunteer-run event, KONO is stepping in. The organization has hired Sarah Kidder to coordinate the monthly event in order to streamline some of the logistical issues. Kidder assures that the event budget is on track, and adds, “I do believe wholeheartedly that every aspect of the event will be more fun, more interesting, and more smoothly run.” Street closures will continue on Telegraph from West Grand up to 27th Street, and Kidder encourages folks to turn out early — festivities begin at 5 p.m. and promptly end at 9 p.m.\u003c/p>\n\u003cp>Most importantly, First Friday is a unifying event for many Oakland residents and visitors alike. It’s a showcase of the incredible talent in The Town, but it also presents a great opportunity. Through this report, Swift says, “I hope that people get really excited about shopping local and supporting localized business — that will haul us out of this recession. If we keep building up local business, it will propel Oakland as a unique urban center.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story originally appeared on KQED’s News Associate \u003ca href=\"http://oaklandlocal.com/\" target=\"_blank\" rel=\"noopener\">Oakland Local\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Kelly Baker, \u003ca href=\"http://oaklandlocal.com/2014/01/seizing-the-economic-opportunity-of-first-friday/\" target=\"_blank\" rel=\"noopener\">Oakland Local\u003c/a>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_124643\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/first-friday.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-124643\" title=\"Thousands of people attend First Friday each month. (Oakland Local)\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/first-friday-640x424.jpg\" alt=\"Thousands of people attend First Friday each month. (Oakland Local)\" width=\"640\" height=\"424\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thousands of people attend First Friday each month. (Oakland Local)\u003c/figcaption>\u003c/figure>\n\u003cp>It’s been nearly a year since the shooting that took the life of young Kiante Campbell and \u003ca href=\"http://www.38thnotes.com/2013/02/02/the-last-first-friday-reflections-on-oaklands-battle-with-violence/\" target=\"_blank\" rel=\"noopener\">sent shock waves through the community\u003c/a>. In the wake of the tragedy, many questioned the future of Oakland’s \u003ca href=\"http://www.oaklandfirstfridays.org/\" target=\"_blank\" rel=\"noopener\">First Fridays event\u003c/a>. Over the summer, the city dealt another blow by scaling back its financial support of the monthly event. \u003ca href=\"http://www.koreatownnorthgate.org/\" target=\"_blank\" rel=\"noopener\">Koreatown Northgate Community Benefits District\u003c/a> (KONO) has since taken the reins of the once entirely volunteer and community-run monthly street festival. But now, more than ever, KONO believes First Fridays are here to stay.\u003c/p>\n\u003cp>Last week, KONO released a \u003ca href=\"http://www.scribd.com/fullscreen/199399474\" target=\"_blank\" rel=\"noopener\">report \u003c/a> on the benefits the monthly event has for local businesses, vendors and attendees. Key findings show that event attendees spend, on average, $80 per visit, and revenue for business owners increases 100 to 250 percent on event nights. Moreover, 48 percent of survey respondents reported that they would need to find replacement income if the event were no longer to occur.\u003c/p>\n\u003cp>Highlighting the importance of First Fridays for budding entrepreneurs, 38 percent of street vendors reported that Oakland First Fridays was their first vendor experience. Victoria Swift, the Mills College graduate student who implemented the five-month study, said this response indicates that “First Friday can be a mechanism to promote economic opportunity for hyper-localized business and entrepreneurs who otherwise wouldn’t be able to get a foot into the marketplace.” With its low vendor fees — starting at just $10 for a table — First Fridays presents resource-strapped entrepreneurs a unique opportunity to test out their business ideas and make valuable connections.\u003c/p>\n\u003cp>The surveys were collected between March and July 2013, beginning right after the shooting and ending around the time when the city cut off its funding for the event. Through some of the most uncertain months in the festival’s history, Swift diligently followed up with business owners in order to get a clearer picture about how the event impacts their businesses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Swift said that at first she was surprised by the community response. “When I went to do the initial interviews, a lot of feedback was venting about the shooting,” she explained. But as she continued to follow up with local business owners, she said their attitudes turned away from wanting to shut the whole thing down. “Talking things through with them was a nice exercise to help them walk through their emotions.”\u003c/p>\n\u003cp>Now local businesses are stepping up to offer sponsorships for the event. The commercial vacancy rate in the KONO district fell to just 12 percent, down from 47 percent two years ago. KONO Executive Director Shari Godinez believes this achievement is attributable to the popularity of First Fridays. Swift explained that “business owners are incorporating the event into their business plans.”\u003c/p>\n\u003cp>Swift also added that “city officials have been monumental in supporting First Friday.” However, she points out some critical needs for increased cooperation at the end of her report. She suggests that the city:\u003c/p>\n\u003cul>\n\u003cli>Reallocate some Measure C funding to event organizers to better stabilize its infrastructure\u003c/li>\n\u003cli>Work with the Special Business Permits office and Economic Workforce Development to find creative solutions that will protect and foster the entrepreneurial environment of Oakland First Fridays\u003c/li>\n\u003cli>Encourage further cooperation among city agencies like the Oakland Police Department and Public Works to address public safety and cleanliness concerns for areas beyond the event footprint\u003c/li>\n\u003cli>Promote Oakland First Fridays in official city marketing campaigns and Visit Oakland materials as a tourist destination for the region\u003c/li>\n\u003c/ul>\n\u003cp>In all, the future is looking bright for First Fridays. Instead of continuing as a volunteer-run event, KONO is stepping in. The organization has hired Sarah Kidder to coordinate the monthly event in order to streamline some of the logistical issues. Kidder assures that the event budget is on track, and adds, “I do believe wholeheartedly that every aspect of the event will be more fun, more interesting, and more smoothly run.” Street closures will continue on Telegraph from West Grand up to 27th Street, and Kidder encourages folks to turn out early — festivities begin at 5 p.m. and promptly end at 9 p.m.\u003c/p>\n\u003cp>Most importantly, First Friday is a unifying event for many Oakland residents and visitors alike. It’s a showcase of the incredible talent in The Town, but it also presents a great opportunity. Through this report, Swift says, “I hope that people get really excited about shopping local and supporting localized business — that will haul us out of this recession. If we keep building up local business, it will propel Oakland as a unique urban center.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story originally appeared on KQED’s News Associate \u003ca href=\"http://oaklandlocal.com/\" target=\"_blank\" rel=\"noopener\">Oakland Local\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/QLyImyVqMkk?list=UU0FISFbEaHFc5ccrIgkZ3mg\" frameborder=\"0\" width=\"640\" height=\"360\">\u003c/iframe>\u003c/div>\n\u003cp>It was just over 150 years ago that Abraham Lincoln visited the site of one of the Civil War's bloodiest battles to help dedicate a cemetery for soldiers who had perished in the fighting.\u003c/p>\n\u003cp>\"Four score and seven years ago,\" \u003ca href=\"http://www.abrahamlincolnonline.org/lincoln/speeches/gettysburg.htm\" target=\"_blank\">his brief address\u003c/a> began, \"our fathers brought forth, upon this continent, a new nation, conceived in liberty, and dedicated to the proposition that all men are created equal.\"\u003c/p>\n\u003cp>The Gettysburg Address is recited annually at various places around the country, including at a tiny boys school in Putney, Vt., not far from where filmmaker Ken Burns lives. Memorizing the speech can be a daunting challenge for the students, who struggle with learning differences such as dyslexia, ADHD and dysgraphia. But the boys persevere.\u003c/p>\n\u003cp>\"I was so moved, I mean tears just ran down my cheeks, and I said, 'Somebody should make a film of this,' \" Burns told Scott Shafer in an interview for \"KQED Newsroom.\"\u003c/p>\n\u003cp>That inspiration turned into a 90-minute documentary, \"\u003ca href=\"http://www.pbs.org/kenburns/the-address/home/\">The Address\u003c/a>,\" slated to air on PBS this spring. The film weaves together the context and importance of Lincoln's speech with the stories of the boys at the \u003ca href=\"http://www.greenwood.org/\">Greenwood School\u003c/a> as they embark on their annual mission.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Some can memorize it right away but are scared. Some take forever to do it because of certain issues with reading or memorization,\" Burns said. \"They bring meaning to it, and it’s so expressive and moving.\"\u003c/p>\n\u003caside class=\"left noborder\">\u003ciframe src=\"//www.youtube.com/embed/LO-jRBSj6vI\" frameborder=\"0\" width=\"320\" height=\"169\">\u003c/iframe>\u003c/aside>\n\u003cp>Burns was so taken with the kids in Putney that he set out to do more than make a film: He embarked on his own mission to encourage everyone in the United States to learn and recite the Gettysburg Address. At the website dedicated to that mission, \u003ca href=\"http://www.learntheaddress.org/\" target=\"_blank\">learntheaddress.org\u003c/a>, you will find the speech read by President Obama, former President George W. Bush, singer Taylor Swift, comic/pundit Stephen Colbert and thousands of Americans who have uploaded their own YouTube videos.\u003c/p>\n\u003cp>In his speech, Lincoln noted the horrors of the Civil War and called on his fellow citizens to rededicate themselves to the nation's founding principles of freedom and equality. To Burns, this message rings true today in a society that divides itself by political philosophy, geography or demographic categories.\u003c/p>\n\u003cp>\"We often do best as a country when we’ve got our oars in the water at the same time, pulling in the same direction,\" Burns said. \"And we don’t do this now. ... We’re red state or we’re blue state. We’re male or female. We’re gay or straight, young or old, black or white, North or South, East or West. We always want to make a distinction about the other. But what if we realize what we share?\"\u003c/p>\n\u003cp>Also airing on PBS later this year is a Burns documentary about the intertwined lives of Theodore, Franklin and Eleanor Roosevelt. In the interview, Shafer asked the filmmaker if California Gov. Jerry Brown and his father, the late Gov. Pat Brown, might make for an interesting documentary.\u003c/p>\n\u003cp>\"Absolutely. You know, if I were given a thousand years to live, I wouldn't run out of topics in American history,\" Burns said. \"You think about the way about which the Brown family has superimposed their lives and struggles and paralleled the life and struggles of California. It’d be a terrific film.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Scott Shafer reported on this story for \"KQED Newsroom,\" which is a weekly news magazine program on television, radio and online. Watch Fridays at 8 p.m. on KQED Public Television 9, listen on Sundays at 6 p.m. on KQED Public Radio 88.5 FM and watch on demand \u003ca href=\"http://www.kqed.org/tv/programs/newsroom/\" target=\"_blank\">here\u003c/a>. \" The Address\" is scheduled to air on April 15 at 9 p.m.\u003cbr>\n\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Some can memorize it right away but are scared. Some take forever to do it because of certain issues with reading or memorization,\" Burns said. \"They bring meaning to it, and it’s so expressive and moving.\"\u003c/p>\n\u003caside class=\"left noborder\">\u003ciframe src=\"//www.youtube.com/embed/LO-jRBSj6vI\" frameborder=\"0\" width=\"320\" height=\"169\">\u003c/iframe>\u003c/aside>\n\u003cp>Burns was so taken with the kids in Putney that he set out to do more than make a film: He embarked on his own mission to encourage everyone in the United States to learn and recite the Gettysburg Address. At the website dedicated to that mission, \u003ca href=\"http://www.learntheaddress.org/\" target=\"_blank\">learntheaddress.org\u003c/a>, you will find the speech read by President Obama, former President George W. Bush, singer Taylor Swift, comic/pundit Stephen Colbert and thousands of Americans who have uploaded their own YouTube videos.\u003c/p>\n\u003cp>In his speech, Lincoln noted the horrors of the Civil War and called on his fellow citizens to rededicate themselves to the nation's founding principles of freedom and equality. To Burns, this message rings true today in a society that divides itself by political philosophy, geography or demographic categories.\u003c/p>\n\u003cp>\"We often do best as a country when we’ve got our oars in the water at the same time, pulling in the same direction,\" Burns said. \"And we don’t do this now. ... We’re red state or we’re blue state. We’re male or female. We’re gay or straight, young or old, black or white, North or South, East or West. We always want to make a distinction about the other. But what if we realize what we share?\"\u003c/p>\n\u003cp>Also airing on PBS later this year is a Burns documentary about the intertwined lives of Theodore, Franklin and Eleanor Roosevelt. In the interview, Shafer asked the filmmaker if California Gov. Jerry Brown and his father, the late Gov. Pat Brown, might make for an interesting documentary.\u003c/p>\n\u003cp>\"Absolutely. You know, if I were given a thousand years to live, I wouldn't run out of topics in American history,\" Burns said. \"You think about the way about which the Brown family has superimposed their lives and struggles and paralleled the life and struggles of California. It’d be a terrific film.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Scott Shafer reported on this story for \"KQED Newsroom,\" which is a weekly news magazine program on television, radio and online. Watch Fridays at 8 p.m. on KQED Public Television 9, listen on Sundays at 6 p.m. on KQED Public Radio 88.5 FM and watch on demand \u003ca href=\"http://www.kqed.org/tv/programs/newsroom/\" target=\"_blank\">here\u003c/a>. \" The Address\" is scheduled to air on April 15 at 9 p.m.\u003cbr>\n\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_124444\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/PornographersDaughter2_David-Allen.jpg\">\u003cimg class=\"size-medium wp-image-124444\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/PornographersDaughter2_David-Allen-640x389.jpg\" alt=\"Liberty Bradford Mitchell (seen with her father Artie Mitchell in photo behind) tells the story of growing up on the fringes of an X-rated world at the World Premiere. (David Allen)\" width=\"640\" height=\"389\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Liberty Bradford Mitchell (seen with her father\u003cbr>Artie Mitchell in photo behind) tells the story of growing up\u003cbr>on the fringes of an X-rated world at the World Premiere. (David Allen)\u003c/figcaption>\u003c/figure>\n\u003cp>Liberty Bradford Mitchell has a unique perspective on the pornography industry. She’s the daughter of Artie Mitchell. He and his brother, Jim, were hippies, sexual revolutionaries and then kings of the porn industry, as filmmakers and owners of the O’Farrell Theatre in San Francisco.\u003c/p>\n\u003cp>Now Liberty Mitchell, 42, a mother of two kids, is starring in \"\u003ca href=\"http://zspace.org/guest-shows/the-pornographers-daughter\" target=\"_blank\">The Pornographer’s Daughter\u003c/a>.\" It’s a one-woman play about growing up on the fringes of the porn industry, and what happened when Jim killed Artie in 1991.\u003c/p>\n\u003cp>Mitchell often visited her dad at “his office,” the O’Farrell Theatre, sometimes joining him to watch the films he and his brother were making.\u003c/p>\n\u003cp>“It was very strange. I believe, I was like 4 or 5, when I noticed what I was looking at on the screen,\" she said. \"You know, it didn’t immediately disturb me necessarily. It was more kind of an overwhelming sense of, ‘Wow, I never really imagined that that’s what a naked movie would look like.' ”\u003c/p>\n\u003cp>In the play, Mitchell recalls seeing a sign in the lobby saying “Under 18 not admitted,” and worrying that she’d be thrown in jail.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her dad’s line, which Mitchell delivers in a sardonic tone: “Relax, beautiful. You wouldn’t be a Mitchell if you didn’t do a little jail time.”\u003c/p>\n\u003cp>The Mitchell brothers made tens of millions and won an invitation to the Cannes Film Festival for their film \"Behind The Green Door,\" one of the first feature-length X-rated films. Fueling the film’s success, and the brothers' infamy, was the revelation that the star was Marilyn Chambers, the woman pictured on boxes of Ivory Snow.\u003c/p>\n\u003cp>The play also details both the brothers' drug and alcohol use and Jim’s growing paranoia. And Liberty Mitchell tells the difficult tale of how Jim killed her dad. He served just three years in San Quentin on a manslaughter conviction.\u003c/p>\n\u003cp>Liberty Mitchell said she can relive that difficult event on the stage because she has some perspective now on the incident.\u003c/p>\n\u003cp>And one reason she’s willing to do it is to reclaim her dad’s reputation. He was portrayed in two books and a Showtime cable movie as an “unsavory character.”\u003c/p>\n\u003cp>She wants her children to be able to read \"The Pornographer’s Daughter\" someday and learn that their grandfather was “a really magnetic, interesting and inspiring guy in so many ways.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/131242904&color=ff5500&auto_play=false&show_artwork=true\" frameborder=\"no\" scrolling=\"no\" width=\"100%\" height=\"166\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/01/2014-01-24d-tcrmag.mp3\u003c/p>\n\u003cfigure id=\"attachment_10343261\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/WarpaintLive.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/WarpaintLive-400x225.jpg\" alt=\"(Wikimedia Commons)\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10343261\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/WarpaintLive-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/WarpaintLive.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(Wikimedia Commons)\u003c/figcaption>\u003c/figure>\n\u003cp>The dance-y-est, dubby-est song on \"Warpaint,\" the new album by the Los Angeles quartet of the same name, has an odd title: It’s the word, Disco, followed by two slashes, and then the word very — “Disco // very.” But that title is also a clue to the whole album, the whole band. Run the words together and it’s \"Discovery.\" It’s not a very subtle clue, or deeply hidden one. Hey, if you’d spent the last four years evolving and discovering new levels of richness and confidence, you’d want others to discover it with you.\u003c/p>\n\u003cp>On Warpaint’s 2010 debut album, \"The Fool,\" there was a certain rustic, even primitive quality to the music. Singer-guitarists Emily Kokal and Theresa Wayman, bassist Jenny Lee Lindberg and drummer Stella Mozgawa shared a winning naiveté, sort of a post-post-post-punk hippie vibe. But what justified the considerable buzz it generated was a rich, art-conscious sophistication just under the surface. With this new, awaited followup album, the balance is flipped.\u003c/p>\n\u003cp>The album was co-produced with the band by English veteran Flood, whose extensive credits include Nine Inch Nails, PJ Harvey and U2. On such songs as “Love Is To Die,” he puts a robust pop quality fully up front, showcasing a strong hook and the new maturity of Kokal’s singing, capturing at once the edge of despair and the blossom of hope.\u003c/p>\n\u003cp>But the shambling side is strong, too, reflections of the music originating in collective sessions held in a domed house in Joshua Tree. You can feel it in the expansive sweep of “Go In.” (Of course, Flood was a key participant in another certain album tied to Joshua Tree.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout the album, Lindberg’s rubbery bass lines and Mozgawa’s quasi-ceremonial drumming suggest, but don’t pin down, the shape of the music. It’s reminiscent of New Order or some Public Image Ltd. experiments from the past, and in some ways L.A. duo No Age, England’s the XX and even Sri Lanka-born provocateur M.I.A.\u003c/p>\n\u003cp>Like all of them, Warpaint refuses to be locked in any genre box. It keeps you off guard and guessing, engagingly so — always in a state of discovery. And there’s a lot on Warpaint worth discovering.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://warpaintwarpaint.com/\" target=\"_blank\">About Warpaint (official website)\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/01/2014-01-24d-tcrmag.mp3\u003c/p>\n\u003cfigure id=\"attachment_10343261\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/WarpaintLive.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/WarpaintLive-400x225.jpg\" alt=\"(Wikimedia Commons)\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10343261\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/WarpaintLive-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/WarpaintLive.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(Wikimedia Commons)\u003c/figcaption>\u003c/figure>\n\u003cp>The dance-y-est, dubby-est song on \"Warpaint,\" the new album by the Los Angeles quartet of the same name, has an odd title: It’s the word, Disco, followed by two slashes, and then the word very — “Disco // very.” But that title is also a clue to the whole album, the whole band. Run the words together and it’s \"Discovery.\" It’s not a very subtle clue, or deeply hidden one. Hey, if you’d spent the last four years evolving and discovering new levels of richness and confidence, you’d want others to discover it with you.\u003c/p>\n\u003cp>On Warpaint’s 2010 debut album, \"The Fool,\" there was a certain rustic, even primitive quality to the music. Singer-guitarists Emily Kokal and Theresa Wayman, bassist Jenny Lee Lindberg and drummer Stella Mozgawa shared a winning naiveté, sort of a post-post-post-punk hippie vibe. But what justified the considerable buzz it generated was a rich, art-conscious sophistication just under the surface. With this new, awaited followup album, the balance is flipped.\u003c/p>\n\u003cp>The album was co-produced with the band by English veteran Flood, whose extensive credits include Nine Inch Nails, PJ Harvey and U2. On such songs as “Love Is To Die,” he puts a robust pop quality fully up front, showcasing a strong hook and the new maturity of Kokal’s singing, capturing at once the edge of despair and the blossom of hope.\u003c/p>\n\u003cp>But the shambling side is strong, too, reflections of the music originating in collective sessions held in a domed house in Joshua Tree. You can feel it in the expansive sweep of “Go In.” (Of course, Flood was a key participant in another certain album tied to Joshua Tree.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Pop-Up Art Exhibit to Open in Uptown Oakland Medical Building",
"title": "Pop-Up Art Exhibit to Open in Uptown Oakland Medical Building",
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"content": "\u003cfigure id=\"attachment_123604\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/ArtComplex.jpg\">\u003cimg class=\"size-medium wp-image-123604 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/ArtComplex-640x542.jpg\" alt=\"Oakland Local\" width=\"640\" height=\"542\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"Growing Extreme\" by artists Monica Tiulescu and Alexandra Neyman is one of the pieces on display at ArtComplex (Oakland Local)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>By Liza Veale, \u003ca href=\"http://oaklandlocal.com/2014/01/artcomplex-launches-pop-up-exhibition-twelve-installations-under-one-roof/\">Oakland Local\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>Owners of a shuttered medical building at 29th Street and Telegraph Avenue, just north of downtown Oakland, are waiting for construction permits to restore the spot to its original 1920s function as residential housing. In this fleeting moment of transition, 12 artists have taken up a brief residency to create site-specific art installations and invite the public inside. Curators Ernest Jolly and Chris Evans call their pop-up \u003cem>\u003ca href=\"http://artcomplex.popslice.com/\" target=\"_blank\">ArtComplex\u003c/a>\u003c/em>, and it opens today (Saturday, Jan. 18.).\u003c/p>\n\u003cp>Unlike most other forms of visual art and gallery presentations, these temporary, site-specific installations don’t begin and end with the borders of a frame, Jolly says. “They interact with the space; the space is part of the piece.” When they are disassembled and reinstalled somewhere else, they become something new.\u003c/p>\n\u003cp>In this case, the \u003ca href=\"http://artcomplex.popslice.com/artists\" target=\"_blank\">twelve artists\u003c/a> devised site-specific pieces inspired by the building. Some of them took their cues from its medical function, others from the nature of apartment cohabitation, others from the flux and transformation of the space in time and still others from the particular way the light came in the window. All of the work is animated by an Oakland sensibility.\u003c/p>\n\u003cp>“I selected a few of the artists and then those artists selected the rest,” Jolly says. “So it’s a really varied sample of local work.”\u003c/p>\n\u003cfigure id=\"attachment_123848\" class=\"wp-caption alignright\" style=\"max-width: 244px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/Matthew-Scheatzle-Tangential-Migration-wood-and-resin-244x300.jpg\">\u003cimg class=\"size-full wp-image-123848\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/Matthew-Scheatzle-Tangential-Migration-wood-and-resin-244x300.jpg\" alt='\"Tangential Migration,\" by Matthew Schaetzle (Oakland Local)' width=\"244\" height=\"300\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"Tangential Migration,\" by Matthew Schaetzle (Oakland Local)\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition will be open to the public on weekends through the end of March. Select dates will feature live music and dance performances that respond to the artists’ installations. Collaborators include \u003ca href=\"http://www.dandeliondancetheater.org/bandelion/\" target=\"_blank\">Bandelion performers\u003c/a>, dancer-choreographer \u003ca href=\"http://www.bybdance.com/\" target=\"_blank\">Byb Chanel Bibene\u003c/a>, avant jazz group the \u003ca href=\"https://www.facebook.com/thebrounfellinis\" target=\"_blank\">Broun Fellinis\u003c/a>, international solo artist \u003ca href=\"http://www.folawole.org/\" target=\"_blank\">Folawole\u003c/a>, Bay Area dancer \u003ca href=\"http://www.littleseismicdance.org/seismic/Dancer_Bios.html\" target=\"_blank\">Nadia Oka\u003c/a>, dancer-choreographer \u003ca href=\"http://sheenajohnsonrebelhome.blogspot.com/\" target=\"_blank\">Sheena Johnson\u003c/a>, and more. \u003cem>ArtComplex\u003c/em> is trying to create an immersive art experience; this is not your grandmother’s art museum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The new owners of the property, Irina Gelfenbeyn and Bill Bagnell, board members at the nonprofit \u003ca href=\"http://ebrha.com/\" target=\"_blank\">East Bay Rental Housing Association\u003c/a>, say that agreeing to the installation was a “no-brainer.”\u003c/p>\n\u003cp>“It is very important for us to make a contribution to the local art community,” said Gelfenbeyn, “We know how difficult it is for artists to find venues to show their art and build their credentials. We want this project to be a template for other people who are developing the city of Oakland.”\u003c/p>\n\u003cp>Gelfenbeyn and Bagnell are looking to revise the city’s housing laws to allow for unconventional lease agreements like the one they have with \u003cem>ArtComplex\u003c/em>.\u003c/p>\n\u003cp>In Jolly’s vision, if installation artists are better able to capitalize on spaces in transition, there is the potential that their work could could be incorporated into the permanent design of the building as it is turned over to a new purpose or owner. The idea is less viable in residential buildings than it is for public facing spaces like restaurants, civic buildings and venues.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Real estate interior design tends to involve the staging of fake flowers, a throw rug, but what if we rethought that?” asks Jolly. Given the growth in public appreciation for innovative design and artful architecture, perhaps Jolly’s idea is not only exciting, but inevitable.\u003cbr>\n\u003cem>\u003cbr>\nArtComplex will be open to the public on Saturdays and Sundays from Jan. 18 through March 23, from noon to 4 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_123604\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/ArtComplex.jpg\">\u003cimg class=\"size-medium wp-image-123604 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/ArtComplex-640x542.jpg\" alt=\"Oakland Local\" width=\"640\" height=\"542\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"Growing Extreme\" by artists Monica Tiulescu and Alexandra Neyman is one of the pieces on display at ArtComplex (Oakland Local)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>By Liza Veale, \u003ca href=\"http://oaklandlocal.com/2014/01/artcomplex-launches-pop-up-exhibition-twelve-installations-under-one-roof/\">Oakland Local\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>Owners of a shuttered medical building at 29th Street and Telegraph Avenue, just north of downtown Oakland, are waiting for construction permits to restore the spot to its original 1920s function as residential housing. In this fleeting moment of transition, 12 artists have taken up a brief residency to create site-specific art installations and invite the public inside. Curators Ernest Jolly and Chris Evans call their pop-up \u003cem>\u003ca href=\"http://artcomplex.popslice.com/\" target=\"_blank\">ArtComplex\u003c/a>\u003c/em>, and it opens today (Saturday, Jan. 18.).\u003c/p>\n\u003cp>Unlike most other forms of visual art and gallery presentations, these temporary, site-specific installations don’t begin and end with the borders of a frame, Jolly says. “They interact with the space; the space is part of the piece.” When they are disassembled and reinstalled somewhere else, they become something new.\u003c/p>\n\u003cp>In this case, the \u003ca href=\"http://artcomplex.popslice.com/artists\" target=\"_blank\">twelve artists\u003c/a> devised site-specific pieces inspired by the building. Some of them took their cues from its medical function, others from the nature of apartment cohabitation, others from the flux and transformation of the space in time and still others from the particular way the light came in the window. All of the work is animated by an Oakland sensibility.\u003c/p>\n\u003cp>“I selected a few of the artists and then those artists selected the rest,” Jolly says. “So it’s a really varied sample of local work.”\u003c/p>\n\u003cfigure id=\"attachment_123848\" class=\"wp-caption alignright\" style=\"max-width: 244px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/Matthew-Scheatzle-Tangential-Migration-wood-and-resin-244x300.jpg\">\u003cimg class=\"size-full wp-image-123848\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/Matthew-Scheatzle-Tangential-Migration-wood-and-resin-244x300.jpg\" alt='\"Tangential Migration,\" by Matthew Schaetzle (Oakland Local)' width=\"244\" height=\"300\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"Tangential Migration,\" by Matthew Schaetzle (Oakland Local)\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition will be open to the public on weekends through the end of March. Select dates will feature live music and dance performances that respond to the artists’ installations. Collaborators include \u003ca href=\"http://www.dandeliondancetheater.org/bandelion/\" target=\"_blank\">Bandelion performers\u003c/a>, dancer-choreographer \u003ca href=\"http://www.bybdance.com/\" target=\"_blank\">Byb Chanel Bibene\u003c/a>, avant jazz group the \u003ca href=\"https://www.facebook.com/thebrounfellinis\" target=\"_blank\">Broun Fellinis\u003c/a>, international solo artist \u003ca href=\"http://www.folawole.org/\" target=\"_blank\">Folawole\u003c/a>, Bay Area dancer \u003ca href=\"http://www.littleseismicdance.org/seismic/Dancer_Bios.html\" target=\"_blank\">Nadia Oka\u003c/a>, dancer-choreographer \u003ca href=\"http://sheenajohnsonrebelhome.blogspot.com/\" target=\"_blank\">Sheena Johnson\u003c/a>, and more. \u003cem>ArtComplex\u003c/em> is trying to create an immersive art experience; this is not your grandmother’s art museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The new owners of the property, Irina Gelfenbeyn and Bill Bagnell, board members at the nonprofit \u003ca href=\"http://ebrha.com/\" target=\"_blank\">East Bay Rental Housing Association\u003c/a>, say that agreeing to the installation was a “no-brainer.”\u003c/p>\n\u003cp>“It is very important for us to make a contribution to the local art community,” said Gelfenbeyn, “We know how difficult it is for artists to find venues to show their art and build their credentials. We want this project to be a template for other people who are developing the city of Oakland.”\u003c/p>\n\u003cp>Gelfenbeyn and Bagnell are looking to revise the city’s housing laws to allow for unconventional lease agreements like the one they have with \u003cem>ArtComplex\u003c/em>.\u003c/p>\n\u003cp>In Jolly’s vision, if installation artists are better able to capitalize on spaces in transition, there is the potential that their work could could be incorporated into the permanent design of the building as it is turned over to a new purpose or owner. The idea is less viable in residential buildings than it is for public facing spaces like restaurants, civic buildings and venues.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Real estate interior design tends to involve the staging of fake flowers, a throw rug, but what if we rethought that?” asks Jolly. Given the growth in public appreciation for innovative design and artful architecture, perhaps Jolly’s idea is not only exciting, but inevitable.\u003cbr>\n\u003cem>\u003cbr>\nArtComplex will be open to the public on Saturdays and Sundays from Jan. 18 through March 23, from noon to 4 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A while ago, I happened across a time-lapse video of San Francisco scenes. In less than five minutes, it seemed to capture the sublime unfolding of one day here and convey a notion of the city's beauty and vitality. Much more recently, one of our online producers, Lisa Pickoff-White, engaged former KQED staffer and noted photography experimenter Ken Murphy to shoot a time lapse of the last 49ers game at Candlestick Park, which she then mixed with voices of fans reflecting on the end of the Candlestick era. The result was moving and compressed the experience of an evening, and of memories that stretched back for decades, into less than two minutes. \u003c/p>\n\u003cp>So, those pieces got us thinking about what other time-lapse projects we might take on in the future. And also, about time lapses videos we've seen that amazed us. Here's a short list, with an emphasis on California places. \u003c/p>\n\u003cp>\u003cstrong>SF to Paris in 2 Minutes\u003c/strong>, by Nate Bolt\u003cbr>\n\u003cstrong>What we love:\u003c/strong> There are few visual/geographic experiences better than watching the landscape slide by on a long plane flight. Here, you'll get to see the trip from SFO to CDG by way of the Arctic. As an inveterate airliner-seat picture-taker, what I need to see is how the photographer set up his rig.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe width=\"560\" height=\"315\" src=\"//www.youtube.com/embed/8j36Erxd5rc\" frameborder=\"0\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>\u003ca href=\"http://vimeo.com/29298709\" target=\"_blank\">The City\u003c/a>\u003c/strong>, by \u003ca href=\"http://vimeo.com/wtkphoto\" target=\"_blank\">WTK Photography\u003c/a>\u003cbr>\n\u003cstrong>What we love:\u003c/strong> A sublime unfolding of San Francisco in 4 minutes and 56 seconds. \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//player.vimeo.com/video/29298709\" width=\"500\" height=\"281\" frameborder=\"0\" mozallowfullscreen>\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>Timelapse Reel 1\u003c/strong>, by Andrew Walker\u003cbr>\n\u003cstrong>What we love:\u003c/strong> Nighttime shots of Los Angeles on the move, with a sudden detour near the end to a couple of very familiar Bay Area scenes. \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//player.vimeo.com/video/1643000\" width=\"500\" height=\"281\" frameborder=\"0\" mozallowfullscreen>\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>Bay Bridge weekend\u003c/strong>, by the Metropolitan Transportation Commission\u003cbr>\n\u003cstrong>What we love: \u003c/strong>There are several time lapse views of the installation of the (infamous) Bay Bridge S-curve in 2009. This is the sharpest and features a cool second perspective. \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe width=\"420\" height=\"315\" src=\"//www.youtube.com/embed/HZ3rTq59x5U\" frameborder=\"0\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>The City Limits\u003c/strong>, by Dominic Boudreault\u003cbr>\n\u003cstrong>What we love:\u003c/strong> A poetic vision of four big North American cities — Montreal, Toronto, New York and Chicago — juxtaposed with what's beyond the urban frontier. Amazing high-def clarity here, too.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//player.vimeo.com/video/23237102\" width=\"500\" height=\"281\" mozallowfullscreen>\u003c/iframe>\u003c/div>\n\u003cp>\u003ca href=\"http://www.murphlab.com/2011/11/15/a-history-of-the-sky-for-one-year/\" target=\"_blank\">A History of the Sky\u003c/a>, by Ken Murphy\u003cbr>\n\u003cstrong>What we love:\u003c/strong> 365 days' worth of the sky above San Francisco's Exploratorium.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe width=\"560\" height=\"315\" src=\"//www.youtube.com/embed/PNln_me-XjI\" frameborder=\"0\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>The Rim Fire\u003c/strong>, by Yosemite National Park\u003cbr>\n\u003cstrong>What we love:\u003c/strong> The night sequences, reportedly shot at Yosemite's Crane Flat helibase. \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe width=\"560\" height=\"315\" src=\"//www.youtube.com/embed/97BrYoq1ly0\" frameborder=\"0\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>O.Co Coliseum Conversion\u003c/strong>, A's to Raiders, by Oracle Arena\u003cbr>\n\u003cstrong>What we love: \u003c/strong>Shot last October, the video captures the entire frenetic process of changing the major leagues' last dual-purpose park from a baseball venue to an NFL stadium. It's a little mind-bending how all the pieces fit together. \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe width=\"560\" height=\"315\" src=\"//www.youtube.com/embed/3hn_6rcaPIE\" frameborder=\"0\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>Last Night at the 'Stick\u003c/strong>, by Ken Murphy\u003cbr>\n\u003cstrong>What we love:\u003c/strong> Well, first, this was a great call by our producers to do this piece. And second, compressing the pregame, the game, and the stadium cleanup into 1 minute and 45 seconds while preserving a sense of the event? Amazing. \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe width=\"560\" height=\"315\" src=\"//www.youtube.com/embed/LE-AFNpeAM8\" frameborder=\"0\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>Into the Atmosphere\u003c/strong>, by Michael Shainblum\u003cbr>\n\u003cstrong>What we love:\u003c/strong> California's natural magnificence, accompanied by a somewhat overwrought soundtrack (keep your sound low). \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//player.vimeo.com/video/81616727\" width=\"500\" height=\"281\" frameborder=\"0\" mozallowfullscreen>\u003c/iframe>\u003c/div>\n\u003cp>\u003ca href=\"http://vimeo.com/81616727\">Into The Atmosphere\u003c/a> from \u003ca href=\"http://vimeo.com/shainblum\">Michael Shainblum\u003c/a> on \u003ca href=\"https://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Idiot With a Tripod\u003c/strong>, by Jamie Stuart\u003cbr>\n\u003cstrong>What we love: \u003c/strong>I am sneaking this one in here: It's not a time lapse but a short film documenting a blizzard that hit New York City in December 2010. A must-see, IMHO. \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//player.vimeo.com/video/18312392\" width=\"500\" height=\"281\" frameborder=\"0\" mozallowfullscreen>\u003c/iframe>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A while ago, I happened across a time-lapse video of San Francisco scenes. In less than five minutes, it seemed to capture the sublime unfolding of one day here and convey a notion of the city's beauty and vitality. Much more recently, one of our online producers, Lisa Pickoff-White, engaged former KQED staffer and noted photography experimenter Ken Murphy to shoot a time lapse of the last 49ers game at Candlestick Park, which she then mixed with voices of fans reflecting on the end of the Candlestick era. The result was moving and compressed the experience of an evening, and of memories that stretched back for decades, into less than two minutes. \u003c/p>\n\u003cp>So, those pieces got us thinking about what other time-lapse projects we might take on in the future. And also, about time lapses videos we've seen that amazed us. Here's a short list, with an emphasis on California places. \u003c/p>\n\u003cp>\u003cstrong>SF to Paris in 2 Minutes\u003c/strong>, by Nate Bolt\u003cbr>\n\u003cstrong>What we love:\u003c/strong> There are few visual/geographic experiences better than watching the landscape slide by on a long plane flight. Here, you'll get to see the trip from SFO to CDG by way of the Arctic. As an inveterate airliner-seat picture-taker, what I need to see is how the photographer set up his rig.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe width=\"560\" height=\"315\" src=\"//www.youtube.com/embed/8j36Erxd5rc\" frameborder=\"0\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>\u003ca href=\"http://vimeo.com/29298709\" target=\"_blank\">The City\u003c/a>\u003c/strong>, by \u003ca href=\"http://vimeo.com/wtkphoto\" target=\"_blank\">WTK Photography\u003c/a>\u003cbr>\n\u003cstrong>What we love:\u003c/strong> A sublime unfolding of San Francisco in 4 minutes and 56 seconds. \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//player.vimeo.com/video/29298709\" width=\"500\" height=\"281\" frameborder=\"0\" mozallowfullscreen>\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>Timelapse Reel 1\u003c/strong>, by Andrew Walker\u003cbr>\n\u003cstrong>What we love:\u003c/strong> Nighttime shots of Los Angeles on the move, with a sudden detour near the end to a couple of very familiar Bay Area scenes. \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//player.vimeo.com/video/1643000\" width=\"500\" height=\"281\" frameborder=\"0\" mozallowfullscreen>\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>Bay Bridge weekend\u003c/strong>, by the Metropolitan Transportation Commission\u003cbr>\n\u003cstrong>What we love: \u003c/strong>There are several time lapse views of the installation of the (infamous) Bay Bridge S-curve in 2009. This is the sharpest and features a cool second perspective. \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe width=\"420\" height=\"315\" src=\"//www.youtube.com/embed/HZ3rTq59x5U\" frameborder=\"0\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>The City Limits\u003c/strong>, by Dominic Boudreault\u003cbr>\n\u003cstrong>What we love:\u003c/strong> A poetic vision of four big North American cities — Montreal, Toronto, New York and Chicago — juxtaposed with what's beyond the urban frontier. Amazing high-def clarity here, too.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//player.vimeo.com/video/23237102\" width=\"500\" height=\"281\" mozallowfullscreen>\u003c/iframe>\u003c/div>\n\u003cp>\u003ca href=\"http://www.murphlab.com/2011/11/15/a-history-of-the-sky-for-one-year/\" target=\"_blank\">A History of the Sky\u003c/a>, by Ken Murphy\u003cbr>\n\u003cstrong>What we love:\u003c/strong> 365 days' worth of the sky above San Francisco's Exploratorium.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe width=\"560\" height=\"315\" src=\"//www.youtube.com/embed/PNln_me-XjI\" frameborder=\"0\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>The Rim Fire\u003c/strong>, by Yosemite National Park\u003cbr>\n\u003cstrong>What we love:\u003c/strong> The night sequences, reportedly shot at Yosemite's Crane Flat helibase. \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe width=\"560\" height=\"315\" src=\"//www.youtube.com/embed/97BrYoq1ly0\" frameborder=\"0\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>O.Co Coliseum Conversion\u003c/strong>, A's to Raiders, by Oracle Arena\u003cbr>\n\u003cstrong>What we love: \u003c/strong>Shot last October, the video captures the entire frenetic process of changing the major leagues' last dual-purpose park from a baseball venue to an NFL stadium. It's a little mind-bending how all the pieces fit together. \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe width=\"560\" height=\"315\" src=\"//www.youtube.com/embed/3hn_6rcaPIE\" frameborder=\"0\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>Last Night at the 'Stick\u003c/strong>, by Ken Murphy\u003cbr>\n\u003cstrong>What we love:\u003c/strong> Well, first, this was a great call by our producers to do this piece. And second, compressing the pregame, the game, and the stadium cleanup into 1 minute and 45 seconds while preserving a sense of the event? Amazing. \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe width=\"560\" height=\"315\" src=\"//www.youtube.com/embed/LE-AFNpeAM8\" frameborder=\"0\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>Into the Atmosphere\u003c/strong>, by Michael Shainblum\u003cbr>\n\u003cstrong>What we love:\u003c/strong> California's natural magnificence, accompanied by a somewhat overwrought soundtrack (keep your sound low). \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//player.vimeo.com/video/81616727\" width=\"500\" height=\"281\" frameborder=\"0\" mozallowfullscreen>\u003c/iframe>\u003c/div>\n\u003cp>\u003ca href=\"http://vimeo.com/81616727\">Into The Atmosphere\u003c/a> from \u003ca href=\"http://vimeo.com/shainblum\">Michael Shainblum\u003c/a> on \u003ca href=\"https://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Idiot With a Tripod\u003c/strong>, by Jamie Stuart\u003cbr>\n\u003cstrong>What we love: \u003c/strong>I am sneaking this one in here: It's not a time lapse but a short film documenting a blizzard that hit New York City in December 2010. A must-see, IMHO. \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//player.vimeo.com/video/18312392\" width=\"500\" height=\"281\" frameborder=\"0\" mozallowfullscreen>\u003c/iframe>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_123242\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/2014/01/10/oakland-public-library-notes-and-messages-left-in-books/librarynote/\" rel=\"attachment wp-att-123242\">\u003cimg class=\"size-full wp-image-123242\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/LibraryNote.jpg\" alt=\"One of the many notes left in returned books by Oakland library patrons. (Courtesy, Oakland Public Library)\" width=\"640\" height=\"360\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the many notes left in returned books by Oakland library patrons. (Courtesy, Oakland Public Library)\u003c/figcaption>\u003c/figure>\n\u003cp>Have you ever wondered what happens to the papers, notes and impromptu bookmarks that you leave in your library books? Well, if you're a patron of the Oakland Public Library, you're about to find out.\u003c/p>\n\u003cp>Librarian Sharon McKellar says she began saving the ephemera she found in books even before she started working at Oakland's library in 2003.\u003c/p>\n\u003cp>McKellar manages \u003ca href=\"http://www.oaklandlibrary.org/blogs\" target=\"_blank\">the library's blog\u003c/a>, and one day it occurred to her that other people might enjoy the pictures and \"to do\" lists she finds stuck in returned books.\u003c/p>\n\u003cp>\"I was trying to think of new things to put on my blog, on our library's website,\" she says. \"Wouldn't it be fun to do a sort of a \u003ca href=\"http://foundmagazine.com/\" target=\"_blank\">Found magazine\u003c/a>-style post with things that people in the library have found.\"\u003c/p>\n\u003cp>\"So I put a call out to basically all library staff and just said if you have anything, send it my way,\" McKellar says. \"I sort of hoped I’d get a couple of items, enough to make one post, and I just got tons and tons of stuff from everywhere. It turned out that people from all over the library have been holding onto and saving this stuff and they all have their favorites and pieces they hold dear.\"\u003c/p>\n\u003caside class=\"pullquote alignleft\">'Whereas John is manipulative and cruel so he is not good enough for the throne, now therefore I proclaim myself to be the rightful heir to the throne.'\u003cbr>\n\u003ccite>— Anonymous\u003c/cite>\u003c/aside>\n\u003cp>Thus was born \"\u003ca href=\"http://www.oaklandlibrary.org/blogs/library-community/found-library-style\" target=\"_blank\">Found, Library Style\u003c/a>.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some notes are simple and to the point: \"Naomi, please look for my special note to you in the living room. T.F.\"\u003c/p>\n\u003cp>The motivation behind others is harder to decipher. Like this scrap:\u003c/p>\n\u003cp>\"Whereas John is manipulative and cruel so he is not good enough for the throne, now therefore I proclaim myself to be the rightful heir to the throne.\"\u003c/p>\n\u003cp>Was it a game? Homework? Someone genuinely upset?\u003c/p>\n\u003cp>McKellar likes \"to do\" lists. She pulls out her favorite.\u003c/p>\n\u003cp>\"It's just such a great list of things,\" she says. \"It includes 'Vegas,' 'getting unemployment?' and 'Lucky Brand jeans.' \"\u003c/p>\n\u003cp>One thing she's noticed over the years is that many of the notes appear to be written by kids.\u003c/p>\n\u003cp>\"I think the main thing (that) says,\" McKellar says, \"is that kids are probably far more likely to leave behind things that they aren't meant to leave behind. So many little pieces of homework.\"\u003c/p>\n\u003cp>\"Go home now!\" reads one scrap in shaky script. \"Please don't say funny words,\" reads another. \"Barack Obama is hard-working because he has to make new laws, speeches and take care of his family.\" says a third.\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/128917873&color=ff6600&auto_play=false&show_artwork=true\" frameborder=\"no\" scrolling=\"no\" width=\"100%\" height=\"166\">\u003c/iframe>\u003c/p>\n\u003cp>Nina Lindsay, the supervising librarian for Children's Services at Oakland Public Library, keeps her own collection on the walls of her office.\u003c/p>\n\u003cp>One of her favorites is a ransom note written by a child to the whole world: \"Dear World, Each citizen needs to give 100 dollars so each country, state, citizen, should at least have a thousand dollars.\"\u003c/p>\n\u003cp>Lindsay adds that the ransom note was accompanied by \"a lot of pieces of fake money, just different scraps of paper, like fake Monopoly money, so it made me hopeful that the ransom was being paid.\".\u003c/p>\n\u003cp>Lindsay says the notes are precious as windows into another world.\u003c/p>\n\u003cp>\"Children usually are used to talking to adults in the way they think they are supposed to talk to adults,\" she says. \"And I feel like we don't always get to hear what's going on in their minds and hearts, and these notes let us see inside that a little bit.\"\u003c/p>\n\u003cp>McKellar says some of what she thinks is appealing about the notes, and has made them a hit on the blog, is the fact there is a bit of mystery around them.\u003c/p>\n\u003cp>\"I feel like in general the things you find in a book, it's one of two things. Either it's a throwaway thing, you either needed a piece of paper to mark your place,\" says McKellar. \"Or else it's something that's so intimate and personal that you want it with you, and you want to carry it with you everywhere you go, so it becomes a part of this thing you’re reading every day. And they are so different from each other it's interesting to try to figure out which it might be.\"\u003c/p>\n\u003cp>She reads some of the more sentimental notes in her collection:\u003c/p>\n\u003cp>\"Remember I love you sweetheart. The past is the past. So let's not take it home with us. I just want to love you and be happy.\"\u003c/p>\n\u003cp>And: \"I hope when you find this, whatever you are doing, you are having a great time.\"\u003c/p>\n\u003cp>She says she dreams of reconnecting some of the notes, photos and drawings with the people who make them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Part of what’s interesting about putting them on the website is, I think it would be really fun if somebody saw it and said, 'That’s the note I left for my son in his lunch that morning and never saw again.' It would be cool if people recognized something of theirs.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_123242\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/2014/01/10/oakland-public-library-notes-and-messages-left-in-books/librarynote/\" rel=\"attachment wp-att-123242\">\u003cimg class=\"size-full wp-image-123242\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/LibraryNote.jpg\" alt=\"One of the many notes left in returned books by Oakland library patrons. (Courtesy, Oakland Public Library)\" width=\"640\" height=\"360\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the many notes left in returned books by Oakland library patrons. (Courtesy, Oakland Public Library)\u003c/figcaption>\u003c/figure>\n\u003cp>Have you ever wondered what happens to the papers, notes and impromptu bookmarks that you leave in your library books? Well, if you're a patron of the Oakland Public Library, you're about to find out.\u003c/p>\n\u003cp>Librarian Sharon McKellar says she began saving the ephemera she found in books even before she started working at Oakland's library in 2003.\u003c/p>\n\u003cp>McKellar manages \u003ca href=\"http://www.oaklandlibrary.org/blogs\" target=\"_blank\">the library's blog\u003c/a>, and one day it occurred to her that other people might enjoy the pictures and \"to do\" lists she finds stuck in returned books.\u003c/p>\n\u003cp>\"I was trying to think of new things to put on my blog, on our library's website,\" she says. \"Wouldn't it be fun to do a sort of a \u003ca href=\"http://foundmagazine.com/\" target=\"_blank\">Found magazine\u003c/a>-style post with things that people in the library have found.\"\u003c/p>\n\u003cp>\"So I put a call out to basically all library staff and just said if you have anything, send it my way,\" McKellar says. \"I sort of hoped I’d get a couple of items, enough to make one post, and I just got tons and tons of stuff from everywhere. It turned out that people from all over the library have been holding onto and saving this stuff and they all have their favorites and pieces they hold dear.\"\u003c/p>\n\u003caside class=\"pullquote alignleft\">'Whereas John is manipulative and cruel so he is not good enough for the throne, now therefore I proclaim myself to be the rightful heir to the throne.'\u003cbr>\n\u003ccite>— Anonymous\u003c/cite>\u003c/aside>\n\u003cp>Thus was born \"\u003ca href=\"http://www.oaklandlibrary.org/blogs/library-community/found-library-style\" target=\"_blank\">Found, Library Style\u003c/a>.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some notes are simple and to the point: \"Naomi, please look for my special note to you in the living room. T.F.\"\u003c/p>\n\u003cp>The motivation behind others is harder to decipher. Like this scrap:\u003c/p>\n\u003cp>\"Whereas John is manipulative and cruel so he is not good enough for the throne, now therefore I proclaim myself to be the rightful heir to the throne.\"\u003c/p>\n\u003cp>Was it a game? Homework? Someone genuinely upset?\u003c/p>\n\u003cp>McKellar likes \"to do\" lists. She pulls out her favorite.\u003c/p>\n\u003cp>\"It's just such a great list of things,\" she says. \"It includes 'Vegas,' 'getting unemployment?' and 'Lucky Brand jeans.' \"\u003c/p>\n\u003cp>One thing she's noticed over the years is that many of the notes appear to be written by kids.\u003c/p>\n\u003cp>\"I think the main thing (that) says,\" McKellar says, \"is that kids are probably far more likely to leave behind things that they aren't meant to leave behind. So many little pieces of homework.\"\u003c/p>\n\u003cp>\"Go home now!\" reads one scrap in shaky script. \"Please don't say funny words,\" reads another. \"Barack Obama is hard-working because he has to make new laws, speeches and take care of his family.\" says a third.\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/128917873&color=ff6600&auto_play=false&show_artwork=true\" frameborder=\"no\" scrolling=\"no\" width=\"100%\" height=\"166\">\u003c/iframe>\u003c/p>\n\u003cp>Nina Lindsay, the supervising librarian for Children's Services at Oakland Public Library, keeps her own collection on the walls of her office.\u003c/p>\n\u003cp>One of her favorites is a ransom note written by a child to the whole world: \"Dear World, Each citizen needs to give 100 dollars so each country, state, citizen, should at least have a thousand dollars.\"\u003c/p>\n\u003cp>Lindsay adds that the ransom note was accompanied by \"a lot of pieces of fake money, just different scraps of paper, like fake Monopoly money, so it made me hopeful that the ransom was being paid.\".\u003c/p>\n\u003cp>Lindsay says the notes are precious as windows into another world.\u003c/p>\n\u003cp>\"Children usually are used to talking to adults in the way they think they are supposed to talk to adults,\" she says. \"And I feel like we don't always get to hear what's going on in their minds and hearts, and these notes let us see inside that a little bit.\"\u003c/p>\n\u003cp>McKellar says some of what she thinks is appealing about the notes, and has made them a hit on the blog, is the fact there is a bit of mystery around them.\u003c/p>\n\u003cp>\"I feel like in general the things you find in a book, it's one of two things. Either it's a throwaway thing, you either needed a piece of paper to mark your place,\" says McKellar. \"Or else it's something that's so intimate and personal that you want it with you, and you want to carry it with you everywhere you go, so it becomes a part of this thing you’re reading every day. And they are so different from each other it's interesting to try to figure out which it might be.\"\u003c/p>\n\u003cp>She reads some of the more sentimental notes in her collection:\u003c/p>\n\u003cp>\"Remember I love you sweetheart. The past is the past. So let's not take it home with us. I just want to love you and be happy.\"\u003c/p>\n\u003cp>And: \"I hope when you find this, whatever you are doing, you are having a great time.\"\u003c/p>\n\u003cp>She says she dreams of reconnecting some of the notes, photos and drawings with the people who make them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Part of what’s interesting about putting them on the website is, I think it would be really fun if somebody saw it and said, 'That’s the note I left for my son in his lunch that morning and never saw again.' It would be cool if people recognized something of theirs.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Saul Zaentz, Legendary Berkeley Movie and Music Producer, Dies at Age 92",
"headTitle": "Saul Zaentz, Legendary Berkeley Movie and Music Producer, Dies at Age 92 | KQED",
"content": "\u003cfigure id=\"attachment_122797\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/2014/01/06/saul-zaentz-obituary-berkeleyside/actor-al-pacinol-presents-the-oscar-for-best-pic/\" rel=\"attachment wp-att-122797\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-122797\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/51660577-e1389039430551.jpg\" alt=\"Actor Al Pacino, left, congratulates film producer Saul Zaentz during 1997 Oscar ceremony in Los Angeles after Zaentz's film "The English Patient" was named Best Picture. (Timothy A. Clary/AFP-Getty Images)\" width=\"640\" height=\"409\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Actor Al Pacino, left, congratulates film producer Saul Zaentz during 1997 Oscar ceremony in Los Angeles after Zaentz’s film “The English Patient” was named Best Picture. (Timothy A. Clary/AFP-Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>By Frances Dinkelspiel\u003cbr>\n\u003ca href=\"http://www.berkeleyside.com/\" target=\"_blank\" rel=\"noopener\">Berkeleyside\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>Saul Zaentz, who produced three Academy Award-winning films and whose Fantasy Records building on Tenth Street in Berkeley became an international center for music and filmmaking, died in San Francisco on Friday at the age of 92.\u003c/p>\n\u003cp>His death marks the end of an era that started in 1971, when Zaentz moved his Fantasy Records into what was then a two-story building on Tenth and Parker in West Berkeley. For close to 40 years, because of Zaentz, Berkeley has been synonymous with high-quality film and music production.\u003c/p>\n\u003cp>Zaentz, who suffered from Alzheimer’s disease, was born in Passaic, N.J., in 1921, and ran away from home at 16. After serving in North Africa and Sicily in World War II, Zaentz came to San Francisco where he went to work in 1954 for Norman Granz, a jazz producer and promoter. Zaentz managed Granz’s touring company and went out on the road with jazz greats such as Duke Ellington, Dave Brubeck, Gerry Mulligan and Stan Getz.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1955, Zaentz went to work for Fantasy Records, a jazz and comedy label founded by the brothers Max and Sol Weiss in San Francisco in 1949. He ended up buying the company with a group of investors in 1967. It went on to become the largest jazz record label in the world.\u003c/p>\n\u003cp>Fantasy had signed a single rock band, The Golliwogs, led by a Fantasy shipping clerk, John Fogerty, according to the San Francisco Chronicle. The group rechristened itself Creedence Clearwater Revival and went on to sell 5 million albums.\u003c/p>\n\u003cp>Creedence was “a lightning strike,” Zaentz told the Chronicle in 1970. “If we ever find another group that sells half as much, we’ll be delirious.”\u003c/p>\n\u003cp>Zaentz and Fogerty later battled numerous times in court. Their relations grew so strained that in 1985 Fogerty wrote a song called “\u003ca href=\"https://www.youtube.com/watch?v=wjpAYfCFmJ4\" target=\"_blank\" rel=\"noopener\">Zanz Kant Danz\u003c/a>.” One of the lyrics: “Watch him or he’ll rob you blind.” Zaentz, who was famously litigious, alleged that the song defamed him, and Fogerty changed the title to “Vanz Kant Danz.” Zaentz then sued Fogerty for plagiarizing Creedence songs on a later solo album; Fogerty prevailed and won attorney’s fees in a case that went all the way to the U.S. Supreme Court.\u003c/p>\n\u003cp>Zaentz formed The Saul Zaentz Co. in 1972 and moved into film production with the 1975 film “\u003ca href=\"http://www.imdb.com/title/tt0073486/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener\">One Flew Over the Cuckoo’s Nest\u003c/a>,” based on the novel by Ken Kesey. It won a best picture award and Oscars for director Milos Forman and its stars, Jack Nicholson and Louise Fletcher.\u003c/p>\n\u003cp>His 1984 effort, “\u003ca href=\"http://www.imdb.com/title/tt0086879/\" target=\"_blank\" rel=\"noopener\">Amadeus\u003c/a>,” won eight Oscars, including best picture, best director (Forman again) and best actor (F. Murray Abraham). Other successful films included “\u003ca href=\"http://www.imdb.com/title/tt0096332/\" target=\"_blank\" rel=\"noopener\">The Unbearable Lightness of Being\u003c/a>,” with Daniel Day-Lewis and Juliette Binoche, and \u003ca href=\"http://www.imdb.com/title/tt0116209/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener\">The English Patient\u003c/a>, with Ralph Fiennes and Kristen Scott Thomas. That film won best picture and best director.\u003c/p>\n\u003cp>Zaentz, who was a big reader and got most of his film material from novels, obtained the rights to J.R.R. Tolkien’s “Lord of the Rings” trilogy and “The Hobbit.” He made an animated version of “Lord of the Rings” in 1978, but sold the film rights to Miramax in 1997. Director Peter Jackson took the project to New Line Cinema after Miramax could not fund it, and the franchise went on to earn more than $2.9 billion. Zaentz twice sued New Line, according to Variety magazine. The case was settled out of court in 2005.\u003c/p>\n\u003cp>The academy awarded Zaentz the Irving G. Thalberg Award in 1997.\u003c/p>\n\u003cp>In 1969, Fantasy Records purchased a property on Tenth and Parker streets in Berkeley from the Peterson Trucking Co.. The record company moved into a two-story building in 1971. The financial success of “One Flew Over the Cuckoo’s Nest” enabled Zaentz in 1980 to add a new seven-story building that has since become one of the defining features of West Berkeley’s skyline. The new structure contained a fully equipped dubbing stage, and picture and sound editing suites. Zaentz added a second film-mixing stage and additional editing rooms in 1989.\u003c/p>\n\u003cp>The building became known as the Zaentz Media Center and was used by filmmakers and musicians from around the world. Numerous successful albums were recorded there, including Green Day’s “Dookie” in 1994 and Santana’s “Supernatural” in 1999. The latter went 15 times platinum and garnered nine Grammy Awards.\u003c/p>\n\u003cp>Zaentz is survived by four children, Dorian, Joshua, Athena, Jonnie; a nephew, Paul Zaentz, who is also a producer; and seven grandchildren.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED News Associate \u003ca href=\"http://www.berkeleyside.com/\">Berkeleyside\u003c/a> is an independently owned news website based in Berkeley, Calif. \u003ca href=\"http://berkeleyside.us2.list-manage.com/subscribe?u=4851428a10883a05193b1dd6c&id=aad4b5ee64\">Click here\u003c/a> if you would like to receive the latest Berkeley news in your inbox once a day for free with Berkeleyside’s Daily Briefing email.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Berkeley-based impresario backed Creedence Clearwater Revival and a string of acclaimed feature films. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_122797\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/2014/01/06/saul-zaentz-obituary-berkeleyside/actor-al-pacinol-presents-the-oscar-for-best-pic/\" rel=\"attachment wp-att-122797\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-122797\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/51660577-e1389039430551.jpg\" alt=\"Actor Al Pacino, left, congratulates film producer Saul Zaentz during 1997 Oscar ceremony in Los Angeles after Zaentz's film "The English Patient" was named Best Picture. (Timothy A. Clary/AFP-Getty Images)\" width=\"640\" height=\"409\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Actor Al Pacino, left, congratulates film producer Saul Zaentz during 1997 Oscar ceremony in Los Angeles after Zaentz’s film “The English Patient” was named Best Picture. (Timothy A. Clary/AFP-Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>By Frances Dinkelspiel\u003cbr>\n\u003ca href=\"http://www.berkeleyside.com/\" target=\"_blank\" rel=\"noopener\">Berkeleyside\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>Saul Zaentz, who produced three Academy Award-winning films and whose Fantasy Records building on Tenth Street in Berkeley became an international center for music and filmmaking, died in San Francisco on Friday at the age of 92.\u003c/p>\n\u003cp>His death marks the end of an era that started in 1971, when Zaentz moved his Fantasy Records into what was then a two-story building on Tenth and Parker in West Berkeley. For close to 40 years, because of Zaentz, Berkeley has been synonymous with high-quality film and music production.\u003c/p>\n\u003cp>Zaentz, who suffered from Alzheimer’s disease, was born in Passaic, N.J., in 1921, and ran away from home at 16. After serving in North Africa and Sicily in World War II, Zaentz came to San Francisco where he went to work in 1954 for Norman Granz, a jazz producer and promoter. Zaentz managed Granz’s touring company and went out on the road with jazz greats such as Duke Ellington, Dave Brubeck, Gerry Mulligan and Stan Getz.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1955, Zaentz went to work for Fantasy Records, a jazz and comedy label founded by the brothers Max and Sol Weiss in San Francisco in 1949. He ended up buying the company with a group of investors in 1967. It went on to become the largest jazz record label in the world.\u003c/p>\n\u003cp>Fantasy had signed a single rock band, The Golliwogs, led by a Fantasy shipping clerk, John Fogerty, according to the San Francisco Chronicle. The group rechristened itself Creedence Clearwater Revival and went on to sell 5 million albums.\u003c/p>\n\u003cp>Creedence was “a lightning strike,” Zaentz told the Chronicle in 1970. “If we ever find another group that sells half as much, we’ll be delirious.”\u003c/p>\n\u003cp>Zaentz and Fogerty later battled numerous times in court. Their relations grew so strained that in 1985 Fogerty wrote a song called “\u003ca href=\"https://www.youtube.com/watch?v=wjpAYfCFmJ4\" target=\"_blank\" rel=\"noopener\">Zanz Kant Danz\u003c/a>.” One of the lyrics: “Watch him or he’ll rob you blind.” Zaentz, who was famously litigious, alleged that the song defamed him, and Fogerty changed the title to “Vanz Kant Danz.” Zaentz then sued Fogerty for plagiarizing Creedence songs on a later solo album; Fogerty prevailed and won attorney’s fees in a case that went all the way to the U.S. Supreme Court.\u003c/p>\n\u003cp>Zaentz formed The Saul Zaentz Co. in 1972 and moved into film production with the 1975 film “\u003ca href=\"http://www.imdb.com/title/tt0073486/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener\">One Flew Over the Cuckoo’s Nest\u003c/a>,” based on the novel by Ken Kesey. It won a best picture award and Oscars for director Milos Forman and its stars, Jack Nicholson and Louise Fletcher.\u003c/p>\n\u003cp>His 1984 effort, “\u003ca href=\"http://www.imdb.com/title/tt0086879/\" target=\"_blank\" rel=\"noopener\">Amadeus\u003c/a>,” won eight Oscars, including best picture, best director (Forman again) and best actor (F. Murray Abraham). Other successful films included “\u003ca href=\"http://www.imdb.com/title/tt0096332/\" target=\"_blank\" rel=\"noopener\">The Unbearable Lightness of Being\u003c/a>,” with Daniel Day-Lewis and Juliette Binoche, and \u003ca href=\"http://www.imdb.com/title/tt0116209/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener\">The English Patient\u003c/a>, with Ralph Fiennes and Kristen Scott Thomas. That film won best picture and best director.\u003c/p>\n\u003cp>Zaentz, who was a big reader and got most of his film material from novels, obtained the rights to J.R.R. Tolkien’s “Lord of the Rings” trilogy and “The Hobbit.” He made an animated version of “Lord of the Rings” in 1978, but sold the film rights to Miramax in 1997. Director Peter Jackson took the project to New Line Cinema after Miramax could not fund it, and the franchise went on to earn more than $2.9 billion. Zaentz twice sued New Line, according to Variety magazine. The case was settled out of court in 2005.\u003c/p>\n\u003cp>The academy awarded Zaentz the Irving G. Thalberg Award in 1997.\u003c/p>\n\u003cp>In 1969, Fantasy Records purchased a property on Tenth and Parker streets in Berkeley from the Peterson Trucking Co.. The record company moved into a two-story building in 1971. The financial success of “One Flew Over the Cuckoo’s Nest” enabled Zaentz in 1980 to add a new seven-story building that has since become one of the defining features of West Berkeley’s skyline. The new structure contained a fully equipped dubbing stage, and picture and sound editing suites. Zaentz added a second film-mixing stage and additional editing rooms in 1989.\u003c/p>\n\u003cp>The building became known as the Zaentz Media Center and was used by filmmakers and musicians from around the world. Numerous successful albums were recorded there, including Green Day’s “Dookie” in 1994 and Santana’s “Supernatural” in 1999. The latter went 15 times platinum and garnered nine Grammy Awards.\u003c/p>\n\u003cp>Zaentz is survived by four children, Dorian, Joshua, Athena, Jonnie; a nephew, Paul Zaentz, who is also a producer; and seven grandchildren.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED News Associate \u003ca href=\"http://www.berkeleyside.com/\">Berkeleyside\u003c/a> is an independently owned news website based in Berkeley, Calif. \u003ca href=\"http://berkeleyside.us2.list-manage.com/subscribe?u=4851428a10883a05193b1dd6c&id=aad4b5ee64\">Click here\u003c/a> if you would like to receive the latest Berkeley news in your inbox once a day for free with Berkeleyside’s Daily Briefing email.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Good Read: Fired, and Facing Choice Between Severance and Freedom to Speak",
"title": "Good Read: Fired, and Facing Choice Between Severance and Freedom to Speak",
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"content": "\u003cfigure id=\"attachment_122779\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/2014/01/06/byliner-writer-laid-off-refuses-severance/11771729246_4063339d44_o/\" rel=\"attachment wp-att-122779\">\u003cimg class=\"size-medium wp-image-122779\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/11771729246_4063339d44_o-640x357.jpg\" alt=\"(Dan Brekke/KQED)\" width=\"640\" height=\"357\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(Dan Brekke/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>If you've ever been fired/terminated/laid off, you may have faced this scenario: As you head for the door, your employer reassures you that not all is lost — you've got a severance package coming. All you have to do to get it is sign an agreement. The document often sets as a condition for your goodbye payment a promise that you won't say anything bad about the company when you leave. Most people, I've got a feeling, think about the bills they have to pay, swallow their scruples about giving up the right to speak their mind, and sign on the dotted line.\u003c/p>\n\u003cp>Most people, but not all. Writer Will Blythe, recently put out of his job at San Francisco digital publisher \u003ca href=\"https://www.byliner.com/\" target=\"_blank\">Byliner\u003c/a>, faced just that decision. In a piece published Friday on The New York Times' op-ed page (\"\u003ca href=\"http://www.nytimes.com/2014/01/03/opinion/fired-speak-no-evil.html?_r=0\" target=\"_blank\">Fired? Speak No Evil\u003c/a>\"), Blythe described a document he was asked to sign. It's mostly standard-issue termination stuff, until he gets to clause No. 12, described in the editorial:\u003c/p>\n\u003cblockquote>\u003cp>“You agree,” it reads, “that you will never make any negative or disparaging statements (orally or in writing) about the Company or its stockholders, directors, officers, employees, products, services or business practices, except as required by law.” If I don’t agree to this nondisparagement clause, I will not receive my severance — in this case, the equivalent of two weeks of pay. Two weeks? Must be hard times out in San Francisco, or otherwise why the dirt parachute — and by the way, is that the sort of remark I won’t be allowed to make if I sign clause No. 12? ...\u003c/p>\n\u003cp>... As quaint as this may seem, giving up the right to speak and write freely, even if that means speaking or writing negatively, strikes me as the unholiest of deals for a writer and an editor to accept. Though such clauses don’t technically violate the First Amendment — I’d be explicitly agreeing to forfeit my right to speak freely if I signed clause No. 12 — such a contract has a paralyzing effect on the dissemination of the truth, with all of truth’s caustically cleansing powers. To disparage is but one tool in a writer’s kit, but it’s an essential one. That a company would offer money for my silence, which is what this boils down to — well, I’ve seen many a mob movie about exactly that exchange.\u003c/p>\u003c/blockquote>\n\u003cp>Here's the link again: Will Blythe, The New York Times: \"\u003ca href=\"http://www.nytimes.com/2014/01/03/opinion/fired-speak-no-evil.html?_r=0\" target=\"_blank\">Fired? Speak No Evil\u003c/a>\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_122779\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/2014/01/06/byliner-writer-laid-off-refuses-severance/11771729246_4063339d44_o/\" rel=\"attachment wp-att-122779\">\u003cimg class=\"size-medium wp-image-122779\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/11771729246_4063339d44_o-640x357.jpg\" alt=\"(Dan Brekke/KQED)\" width=\"640\" height=\"357\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(Dan Brekke/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>If you've ever been fired/terminated/laid off, you may have faced this scenario: As you head for the door, your employer reassures you that not all is lost — you've got a severance package coming. All you have to do to get it is sign an agreement. The document often sets as a condition for your goodbye payment a promise that you won't say anything bad about the company when you leave. Most people, I've got a feeling, think about the bills they have to pay, swallow their scruples about giving up the right to speak their mind, and sign on the dotted line.\u003c/p>\n\u003cp>Most people, but not all. Writer Will Blythe, recently put out of his job at San Francisco digital publisher \u003ca href=\"https://www.byliner.com/\" target=\"_blank\">Byliner\u003c/a>, faced just that decision. In a piece published Friday on The New York Times' op-ed page (\"\u003ca href=\"http://www.nytimes.com/2014/01/03/opinion/fired-speak-no-evil.html?_r=0\" target=\"_blank\">Fired? Speak No Evil\u003c/a>\"), Blythe described a document he was asked to sign. It's mostly standard-issue termination stuff, until he gets to clause No. 12, described in the editorial:\u003c/p>\n\u003cblockquote>\u003cp>“You agree,” it reads, “that you will never make any negative or disparaging statements (orally or in writing) about the Company or its stockholders, directors, officers, employees, products, services or business practices, except as required by law.” If I don’t agree to this nondisparagement clause, I will not receive my severance — in this case, the equivalent of two weeks of pay. Two weeks? Must be hard times out in San Francisco, or otherwise why the dirt parachute — and by the way, is that the sort of remark I won’t be allowed to make if I sign clause No. 12? ...\u003c/p>\n\u003cp>... As quaint as this may seem, giving up the right to speak and write freely, even if that means speaking or writing negatively, strikes me as the unholiest of deals for a writer and an editor to accept. Though such clauses don’t technically violate the First Amendment — I’d be explicitly agreeing to forfeit my right to speak freely if I signed clause No. 12 — such a contract has a paralyzing effect on the dissemination of the truth, with all of truth’s caustically cleansing powers. To disparage is but one tool in a writer’s kit, but it’s an essential one. That a company would offer money for my silence, which is what this boils down to — well, I’ve seen many a mob movie about exactly that exchange.\u003c/p>\u003c/blockquote>\n\u003cp>Here's the link again: Will Blythe, The New York Times: \"\u003ca href=\"http://www.nytimes.com/2014/01/03/opinion/fired-speak-no-evil.html?_r=0\" target=\"_blank\">Fired? Speak No Evil\u003c/a>\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/ped-memorial2.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-122545\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/ped-memorial2-640x450.jpg\" alt=\"n of Polk and Ellis streets \" width=\"640\" height=\"450\">\u003c/a>\u003cbr>\nA memorial stands at the intersection of Polk and Ellis streets in San Francisco, where \u003ca href=\"http://ww2.kqed.org/news/2014/01/02/122446/\" target=\"_blank\">a 6-year-old girl was struck by a car and killed on New Year's Eve\u003c/a>. The girl's mother and brother were also injured and survived. The driver, who had worked for UberX, a Transportation Network Company, was arrested on charges of vehicular manslaughter. (Sara Bloomberg / KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/gentrification-protest2.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-122552\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/gentrification-protest2-640x450.jpg\" alt=\"gentrification protest2\" width=\"640\" height=\"450\">\u003c/a>\u003cbr>\nAbout 100 protesters and residents \u003ca href=\"http://ww2.kqed.org/news/2014/01/02/anti-gentrification-protest-san-francisco-mission/\" target=\"_blank\">marched on New Year's day\u003c/a> from the 24th Street BART to the 16th Street BART station, in protest of an increased police presence around 16th Street BART and police enforcement of evictions. They claim the Mission is being turned into \"a playground for the rich.\" (Deborah Svoboda / KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/bell.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-122557\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/bell-640x450.jpg\" alt=\"bell\" width=\"640\" height=\"450\">\u003c/a>\u003cbr>\nA 2,100 pound bronze bell from the sixteenth century is used in a traditional Buddhist New Years ritual at the Asian Art Museum in San Francisco. The bell is struck 108 times, representing the number of desires that humans wrestle with, according to Buddhist belief. (Sara Bloomberg / KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/PhotoWeek140102clambake2.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-122560\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/PhotoWeek140102clambake2-640x450.jpg\" alt=\"PhotoWeek140102clambake2\" width=\"640\" height=\"450\">\u003c/a>\u003cbr>\nContinuing a 35-year tradition of unorthodox ceremonial gatherings out in the Bay, the Cal Sailing Club hosted a \u003ca href=\"http://www.berkeleyside.com/2014/01/02/clam-bake/\" target=\"_blank\">New Year’s Day Clam Bake\u003c/a> on a muddy sand bar between the Emeryville and Berkeley marinas Wednesday evening. The sand bar, known to local sailors and paddlers as Ashby Shoal, only appears above water at extremely low tides. (Paul Kamen / \u003ca href=\"http://www.berkeleyside.com/\" target=\"_blank\">Berkeleyside\u003c/a>)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/ped-memorial2.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-122545\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/ped-memorial2-640x450.jpg\" alt=\"n of Polk and Ellis streets \" width=\"640\" height=\"450\">\u003c/a>\u003cbr>\nA memorial stands at the intersection of Polk and Ellis streets in San Francisco, where \u003ca href=\"http://ww2.kqed.org/news/2014/01/02/122446/\" target=\"_blank\">a 6-year-old girl was struck by a car and killed on New Year's Eve\u003c/a>. The girl's mother and brother were also injured and survived. The driver, who had worked for UberX, a Transportation Network Company, was arrested on charges of vehicular manslaughter. (Sara Bloomberg / KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/gentrification-protest2.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-122552\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/gentrification-protest2-640x450.jpg\" alt=\"gentrification protest2\" width=\"640\" height=\"450\">\u003c/a>\u003cbr>\nAbout 100 protesters and residents \u003ca href=\"http://ww2.kqed.org/news/2014/01/02/anti-gentrification-protest-san-francisco-mission/\" target=\"_blank\">marched on New Year's day\u003c/a> from the 24th Street BART to the 16th Street BART station, in protest of an increased police presence around 16th Street BART and police enforcement of evictions. They claim the Mission is being turned into \"a playground for the rich.\" (Deborah Svoboda / KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/bell.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-122557\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/bell-640x450.jpg\" alt=\"bell\" width=\"640\" height=\"450\">\u003c/a>\u003cbr>\nA 2,100 pound bronze bell from the sixteenth century is used in a traditional Buddhist New Years ritual at the Asian Art Museum in San Francisco. The bell is struck 108 times, representing the number of desires that humans wrestle with, according to Buddhist belief. (Sara Bloomberg / KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/PhotoWeek140102clambake2.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-122560\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/01/PhotoWeek140102clambake2-640x450.jpg\" alt=\"PhotoWeek140102clambake2\" width=\"640\" height=\"450\">\u003c/a>\u003cbr>\nContinuing a 35-year tradition of unorthodox ceremonial gatherings out in the Bay, the Cal Sailing Club hosted a \u003ca href=\"http://www.berkeleyside.com/2014/01/02/clam-bake/\" target=\"_blank\">New Year’s Day Clam Bake\u003c/a> on a muddy sand bar between the Emeryville and Berkeley marinas Wednesday evening. The sand bar, known to local sailors and paddlers as Ashby Shoal, only appears above water at extremely low tides. (Paul Kamen / \u003ca href=\"http://www.berkeleyside.com/\" target=\"_blank\">Berkeleyside\u003c/a>)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "The Chicana First Lady of Song",
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"content": "\u003cp> \u003c/p>\n\u003cp>Some call Fresno’s Carmencristina Moreno the “Chicana First Lady of Song.” The 74-year old performer has been strumming a guitar and singing since she was 11.\u003c/p>\n\u003cp>“I was born into the music,” she says. “When I was born, my parents were already singing radio stars in Los Angeles.”\u003c/p>\n\u003cfigure id=\"attachment_10341630\" class=\"wp-caption alignnone\" style=\"max-width: 543px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar.jpg\">\u003cimg class=\"wp-image-10341630 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar.jpg\" alt=\"El Dueto Los Moreno in the 1930s. (photo courtesy Carmencristina Moreno) \" width=\"543\" height=\"818\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar.jpg 543w, https://ww2.kqed.org/app/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar-400x602.jpg 400w\" sizes=\"(max-width: 543px) 100vw, 543px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">El Dueto Los Moreno in the 1930s. (photo courtesy Carmencristina Moreno)\u003c/figcaption>\u003c/figure>\n\u003cp>Moreno’s parents were pioneers of California’s Mexican music scene in the 1930s, playing guitar and singing together on early morning radio networks, the only time slots that allowed music in Spanish on L.A.’s airwaves. They performed as “El Dueto de los Moreno,” sometimes accompanied by mariachis. Her father, Luis Moreno, composed about 300 songs in the ranchera tradition.\u003c/p>\n\u003cp>“I inherited two kingdoms,” she says, strumming her guitar. “The kingdom of songs of my father, and all those beautiful soft songs in English,” says Moreno, who remembers listening to Ethel Merman and music from Broadway shows as a child.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moreno also remembers her mother, Carmen, leaving on tour, wearing elaborate costume jewelry and embroidered skirts. Her father, Luis, had a pencil-thin mustache that peeked out from under a wide mariachi hat. He had come to the U.S. as a young man in 1919, escaping the Mexican revolution.\u003c/p>\n\u003cp>“He was wounded in the revolution,” Moreno says. “My brother and I used to touch the bullet hole scars on his rib cage on his right side, and on his thigh where he was shot and left for dead.”\u003cbr>\nBut Luis Moreno, who was largely illiterate, didn’t make much money on his songs, even those that were recorded by stars like Pedro Infante and went on to become super hits.\u003c/p>\n\u003cp>“They would present a work-for-hire paper for him to sign, in English, relinquishing all the rights,” says Moreno. “They would dangle 10, 15 dollars in front of him.”\u003c/p>\n\u003cp>Moreno’s parents eventually moved to Fresno, where they became farmworkers to supplement their musical income.\u003c/p>\n\u003cp>Moreno went on to act in Hollywood, and recorded with major labels as “Carmen.” But she couldn’t accept the stereotypical roles available to Latina actresses in the 1970s. And she refused to anglicize her name or ignore her Mexican musical heritage.\u003c/p>\n\u003cp>“I figured, if I’m going to do my own thing, I’m going to do my own thang, honey, and I’m going to do it and sing about what I want to,” she says. She formed her own independent label, and financed herself. She struggled as a single mom, raising three kids as a musician.\u003c/p>\n\u003cp>“I was not above getting a gig in a Mexican restaurant, with a sound system, with a tip jar, and singing all the music that my parents had taught me. I worked in every taco joint in the Coachella Valley,” Moreno laughs.\u003c/p>\n\u003cp>“She wasn’t willing to sacrifice her musical principles. She marched to her own guitar, or guitarra,” laughs Dr. Manuel Peña, a retired professor of ethnomusicology from Fresno State and UT Austin who specializes in Chicano music. He compares Carmencristina Moreno to stars like \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=127033025\" target=\"_blank\">Lydia Mendoza\u003c/a> or Linda Ronstadt.\u003c/p>\n\u003cp>“They attained more notoriety and fame, but Carmencristina is every bit their equal,” says Peña. “She’s right up there with the foremost of our Mexican-American artists.”\u003c/p>\n\u003cp>What makes Moreno different, he says, is the way she sets lyrics in English to a musical framework rooted in Mexican ranchera music.\u003c/p>\n\u003cp>“That’s hard-core, working-class Mexicano music. But there are other layers of musical development that are superimposed over that ranchera core. That fusion or synthesis, really. She is not the only one to do this, but she is unique in doing it with a single voice and a guitar.”\u003c/p>\n\u003cp>Carmencristina Moreno was awarded the nation’s highest folk art honor when she was named a \u003ca href=\"http://arts.gov/honors/heritage\" target=\"_blank\">National Endowment for the Arts National Heritage Fellow\u003c/a> in 2003. The award recognized her musical contributions to the farmworker movement, and her project\u003ca href=\"http://arts.gov/honors/heritage/fellows/carmencristina-moreno\" target=\"_blank\"> teaching Mexican and U.S. history through music\u003c/a> in Central Valley schools.\u003c/p>\n\u003cp>Now, at close to 75, Carmencristina Moreno is not slowing down, though she’s survived breast cancer and is nursing a shoulder injury after 60 years of holding an acoustic guitar. She’s finishing a book about her father’s experience in the Mexican Revolution, which includes 2 CDs. She lives in her parents’ ramshackle house surrounded by raisin vineyards and almond trees, still composing and playing guitar every day, and taking whatever gigs she can get.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I can only say Carmencristina richly deserves to be known,” says Peña. “She’s like the treasure of the San Joaquin that hasn’t been discovered yet.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003c/p>\n\u003cp>Some call Fresno’s Carmencristina Moreno the “Chicana First Lady of Song.” The 74-year old performer has been strumming a guitar and singing since she was 11.\u003c/p>\n\u003cp>“I was born into the music,” she says. “When I was born, my parents were already singing radio stars in Los Angeles.”\u003c/p>\n\u003cfigure id=\"attachment_10341630\" class=\"wp-caption alignnone\" style=\"max-width: 543px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar.jpg\">\u003cimg class=\"wp-image-10341630 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar.jpg\" alt=\"El Dueto Los Moreno in the 1930s. (photo courtesy Carmencristina Moreno) \" width=\"543\" height=\"818\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar.jpg 543w, https://ww2.kqed.org/app/uploads/sites/10/2013/12/5-El-Dueto-de-los-Moreno-with-one-guitar-400x602.jpg 400w\" sizes=\"(max-width: 543px) 100vw, 543px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">El Dueto Los Moreno in the 1930s. (photo courtesy Carmencristina Moreno)\u003c/figcaption>\u003c/figure>\n\u003cp>Moreno’s parents were pioneers of California’s Mexican music scene in the 1930s, playing guitar and singing together on early morning radio networks, the only time slots that allowed music in Spanish on L.A.’s airwaves. They performed as “El Dueto de los Moreno,” sometimes accompanied by mariachis. Her father, Luis Moreno, composed about 300 songs in the ranchera tradition.\u003c/p>\n\u003cp>“I inherited two kingdoms,” she says, strumming her guitar. “The kingdom of songs of my father, and all those beautiful soft songs in English,” says Moreno, who remembers listening to Ethel Merman and music from Broadway shows as a child.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moreno also remembers her mother, Carmen, leaving on tour, wearing elaborate costume jewelry and embroidered skirts. Her father, Luis, had a pencil-thin mustache that peeked out from under a wide mariachi hat. He had come to the U.S. as a young man in 1919, escaping the Mexican revolution.\u003c/p>\n\u003cp>“He was wounded in the revolution,” Moreno says. “My brother and I used to touch the bullet hole scars on his rib cage on his right side, and on his thigh where he was shot and left for dead.”\u003cbr>\nBut Luis Moreno, who was largely illiterate, didn’t make much money on his songs, even those that were recorded by stars like Pedro Infante and went on to become super hits.\u003c/p>\n\u003cp>“They would present a work-for-hire paper for him to sign, in English, relinquishing all the rights,” says Moreno. “They would dangle 10, 15 dollars in front of him.”\u003c/p>\n\u003cp>Moreno’s parents eventually moved to Fresno, where they became farmworkers to supplement their musical income.\u003c/p>\n\u003cp>Moreno went on to act in Hollywood, and recorded with major labels as “Carmen.” But she couldn’t accept the stereotypical roles available to Latina actresses in the 1970s. And she refused to anglicize her name or ignore her Mexican musical heritage.\u003c/p>\n\u003cp>“I figured, if I’m going to do my own thing, I’m going to do my own thang, honey, and I’m going to do it and sing about what I want to,” she says. She formed her own independent label, and financed herself. She struggled as a single mom, raising three kids as a musician.\u003c/p>\n\u003cp>“I was not above getting a gig in a Mexican restaurant, with a sound system, with a tip jar, and singing all the music that my parents had taught me. I worked in every taco joint in the Coachella Valley,” Moreno laughs.\u003c/p>\n\u003cp>“She wasn’t willing to sacrifice her musical principles. She marched to her own guitar, or guitarra,” laughs Dr. Manuel Peña, a retired professor of ethnomusicology from Fresno State and UT Austin who specializes in Chicano music. He compares Carmencristina Moreno to stars like \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=127033025\" target=\"_blank\">Lydia Mendoza\u003c/a> or Linda Ronstadt.\u003c/p>\n\u003cp>“They attained more notoriety and fame, but Carmencristina is every bit their equal,” says Peña. “She’s right up there with the foremost of our Mexican-American artists.”\u003c/p>\n\u003cp>What makes Moreno different, he says, is the way she sets lyrics in English to a musical framework rooted in Mexican ranchera music.\u003c/p>\n\u003cp>“That’s hard-core, working-class Mexicano music. But there are other layers of musical development that are superimposed over that ranchera core. That fusion or synthesis, really. She is not the only one to do this, but she is unique in doing it with a single voice and a guitar.”\u003c/p>\n\u003cp>Carmencristina Moreno was awarded the nation’s highest folk art honor when she was named a \u003ca href=\"http://arts.gov/honors/heritage\" target=\"_blank\">National Endowment for the Arts National Heritage Fellow\u003c/a> in 2003. The award recognized her musical contributions to the farmworker movement, and her project\u003ca href=\"http://arts.gov/honors/heritage/fellows/carmencristina-moreno\" target=\"_blank\"> teaching Mexican and U.S. history through music\u003c/a> in Central Valley schools.\u003c/p>\n\u003cp>Now, at close to 75, Carmencristina Moreno is not slowing down, though she’s survived breast cancer and is nursing a shoulder injury after 60 years of holding an acoustic guitar. She’s finishing a book about her father’s experience in the Mexican Revolution, which includes 2 CDs. She lives in her parents’ ramshackle house surrounded by raisin vineyards and almond trees, still composing and playing guitar every day, and taking whatever gigs she can get.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I can only say Carmencristina richly deserves to be known,” says Peña. “She’s like the treasure of the San Joaquin that hasn’t been discovered yet.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"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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"title": "PRI's The World: Latest Edition",
"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": {
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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": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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