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"disqusTitle": "New VR Exhibit Lets Viewers Experience Mexican Migrants' Harrowing Journey",
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"content": "\u003cp>Mexican director \u003ca href=\"http://www.interviewmagazine.com/film/alejandro-gonzalez-inarritu/\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandro Iñárritu's\u003c/a> 2006 film \"\u003ca href=\"https://www.youtube.com/watch?v=gzrHrTVaqJs\" target=\"_blank\" rel=\"noopener noreferrer\">Babel\u003c/a>\" includes as one of its interweaving narratives the story of an undocumented immigrant, a nanny searching the desert for two lost children under her care.\u003c/p>\n\u003cp>His latest mixed media project,\u003ca href=\"http://www.lacma.org/carne-y-arena#landing\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\"Carne y Arena,\"\u003c/em>\u003c/a> or \"Flesh and Sand,\" at the\u003ca href=\"http://www.lacma.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> Los Angeles County Museum of Art\u003c/a>, builds on the theme of immigration and cross-border tension.\u003c/p>\n\u003cp>The interactive, virtual reality experience plunges the viewer quite literally into the footsteps of migrants on their desert journey.\u003c/p>\n\u003cp>\"Carne y Arena\" unfolds across three spaces. In the first, viewers are ushered alone into a frigid holding cell and instructed to remove their socks and shoes. You might wait shivering by yourself for 15 minutes or more.\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/tcr/2017/08/20170807btcr.mp3\" Image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/carne-ENTER-800x616.jpg\" Title=\"New VR Exhibit Lets Viewers Experience Mexican Migrants' Harrowing Journey\" program=\"The California Report\"]\u003c/p>\n\u003cp>The cement floor is littered with plastic water jugs and piles of footwear: dirty cowboy boots, sun-warped high tops, plastic baby sandals. All collected along a busy migrant corridor in the Arizona desert.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“And it felt like a (real) detention center actually,” says reporter Sergio Burstein from the Spanish-language newspaper \u003ca href=\"http://www.hoylosangeles.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hoy Los Angeles. \u003c/a>who ventured through the exhibit right after me.\u003c/p>\n\u003cp>“Obviously, it’s a very uncomfortable situation for someone who is detained,” says Burstein.\u003c/p>\n\u003cp>A loud buzzer breaks the spell, signaling me to move to the next space. The icy floor beneath my bare feet gives way to sand.\u003c/p>\n\u003cp>I’m alone in a large dark room, except for two technicians. They help me attach virtual reality goggles and headphones, and assure me it’s safe to walk in any direction. They’ll tug me back if I get too close to a wall.\u003c/p>\n\u003cp>Within seconds the room disappears.\u003c/p>\n\u003cp>I’m surrounded on all sides by an immense desert, whichever way I turn my head. If I walk toward some desert scrub, it gets closer, just as it would in real time. It shimmers in the predawn darkness.\u003c/p>\n\u003cp>I look up and a ribbon of morning light slowly spreads over a mountain range. Then I hear voices coming closer, and hurried footsteps thudding across the sand.\u003c/p>\n\u003cfigure id=\"attachment_11610244\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11610244\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/CARNE-y-heart-desert-800x415.jpg\" alt=\"\" width=\"800\" height=\"415\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-y-heart-desert-800x415.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-y-heart-desert-160x83.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-y-heart-desert-1020x530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-y-heart-desert.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-y-heart-desert-1180x613.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-y-heart-desert-960x499.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-y-heart-desert-240x125.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-y-heart-desert-375x195.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-y-heart-desert-520x270.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Neil Kellerhouse's 'Carne y Arena' exhibit design \u003ccite>(Neil Kellerhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A group of breathless immigrants stumbles out and spreads around me across the sand.\u003c/p>\n\u003cp>A woman shushes a sobbing child. I turn around and see a mother cradling the child in her lap.\u003c/p>\n\u003cp>Out of nowhere it seems an SUV appears and screeches to a halt just feet from us. Whether I like it or not, I am now with this group of migrants.\u003c/p>\n\u003cp>There’s dust, shouting, people running. Guns are drawn. A helicopter roars overhead and shoots down a blinding spotlight.\u003c/p>\n\u003cp>A border agent shouts in my direction.\u003c/p>\n\u003cp>“Get down on the ground now!” he yells, his eyes fixed on me. I spot his rifle’s muzzle in the flashlight glare.\u003c/p>\n\u003cp>“Yeah, I started walking toward him like I wanted to punch him in the face,” says Burstein of his own experience. “That was crazy because it felt like a real thing, that was scary.”\u003c/p>\n\u003cp>This exhibit is Iñárritu's first major venture in the virtual reality plain, a project he worked on over a period of four years.\u003c/p>\n\u003cfigure id=\"attachment_11610247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11610247\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/CARNE-Y-ARENA-inarritu-800x555.jpg\" alt=\"\" width=\"800\" height=\"555\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-Y-ARENA-inarritu-800x555.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-Y-ARENA-inarritu-160x111.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-Y-ARENA-inarritu-1020x708.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-Y-ARENA-inarritu.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-Y-ARENA-inarritu-1180x819.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-Y-ARENA-inarritu-960x666.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-Y-ARENA-inarritu-240x167.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-Y-ARENA-inarritu-375x260.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-Y-ARENA-inarritu-520x361.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alejandro G. Iñárritu directs a baker from El Salvador named Yoni, who is dressed in a motion-capture suit and re-creates a harrowing moment on his journey. \u003ccite>(Chachi Ramirez.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think that virtual reality allows the people to experience at least a fragment of a real event that happened to some person, for them to understand, deeper, a reality,” Iñárritu said during an \u003ca href=\"https://www.youtube.com/watch?v=VpFFr8swBgE\" target=\"_blank\" rel=\"noopener noreferrer\">interview sponsored by the Cannes Film Festival\u003c/a>.\u003c/p>\n\u003cp>“The definition of cinema is: a reality that is composed within a frame. Virtual reality does not have a frame, so the limits dissolve. And it’s something you don't see only, but (that) you experience, too,\" Iñárritu said.\u003c/p>\n\u003cp>I was not able to speak to Iñárritu for this story, nor have reporters for most other media outlets. Media, and the general public, are also prohibited from recording or photographing any aspect of the exhibit.\u003c/p>\n\u003caside class=\"pullquote alignright\">'There is no human being who as a result of desiring to build a better life should be declared illegal or considered disposable.'\u003ccite>Alejandro Iñárritu\u003c/cite>\u003c/aside>\n\u003cp>The artist and the museum are trying to strike a delicate balance. There’s a concerted effort to keep exposure to a minimum so as to avoid spoilers and preserve the exhibit’s integrity, while making sure the message of the project reaches a large audience.\u003c/p>\n\u003cp>There’s no fixed end date for Alejandro Iñárritu's \"Carne y Arena\" exhibit, though tickets are sold out through early September.\u003c/p>\n\u003cp>\"Carne y Arena’s\" reality may be “virtual” but it does make the often abstract issue of immigration feel all too real, says Santa Monica-based filmmaker \u003ca href=\"http://www.rpscinema.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ric Perez-Selsky\u003c/a>. He’s been exploring the virtual reality realm in his own work.\u003c/p>\n\u003cp>“There was young men, there was old men, children. This (exhibit) really put a face on these people -- and it was the face of everyone across humanity,” says Perez-Selsky.\u003c/p>\n\u003cp>Once they move through the reality warp of the virtual experience, visitors get back into their shoes and slip into a dark space where they can regain their senses.\u003c/p>\n\u003cfigure id=\"attachment_11610254\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11610254\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/CARNE-heart-close-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-heart-close-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-heart-close-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-heart-close-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-heart-close.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-heart-close-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-heart-close-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-heart-close-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-heart-close-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-heart-close-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Neil Kellerhouse's 'heart map' graphic for 'Carne y Arena.' \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The walls are lined with portholes. Peer inside and a face blinks back at you. These are video portraits of immigrants whose real-life cross-border experiences informed details of the virtual reality segment.\u003c/p>\n\u003cp>They say nothing in the videos, just keep their gaze fixed in front. Text is superimposed over their impassive expressions. As you read their stories you’ve no choice but to look them in the eyes.\u003c/p>\n\u003cp>“There is no human being who as a result of desiring to build a better life should be declared illegal or considered disposable,” said \u003ca href=\"https://www.youtube.com/watch?v=_olS-gAp0UI\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandro Iñárritu while speaking \u003c/a>to an audience at LACMA's 2015 Art + Film Gala.\u003c/p>\n\u003cp>“I would rather propose to call these people undocumented dreamers, as were most of the people who founded this country,” says Iñárritu.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“By naming them that, we can start a real human conversation with the most precious emotion a human being can have: compassion.”\u003c/p>\n\n",
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"excerpt": "Mexican filmmaker Alejandro Iñárritu's new exhibition at LACMA plunges you into the footsteps of migrants, from desert journey to ICE detention.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mexican director \u003ca href=\"http://www.interviewmagazine.com/film/alejandro-gonzalez-inarritu/\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandro Iñárritu's\u003c/a> 2006 film \"\u003ca href=\"https://www.youtube.com/watch?v=gzrHrTVaqJs\" target=\"_blank\" rel=\"noopener noreferrer\">Babel\u003c/a>\" includes as one of its interweaving narratives the story of an undocumented immigrant, a nanny searching the desert for two lost children under her care.\u003c/p>\n\u003cp>His latest mixed media project,\u003ca href=\"http://www.lacma.org/carne-y-arena#landing\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\"Carne y Arena,\"\u003c/em>\u003c/a> or \"Flesh and Sand,\" at the\u003ca href=\"http://www.lacma.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> Los Angeles County Museum of Art\u003c/a>, builds on the theme of immigration and cross-border tension.\u003c/p>\n\u003cp>The interactive, virtual reality experience plunges the viewer quite literally into the footsteps of migrants on their desert journey.\u003c/p>\n\u003cp>\"Carne y Arena\" unfolds across three spaces. In the first, viewers are ushered alone into a frigid holding cell and instructed to remove their socks and shoes. You might wait shivering by yourself for 15 minutes or more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The cement floor is littered with plastic water jugs and piles of footwear: dirty cowboy boots, sun-warped high tops, plastic baby sandals. All collected along a busy migrant corridor in the Arizona desert.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And it felt like a (real) detention center actually,” says reporter Sergio Burstein from the Spanish-language newspaper \u003ca href=\"http://www.hoylosangeles.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hoy Los Angeles. \u003c/a>who ventured through the exhibit right after me.\u003c/p>\n\u003cp>“Obviously, it’s a very uncomfortable situation for someone who is detained,” says Burstein.\u003c/p>\n\u003cp>A loud buzzer breaks the spell, signaling me to move to the next space. The icy floor beneath my bare feet gives way to sand.\u003c/p>\n\u003cp>I’m alone in a large dark room, except for two technicians. They help me attach virtual reality goggles and headphones, and assure me it’s safe to walk in any direction. They’ll tug me back if I get too close to a wall.\u003c/p>\n\u003cp>Within seconds the room disappears.\u003c/p>\n\u003cp>I’m surrounded on all sides by an immense desert, whichever way I turn my head. If I walk toward some desert scrub, it gets closer, just as it would in real time. It shimmers in the predawn darkness.\u003c/p>\n\u003cp>I look up and a ribbon of morning light slowly spreads over a mountain range. Then I hear voices coming closer, and hurried footsteps thudding across the sand.\u003c/p>\n\u003cfigure id=\"attachment_11610244\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11610244\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/CARNE-y-heart-desert-800x415.jpg\" alt=\"\" width=\"800\" height=\"415\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-y-heart-desert-800x415.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-y-heart-desert-160x83.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-y-heart-desert-1020x530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-y-heart-desert.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-y-heart-desert-1180x613.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-y-heart-desert-960x499.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-y-heart-desert-240x125.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-y-heart-desert-375x195.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-y-heart-desert-520x270.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Neil Kellerhouse's 'Carne y Arena' exhibit design \u003ccite>(Neil Kellerhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A group of breathless immigrants stumbles out and spreads around me across the sand.\u003c/p>\n\u003cp>A woman shushes a sobbing child. I turn around and see a mother cradling the child in her lap.\u003c/p>\n\u003cp>Out of nowhere it seems an SUV appears and screeches to a halt just feet from us. Whether I like it or not, I am now with this group of migrants.\u003c/p>\n\u003cp>There’s dust, shouting, people running. Guns are drawn. A helicopter roars overhead and shoots down a blinding spotlight.\u003c/p>\n\u003cp>A border agent shouts in my direction.\u003c/p>\n\u003cp>“Get down on the ground now!” he yells, his eyes fixed on me. I spot his rifle’s muzzle in the flashlight glare.\u003c/p>\n\u003cp>“Yeah, I started walking toward him like I wanted to punch him in the face,” says Burstein of his own experience. “That was crazy because it felt like a real thing, that was scary.”\u003c/p>\n\u003cp>This exhibit is Iñárritu's first major venture in the virtual reality plain, a project he worked on over a period of four years.\u003c/p>\n\u003cfigure id=\"attachment_11610247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11610247\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/CARNE-Y-ARENA-inarritu-800x555.jpg\" alt=\"\" width=\"800\" height=\"555\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-Y-ARENA-inarritu-800x555.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-Y-ARENA-inarritu-160x111.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-Y-ARENA-inarritu-1020x708.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-Y-ARENA-inarritu.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-Y-ARENA-inarritu-1180x819.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-Y-ARENA-inarritu-960x666.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-Y-ARENA-inarritu-240x167.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-Y-ARENA-inarritu-375x260.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-Y-ARENA-inarritu-520x361.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alejandro G. Iñárritu directs a baker from El Salvador named Yoni, who is dressed in a motion-capture suit and re-creates a harrowing moment on his journey. \u003ccite>(Chachi Ramirez.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think that virtual reality allows the people to experience at least a fragment of a real event that happened to some person, for them to understand, deeper, a reality,” Iñárritu said during an \u003ca href=\"https://www.youtube.com/watch?v=VpFFr8swBgE\" target=\"_blank\" rel=\"noopener noreferrer\">interview sponsored by the Cannes Film Festival\u003c/a>.\u003c/p>\n\u003cp>“The definition of cinema is: a reality that is composed within a frame. Virtual reality does not have a frame, so the limits dissolve. And it’s something you don't see only, but (that) you experience, too,\" Iñárritu said.\u003c/p>\n\u003cp>I was not able to speak to Iñárritu for this story, nor have reporters for most other media outlets. Media, and the general public, are also prohibited from recording or photographing any aspect of the exhibit.\u003c/p>\n\u003caside class=\"pullquote alignright\">'There is no human being who as a result of desiring to build a better life should be declared illegal or considered disposable.'\u003ccite>Alejandro Iñárritu\u003c/cite>\u003c/aside>\n\u003cp>The artist and the museum are trying to strike a delicate balance. There’s a concerted effort to keep exposure to a minimum so as to avoid spoilers and preserve the exhibit’s integrity, while making sure the message of the project reaches a large audience.\u003c/p>\n\u003cp>There’s no fixed end date for Alejandro Iñárritu's \"Carne y Arena\" exhibit, though tickets are sold out through early September.\u003c/p>\n\u003cp>\"Carne y Arena’s\" reality may be “virtual” but it does make the often abstract issue of immigration feel all too real, says Santa Monica-based filmmaker \u003ca href=\"http://www.rpscinema.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ric Perez-Selsky\u003c/a>. He’s been exploring the virtual reality realm in his own work.\u003c/p>\n\u003cp>“There was young men, there was old men, children. This (exhibit) really put a face on these people -- and it was the face of everyone across humanity,” says Perez-Selsky.\u003c/p>\n\u003cp>Once they move through the reality warp of the virtual experience, visitors get back into their shoes and slip into a dark space where they can regain their senses.\u003c/p>\n\u003cfigure id=\"attachment_11610254\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11610254\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/CARNE-heart-close-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-heart-close-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-heart-close-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-heart-close-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-heart-close.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-heart-close-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-heart-close-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-heart-close-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-heart-close-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CARNE-heart-close-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Neil Kellerhouse's 'heart map' graphic for 'Carne y Arena.' \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The walls are lined with portholes. Peer inside and a face blinks back at you. These are video portraits of immigrants whose real-life cross-border experiences informed details of the virtual reality segment.\u003c/p>\n\u003cp>They say nothing in the videos, just keep their gaze fixed in front. Text is superimposed over their impassive expressions. As you read their stories you’ve no choice but to look them in the eyes.\u003c/p>\n\u003cp>“There is no human being who as a result of desiring to build a better life should be declared illegal or considered disposable,” said \u003ca href=\"https://www.youtube.com/watch?v=_olS-gAp0UI\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandro Iñárritu while speaking \u003c/a>to an audience at LACMA's 2015 Art + Film Gala.\u003c/p>\n\u003cp>“I would rather propose to call these people undocumented dreamers, as were most of the people who founded this country,” says Iñárritu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In defending the \u003ca href=\"https://ww2.kqed.org/news/2017/08/02/trump-unveils-legislation-limiting-legal-immigration/\">Trump administration’s support for legislation that cuts legal immigration\u003c/a>, senior policy adviser Stephen Miller \u003ca href=\"http://www.latimes.com/politics/washington/la-na-essential-washington-updates-watch-cnn-s-jim-acosta-and-white-house-1501704278-htmlstory.html\" target=\"_blank\" rel=\"noopener\">dismissed\u003c/a> the famous Statue of Liberty poem by Emma Lazarus since it was added after the statue was completed. \u003c/p>\n\u003cp>The RAISE Act (for Reforming American Immigration for a Strong Economy), would dramatically cut legal immigration to the United States — including cutting the number of refugees allowed in the country by half.\u003c/p>\n\u003cp>To refresh your memory, here are the words of Emma Lazarus’ poem, inscribed in bronze at the base of the Statue of Liberty:\u003c/p>\n\u003cblockquote>\u003cp>Not like the brazen giant of Greek fame,\u003cbr>\nWith conquering limbs astride from land to land;\u003cbr>\nHere at our sea-washed, sunset gates shall stand\u003cbr>\nA mighty woman with a torch, whose flame\u003cbr>\nIs the imprisoned lightning, and her name\u003cbr>\nMother of Exiles. From her beacon-hand\u003cbr>\nGlows world-wide welcome; her mild eyes command\u003cbr>\nThe air-bridged harbor that twin cities frame.\u003cbr>\n“Keep, ancient lands, your storied pomp!” cries she\u003cbr>\nWith silent lips. “Give me your tired, your poor,\u003cbr>\nYour huddled masses yearning to breathe free,\u003cbr>\nThe wretched refuse of your teeming shore.\u003cbr>\nSend these, the homeless, tempest-tost to me,\u003cbr>\nI lift my lamp beside the golden door!”\u003c/p>\u003c/blockquote>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Sam Shepard, 'Poet Laureate Of America's Emotional Badlands,' Dies at 73",
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"content": "\u003cp>\u003cstrong>Updated at 1:34 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>For more than half a century, playwright Sam Shepard stood as a towering presence in American theater and cinema, penning dozens of plays and earning an Oscar nomination as an actor in his own right. Delving deeply into the complicated, often bleak nature of family life, the Pulitzer Prize winner earned the title — \u003ca href=\"https://books.google.com/books?id=Af7PDAAAQBAJ&pg=PT21&lpg=PT21&dq=%22jack+kroll%22+%22poet+laureate+of+America%27s+emotional+badlands%22&source=bl&ots=fARoHxMmPd&sig=jv8zszWvsm10C-Aj-b_vVP6lWlI&hl=en&sa=X&ved=0ahUKEwiXxeKW77PVAhXHOT4KHW7kB6EQ6AEIKDAA#v=onepage&q=%22jack%20kroll%22%20%22poet%20laureate%20of%20America's%20emotional%20badlands%22&f=false\" target=\"_blank\" rel=\"noopener\">in drama critic Jack Kroll’s words\u003c/a> — of “poet laureate of America’s emotional badlands.”\u003c/p>\n\u003cp>That influential “poet laureate” — who was not only a playwright, but an actor and director too — died Thursday at 73 of complications from Lou Gehrig’s disease, also called called amyotrophic lateral sclerosis. A family representative said he died at his home in Kentucky.\u003c/p>\n\u003cp>“The family requests privacy at this difficult time,” spokesman Chris Boneau said Monday.\u003c/p>\n\u003cp>Born Samuel Shepard Rogers in Illinois, the playwright spent much of his youth moving from place to place with his family, eventually attending high school just east of LA in Duarte, Calif. And by the time he opened his career in his early 20s with a string of one-act plays, the mythology of the fading West had firmly taken hold in him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As \u003ca href=\"http://www.nytimes.com/1984/01/29/theater/myths-dreams-realities-sam-shepard-s-america.html\" target=\"_blank\" rel=\"noopener\">he told The New York Times\u003c/a> in 1983, he was fascinated by the ebb tide of a myth — and how people seek to replace it with others.\u003c/p>\n\u003cp>“People are starved for the truth,” he told the \u003cem>Times\u003c/em>, “and when something comes along that even looks like the truth, people will latch on to it because everything’s so false. People are starved for a way of life — they’re hunting for a way to be or to act toward the world.”\u003c/p>\n\u003cp>In his early works and throughout his career, as he was helping trailblaze a space for playwrights off-Broadway and attracting a cult following of his own, Shepard continued to return to the West — and to another space where nostalgia often runs aground on reality: the family.\u003c/p>\n\u003cp>These muddled, sometimes dangerous familial ties served as the centerpiece of Shepard’s Pulitzer Prize-winning play, 1979’s \u003cem>Buried Child\u003c/em>. He would also go on to earn Pulitzer nominations for 1981’s \u003cem>True West\u003c/em> and 1983’s \u003cem>Fool for Love\u003c/em>.\u003c/p>\n\u003cp>https://twitter.com/NationalTheatre/status/892060996369567745\u003c/p>\n\u003cp>It was in 1983 that Shepard also took a star turn on the big screen, playing the test pilot Chuck Yeager in the film \u003cem>The Right Stuff\u003c/em>. That role would earn him an \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1984\" target=\"_blank\" rel=\"noopener\">Oscar nomination for best supporting actor\u003c/a> the next year.\u003c/p>\n\u003cp>Shepard continued to play roles in front of the camera, even as he wrote for the stage. In fact, his most recent role was in the Netflix series \u003cem>Bloodline\u003c/em>, the final season of which was released earlier this year.\u003c/p>\n\u003cp>https://twitter.com/BeauWillimon/status/892033403196932098\u003c/p>\n\u003cp>In these performances on-screen, as in so many of his plays, the writer and actor said he often looked inward to find the complexities of the people he portrayed.\u003c/p>\n\u003cp>“It’s very difficult to escape your background. You know, I don’t think it’s necessary to even try to escape it,” Shepard told \u003cem>Fresh Air\u003c/em> in 1998. “More and more, I start to think that it’s necessary to see exactly what it is that you inherited on both ends of the stick: your timidity, your courage, your self-deceit, and your honesty — and all the rest of it.”\u003c/p>\n\u003cp>Shepard added: “It’s necessary to include all of that in order to be able to accept oneself.” \u003c/p>\n\u003cp>\u003ci>Watch Sam Shepard play drums with the Holy Modal Rounders on Rowan & Martin’s ‘Laugh-In’ in 1968:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xvX9yPZvFgQ\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sam+Shepard%2C+%27Poet+Laureate+Of+America%27s+Emotional+Badlands%2C%27+Dies+At+73&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 1:34 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>For more than half a century, playwright Sam Shepard stood as a towering presence in American theater and cinema, penning dozens of plays and earning an Oscar nomination as an actor in his own right. Delving deeply into the complicated, often bleak nature of family life, the Pulitzer Prize winner earned the title — \u003ca href=\"https://books.google.com/books?id=Af7PDAAAQBAJ&pg=PT21&lpg=PT21&dq=%22jack+kroll%22+%22poet+laureate+of+America%27s+emotional+badlands%22&source=bl&ots=fARoHxMmPd&sig=jv8zszWvsm10C-Aj-b_vVP6lWlI&hl=en&sa=X&ved=0ahUKEwiXxeKW77PVAhXHOT4KHW7kB6EQ6AEIKDAA#v=onepage&q=%22jack%20kroll%22%20%22poet%20laureate%20of%20America's%20emotional%20badlands%22&f=false\" target=\"_blank\" rel=\"noopener\">in drama critic Jack Kroll’s words\u003c/a> — of “poet laureate of America’s emotional badlands.”\u003c/p>\n\u003cp>That influential “poet laureate” — who was not only a playwright, but an actor and director too — died Thursday at 73 of complications from Lou Gehrig’s disease, also called called amyotrophic lateral sclerosis. A family representative said he died at his home in Kentucky.\u003c/p>\n\u003cp>“The family requests privacy at this difficult time,” spokesman Chris Boneau said Monday.\u003c/p>\n\u003cp>Born Samuel Shepard Rogers in Illinois, the playwright spent much of his youth moving from place to place with his family, eventually attending high school just east of LA in Duarte, Calif. And by the time he opened his career in his early 20s with a string of one-act plays, the mythology of the fading West had firmly taken hold in him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In these performances on-screen, as in so many of his plays, the writer and actor said he often looked inward to find the complexities of the people he portrayed.\u003c/p>\n\u003cp>“It’s very difficult to escape your background. You know, I don’t think it’s necessary to even try to escape it,” Shepard told \u003cem>Fresh Air\u003c/em> in 1998. “More and more, I start to think that it’s necessary to see exactly what it is that you inherited on both ends of the stick: your timidity, your courage, your self-deceit, and your honesty — and all the rest of it.”\u003c/p>\n\u003cp>Shepard added: “It’s necessary to include all of that in order to be able to accept oneself.” \u003c/p>\n\u003cp>\u003ci>Watch Sam Shepard play drums with the Holy Modal Rounders on Rowan & Martin’s ‘Laugh-In’ in 1968:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xvX9yPZvFgQ'\n title='//www.youtube.com/embed/xvX9yPZvFgQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sam+Shepard%2C+%27Poet+Laureate+Of+America%27s+Emotional+Badlands%2C%27+Dies+At+73&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Turmoil in the Trump Administration\u003c/strong>\u003c/p>\n\u003cp>In signs of continuing turmoil in the Trump administration, the president announced today that he is replacing White House Chief of Staff Reince Priebus with Homeland Security Secretary John Kelly. And in the early hours Friday, the Senate’s latest attempt to dismantle Obamacare failed after three key Republicans voted against it. Earlier this week, President Trump announced via Twitter that he would bar transgender people from serving openly in the United States military.\u003c/p>\n\u003cp>Guests:\u003c/p>\n\u003cul>\n\u003cli> Lisa Garcia Bedolla, UC Berkeley political science professor\u003c/li>\n\u003cli> Joe Garofoli, San Francisco Chronicle senior political writer\u003c/li>\n\u003cli> Sean Walsh, Wilson Walsh Consulting\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>David Chiu Interview\u003c/strong>\u003c/p>\n\u003cp>Gov. Jerry Brown and Democratic leaders say they are turning their attention to the state’s housing crisis when they return from a midsummer recess. California Assemblyman David Chiu (D-San Francisco) discusses the legislation that he’s backing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Artist Sophie Calle\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>French artist Sophie Calle’s new exhibition at the Fort Mason Center for Arts and Culture explores themes of disappearance and loss. Calle has a strong connection to the Bay Area — she got her start in Bolinas, where she recently made the unusual move of buying herself a grave plot. KQED Senior Arts Editor Chloe Veltman caught up with Calle among the gravestones.\u003c/p>\n\n",
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"content": "\u003cp>There are some days at work when I have to pinch myself. I get to do this as part of my job? Like digging into a giant bowl of ice cream while conducting an interview.\u003c/p>\n\u003cp>I got to do that recently when I sat down to chat with author Amy Ettinger. She spent a year researching, tasting and delving into the history and sociology of ice cream for her new book \u003cem>Sweet Spot: An Ice Cream Binge Across America\u003c/em>.\u003c/p>\n\u003cp>She started her journey at \u003ca href=\"http://missionhillcreamery.com/\">Mission Hill Creamery\u003c/a>, her neighborhood ice cream shop in Santa Cruz. She says locally owned, artisanal ice cream shops in California, like Mission Hill, stand out for the effort they make to use local, organic ingredients.\u003c/p>\n\u003cp>She also said California is home to many “oddball” ice cream producers, who are on the cutting edge when it comes to offering unique flavors. Like the oyster or foie gras ice cream Ettinger tried during her research.\u003c/p>\n\u003cfigure id=\"attachment_11597255\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11597255\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS26094_Amy-w-book-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26094_Amy-w-book-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26094_Amy-w-book-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26094_Amy-w-book-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26094_Amy-w-book-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26094_Amy-w-book-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26094_Amy-w-book-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26094_Amy-w-book-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26094_Amy-w-book-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26094_Amy-w-book-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amy Ettinger started research for her book, “Sweet Spot,” at Mission Hill Creamery, her neighborhood ice cream shop in Santa Cruz. \u003ccite>(Suzie Racho/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We are definitely on the fringe when it comes to the extreme flavors,” she says of California.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I met up with Ettinger at Mission Hill Creamery. We took a tour of their kitchen, then talked ice cream — drippy, delicious treats in hand.\u003c/p>\n\u003cp>Some highlights from our conversation:\u003c/p>\n\u003ch3>On where her love of ice cream comes from:\u003c/h3>\n\u003cp>“I grew up with two older brothers in Silicon Valley, and we were always fighting about something, little petty things like who got to control the TV and who got to sit where. And my dad would bring out the big tubs of generic ice cream, the kind with the big plastic handles, at the end of the day, and we would finally quiet down.\u003c/p>\n\u003cp>“We’d sit down in our little spots and pour as much Hershey’s syrup as we wanted on top of it and get the cherry on top and just dig in and enjoy. I always associated ice cream after that as this comfort, this food that we could enjoy together.”\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/tcrmag/2017/07/Extendedicecreamforweb.mp3\" Image=\"https://u.s.kqed.net/2017/07/28/IceCream.jpg\" Title=\"Vanilla, Chocolate, Strawberry and... Oyster? A Year of Ice Cream\" program=\"The California Report\"]\u003c/p>\n\u003ch3>On her grandma’s lone vice:\u003c/h3>\n\u003cp>“I had a kind of interesting grandma who was a health nut before there were health nuts. She was in her 70s doing juice fasts and walking 5 miles a day, had given up sugar, would not allow any kind of chocolate or anything in her house. But when she came to visit and we’d go around the neighborhood, she would see the local ice cream shop and she would have to go in. She could not resist.\u003c/p>\n\u003cp>“And as a kid, watching somebody who was so disciplined and so regimented, just watching that fall away — it was wonderful. It was the most special moments I actually had with my grandma because it was her being her actual self and just allowing herself to enjoy herself.”\u003c/p>\n\u003ch3>On learning that most ‘artisanal’ ice cream shops use a pre-made base made elsewhere:\u003c/h3>\n\u003cp>“I was shocked. I just had this image of these ice cream chefs just slaving away in the back mixing their milk, cream, sugar and eggs like you do at home. And when I stepped in the back of the shop and I saw they’re not doing that, I was surprised.\u003c/p>\n\u003cp>“I think I have a better understanding of where the art can come in from using a prepackaged base, but I do still wish that places were more upfront about it. If you’re calling yourself homemade or artisanal that’s fine, but then let everybody know that that means different than what I think the consumer thinks it means.”\u003c/p>\n\u003cfigure id=\"attachment_11597250\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11597250 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS26088_Know-the-source-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26088_Know-the-source-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26088_Know-the-source-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26088_Know-the-source-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26088_Know-the-source-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26088_Know-the-source-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26088_Know-the-source-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26088_Know-the-source-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26088_Know-the-source-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26088_Know-the-source-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mission Hill Creamery proudly displays the local sources of their ingredients. Ettinger says California ice creameries set themselves apart through their local sourcing. Many shops, including Mission Hill, use a premade base from Strauss Creamery. Owner Dave Kumec says it’s too expensive to make his own base, given pasteurization rules. “At the end of the day, it’s not —to me — worth it because all you’ve done is created the canvas. I’m going to paint on it anyway.” \u003ccite>(Suzie Racho/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On trying oyster ice cream in Los Angeles:\u003c/h3>\n\u003cp>“I was dreading it. I mean I really was dreading it. But when I tasted it I had this short circuit in my brain where I literally did not know whether I hated it or loved it. It was just so strange to me …\u003c/p>\n\u003cp>“I did not like the oyster ice cream. The chef read the book right before it came out and he sent me an email saying, ‘I’m sorry you didn’t like oyster ice cream.’ And I’m like, ‘Well, you did put oysters in my ice cream. How did do you think that was going to go?’ I am glad that I tried it, and it was Dolley Madison’s favorite flavor.”\u003c/p>\n\u003cfigure id=\"attachment_11597252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11597252 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS26091_Ice-cream-owner-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26091_Ice-cream-owner-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26091_Ice-cream-owner-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26091_Ice-cream-owner-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26091_Ice-cream-owner-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26091_Ice-cream-owner-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26091_Ice-cream-owner-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26091_Ice-cream-owner-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26091_Ice-cream-owner-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26091_Ice-cream-owner-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave Kumec runs Mission Hill Creamery. He’s calls his shop “farm to scoop” and spends a lot of time sourcing ingredients at local farmers markets. Still, Kumec says vanilla and chocolate are always the two most popular flavors, and they’re not from the local area. \u003ccite>(Suzie Racho/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On why people shouldn’t be afraid to try more offbeat flavors of ice cream:\u003c/h3>\n\u003cp>“Back in the day we were eating more savory ice creams. It was much more common in the late 19th century to have things like asparagus ice cream, Parmesan ice cream or rye bread ice cream.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Our taste buds shifted. We became really conservative. Now as adults, if you’re used to eating chocolate, strawberry and vanilla, it’s hard to push those boundaries. But I would encourage people to do it. You learn something about yourself, and also your preconceptions about food, by trying something that you never expect to like.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are some days at work when I have to pinch myself. I get to do this as part of my job? Like digging into a giant bowl of ice cream while conducting an interview.\u003c/p>\n\u003cp>I got to do that recently when I sat down to chat with author Amy Ettinger. She spent a year researching, tasting and delving into the history and sociology of ice cream for her new book \u003cem>Sweet Spot: An Ice Cream Binge Across America\u003c/em>.\u003c/p>\n\u003cp>She started her journey at \u003ca href=\"http://missionhillcreamery.com/\">Mission Hill Creamery\u003c/a>, her neighborhood ice cream shop in Santa Cruz. She says locally owned, artisanal ice cream shops in California, like Mission Hill, stand out for the effort they make to use local, organic ingredients.\u003c/p>\n\u003cp>She also said California is home to many “oddball” ice cream producers, who are on the cutting edge when it comes to offering unique flavors. Like the oyster or foie gras ice cream Ettinger tried during her research.\u003c/p>\n\u003cfigure id=\"attachment_11597255\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11597255\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS26094_Amy-w-book-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26094_Amy-w-book-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26094_Amy-w-book-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26094_Amy-w-book-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26094_Amy-w-book-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26094_Amy-w-book-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26094_Amy-w-book-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26094_Amy-w-book-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26094_Amy-w-book-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26094_Amy-w-book-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amy Ettinger started research for her book, “Sweet Spot,” at Mission Hill Creamery, her neighborhood ice cream shop in Santa Cruz. \u003ccite>(Suzie Racho/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We are definitely on the fringe when it comes to the extreme flavors,” she says of California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I met up with Ettinger at Mission Hill Creamery. We took a tour of their kitchen, then talked ice cream — drippy, delicious treats in hand.\u003c/p>\n\u003cp>Some highlights from our conversation:\u003c/p>\n\u003ch3>On where her love of ice cream comes from:\u003c/h3>\n\u003cp>“I grew up with two older brothers in Silicon Valley, and we were always fighting about something, little petty things like who got to control the TV and who got to sit where. And my dad would bring out the big tubs of generic ice cream, the kind with the big plastic handles, at the end of the day, and we would finally quiet down.\u003c/p>\n\u003cp>“We’d sit down in our little spots and pour as much Hershey’s syrup as we wanted on top of it and get the cherry on top and just dig in and enjoy. I always associated ice cream after that as this comfort, this food that we could enjoy together.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Vanilla, Chocolate, Strawberry and... Oyster? A Year of Ice Cream",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>On her grandma’s lone vice:\u003c/h3>\n\u003cp>“I had a kind of interesting grandma who was a health nut before there were health nuts. She was in her 70s doing juice fasts and walking 5 miles a day, had given up sugar, would not allow any kind of chocolate or anything in her house. But when she came to visit and we’d go around the neighborhood, she would see the local ice cream shop and she would have to go in. She could not resist.\u003c/p>\n\u003cp>“And as a kid, watching somebody who was so disciplined and so regimented, just watching that fall away — it was wonderful. It was the most special moments I actually had with my grandma because it was her being her actual self and just allowing herself to enjoy herself.”\u003c/p>\n\u003ch3>On learning that most ‘artisanal’ ice cream shops use a pre-made base made elsewhere:\u003c/h3>\n\u003cp>“I was shocked. I just had this image of these ice cream chefs just slaving away in the back mixing their milk, cream, sugar and eggs like you do at home. And when I stepped in the back of the shop and I saw they’re not doing that, I was surprised.\u003c/p>\n\u003cp>“I think I have a better understanding of where the art can come in from using a prepackaged base, but I do still wish that places were more upfront about it. If you’re calling yourself homemade or artisanal that’s fine, but then let everybody know that that means different than what I think the consumer thinks it means.”\u003c/p>\n\u003cfigure id=\"attachment_11597250\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11597250 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS26088_Know-the-source-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26088_Know-the-source-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26088_Know-the-source-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26088_Know-the-source-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26088_Know-the-source-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26088_Know-the-source-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26088_Know-the-source-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26088_Know-the-source-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26088_Know-the-source-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26088_Know-the-source-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mission Hill Creamery proudly displays the local sources of their ingredients. Ettinger says California ice creameries set themselves apart through their local sourcing. Many shops, including Mission Hill, use a premade base from Strauss Creamery. Owner Dave Kumec says it’s too expensive to make his own base, given pasteurization rules. “At the end of the day, it’s not —to me — worth it because all you’ve done is created the canvas. I’m going to paint on it anyway.” \u003ccite>(Suzie Racho/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On trying oyster ice cream in Los Angeles:\u003c/h3>\n\u003cp>“I was dreading it. I mean I really was dreading it. But when I tasted it I had this short circuit in my brain where I literally did not know whether I hated it or loved it. It was just so strange to me …\u003c/p>\n\u003cp>“I did not like the oyster ice cream. The chef read the book right before it came out and he sent me an email saying, ‘I’m sorry you didn’t like oyster ice cream.’ And I’m like, ‘Well, you did put oysters in my ice cream. How did do you think that was going to go?’ I am glad that I tried it, and it was Dolley Madison’s favorite flavor.”\u003c/p>\n\u003cfigure id=\"attachment_11597252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11597252 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS26091_Ice-cream-owner-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26091_Ice-cream-owner-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26091_Ice-cream-owner-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26091_Ice-cream-owner-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26091_Ice-cream-owner-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26091_Ice-cream-owner-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26091_Ice-cream-owner-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26091_Ice-cream-owner-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26091_Ice-cream-owner-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/RS26091_Ice-cream-owner-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave Kumec runs Mission Hill Creamery. He’s calls his shop “farm to scoop” and spends a lot of time sourcing ingredients at local farmers markets. Still, Kumec says vanilla and chocolate are always the two most popular flavors, and they’re not from the local area. \u003ccite>(Suzie Racho/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On why people shouldn’t be afraid to try more offbeat flavors of ice cream:\u003c/h3>\n\u003cp>“Back in the day we were eating more savory ice creams. It was much more common in the late 19th century to have things like asparagus ice cream, Parmesan ice cream or rye bread ice cream.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Our taste buds shifted. We became really conservative. Now as adults, if you’re used to eating chocolate, strawberry and vanilla, it’s hard to push those boundaries. But I would encourage people to do it. You learn something about yourself, and also your preconceptions about food, by trying something that you never expect to like.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Days of Future Past with Kronos Quartet and Nicole Mitchell's Black Earth Ensemble",
"title": "Days of Future Past with Kronos Quartet and Nicole Mitchell's Black Earth Ensemble",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Music can thrill and entertain us. It can also suggest new ways to think about the past and the future. Two new albums by visionary California artists look backward and forward at the same time.\u003c/p>\n\u003cp>After more than four decades expanding the creative limits of classical music, San Francisco’s \u003ca href=\"http://www.kronosquartet.org\">Kronos Quartet\u003c/a> is more than capable of delivering surprises. On their latest album, “Folk Songs,” they’re exploring traditional American music with four guest artists who are all Nonesuch label mates: \u003ca href=\"http://www.nataliemerchant.com\">Natalie Merchant\u003c/a>, \u003ca href=\"http://www.oliviachaney.net\">Olivia Chaney\u003c/a>, \u003ca href=\"http://www.samamidon.com\">Sam Amidon\u003c/a> and the Carolina Chocolate Drops’ \u003ca href=\"http://rhiannongiddens.com\">Rhiannon Giddens\u003c/a>.\u003c/p>\n\u003cp>Part of what makes “Folk Songs” such a departure for Kronos is what’s not here. We often expect instrumental pyrotechnics and exotic timbres from the ensemble. “Folk Songs” slows the action down, luxuriating in traditional American forms.\u003c/p>\n\u003cp>Working with imaginative arrangers like \u003ca href=\"https://en.wikipedia.org/wiki/Gabe_Witcher\">Gabe Witcher,\u003c/a> \u003ca href=\"http://nicomuhly.com\">Nico Muhly\u003c/a> and \u003ca href=\"http://jacobgarchik.com\">Jacob Garchik\u003c/a> (son of longtime San Francisco Chronicle columnist Leah Garchik), Kronos keeps the spotlight on the singers, who fully inhabit a series of soundscapes haunted by death, separation and judgment day.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11566440\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In many ways the album’s touchstone is Amidon’s lugubrious take on “I See the Sign,” a harbinger of the apocalypse in which he sounds utterly resigned to the end. The song also served as the title track of his 2010 Bedroom Community album, an avant-chamber folk project featuring gorgeous arrangements by Muhly, who seems to distill that chart for Kronos. Muhly also contributes a starkly beautiful arrangement for Amidon on “Oh Where,” a traditional lament that opens the album.\u003c/p>\n\u003cp>Giddens seems to be everywhere these days, and her striking voice is heard to advantage on “Folk Songs.” Like with Amidon, Kronos features her on a song she previously recorded, with Gabe Witcher revamping his arrangement of “Factory Girl” (the title track of her 2015 Nonesuch EP). The contrast between the purity of her tone and the brutal story about an industrial disaster heightens the drama, which rises with Sunny Yang’s cello.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YAcikv1Q1eY\u003c/p>\n\u003cp>With so many bad tidings, rumors of war can’t be far behind, and Natalie Merchant continues her sojourn into Anglo-American roots music with “Johnny Has Gone for a Soldier,” a swirling, ache-filled arrangement by Garchik. After all the loss and devastation, Kronos closes the album with Giddens delivering Witcher’s brisk and beautiful arrangement of “Lullaby.” Thematically and musically, the quartet ushers string band-inspired music into the world of contemporary chamber music.\u003c/p>\n\u003ch3>Nicole Mitchell’s Black Earth Ensemble\u003c/h3>\n\u003cp>While Kronos reimagines the musical past on “Folk Songs,” flutist and composer Nicole Mitchell is exploring the future on \"Mandorla Awakening II: Emerging Worlds.\" Recorded in concert at Chicago’s Museum of Contemporary Art, the album features her Black Earth Ensemble, a singular band built on a coruscating matrix of strings, percussion and winds (particularly the intertwined lines of Mitchell’s flute and the shakuhachi of \u003ca href=\"https://www.silkroadproject.org/ensemble/artists/kojiro-umezaki\">Kojiro Umezaki\u003c/a>, best known for his work in the Silk Road Ensemble).\u003c/p>\n\u003cp>Bristling with exceptional improvisers, the Black Earth Ensemble features the brilliant \u003ca href=\"http://www.tomekareid.net\">cellist Tomeka Reid\u003c/a> (who doubles on banjo); \u003ca href=\"http://www.thegreatblackmusicproject.org/reneebaker.html\">violinist Renèe Baker\u003c/a>; \u003ca href=\"http://www.tatsuaoki.com\">Tatsu Aoki\u003c/a> on bass, shamisen and taiko; Alex Wing on electric guitar, oud and theremin; \u003ca href=\"http://www.joviamusic.com\">percussionist Jovia Armstrong\u003c/a> and vocalist \u003ca href=\"https://www.3arts.org/artist/avery-young/\">Avery R. Young\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11574943\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11574943\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flutist Nicole Mitchell's “Mandorla” is set on an island in post-apocalyptic 2099. \u003ccite>(Photo by Lauren Deutsch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part song cycle, part suite — and very much an attempt to imagine a brave new world — \"Mandorla\" is set on an island in post-apocalyptic 2099. Inspired by writers like Octavia Butler, Mitchell paints another chapter in her ongoing Afro-futurist project, an attempt to imagine a realm in which gender and race aren’t vectors for oppression.\u003c/p>\n\u003cp>Like much of Mitchell’s music, there’s a lot going on. She can sound rootsy and avant-garde in the same phrase. One of the greatest flutists in jazz, she’s a strikingly expressive improviser, and her instrument is the album’s primary voice, though she also relies on vocalist Avery Young, who gives an incendiary, soul-steeped performance.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-11597269\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\nMitchell grew up in Orange County and currently works as a professor of music in UC Irvine’s Claire Trevor School of the Arts’ integrated composition, improvisation and technology program. But she’s very much a product of the Chicago scene. Part of what makes her such a consistently enthralling artist is the way she’s forged a vividly idiosyncratic vision out of the disparate sonic strands running through Chicago's \u003ca href=\"http://www.aacmchicago.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Association for the Advancement of Creative Musicians.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Mandorla” is the latest dispatch from an artist pushing jazz forward from the inside and the outside. And while “Mandorla” and “Folk Songs” sound like worlds apart, it wouldn’t be a stretch for Kronos to commission Nicole Mitchell on some future project.\u003c/p>\n\n",
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"excerpt": "Two new jazz albums out this month: one reinvents the past, while the other conjures up a utopian future.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Music can thrill and entertain us. It can also suggest new ways to think about the past and the future. Two new albums by visionary California artists look backward and forward at the same time.\u003c/p>\n\u003cp>After more than four decades expanding the creative limits of classical music, San Francisco’s \u003ca href=\"http://www.kronosquartet.org\">Kronos Quartet\u003c/a> is more than capable of delivering surprises. On their latest album, “Folk Songs,” they’re exploring traditional American music with four guest artists who are all Nonesuch label mates: \u003ca href=\"http://www.nataliemerchant.com\">Natalie Merchant\u003c/a>, \u003ca href=\"http://www.oliviachaney.net\">Olivia Chaney\u003c/a>, \u003ca href=\"http://www.samamidon.com\">Sam Amidon\u003c/a> and the Carolina Chocolate Drops’ \u003ca href=\"http://rhiannongiddens.com\">Rhiannon Giddens\u003c/a>.\u003c/p>\n\u003cp>Part of what makes “Folk Songs” such a departure for Kronos is what’s not here. We often expect instrumental pyrotechnics and exotic timbres from the ensemble. “Folk Songs” slows the action down, luxuriating in traditional American forms.\u003c/p>\n\u003cp>Working with imaginative arrangers like \u003ca href=\"https://en.wikipedia.org/wiki/Gabe_Witcher\">Gabe Witcher,\u003c/a> \u003ca href=\"http://nicomuhly.com\">Nico Muhly\u003c/a> and \u003ca href=\"http://jacobgarchik.com\">Jacob Garchik\u003c/a> (son of longtime San Francisco Chronicle columnist Leah Garchik), Kronos keeps the spotlight on the singers, who fully inhabit a series of soundscapes haunted by death, separation and judgment day.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11566440\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In many ways the album’s touchstone is Amidon’s lugubrious take on “I See the Sign,” a harbinger of the apocalypse in which he sounds utterly resigned to the end. The song also served as the title track of his 2010 Bedroom Community album, an avant-chamber folk project featuring gorgeous arrangements by Muhly, who seems to distill that chart for Kronos. Muhly also contributes a starkly beautiful arrangement for Amidon on “Oh Where,” a traditional lament that opens the album.\u003c/p>\n\u003cp>Giddens seems to be everywhere these days, and her striking voice is heard to advantage on “Folk Songs.” Like with Amidon, Kronos features her on a song she previously recorded, with Gabe Witcher revamping his arrangement of “Factory Girl” (the title track of her 2015 Nonesuch EP). The contrast between the purity of her tone and the brutal story about an industrial disaster heightens the drama, which rises with Sunny Yang’s cello.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YAcikv1Q1eY'\n title='//www.youtube.com/embed/YAcikv1Q1eY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With so many bad tidings, rumors of war can’t be far behind, and Natalie Merchant continues her sojourn into Anglo-American roots music with “Johnny Has Gone for a Soldier,” a swirling, ache-filled arrangement by Garchik. After all the loss and devastation, Kronos closes the album with Giddens delivering Witcher’s brisk and beautiful arrangement of “Lullaby.” Thematically and musically, the quartet ushers string band-inspired music into the world of contemporary chamber music.\u003c/p>\n\u003ch3>Nicole Mitchell’s Black Earth Ensemble\u003c/h3>\n\u003cp>While Kronos reimagines the musical past on “Folk Songs,” flutist and composer Nicole Mitchell is exploring the future on \"Mandorla Awakening II: Emerging Worlds.\" Recorded in concert at Chicago’s Museum of Contemporary Art, the album features her Black Earth Ensemble, a singular band built on a coruscating matrix of strings, percussion and winds (particularly the intertwined lines of Mitchell’s flute and the shakuhachi of \u003ca href=\"https://www.silkroadproject.org/ensemble/artists/kojiro-umezaki\">Kojiro Umezaki\u003c/a>, best known for his work in the Silk Road Ensemble).\u003c/p>\n\u003cp>Bristling with exceptional improvisers, the Black Earth Ensemble features the brilliant \u003ca href=\"http://www.tomekareid.net\">cellist Tomeka Reid\u003c/a> (who doubles on banjo); \u003ca href=\"http://www.thegreatblackmusicproject.org/reneebaker.html\">violinist Renèe Baker\u003c/a>; \u003ca href=\"http://www.tatsuaoki.com\">Tatsu Aoki\u003c/a> on bass, shamisen and taiko; Alex Wing on electric guitar, oud and theremin; \u003ca href=\"http://www.joviamusic.com\">percussionist Jovia Armstrong\u003c/a> and vocalist \u003ca href=\"https://www.3arts.org/artist/avery-young/\">Avery R. Young\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11574943\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11574943\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flutist Nicole Mitchell's “Mandorla” is set on an island in post-apocalyptic 2099. \u003ccite>(Photo by Lauren Deutsch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part song cycle, part suite — and very much an attempt to imagine a brave new world — \"Mandorla\" is set on an island in post-apocalyptic 2099. Inspired by writers like Octavia Butler, Mitchell paints another chapter in her ongoing Afro-futurist project, an attempt to imagine a realm in which gender and race aren’t vectors for oppression.\u003c/p>\n\u003cp>Like much of Mitchell’s music, there’s a lot going on. She can sound rootsy and avant-garde in the same phrase. One of the greatest flutists in jazz, she’s a strikingly expressive improviser, and her instrument is the album’s primary voice, though she also relies on vocalist Avery Young, who gives an incendiary, soul-steeped performance.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-11597269\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\nMitchell grew up in Orange County and currently works as a professor of music in UC Irvine’s Claire Trevor School of the Arts’ integrated composition, improvisation and technology program. But she’s very much a product of the Chicago scene. Part of what makes her such a consistently enthralling artist is the way she’s forged a vividly idiosyncratic vision out of the disparate sonic strands running through Chicago's \u003ca href=\"http://www.aacmchicago.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Association for the Advancement of Creative Musicians.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Mandorla” is the latest dispatch from an artist pushing jazz forward from the inside and the outside. And while “Mandorla” and “Folk Songs” sound like worlds apart, it wouldn’t be a stretch for Kronos to commission Nicole Mitchell on some future project.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SoundCloud’s Uncertain Forecast Strikes Worry for Bay Area Artists",
"headTitle": "SoundCloud’s Uncertain Forecast Strikes Worry for Bay Area Artists | KQED",
"content": "\u003cp>According to a \u003ca href=\"https://techcrunch.com/2017/07/12/soundshroud/\" target=\"_blank\" rel=\"noopener\">recent TechCrunch report\u003c/a>, SoundCloud has only enough funding to last through the beginning of October. And while the official word from its PR team is that the popular streaming service is fully funded through the end of the fourth quarter, it’s evident that SoundCloud hasn’t been successful at creating a profitable business model. The Berlin-based company recently \u003ca href=\"https://ww2.kqed.org/arts/2017/07/06/soundcloud-cuts-173-jobs-shutters-san-francisco-and-london-offices/\" target=\"_blank\" rel=\"noopener\">laid off 40 percent of its staff and closed its London and San Francisco offices\u003c/a>, leaving users and staff doubting the platform’s longevity. \u003c/p>\n\u003cp>SoundCloud’s primary appeal lies in its 150 million-plus user-uploaded songs, DJ mixes, and podcasts otherwise unavailable on mainstream streaming services such as Spotify, Tidal, Pandora, and Apple Music. Whereas artists must pay digital distributors like \u003ca href=\"https://www.mondotunes.com/%20\" target=\"_blank\" rel=\"noopener\">MondoTunes (formerly TuneCore)\u003c/a> and \u003ca href=\"https://members.cdbaby.com/\" target=\"_blank\" rel=\"noopener\">CD Baby\u003c/a> to get their music onto these streaming giants, on SoundCloud, musicians upload their work for free. Songs on SoundCloud have the potential to go viral thanks to its repost feature — which works the same way retweets do on Twitter — making it possible for independent artists to attract audiences without record deals, publicists, or placements on popular playlists. \u003c/p>\n\u003cp>“SoundCloud was this phenomenon that allowed you to get discovered,” says Evangeline Elder, the manager of Richmond singer Rayana Jay. “That’s where a lot of curators were getting their insights from on who’s the next artist to possibly to blow up or who’s emerging.”\u003c/p>\n\u003cfigure id=\"attachment_12928309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-800x466.jpg\" alt=\"\" width=\"800\" height=\"466\" class=\"size-medium wp-image-12928309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1920x1118.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1180x687.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-960x559.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-375x218.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-520x303.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rayana Jay’s “Magic” accumulated a quarter-million listens in just two weeks on SoundCloud. \u003ccite>(Vanessa Vigil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thanks to SoundCloud’s social sharing functions, previously unheard-of artists from niche regional scenes, like Philadelphia’s Lil Uzi Vert and South Florida’s Kodak Black, have risen to mainstream fame. The term “\u003ca href=\"http://www.rollingstone.com/music/features/look-at-me-the-noisy-soundcloud-revolution-changing-rap-w485101\" target=\"_blank\" rel=\"noopener\">SoundCloud rap\u003c/a>” is now used — though, more often than not, in a derogatory or tongue-in-cheek way — to describe the alternative, youthful rap style that flourishes on the platform (a scene that, according to critics, has become derivative of the platform’s most successful songs).\u003c/p>\n\u003cp>“Now, if SoundCloud can’t recover after all these reports I’m seeing, it’s going to mean a lot for artists who don’t have infrastructure or a management team or publicists,” Elder continues, adding that viral hits on the app, like Xxxtentacion’s “Look At Me,” have made careers almost overnight. She fears that if this free, democratic platform were to lose its relevance because of corporate upheaval, “the freedom of being an independent artist without a plan [would be] taken away.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>SoundCloud has been hugely advantageous for local artists such as Oakland’s Kamaiyah, who quickly ascended to an Interscope deal and a collaboration with Drake off the strength of her self-released single, “\u003ca href=\"https://soundcloud.com/kamaiyah/how-does-it-feel-2\" target=\"_blank\" rel=\"noopener\">How Does It Feel\u003c/a>.” According to artists and industry insiders, the Bay Area is notorious for having an insular music scene that mainstream labels tend to overlook. The ability to use SoundCloud to bypass industry gatekeepers has been crucial for the Bay Area’s newest breakout stars. Elder recalls, for instance, how Rayana Jay, the singer she manages, received an outpouring of business opportunities after her song “Magic” accumulated 250,000 plays on SoundCloud in its first two weeks. \u003c/p>\n\u003cfigure id=\"attachment_13741654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-800x450.jpg\" alt=\"East Bay artist Rexx Life Raj has benefitted from SoundCloud's viral opportunities.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13741654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">East Bay artist Rexx Life Raj has benefitted from SoundCloud’s viral opportunities. \u003ccite>(Marco Alexander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley rapper Rexx Life Raj had a similar experience when the website Hot New Hip-Hop reposted his song “Shit n’ Floss” on its SoundCloud page, catapulting it to over 734,000 streams. “It boosted the record in a crazy way,” he says. “It put it into a million people’s phones.”\u003c/p>\n\u003cp>Over the past several years, SoundCloud has struggled to monetize its business model, introducing ads and offering two tiers of ad-free subscriptions, SoundCloud Go and SoundCloud Go+. But according to the TechCrunch report that broke the news about the company’s recent layoffs, SoundCloud’s number of listeners is said to have fallen from 175 million to somewhere near 70 million over the past three years. \u003c/p>\n\u003cp>“Soundcloud made a mistake when it lost track of its strengths,” says Tyrese Johnson, the operations manager of popular Bay Area rap blog Thizzler.com. “I think what they should’ve been doing is finding ways to cultivate the independent artists they already have there and finding ways to get them paid as opposed to trying to go to war with Spotify and Apple Music. It’s not their lane.”\u003c/p>\n\u003cp>Since the news broke about SoundCloud’s lack of funding, artists have been warning each other to back up their catalogues and upload them to other platforms such as YouTube. But \u003ca href=\"https://www.musicbusinessworldwide.com/google-mulling-soundcloud-buyout-say-whispers-sony-universals-stakes-revealed/\" target=\"_blank\" rel=\"noopener\">some industry insiders speculate\u003c/a> that it’s unlikely that SoundCloud will disappear off the web completely, anticipating a corporate buyout. In either case, the platform’s poor financial standing and declining listenership raises important questions about what will happen when the defining music platform of this decade loses its relevance.\u003c/p>\n\u003cp>“[Artists] need to take advantage of the changing market,” says Oakland rapper Beejus. “If you’re not putting yourself in a position where you’re able to own your rights where you can upload your music to streaming sites [like Spotify,] which I think will be the next step of this, then you need to reevaluate what you’re doing and kind of step it up.” \u003c/p>\n\u003cfigure id=\"attachment_13741653\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-1020x1020.jpg\" alt=\"DJ Neto is among those who draw a parallel between SoundCloud and MySpace.\" width=\"640\" height=\"640\" class=\"size-large wp-image-13741653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">DJ Neto is among those who draw a parallel between SoundCloud and MySpace. \u003ccite>(Chris Sanchez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, other artists question what will happen to the myriad DIY music subcultures on SoundCloud if the platform fails to retain its listeners. Oakland DJ Albert Luera, aka DJ Neto, compares the SoundCloud phenomenon to what happened to MySpace in the late 2000s, when the social network lost most of its users after becoming flooded with ads. As a result, many of the music subcultures that flourished on MySpace — such as the “bloghouse” electronic scene adjacent to Steve Aoki’s Dim Mak Records or the Bay Area’s hyphy movement — faded into obscurity. \u003c/p>\n\u003cp>Luera described his recent experience of poring over obscure MySpace profiles to find old hyphy songs he remembered from a decade ago. “If the loss of MySpace is any indication about how the loss of SoundCloud is gonna go, it was impossible to find those songs in any sort of quality. It was like googling lyrics and trying to find some message board that was gonna have it,” he says, adding that he fears that much of the music on SoundCloud will similarly be lost. \u003c/p>\n\u003cp>Sela Oner, a Vallejo producer who once compiled several volumes of \u003ca href=\"http://pitchfork.com/thepitch/644-footworks-forgotten-archives-are-making-the-best-compilations-youve-never-heard/\" target=\"_blank\" rel=\"noopener\">forgotten 2000s Chicago footwork music by scouring the remains of MySpace\u003c/a>, says that the potential demise of SoundCloud might not be such a bad thing. In his view, some artists have gotten too stuck in the “SoundCloud rap” formula. “It’s affected music a lot, that’s why things sounds the same. So if SoundCloud dies, I think we kind of need that refresh.”\u003c/p>\n\u003cp>“Music is always changing, the way we consume media is always changing,” says Thizzler’s Tyrese Johnson. “If SoundCloud were to die today, it would suck, but it wouldn’t be the end.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\"> \u003c/p>\n\n",
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"excerpt": "The uncertain future of SoundCloud, the audio-hosting platform where many Bay Area artists have thrived, leaves musicians and performers worried.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>According to a \u003ca href=\"https://techcrunch.com/2017/07/12/soundshroud/\" target=\"_blank\" rel=\"noopener\">recent TechCrunch report\u003c/a>, SoundCloud has only enough funding to last through the beginning of October. And while the official word from its PR team is that the popular streaming service is fully funded through the end of the fourth quarter, it’s evident that SoundCloud hasn’t been successful at creating a profitable business model. The Berlin-based company recently \u003ca href=\"https://ww2.kqed.org/arts/2017/07/06/soundcloud-cuts-173-jobs-shutters-san-francisco-and-london-offices/\" target=\"_blank\" rel=\"noopener\">laid off 40 percent of its staff and closed its London and San Francisco offices\u003c/a>, leaving users and staff doubting the platform’s longevity. \u003c/p>\n\u003cp>SoundCloud’s primary appeal lies in its 150 million-plus user-uploaded songs, DJ mixes, and podcasts otherwise unavailable on mainstream streaming services such as Spotify, Tidal, Pandora, and Apple Music. Whereas artists must pay digital distributors like \u003ca href=\"https://www.mondotunes.com/%20\" target=\"_blank\" rel=\"noopener\">MondoTunes (formerly TuneCore)\u003c/a> and \u003ca href=\"https://members.cdbaby.com/\" target=\"_blank\" rel=\"noopener\">CD Baby\u003c/a> to get their music onto these streaming giants, on SoundCloud, musicians upload their work for free. Songs on SoundCloud have the potential to go viral thanks to its repost feature — which works the same way retweets do on Twitter — making it possible for independent artists to attract audiences without record deals, publicists, or placements on popular playlists. \u003c/p>\n\u003cp>“SoundCloud was this phenomenon that allowed you to get discovered,” says Evangeline Elder, the manager of Richmond singer Rayana Jay. “That’s where a lot of curators were getting their insights from on who’s the next artist to possibly to blow up or who’s emerging.”\u003c/p>\n\u003cfigure id=\"attachment_12928309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-800x466.jpg\" alt=\"\" width=\"800\" height=\"466\" class=\"size-medium wp-image-12928309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1920x1118.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1180x687.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-960x559.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-375x218.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-520x303.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rayana Jay’s “Magic” accumulated a quarter-million listens in just two weeks on SoundCloud. \u003ccite>(Vanessa Vigil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thanks to SoundCloud’s social sharing functions, previously unheard-of artists from niche regional scenes, like Philadelphia’s Lil Uzi Vert and South Florida’s Kodak Black, have risen to mainstream fame. The term “\u003ca href=\"http://www.rollingstone.com/music/features/look-at-me-the-noisy-soundcloud-revolution-changing-rap-w485101\" target=\"_blank\" rel=\"noopener\">SoundCloud rap\u003c/a>” is now used — though, more often than not, in a derogatory or tongue-in-cheek way — to describe the alternative, youthful rap style that flourishes on the platform (a scene that, according to critics, has become derivative of the platform’s most successful songs).\u003c/p>\n\u003cp>“Now, if SoundCloud can’t recover after all these reports I’m seeing, it’s going to mean a lot for artists who don’t have infrastructure or a management team or publicists,” Elder continues, adding that viral hits on the app, like Xxxtentacion’s “Look At Me,” have made careers almost overnight. She fears that if this free, democratic platform were to lose its relevance because of corporate upheaval, “the freedom of being an independent artist without a plan [would be] taken away.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SoundCloud has been hugely advantageous for local artists such as Oakland’s Kamaiyah, who quickly ascended to an Interscope deal and a collaboration with Drake off the strength of her self-released single, “\u003ca href=\"https://soundcloud.com/kamaiyah/how-does-it-feel-2\" target=\"_blank\" rel=\"noopener\">How Does It Feel\u003c/a>.” According to artists and industry insiders, the Bay Area is notorious for having an insular music scene that mainstream labels tend to overlook. The ability to use SoundCloud to bypass industry gatekeepers has been crucial for the Bay Area’s newest breakout stars. Elder recalls, for instance, how Rayana Jay, the singer she manages, received an outpouring of business opportunities after her song “Magic” accumulated 250,000 plays on SoundCloud in its first two weeks. \u003c/p>\n\u003cfigure id=\"attachment_13741654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-800x450.jpg\" alt=\"East Bay artist Rexx Life Raj has benefitted from SoundCloud's viral opportunities.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13741654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">East Bay artist Rexx Life Raj has benefitted from SoundCloud’s viral opportunities. \u003ccite>(Marco Alexander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley rapper Rexx Life Raj had a similar experience when the website Hot New Hip-Hop reposted his song “Shit n’ Floss” on its SoundCloud page, catapulting it to over 734,000 streams. “It boosted the record in a crazy way,” he says. “It put it into a million people’s phones.”\u003c/p>\n\u003cp>Over the past several years, SoundCloud has struggled to monetize its business model, introducing ads and offering two tiers of ad-free subscriptions, SoundCloud Go and SoundCloud Go+. But according to the TechCrunch report that broke the news about the company’s recent layoffs, SoundCloud’s number of listeners is said to have fallen from 175 million to somewhere near 70 million over the past three years. \u003c/p>\n\u003cp>“Soundcloud made a mistake when it lost track of its strengths,” says Tyrese Johnson, the operations manager of popular Bay Area rap blog Thizzler.com. “I think what they should’ve been doing is finding ways to cultivate the independent artists they already have there and finding ways to get them paid as opposed to trying to go to war with Spotify and Apple Music. It’s not their lane.”\u003c/p>\n\u003cp>Since the news broke about SoundCloud’s lack of funding, artists have been warning each other to back up their catalogues and upload them to other platforms such as YouTube. But \u003ca href=\"https://www.musicbusinessworldwide.com/google-mulling-soundcloud-buyout-say-whispers-sony-universals-stakes-revealed/\" target=\"_blank\" rel=\"noopener\">some industry insiders speculate\u003c/a> that it’s unlikely that SoundCloud will disappear off the web completely, anticipating a corporate buyout. In either case, the platform’s poor financial standing and declining listenership raises important questions about what will happen when the defining music platform of this decade loses its relevance.\u003c/p>\n\u003cp>“[Artists] need to take advantage of the changing market,” says Oakland rapper Beejus. “If you’re not putting yourself in a position where you’re able to own your rights where you can upload your music to streaming sites [like Spotify,] which I think will be the next step of this, then you need to reevaluate what you’re doing and kind of step it up.” \u003c/p>\n\u003cfigure id=\"attachment_13741653\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-1020x1020.jpg\" alt=\"DJ Neto is among those who draw a parallel between SoundCloud and MySpace.\" width=\"640\" height=\"640\" class=\"size-large wp-image-13741653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">DJ Neto is among those who draw a parallel between SoundCloud and MySpace. \u003ccite>(Chris Sanchez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, other artists question what will happen to the myriad DIY music subcultures on SoundCloud if the platform fails to retain its listeners. Oakland DJ Albert Luera, aka DJ Neto, compares the SoundCloud phenomenon to what happened to MySpace in the late 2000s, when the social network lost most of its users after becoming flooded with ads. As a result, many of the music subcultures that flourished on MySpace — such as the “bloghouse” electronic scene adjacent to Steve Aoki’s Dim Mak Records or the Bay Area’s hyphy movement — faded into obscurity. \u003c/p>\n\u003cp>Luera described his recent experience of poring over obscure MySpace profiles to find old hyphy songs he remembered from a decade ago. “If the loss of MySpace is any indication about how the loss of SoundCloud is gonna go, it was impossible to find those songs in any sort of quality. It was like googling lyrics and trying to find some message board that was gonna have it,” he says, adding that he fears that much of the music on SoundCloud will similarly be lost. \u003c/p>\n\u003cp>Sela Oner, a Vallejo producer who once compiled several volumes of \u003ca href=\"http://pitchfork.com/thepitch/644-footworks-forgotten-archives-are-making-the-best-compilations-youve-never-heard/\" target=\"_blank\" rel=\"noopener\">forgotten 2000s Chicago footwork music by scouring the remains of MySpace\u003c/a>, says that the potential demise of SoundCloud might not be such a bad thing. In his view, some artists have gotten too stuck in the “SoundCloud rap” formula. “It’s affected music a lot, that’s why things sounds the same. So if SoundCloud dies, I think we kind of need that refresh.”\u003c/p>\n\u003cp>“Music is always changing, the way we consume media is always changing,” says Thizzler’s Tyrese Johnson. “If SoundCloud were to die today, it would suck, but it wouldn’t be the end.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The first day of school can be boring. Usually it’s the teacher going over the syllabus, setting ground rules and taking attendance.\u003c/p>\n\u003cp>But \u003cem>\u003ca href=\"https://ybca.org/whats-on/escuela-de-arte-util\" target=\"_blank\" rel=\"noopener noreferrer\">Escuela de Arte Útil\u003c/a>\u003c/em> isn’t your typical school.\u003c/p>\n\u003cp>Held in a big gallery space at the Yerba Buena Center for the Arts, the Escuela is part of a retrospective exhibit of the work of Cuban political artist Tania Bruguera, called \u003cem>Talking to Power/Hablándolé al Poder\u003c/em>.\u003c/p>\n\u003cp>While regular museum-goers explore the past 30 years of Bruguera’s work, more than 50 art students sit on a bright orange carpet in the middle of the gallery to learn about Bruguera’s unique brand of political art: \u003cem>arte útil\u003c/em> or “useful art.”\u003cbr>\n[audio src=\"http://www.kqed.org/.stream/anon/radio/RDnews/2017/07/TaniaBrugueraFeature.mp3\" Image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS26068_Tania-6-qut-e1500931524463.jpg\" Title=\"Blacklisted Cuban Artist Brings Extreme Political Art to Bay\" program=\"pARTicipate\"]\u003c/p>\n\u003cp>“It’s not art to make things work better,” Bruguera tells the class. “We don’t want to improve the way things are. We actually want to change what is going on.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Think of it like political art on steroids. Unlike a lot of political art, which seeks to raise awareness about issues, Bruguera says true \u003cem>arte útil\u003c/em> projects actually create new realities for the communities they serve.\u003c/p>\n\u003cp>For instance, Bruguera created an alternative Cuban newspaper in the early 1990s in opposition to Cuba’s state-controlled media. A few years ago, she \u003ca href=\"http://www.nytimes.com/2011/05/19/nyregion/as-art-tania-bruguera-lives-like-a-poor-immigrant.html\" target=\"_blank\" rel=\"noopener noreferrer\">spent a year\u003c/a> living on minimum wage in a tiny apartment in New York with undocumented immigrants, working with other artists to provide services to immigrants from across the city.\u003c/p>\n\u003cp>“We don’t want to just create conversations,” Bruguera says after class. “We also want to create a parallel institution that works differently so people can see, ‘Oh, actually things do not have to be this way.’”\u003c/p>\n\u003cfigure id=\"attachment_13733151\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13733151\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">More than 50 students gather in the middle of a YBCA gallery to learn about “arte útil” from Cuban artist Tania Bruguera. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But some students in class are confused as to why an artist would be doing work usually handled by journalists or social service providers.\u003c/p>\n\u003cp>“Why do we need art at all if the whole point is operational?” one student asks from the back of the class. “If you’re going to make houses for homeless people, why is it even \u003cem>arte útil\u003c/em>? Why not just \u003cem>útil\u003c/em>?”\u003c/p>\n\u003cp>Bruguera answers by comparing herself to a hypothetical engineer who has discovered the perfect energy source that’s clean, cheap and plentiful. The engineer shares his discovery with the world to make everyone’s lives better.\u003c/p>\n\u003cp>Bruguera says no one would expect the engineer to stop calling himself an engineer as a result of these game-changing efforts. “Why do I have to stop calling myself an artist?” she says.\u003c/p>\n\u003ch3>Political art as an extreme sport\u003c/h3>\n\u003cp>Bruguera’s views have gotten her into trouble with the authorities.\u003c/p>\n\u003cp>In late 2014, she was \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-cm-tania-brugueras-cuba-20150108-column.html#page=1\" target=\"_blank\" rel=\"noopener noreferrer\">arrested \u003c/a>by Cuban police for trying to stage a performance in Havana’s Plaza de la Revolución. It was a few weeks after the U.S. and Cuba had announced the two countries were opening up relations, and Bruguera wanted to see if this meant greater freedom of speech would be coming to Cuba.\u003c/p>\n\u003cp>The idea was to set up a microphone in the Plaza de la Revolución and give members of the public one minute to say whatever they wanted. She was denied a permit to use the plaza but planned to go ahead anyway. At 5 a.m. on the day the performance was set to occur, she was arrested.\u003c/p>\n\u003cfigure id=\"attachment_13733168\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13733168\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tania Bruguera lectures about “arte útil” at the Yerba Buena Center for the Arts. In late 2014, she was arrested and detained for trying to hold a free speech performance in Havana’s Revolution Plaza. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They want you to feel completely crushed by something so insignificant that you don’t even dare to imagine something bigger,” Bruguera says of the Cuban government. “Just by putting a microphone out there, they took away my passport for eight months.”\u003c/p>\n\u003cp>During those months, Bruguera says she was repeatedly taken in by Cuban police and subjected to \u003ca href=\"https://www.theguardian.com/artanddesign/2015/oct/13/frieze-tania-bruguera-artist-cuba-torture-interview\" target=\"_blank\" rel=\"noopener noreferrer\">intense interrogations\u003c/a>. She says they interrogated her more than 30 times, sometimes several times in a single week.\u003c/p>\n\u003cp>“It is very tiring, and it’s scary,” she says of the repeated interrogations. “Even if they give you water, you don’t want to drink it. It’s extremely hard.”\u003c/p>\n\u003cp>Bruguera says as a result of that experience, she has been forbidden to show her work or even enter any cultural institution in Cuba.\u003c/p>\n\u003cp>But that hasn’t stopped the artist from continuing to play a role in the political conversation. Last year, she nominated herself for president of Cuba in 2018, even though it’s a communist one-party state.\u003c/p>\n\u003cp>“I think a successful artist is a stubborn artist,” she says. “A stubborn person who pushes back against unjust laws.”\u003c/p>\n\u003cp>https://youtu.be/dRtTH7fHjEk\u003c/p>\n\u003ch3>Arte Útil in the Bay\u003c/h3>\n\u003cp>Bruguera may take political art to its extremes, but she’s not the only person who has embraced \u003cem>arte útil\u003c/em> and the idea that art can affect real change for real people.\u003c/p>\n\u003cp>Four years ago, she founded the \u003cem>\u003ca href=\"http://www.arte-util.org/about/activities/\" target=\"_blank\" rel=\"noopener noreferrer\">Asociación de Arte Útil\u003c/a>\u003c/em>, an international association dedicated to connecting \u003cem>arte útil\u003c/em> practitioners and sharing their work. The association maintains \u003ca href=\"http://www.arte-util.org/projects/\" target=\"_blank\" rel=\"noopener noreferrer\">an archive\u003c/a> with hundreds of \u003cem>arte útil\u003c/em> projects dating back more than 100 years.\u003c/p>\n\u003cp>Many of those projects have come out of the Bay Area, like the \u003ca href=\"http://www.arte-util.org/projects/anti-eviction-mapping-project/\" target=\"_blank\" rel=\"noopener noreferrer\">Anti-Eviction Mapping Project\u003c/a> and several projects from \u003ca href=\"http://www.arte-util.org/?s=sherk&x=0&y=0\" target=\"_blank\" rel=\"noopener noreferrer\">Bonnie Ora Sherk\u003c/a>.\u003c/p>\n\u003cp>In 1974, Sherk began work on \u003cem>Crossroads Community (The Farm)\u003c/em>, which became a community farm full of animals, gardens and educational programming for kids built around the Chavez/Highway 101 interchange in San Francisco. She’s also the force behind \u003cem>A Living Library\u003c/em>, an ongoing project where Sherk transforms blighted public areas across the city into eco-friendly community spaces.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BC12cyynH1g\u003c/p>\n\u003cp>“I have dug up lots of asphalt and concrete and planted thousands of trees and made beautiful learning’s zones and gardens that have transformed acres of very sterile barren land,” Sherk says of her own \u003cem>arte útil\u003c/em> projects.\u003c/p>\n\u003cp>Sherk says it’s actually getting harder to do some of these kinds of projects in the Bay Area because of bureaucratic roadblocks.\u003c/p>\n\u003cp>That makes Bruguera’s \u003cem>Escuela de Arte Útil\u003c/em> at the Yerba Buena Center for the Arts even more important for people who want to see this kind of work continue to thrive.\u003c/p>\n\u003cp>Bruguera expects her students to complete their own Bay Area \u003cem>arte útil\u003c/em> project at the end of the summer. At least one group is looking at trying to make an impact with the area’s homeless population.\u003c/p>\n\u003cp>“Hopefully these people won’t just disappear and say, ‘Oh, I had a class in 2017, and it was interesting,’” Bruguera says of her students. “Hopefully they will start practicing \u003cem>arte útil\u003c/em> and putting their knowledge into practice.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Maybe they’ll even get arrested for their art one day, too.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Think of it like political art on steroids. Unlike a lot of political art, which seeks to raise awareness about issues, Bruguera says true \u003cem>arte útil\u003c/em> projects actually create new realities for the communities they serve.\u003c/p>\n\u003cp>For instance, Bruguera created an alternative Cuban newspaper in the early 1990s in opposition to Cuba’s state-controlled media. A few years ago, she \u003ca href=\"http://www.nytimes.com/2011/05/19/nyregion/as-art-tania-bruguera-lives-like-a-poor-immigrant.html\" target=\"_blank\" rel=\"noopener noreferrer\">spent a year\u003c/a> living on minimum wage in a tiny apartment in New York with undocumented immigrants, working with other artists to provide services to immigrants from across the city.\u003c/p>\n\u003cp>“We don’t want to just create conversations,” Bruguera says after class. “We also want to create a parallel institution that works differently so people can see, ‘Oh, actually things do not have to be this way.’”\u003c/p>\n\u003cfigure id=\"attachment_13733151\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13733151\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">More than 50 students gather in the middle of a YBCA gallery to learn about “arte útil” from Cuban artist Tania Bruguera. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But some students in class are confused as to why an artist would be doing work usually handled by journalists or social service providers.\u003c/p>\n\u003cp>“Why do we need art at all if the whole point is operational?” one student asks from the back of the class. “If you’re going to make houses for homeless people, why is it even \u003cem>arte útil\u003c/em>? Why not just \u003cem>útil\u003c/em>?”\u003c/p>\n\u003cp>Bruguera answers by comparing herself to a hypothetical engineer who has discovered the perfect energy source that’s clean, cheap and plentiful. The engineer shares his discovery with the world to make everyone’s lives better.\u003c/p>\n\u003cp>Bruguera says no one would expect the engineer to stop calling himself an engineer as a result of these game-changing efforts. “Why do I have to stop calling myself an artist?” she says.\u003c/p>\n\u003ch3>Political art as an extreme sport\u003c/h3>\n\u003cp>Bruguera’s views have gotten her into trouble with the authorities.\u003c/p>\n\u003cp>In late 2014, she was \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-cm-tania-brugueras-cuba-20150108-column.html#page=1\" target=\"_blank\" rel=\"noopener noreferrer\">arrested \u003c/a>by Cuban police for trying to stage a performance in Havana’s Plaza de la Revolución. It was a few weeks after the U.S. and Cuba had announced the two countries were opening up relations, and Bruguera wanted to see if this meant greater freedom of speech would be coming to Cuba.\u003c/p>\n\u003cp>The idea was to set up a microphone in the Plaza de la Revolución and give members of the public one minute to say whatever they wanted. She was denied a permit to use the plaza but planned to go ahead anyway. At 5 a.m. on the day the performance was set to occur, she was arrested.\u003c/p>\n\u003cfigure id=\"attachment_13733168\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13733168\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tania Bruguera lectures about “arte útil” at the Yerba Buena Center for the Arts. In late 2014, she was arrested and detained for trying to hold a free speech performance in Havana’s Revolution Plaza. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They want you to feel completely crushed by something so insignificant that you don’t even dare to imagine something bigger,” Bruguera says of the Cuban government. “Just by putting a microphone out there, they took away my passport for eight months.”\u003c/p>\n\u003cp>During those months, Bruguera says she was repeatedly taken in by Cuban police and subjected to \u003ca href=\"https://www.theguardian.com/artanddesign/2015/oct/13/frieze-tania-bruguera-artist-cuba-torture-interview\" target=\"_blank\" rel=\"noopener noreferrer\">intense interrogations\u003c/a>. She says they interrogated her more than 30 times, sometimes several times in a single week.\u003c/p>\n\u003cp>“It is very tiring, and it’s scary,” she says of the repeated interrogations. “Even if they give you water, you don’t want to drink it. It’s extremely hard.”\u003c/p>\n\u003cp>Bruguera says as a result of that experience, she has been forbidden to show her work or even enter any cultural institution in Cuba.\u003c/p>\n\u003cp>But that hasn’t stopped the artist from continuing to play a role in the political conversation. Last year, she nominated herself for president of Cuba in 2018, even though it’s a communist one-party state.\u003c/p>\n\u003cp>“I think a successful artist is a stubborn artist,” she says. “A stubborn person who pushes back against unjust laws.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dRtTH7fHjEk'\n title='//www.youtube.com/embed/dRtTH7fHjEk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Arte Útil in the Bay\u003c/h3>\n\u003cp>Bruguera may take political art to its extremes, but she’s not the only person who has embraced \u003cem>arte útil\u003c/em> and the idea that art can affect real change for real people.\u003c/p>\n\u003cp>Four years ago, she founded the \u003cem>\u003ca href=\"http://www.arte-util.org/about/activities/\" target=\"_blank\" rel=\"noopener noreferrer\">Asociación de Arte Útil\u003c/a>\u003c/em>, an international association dedicated to connecting \u003cem>arte útil\u003c/em> practitioners and sharing their work. The association maintains \u003ca href=\"http://www.arte-util.org/projects/\" target=\"_blank\" rel=\"noopener noreferrer\">an archive\u003c/a> with hundreds of \u003cem>arte útil\u003c/em> projects dating back more than 100 years.\u003c/p>\n\u003cp>Many of those projects have come out of the Bay Area, like the \u003ca href=\"http://www.arte-util.org/projects/anti-eviction-mapping-project/\" target=\"_blank\" rel=\"noopener noreferrer\">Anti-Eviction Mapping Project\u003c/a> and several projects from \u003ca href=\"http://www.arte-util.org/?s=sherk&x=0&y=0\" target=\"_blank\" rel=\"noopener noreferrer\">Bonnie Ora Sherk\u003c/a>.\u003c/p>\n\u003cp>In 1974, Sherk began work on \u003cem>Crossroads Community (The Farm)\u003c/em>, which became a community farm full of animals, gardens and educational programming for kids built around the Chavez/Highway 101 interchange in San Francisco. She’s also the force behind \u003cem>A Living Library\u003c/em>, an ongoing project where Sherk transforms blighted public areas across the city into eco-friendly community spaces.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BC12cyynH1g'\n title='//www.youtube.com/embed/BC12cyynH1g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I have dug up lots of asphalt and concrete and planted thousands of trees and made beautiful learning’s zones and gardens that have transformed acres of very sterile barren land,” Sherk says of her own \u003cem>arte útil\u003c/em> projects.\u003c/p>\n\u003cp>Sherk says it’s actually getting harder to do some of these kinds of projects in the Bay Area because of bureaucratic roadblocks.\u003c/p>\n\u003cp>That makes Bruguera’s \u003cem>Escuela de Arte Útil\u003c/em> at the Yerba Buena Center for the Arts even more important for people who want to see this kind of work continue to thrive.\u003c/p>\n\u003cp>Bruguera expects her students to complete their own Bay Area \u003cem>arte útil\u003c/em> project at the end of the summer. At least one group is looking at trying to make an impact with the area’s homeless population.\u003c/p>\n\u003cp>“Hopefully these people won’t just disappear and say, ‘Oh, I had a class in 2017, and it was interesting,’” Bruguera says of her students. “Hopefully they will start practicing \u003cem>arte útil\u003c/em> and putting their knowledge into practice.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maybe they’ll even get arrested for their art one day, too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The 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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"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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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.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"source": "PRI"
},
"link": "/radio/program/pri-the-world",
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"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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