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"content": "\u003cp>Offspring drummer Pete Parada received an \u003ca href=\"https://www.instagram.com/p/CSE_rkVnIgL/\" target=\"_blank\" rel=\"noopener noreferrer\">outpouring of support\u003c/a> earlier this week after he announced he would be unable to tour for the foreseeable future. In an emotional Instagram post, Parada said that a medical condition he has been living with since childhood—\u003ca href=\"https://www.ninds.nih.gov/Disorders/Patient-Caregiver-Education/Fact-Sheets/Guillain-Barr%C3%A9-Syndrome-Fact-Sheet\" target=\"_blank\" rel=\"noopener noreferrer\">Guillain-Barré Syndrome\u003c/a> (GBS)—prevented him from receiving a COVID-19 vaccine, and that his band now considered him “unsafe” to work with. GBS is a rare and incurable condition that causes the body’s immune system to attack its nerves.\u003c/p>\n\u003cp>“Given my personal history and the side-effect profile of these jabs,” Parada wrote, “my doctor has advised me not to get a shot at this time. Unfortunately for me (and my family—who is hoping to keep me around a bit longer), the risks far outweigh the benefits.”\u003c/p>\n\u003cp>Recent figures suggest there may an increased risk of suffering a bout of GBS after receiving the Johnson & Johnson COVID-19 vaccine. “There have been 100 preliminary reports of GBS following vaccination,” the \u003ca href=\"https://www.fda.gov/news-events/press-announcements/coronavirus-covid-19-update-july-13-2021\" target=\"_blank\" rel=\"noopener noreferrer\">FDA reports\u003c/a>, “after approximately 12.5 million doses administered.” However, there is \u003ca href=\"https://health.clevelandclinic.org/guillain-barre-syndrome-and-covid-vaccine/\" target=\"_blank\" rel=\"noopener noreferrer\">no evidence\u003c/a> that the Pfizer or Moderna vaccines carry increased risks for GBS patients.\u003c/p>\n\u003cp>https://www.instagram.com/p/CSE_rkVnIgL/\u003c/p>\n\u003cp>“Since I am unable to comply with what is increasingly becoming an industry mandate,” Parada wrote, “it has recently been decided that I am unsafe to be around, in the studio, and on tour. I mention this because you won’t be seeing me at these upcoming shows. I also want to share my story so that anyone else experiencing the agony and isolation of getting left behind right now knows they’re not entirely alone.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By Wednesday, Parada’s post had been liked almost 18,000 times, and prompted comments of love, support and vaccine-related outrage. One fan wrote, “The fear, the manipulation and coercion around [vaccines] are truly what is frightening.” Five Finger Death Punch drummer Charlie Engen commented that it was “sickening you even have to explain yourself.” Bad Wolves vocalist Tommy Vext called Parada’s predicament “a fucking disgrace,” and opined that “this all feels like the beginnings of a medical apartheid.”\u003c/p>\n\u003cp>Those are strong words in a live-music landscape that is still accommodating unvaccinated people. Parada’s announcement (and the outpouring that it prompted) directly followed a weekend in which 100,000 fans a day—including the unvaccinated—descended on the Lollapalooza festival in Chicago. Ticket holders without vaccines were permitted at the event with proof of a negative COVID test.\u003c/p>\n\u003cp>https://twitter.com/lollapalooza/status/1420865743269339143\u003c/p>\n\u003cp>The weekend before, Miami’s Rolling Loud Festival attracted daily crowds of 75,000 and had zero COVID-related restrictions for entry. “Fans will have the choice, whether or not they want to be vaccinated or mask,” festival co-founder \u003ca href=\"https://www.miamiherald.com/news/local/community/miami-dade/miami-gardens/article252927603.html\" target=\"_blank\" rel=\"noopener noreferrer\">Tariq Cheriff told the \u003cem>Miami Herald\u003c/em>\u003c/a>. “That’s basically what we believe in. You got the choice and that’s it.”\u003c/p>\n\u003cp>[aside postID='arts_13900368,arts_13900770']While some of America’s most popular festivals—including Coachella, Burning Man and SXSW—have opted to postpone until 2022, many others are still forging ahead this year. COVID restrictions for attendees at each event vary and are at the discretion of the organizers. So, for example, while Napa’s \u003ca href=\"https://www.bottlerocknapavalley.com/health-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock\u003c/a> will require proof of vaccination or a negative COVID test, \u003ca href=\"https://www.sfoutsidelands.com/health-and-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> is—for the moment, at least—merely saying it “will follow the recommended health and safety guidelines put forth by the authorities.” \u003ca href=\"https://www.sterngrove.org/covid\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove\u003c/a> says it will have a reservation-only policy and a perimeter, but no requirement to show vaccine status at this time. It is unclear what restrictions will be in place for performers.\u003c/p>\n\u003cp>As for music venues, in California at least, the National Independent Venue Association (NIVA) reports that most of the music venues checking vaccine cards are also accepting negative COVID tests.\u003c/p>\n\u003cp>While Parada claimed that his decision to not get vaccinated was a medical one, he also shared clear anti-vax opinions later in his post. “I do not find it ethical or wise,” he wrote, “to allow those with the most power (government, corporations, organizations, employers) to dictate medical procedures to those with the least power.” Parada continued: “If it looks like half the population is having a shockingly different reaction to these jabs than was expected—it’s probably because their life experiences have actually been shockingly different.”\u003c/p>\n\u003cp>As the music industry scrambles to bring back live music, the very least fans and musicians should be doing before heading out to venues is getting vaccinated and/or checking their COVID status regularly with tests. Even then, an abundance of caution should still be exercised. The Netherlands’ Verknipt festival, which took place in mid-July, offers a cautionary example. The two-day outdoor festival required proof of vaccine or a negative test to enter, but still led to \u003ca href=\"https://www.cnbc.com/2021/07/15/music-festival-in-holland-leads-to-over-1000-covid-infections.html\" target=\"_blank\" rel=\"noopener noreferrer\">1,050 COVID infections\u003c/a>—5% of attendees caught the virus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Make no mistake, the social and personal freedoms we have successfully wrangled back in recent months are a direct result of the vaccine rollout. What most threatens those freedoms now is the highly transmissible delta variant which, data proves, vaccines protect against. (“The rate of breakthrough cases reported among those fully vaccinated is well below 1% in all reporting states,” according to the \u003ca href=\"https://www.nytimes.com/2021/08/03/well/live/covid-delta-variant-vaccine-symptoms.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>.) The larger barriers to the freedom of immunocompromised people aren’t COVID safety measures—they’re the dangers posed by a virus that spreads further and faster the less people are vaccinated.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Offspring drummer Pete Parada received an \u003ca href=\"https://www.instagram.com/p/CSE_rkVnIgL/\" target=\"_blank\" rel=\"noopener noreferrer\">outpouring of support\u003c/a> earlier this week after he announced he would be unable to tour for the foreseeable future. In an emotional Instagram post, Parada said that a medical condition he has been living with since childhood—\u003ca href=\"https://www.ninds.nih.gov/Disorders/Patient-Caregiver-Education/Fact-Sheets/Guillain-Barr%C3%A9-Syndrome-Fact-Sheet\" target=\"_blank\" rel=\"noopener noreferrer\">Guillain-Barré Syndrome\u003c/a> (GBS)—prevented him from receiving a COVID-19 vaccine, and that his band now considered him “unsafe” to work with. GBS is a rare and incurable condition that causes the body’s immune system to attack its nerves.\u003c/p>\n\u003cp>“Given my personal history and the side-effect profile of these jabs,” Parada wrote, “my doctor has advised me not to get a shot at this time. Unfortunately for me (and my family—who is hoping to keep me around a bit longer), the risks far outweigh the benefits.”\u003c/p>\n\u003cp>Recent figures suggest there may an increased risk of suffering a bout of GBS after receiving the Johnson & Johnson COVID-19 vaccine. “There have been 100 preliminary reports of GBS following vaccination,” the \u003ca href=\"https://www.fda.gov/news-events/press-announcements/coronavirus-covid-19-update-july-13-2021\" target=\"_blank\" rel=\"noopener noreferrer\">FDA reports\u003c/a>, “after approximately 12.5 million doses administered.” However, there is \u003ca href=\"https://health.clevelandclinic.org/guillain-barre-syndrome-and-covid-vaccine/\" target=\"_blank\" rel=\"noopener noreferrer\">no evidence\u003c/a> that the Pfizer or Moderna vaccines carry increased risks for GBS patients.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Since I am unable to comply with what is increasingly becoming an industry mandate,” Parada wrote, “it has recently been decided that I am unsafe to be around, in the studio, and on tour. I mention this because you won’t be seeing me at these upcoming shows. I also want to share my story so that anyone else experiencing the agony and isolation of getting left behind right now knows they’re not entirely alone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The weekend before, Miami’s Rolling Loud Festival attracted daily crowds of 75,000 and had zero COVID-related restrictions for entry. “Fans will have the choice, whether or not they want to be vaccinated or mask,” festival co-founder \u003ca href=\"https://www.miamiherald.com/news/local/community/miami-dade/miami-gardens/article252927603.html\" target=\"_blank\" rel=\"noopener noreferrer\">Tariq Cheriff told the \u003cem>Miami Herald\u003c/em>\u003c/a>. “That’s basically what we believe in. You got the choice and that’s it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While some of America’s most popular festivals—including Coachella, Burning Man and SXSW—have opted to postpone until 2022, many others are still forging ahead this year. COVID restrictions for attendees at each event vary and are at the discretion of the organizers. So, for example, while Napa’s \u003ca href=\"https://www.bottlerocknapavalley.com/health-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock\u003c/a> will require proof of vaccination or a negative COVID test, \u003ca href=\"https://www.sfoutsidelands.com/health-and-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> is—for the moment, at least—merely saying it “will follow the recommended health and safety guidelines put forth by the authorities.” \u003ca href=\"https://www.sterngrove.org/covid\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove\u003c/a> says it will have a reservation-only policy and a perimeter, but no requirement to show vaccine status at this time. It is unclear what restrictions will be in place for performers.\u003c/p>\n\u003cp>As for music venues, in California at least, the National Independent Venue Association (NIVA) reports that most of the music venues checking vaccine cards are also accepting negative COVID tests.\u003c/p>\n\u003cp>While Parada claimed that his decision to not get vaccinated was a medical one, he also shared clear anti-vax opinions later in his post. “I do not find it ethical or wise,” he wrote, “to allow those with the most power (government, corporations, organizations, employers) to dictate medical procedures to those with the least power.” Parada continued: “If it looks like half the population is having a shockingly different reaction to these jabs than was expected—it’s probably because their life experiences have actually been shockingly different.”\u003c/p>\n\u003cp>As the music industry scrambles to bring back live music, the very least fans and musicians should be doing before heading out to venues is getting vaccinated and/or checking their COVID status regularly with tests. Even then, an abundance of caution should still be exercised. The Netherlands’ Verknipt festival, which took place in mid-July, offers a cautionary example. The two-day outdoor festival required proof of vaccine or a negative test to enter, but still led to \u003ca href=\"https://www.cnbc.com/2021/07/15/music-festival-in-holland-leads-to-over-1000-covid-infections.html\" target=\"_blank\" rel=\"noopener noreferrer\">1,050 COVID infections\u003c/a>—5% of attendees caught the virus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Make no mistake, the social and personal freedoms we have successfully wrangled back in recent months are a direct result of the vaccine rollout. What most threatens those freedoms now is the highly transmissible delta variant which, data proves, vaccines protect against. (“The rate of breakthrough cases reported among those fully vaccinated is well below 1% in all reporting states,” according to the \u003ca href=\"https://www.nytimes.com/2021/08/03/well/live/covid-delta-variant-vaccine-symptoms.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>.) The larger barriers to the freedom of immunocompromised people aren’t COVID safety measures—they’re the dangers posed by a virus that spreads further and faster the less people are vaccinated.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Central Park ‘Karen,’ Amy Cooper, Remains Unrepentant About Central Park Karen-ing",
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"content": "\u003cp>In God-Just-Shut-Up-Already news, that white lady who made an unhinged call to cops about the man who was birdwatching while Black is back! And—wouldn’t you know it—she’s defending all that dog choking and racism she did in Central Park last summer.\u003c/p>\n\u003cp>In case you need a refresher, this is what that looked like:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W0FByIEijXI\u003c/p>\n\u003cp>Appearing on the \u003ca href=\"https://bariweiss.substack.com/p/the-real-story-of-the-central-park\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Honestly with Bari Weiss\u003c/em>\u003c/a> podcast this week, Amy Cooper phoned in from an undisclosed location to say that, “It’s been a hard year of having to stay silent and watch things be said across the world that were untrue.” Cooper then doubled down on the Scary Black Man narrative that she used during her call to the cops in the first place.\u003c/p>\n\u003cp>[aside postid='arts_13881138']“Suddenly, I heard this loud booming voice behind me,” Cooper said, “screaming something to the effect of ‘Get out of here’ or ‘You shouldn’t be here’—something like that. Whenever you hear something loud, you naturally just startled a little bit. And I turned around and immediately saw this man standing there looking, you know, like he’s very annoyed that I’m in there.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cooper continued: “And then he utters something that sounds to me like a threat. That he’s going to do something to me that I’m not going to like … I’m trying to figure out, ‘What does that mean?’ … Is this guy going to lure my dog over and hit him with his bike helmet? … And if I end up over there, am I going to get hit with this bike helmet?”\u003c/p>\n\u003cp>Later still, Cooper says: “It’s really weird because he’s still standing there, you know, same very physical posture, and suddenly out of him comes this voice from a man who’s been very dominant towards me. Suddenly, you know, almost this victimized voice, saying, ‘Don’t come near me. Don’t come any closer.’ Almost like he’s terrified of me. To me that’s even more terrifying now because you’ve gone from screaming at me—if you kept screaming at me, at least it was consistent, but now his whole verbal demeanor has changed. That made no sense to me whatsoever.”\u003c/p>\n\u003cp>Of her decision to call 911, Cooper says: “I’d looked around. I’d explored all my options. I tried to leave. I tried to look for anyone who was around. There was no noise, no sound. And it was, you know, it was my last attempt to, sort of, hope that he would step down and leave me alone.”\u003c/p>\n\u003cp>During the 80-minute podcast, journalist Kmele Foster offers several nuggets of info that the listener is supposed to treat as astonishing revelations, but only offer broader context to the incident. These include the fact that the 911 call Amy Cooper made was almost inaudible to the dispatcher on the other end of the line, so she had to keep repeating herself. In addition, Cooper talks about a sexual assault she endured in her teens that she says impacted her emotional response in the park.\u003c/p>\n\u003cp>Foster spends some time establishing that Christian Cooper was sick of dog walkers in the birding areas of Central Park. There is an audio clip featured in the podcast of Christian Cooper speaking at a community meeting on the matter. Foster also says he found two other people who Christian Cooper had admonished for walking dogs off leash, who said they had felt threatened by him in the park. (Neither wanted to speak on the record.)\u003c/p>\n\u003cp>[aside postid='arts_13882681']All of which is interesting, but fails to answer the most important question of all: Why did Amy Cooper stay in the park, with a man she says was afraid of, when he was specifically asking her to stay away from him? Why did she opt to move closer to him, when she had already retrieved her dog? And why did she call the cops, instead of walking away when she had a clear opportunity to do so?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We already knew the answers to all of those questions; the fundamentals of this story remain unchanged. The fact that Amy Cooper is now trying to persuade us otherwise (after issuing \u003ca href=\"https://www.youtube.com/watch?v=iUQWd4q3tjA\" target=\"_blank\" rel=\"noopener noreferrer\">an apology for her behavior\u003c/a> in May 2020) only serves to make this entire incident even worse.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In God-Just-Shut-Up-Already news, that white lady who made an unhinged call to cops about the man who was birdwatching while Black is back! And—wouldn’t you know it—she’s defending all that dog choking and racism she did in Central Park last summer.\u003c/p>\n\u003cp>In case you need a refresher, this is what that looked like:\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/W0FByIEijXI'\n title='//www.youtube.com/embed/W0FByIEijXI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Appearing on the \u003ca href=\"https://bariweiss.substack.com/p/the-real-story-of-the-central-park\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Honestly with Bari Weiss\u003c/em>\u003c/a> podcast this week, Amy Cooper phoned in from an undisclosed location to say that, “It’s been a hard year of having to stay silent and watch things be said across the world that were untrue.” Cooper then doubled down on the Scary Black Man narrative that she used during her call to the cops in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Suddenly, I heard this loud booming voice behind me,” Cooper said, “screaming something to the effect of ‘Get out of here’ or ‘You shouldn’t be here’—something like that. Whenever you hear something loud, you naturally just startled a little bit. And I turned around and immediately saw this man standing there looking, you know, like he’s very annoyed that I’m in there.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cooper continued: “And then he utters something that sounds to me like a threat. That he’s going to do something to me that I’m not going to like … I’m trying to figure out, ‘What does that mean?’ … Is this guy going to lure my dog over and hit him with his bike helmet? … And if I end up over there, am I going to get hit with this bike helmet?”\u003c/p>\n\u003cp>Later still, Cooper says: “It’s really weird because he’s still standing there, you know, same very physical posture, and suddenly out of him comes this voice from a man who’s been very dominant towards me. Suddenly, you know, almost this victimized voice, saying, ‘Don’t come near me. Don’t come any closer.’ Almost like he’s terrified of me. To me that’s even more terrifying now because you’ve gone from screaming at me—if you kept screaming at me, at least it was consistent, but now his whole verbal demeanor has changed. That made no sense to me whatsoever.”\u003c/p>\n\u003cp>Of her decision to call 911, Cooper says: “I’d looked around. I’d explored all my options. I tried to leave. I tried to look for anyone who was around. There was no noise, no sound. And it was, you know, it was my last attempt to, sort of, hope that he would step down and leave me alone.”\u003c/p>\n\u003cp>During the 80-minute podcast, journalist Kmele Foster offers several nuggets of info that the listener is supposed to treat as astonishing revelations, but only offer broader context to the incident. These include the fact that the 911 call Amy Cooper made was almost inaudible to the dispatcher on the other end of the line, so she had to keep repeating herself. In addition, Cooper talks about a sexual assault she endured in her teens that she says impacted her emotional response in the park.\u003c/p>\n\u003cp>Foster spends some time establishing that Christian Cooper was sick of dog walkers in the birding areas of Central Park. There is an audio clip featured in the podcast of Christian Cooper speaking at a community meeting on the matter. Foster also says he found two other people who Christian Cooper had admonished for walking dogs off leash, who said they had felt threatened by him in the park. (Neither wanted to speak on the record.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All of which is interesting, but fails to answer the most important question of all: Why did Amy Cooper stay in the park, with a man she says was afraid of, when he was specifically asking her to stay away from him? Why did she opt to move closer to him, when she had already retrieved her dog? And why did she call the cops, instead of walking away when she had a clear opportunity to do so?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We already knew the answers to all of those questions; the fundamentals of this story remain unchanged. The fact that Amy Cooper is now trying to persuade us otherwise (after issuing \u003ca href=\"https://www.youtube.com/watch?v=iUQWd4q3tjA\" target=\"_blank\" rel=\"noopener noreferrer\">an apology for her behavior\u003c/a> in May 2020) only serves to make this entire incident even worse.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "There’s Nothing Like Seeing Moving Images in the Dark",
"headTitle": "There’s Nothing Like Seeing Moving Images in the Dark | KQED",
"content": "\u003cp>Some of the most thrilling art experiences I’ve had in the Bay Area have been under the flickering light of a film projector. One was a fog-filled room and Lis Rhodes’ hypnotic, screeching \u003ci>Light Music\u003c/i>, two striated beams crossing each other in space. Another involved Morgan Fisher’s \u003ci>Projection Instructions\u003c/i>, which bossily issues commands to its projectionists like “throw out of focus” and “turn lamp off.” Even watching Kathryn Bigelow’s vampire-horror-Western \u003ci>Near Dark\u003c/i> has become a cherished memory because of the conversations it fueled hours and days later.\u003c/p>\n\u003cp>So when I heard the news that the San Francisco Museum of Modern Art would “sunset” its film program at the end of the fall 2021 season, I was shocked and disappointed, but ultimately unsurprised. To me and other members of the Bay Area arts community, the cut was an unpleasant form of déja vù.\u003c/p>\n\u003cp>Three years ago, nearby Yerba Buena Center for the Arts also laid off its film and video curatorial staff, and put the 21-year-old program \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\" target=\"_blank\" rel=\"noopener noreferrer\">on indefinite hiatus\u003c/a>. A planned “reimagining” of the film program at YBCA has yet to take solid shape.[aside postID='arts_13900144']\u003c/p>\n\u003cp>SFMOMA doesn’t plan to stop with just film. As \u003ca href=\"https://www.kqed.org/arts/13900144/sfmomas-cuts-to-film-other-programs-cause-widespread-outrage\" target=\"_blank\" rel=\"noopener noreferrer\">previously reported\u003c/a>, the museum plans to discontinue Open Space, the museum’s experimental publishing platform; the Artists Gallery, a Fort Mason outpost that facilitated the rental and sales of local artists’ work; and \u003ci>Raw Material\u003c/i>, a podcast helmed each season by different voices.\u003c/p>\n\u003cp>In the name of attracting “\u003ca href=\"https://www.sfmoma.org/press-release/statement-on-strategic-goals-and-programmatic-updates/\" target=\"_blank\" rel=\"noopener noreferrer\">larger, more diverse audiences\u003c/a>,” these cuts eliminate, paradoxically, some of the museum’s most accessible and diverse programming, along with seven staff positions. Loss of any SFMOMA staff is a loss of institutional history and public trust, and the end result is a further fraying of the connective structures that once made the Bay Area arts community a functioning ecosystem.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In my darkest moments, it feels like the scene’s been whittled down to fit on the head of a pin. But others remind me that the region’s most exciting culture has always existed in opposition to (and despite) mainstream, commercial art movements. Nimble, small-scale and decidedly experimental efforts are, in fact, the best parts of the Bay Area’s film scene.\u003c/p>\n\u003cp>While some already mourn SFMOMA’s film program, others refuse to accept this decision as final. A \u003ca href=\"https://www.change.org/p/neal-benezra-oppose-the-program-and-position-cuts-at-sfmoma\" target=\"_blank\" rel=\"noopener noreferrer\">petition addressed to SFMOMA director Neal Benezra\u003c/a> has over 2,700 signatures, and a gathering this Thursday at the museum’s 3rd Street entrance is timed for 6–8pm to coincide with the SFMOMA’s \u003ca href=\"https://tickets.sfmoma.org/tickets/entry?performanceId=5930&type=ga\" target=\"_blank\" rel=\"noopener noreferrer\">extended hours and free entry\u003c/a> for Bay Area residents.\u003c/p>\n\u003cp>But in this latest institutional letdown, there’s also an opportunity to take stock of what persists, and determine how to best support a film community with a huge history. It’s a community that thrives in artist-run celluloid festivals, microcinemas, resource sharing and a dedication to high-quality presentations of moving-image work.\u003c/p>\n\u003cfigure id=\"attachment_13900673\" class=\"wp-caption aligncenter\" style=\"max-width: 1222px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900673\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Stauffacher_Telegram.jpg\" alt=\"\" width=\"1222\" height=\"881\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Stauffacher_Telegram.jpg 1222w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Stauffacher_Telegram-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Stauffacher_Telegram-1020x735.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Stauffacher_Telegram-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Stauffacher_Telegram-768x554.jpg 768w\" sizes=\"(max-width: 1222px) 100vw, 1222px\">\u003cfigcaption class=\"wp-caption-text\">A Western Union telegram sent to Frank Stauffacher from the New York City film society Cinema 16 in 1949, part of BAMPFA’s Art in Cinema collection. \u003ccite>(University of California, Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bay Area Alternative Film Starts at SFMOMA\u003c/h2>\n\u003cp>“Over the past half-century, no American city has become more consistently identified with alternative cinema than San Francisco and its environs,” Scott MacDonald writes in the introduction to his 2006 publication \u003ci>Art in Cinema: Documents Toward a History of the Film Society\u003c/i>. A long list follows of famous film and videomakers with Bay Area ties (\u003ca href=\"https://www.kqed.org/arts/12265794/bruce-conner-artist-who-twice-declared-himself-dead-lives-on-at-sfmoma\" target=\"_blank\" rel=\"noopener noreferrer\">Bruce Conner\u003c/a>, Bruce Baillie, George and Mike Kuchar, Trinh T. Minh-ha, Marlon Riggs, \u003ca href=\"https://www.kqed.org/arts/13892105/artist-cauleen-smith-on-black-utopia-in-california\" target=\"_blank\" rel=\"noopener noreferrer\">Cauleen Smith\u003c/a>), and the institutions that supported them (SFAI, Canyon Cinema, the Berkeley Art Museum and Pacific Film Archive, SF Cinematheque).\u003c/p>\n\u003cp>“But before any of these organizations began to make major contributions to independent media,” MacDonald continues, “the Art in Cinema film series … had demonstrated not only that there \u003ci>was\u003c/i> an alternative film history and an audience for it, but that the Bay Area could be one of its nodal points.”\u003c/p>\n\u003cp>Helmed between 1946 and 1954 by legendary artist and exhibitor Frank Stauffacher, Art in Cinema was one of the first regular film program at an American museum. Today, it seems only natural that film would be part of a contemporary art museum’s programming. “It’s such a complex and fascinating art with its own history, of the moving image, from celluloid to digital,” says Susan Oxtoby, BAMPFA’s director of film and senior film curator. “All of the complexities of the art form of cinema are ones that should be part of a contemporary art museum.”\u003c/p>\n\u003cp>In recent years, under the leadership of Manager of Film Programs Gina Basso, SFMOMA would screen three to six films a month, including the \u003ci>\u003ca href=\"https://www.sfmoma.org/series/past-seasons-of-modern-cinema/\" target=\"_blank\" rel=\"noopener noreferrer\">Modern Cinema\u003c/a>\u003c/i> program, which ran for 10 seasons and focused on critically acclaimed filmmakers like Werner Herzog, Claire Denis and Satyajit Ray, as well as themes within contemporary cinema. (2019’s \u003ci>Haunted! Gothic Tales by Women\u003c/i> was a personal favorite.)\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Gina Basso, Manager of Film Programs']‘Everyone knows how to go see a film. It’s really an experience that people understand.’[/pullquote]\u003c/p>\n\u003cp>In contrast to other museum departments, where curators may only meet their audience at member events, artist talks or exhibition walk-throughs, Basso or her film program associate was present at every screening, introducing the selection and its context. “It really was a sense of walking in and having someone know my name or I knew the name of a frequent audience member,” she says. Regulars would save each other seats; some with preferred spots would cast sidelong glances if others encroached on their territory.\u003c/p>\n\u003cp>A crucial element of what makes film events so transcendent is the presence of the audience, that finite time spent together solely focused on one thing. The collective experience of watching a film is immeasurably different from streaming the same film at home. “You miss the essence of the community,” Basso says of home viewings, “which is conversation and people commiserating in the lobby for so long that I actually have to kick them out.”\u003c/p>\n\u003cp>SFMOMA’s film audiences, Basso says, were diverse and intergenerational. The barrier to entry with film is low—much lower, often, than other museum programming. “Everyone knows how to go see a film,” she says. “It’s really an experience that people understand.”\u003c/p>\n\u003cfigure id=\"attachment_13900700\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900700\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Shapeshifters_1200.jpg\" alt=\"A man stands with his back to camera surrounded by audio and video equipment, some of which projects bright abstract pink, purple and blue shapes onto the wall in front of him.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Shapeshifters_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Shapeshifters_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Shapeshifters_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Shapeshifters_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Shapeshifters_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">During the pandemic shutdown, Shapeshifters livestreamed 20 shows, with about half recorded in their space. On Nov. 1, 2020 it was live video, film and light projections by Projection Art (Dennis Keefe and Jim Baldocchi), Lori Varga & Kit Young. \u003ccite>(Shapeshifters Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘New Things Popping Up All the Time’\u003c/h2>\n\u003cp>Of course, the Bay Area’s alternative film scene, as MacDonald detailed, is now much more than SFMOMA.\u003c/p>\n\u003cp>Before the pandemic necessitated a sudden stop to all indoor public gatherings, \u003ca href=\"http://www.atasite.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Artists’ Television Access\u003c/a> (ATA), a storefront theater on San Francisco’s Valencia Street, hosted events two to three times a week. \u003ca href=\"https://www.mcevoyarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">McEvoy Foundation for the Arts\u003c/a>, a nonprofit space that opened in 2017, purposefully built a dedicated screening room into its gallery floor plan, showing curated programs of short films alongside their art exhibitions. \u003ca href=\"http://www.othercinema.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Other Cinema\u003c/a>, organized by local filmmaker Craig Baldwin, showcased an eclectic and adventurous program of experimental film, video and performance—many featuring the artists in person—at ATA once a week. March 2020—that fateful month—was meant to usher in the fourth iteration of Light Field’s \u003ca href=\"https://www.kqed.org/arts/13876247/light-field-film-festival-returns-to-push-the-limits-of-celluloid\" target=\"_blank\" rel=\"noopener noreferrer\">celluloid film festival\u003c/a> at San Francisco’s alternative art space The Lab.[aside postID='arts_13874349']\u003c/p>\n\u003cp>Across the bay, the Berkeley Art Museum and Pacific Film Archive boasted around 500 film events a year. \u003ca href=\"http://shapeshifterscinema.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shapeshifters Cinema\u003c/a>, run by Gilbert Guerrero and Kathleen Quillian, was \u003ca href=\"https://www.kqed.org/arts/13874349/shapeshifters-cinema-and-brewery-promises-art-film-refuge-in-an-oakland-victorian\" target=\"_blank\" rel=\"noopener noreferrer\">poised to fully open\u003c/a> their microcinema and brewery in Oakland’s Jack London Square, building off their once-a-month expanded cinema programming at Temescal Arts Center. Business, as they say, was booming.\u003c/p>\n\u003cp>Even when their doors closed, programs and spaces pivoted, as so many did, to online screenings and \u003ca href=\"http://shapeshifterscinema.com/past-workshops/\" target=\"_blank\" rel=\"noopener noreferrer\">workshops\u003c/a>. \u003ca href=\"https://www.sfcinematheque.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Cinematheque\u003c/a>’s director Steve Polta transitioned \u003ca href=\"https://www.kqed.org/arts/13885180/at-a-crossroads-sf-cinematheques-avant-garde-festival-goes-online\" target=\"_blank\" rel=\"noopener noreferrer\">Crossroads\u003c/a>, a festival of experimental and avant-garde film (which previously took place at SFMOMA), into a free online format. \u003ca href=\"http://canyoncinema.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Canyon Cinema\u003c/a>, a nonprofit film distribution company that started as a backyard cinema in 1961, focused on expanding its digital holdings, and now offers more than 1,000 titles for distribution in digital formats. And in the past two months, the renegade spirit of the Bay Area has reemerged in events like \u003ca href=\"https://www.instagram.com/sfmagiclantern/\" target=\"_blank\" rel=\"noopener noreferrer\">Magic Lantern\u003c/a>’s screenings at the North Beach bar Vesuvio, held outside in Kerouac Alley. Curated by Anthony Buchanan and Lapo Guzzini, the series most recently celebrated the origins of DIY culture in San Francisco with \u003ca href=\"https://www.instagram.com/p/CR4TTVBrmjB/\" target=\"_blank\" rel=\"noopener noreferrer\">a program of punk rock films\u003c/a>.\u003c/p>\n\u003cp>“There are a lot of things happening, but they’re just not happening under a big spotlight with the imprint and resources of an institution,” says Brett Kashmere, Canyon Cinema’s executive director. “There’s new things popping up all the time.”\u003c/p>\n\u003cfigure id=\"attachment_13900701\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900701\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/LightField_63_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LightField_63_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LightField_63_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LightField_63_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LightField_63_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LightField_63_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The audience watches Lis Rhodes’ ‘Light Music’ at the 2017 Light Field Film Festival at The Lab. \u003ccite>(Raphael Villet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Deeply Collaborative Ecosystem\u003c/h2>\n\u003cp>Attend two events at any of the above spaces and you’ll immediately recognize faces. Quillian describes a deeply collaborative and interconnected ecosystem. She and Guerrero met as volunteers at Artists’ Television Access, where Guerrero is now a board member. “I learned about experimental films by hanging out and being at ATA, as well as how to run a nonprofit organization,” Quillian says. “I was an intern at Canyon like a million years ago, that’s when I learned about the big-name experimental filmmakers.” SF Cinematheque is Shapeshifters’ fiscal sponsor. Craig Baldwin often connects artists showing at Other Cinema with Quillian and Guerrero to set up shows in the East Bay.\u003c/p>\n\u003cp>“The commonality amongst these organizations and projects is that they’re light in infrastructure and adaptable,” Kashmere points out. “And I think that’s something that’s consistent with Bay Area film culture, that sense of self-reliance and collaboration and adaptability, and being light on your feet.”\u003c/p>\n\u003cp>Even so, smaller organizations and artist-run projects across the Bay Area have historically benefitted from the presence of larger-scale institutions. Earlier this year, SFMOMA and SF Cinematheque co-presented \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/assembly-of-images/\" target=\"_blank\" rel=\"noopener noreferrer\">Assembly of Images\u003c/a>\u003c/i>, an online film program curated by Basso featuring work that explored the representation of African Americans in photography and film. A piece from Canyon Cinema’s holdings, Christopher Harris’ \u003ci>Reckless Eyeballing\u003c/i>, was included in the program, and Kashmere says SFMOMA’s screening fee covered roughly half the cost of digitization.\u003c/p>\n\u003cfigure id=\"attachment_13900674\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900674\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Harris_RecklessEyeballing_2.jpeg\" alt=\"\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Harris_RecklessEyeballing_2.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Harris_RecklessEyeballing_2-160x119.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Harris_RecklessEyeballing_2-768x573.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Christopher Harris’ ‘Reckless Eyeballing,’ 2004. \u003ccite>(Courtesy the artist and Canyon Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Guerrero, similarly, describes instances when a larger institution might have the resources to bring an artist to town and install technically complex or difficult-to-show work that’s beyond Shapeshifters’ capacity. “But then these smaller venues get to feed off that and artists can show maybe early works or things they’re experimenting on,” he explains.\u003c/p>\n\u003cp>Collaboration—even for larger venues like BAMPFA—is a financial necessity. “When we all coordinate,” says Susan Oxtoby, BAMPFA’s director of film and senior film curator, “it allows us to bring interesting filmmakers to the Bay Area and for them to have a show in the city, a show in the East Bay, maybe partnering with the Rafael in Marin County. The audiences are all around the region, and it’s really important to make certain the venues in different parts of the Bay Area are doing the best programming.”\u003c/p>\n\u003cp>In fact, when the pandemic hit, it was the final days of BAMPFA and SFMOMA’s co-presented retrospective of the French filmmaker Agnès Varda.\u003c/p>\n\u003ch2>A ‘Stunning Disavowal of its Own History’\u003c/h2>\n\u003cp>On its \u003ca href=\"https://www.sfmoma.org/artists-artworks/film/\" target=\"_blank\" rel=\"noopener noreferrer\">own website\u003c/a>, SFMOMA describes a commitment to “exhibiting film as an essential medium of modern and contemporary art.”\u003c/p>\n\u003cp>And yet, in a July 19 email to staff titled “Connecting People to the Art of Our Time,” Benezra described film as a program that failed to drive attendance at the museum, one that “has historically had low attendance.” The flimsiest of predictions for its preemptive cancellation followed: the program “would inevitably struggle as films are increasingly streamed.”\u003c/p>\n\u003cp>According to an SFMOMA spokesperson, “While there was no specific goal for attendance at film programs, we have seen a steady decline that preceded the pandemic, from 6,700 in FY17 to 3,800 in FY20, and only 4% of our current membership have attended films.” (FY20 covers July 2019–June 2020, during which the museum was closed for 3.5 months.)\u003c/p>\n\u003cp>Just because something has existed for a long time does not inherently mean it must continue to exist. SFMOMA’s film program was certainly waxed and waned over its 84 years. But to reduce its past—and present—to “low attendance” versus “streaming” denies the existence of the film program’s very mission, and gives it no chance to flourish in a reopened museum. (The Phyllis Wattis Theater has remained closed since the March 2020 shutdown.)\u003c/p>\n\u003cp>[aside postID='arts_13841205']Practically, the end of SFMOMA’s film program means the loss of \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\" target=\"_blank\" rel=\"noopener noreferrer\">yet another\u003c/a> Bay Area curatorial position—Basso’s job ends with the close of her fall 2021 season. It’s unclear how the cuts will affect on-call projectionists and other theater staff, many of whom are artists and filmmakers themselves. With less events, there will certainly be less shifts to fill.\u003c/p>\n\u003cp>Physically, there’s the question of what SFMOMA will do with its Wattis Theater—according to Kashmere, “maybe the best screening room in all of San Francisco.” An SFMOMA spokesperson side-stepped questions about future uses for the space, citing rising concerns about the spread of the delta variant.\u003c/p>\n\u003cp>But psychically, having the Bay Area’s largest and best-funded art museum essentially state that film does \u003ci>not belong\u003c/i> within its walls is utterly demoralizing. In a \u003ca href=\"https://canyoncinema.com/2021/07/23/canyon-cinema-response-to-the-elimination-of-sfmomas-film-program/\" target=\"_blank\" rel=\"noopener noreferrer\">fiery response\u003c/a> to SFMOMA’s “stunning disavowal of its own history,” Canyon Cinema’s staff and board collectively demanded the museum change its name.\u003c/p>\n\u003cp>If SFMOMA eliminates film from its institutional purview, the letter argues, the museum ceases to be a “modern art” institution.\u003c/p>\n\u003cfigure id=\"attachment_13900677\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900677\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/BAMPFA_Film_3_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BAMPFA_Film_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BAMPFA_Film_3_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BAMPFA_Film_3_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BAMPFA_Film_3_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BAMPFA_Film_3_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A moment from BAMPFA’s tribute to Norwegian actress Liv Ullmann in 2018. \u003ccite>(Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘A Better Future for Film’\u003c/h2>\n\u003cp>So many of the people I spoke to for this article mentioned the experimental filmmaker Paul Clipson, who worked as a projectionist at SFMOMA and died in 2018. Clipson loaned equipment to Light Field for their second festival in 2017; Basso watched him project his own work in the Wattis Theater during lunch breaks; Polta says after Crossroads found a home at SFMOMA he learned Clipson had been lobbying for the partnership internally.\u003c/p>\n\u003cp>That one person can have such an impact on the Bay Area’s film scene speaks to Clipson’s talent and generosity, but also to the fact that individual connections are much stronger than institutions. Even in the long-term—especially in the long-term.\u003c/p>\n\u003cp>“That’s maybe the new world that we’re going to live in,” Guerrero says, “which is ‘fuck the institutions and their money, we’re just going to collaborate with each other to build our own independent ecosystem.’ We’ll pull the money together to get artists out here, and have a circuit they can go through and really collaborate more around programming and supporting artists.”\u003c/p>\n\u003cp>Light Field co-programmer Patricia Villon shares this sentiment. “I hope that this can be a reflective moment to remember we can build a better future for film in the Bay Area,” Villion wrote via email, “with or without the workings of the museum and despite these cuts.”\u003c/p>\n\u003cp>Already, the months ahead are packed: partnerships between the Roxie Theater, \u003ca href=\"https://www.mcevoyarts.org/event/the-mirror/\" target=\"_blank\" rel=\"noopener noreferrer\">McEvoy\u003c/a>, \u003ca href=\"https://canyoncinema.com/2021/07/30/canyon-cinema-and-the-roxie-theater-to-launch-new-programming-partnership/\" target=\"_blank\" rel=\"noopener noreferrer\">Canyon Cinema\u003c/a> and \u003ca href=\"https://www.sfcinematheque.org/screenings/good-skies-almost-all-the-time-bruce-baillie-memorial-screening-publication-launch/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Cinematheque\u003c/a>; the Sept. 1 return of indoor screenings at BAMPFA; the Sept. 11–16 livestreaming of Crossroads.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>SFMOMA may have launched the Bay Area’s alternative film scene, but its presence may not be necessary for all the thrilling, flickering projections to come.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some of the most thrilling art experiences I’ve had in the Bay Area have been under the flickering light of a film projector. One was a fog-filled room and Lis Rhodes’ hypnotic, screeching \u003ci>Light Music\u003c/i>, two striated beams crossing each other in space. Another involved Morgan Fisher’s \u003ci>Projection Instructions\u003c/i>, which bossily issues commands to its projectionists like “throw out of focus” and “turn lamp off.” Even watching Kathryn Bigelow’s vampire-horror-Western \u003ci>Near Dark\u003c/i> has become a cherished memory because of the conversations it fueled hours and days later.\u003c/p>\n\u003cp>So when I heard the news that the San Francisco Museum of Modern Art would “sunset” its film program at the end of the fall 2021 season, I was shocked and disappointed, but ultimately unsurprised. To me and other members of the Bay Area arts community, the cut was an unpleasant form of déja vù.\u003c/p>\n\u003cp>Three years ago, nearby Yerba Buena Center for the Arts also laid off its film and video curatorial staff, and put the 21-year-old program \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\" target=\"_blank\" rel=\"noopener noreferrer\">on indefinite hiatus\u003c/a>. A planned “reimagining” of the film program at YBCA has yet to take solid shape.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SFMOMA doesn’t plan to stop with just film. As \u003ca href=\"https://www.kqed.org/arts/13900144/sfmomas-cuts-to-film-other-programs-cause-widespread-outrage\" target=\"_blank\" rel=\"noopener noreferrer\">previously reported\u003c/a>, the museum plans to discontinue Open Space, the museum’s experimental publishing platform; the Artists Gallery, a Fort Mason outpost that facilitated the rental and sales of local artists’ work; and \u003ci>Raw Material\u003c/i>, a podcast helmed each season by different voices.\u003c/p>\n\u003cp>In the name of attracting “\u003ca href=\"https://www.sfmoma.org/press-release/statement-on-strategic-goals-and-programmatic-updates/\" target=\"_blank\" rel=\"noopener noreferrer\">larger, more diverse audiences\u003c/a>,” these cuts eliminate, paradoxically, some of the museum’s most accessible and diverse programming, along with seven staff positions. Loss of any SFMOMA staff is a loss of institutional history and public trust, and the end result is a further fraying of the connective structures that once made the Bay Area arts community a functioning ecosystem.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In my darkest moments, it feels like the scene’s been whittled down to fit on the head of a pin. But others remind me that the region’s most exciting culture has always existed in opposition to (and despite) mainstream, commercial art movements. Nimble, small-scale and decidedly experimental efforts are, in fact, the best parts of the Bay Area’s film scene.\u003c/p>\n\u003cp>While some already mourn SFMOMA’s film program, others refuse to accept this decision as final. A \u003ca href=\"https://www.change.org/p/neal-benezra-oppose-the-program-and-position-cuts-at-sfmoma\" target=\"_blank\" rel=\"noopener noreferrer\">petition addressed to SFMOMA director Neal Benezra\u003c/a> has over 2,700 signatures, and a gathering this Thursday at the museum’s 3rd Street entrance is timed for 6–8pm to coincide with the SFMOMA’s \u003ca href=\"https://tickets.sfmoma.org/tickets/entry?performanceId=5930&type=ga\" target=\"_blank\" rel=\"noopener noreferrer\">extended hours and free entry\u003c/a> for Bay Area residents.\u003c/p>\n\u003cp>But in this latest institutional letdown, there’s also an opportunity to take stock of what persists, and determine how to best support a film community with a huge history. It’s a community that thrives in artist-run celluloid festivals, microcinemas, resource sharing and a dedication to high-quality presentations of moving-image work.\u003c/p>\n\u003cfigure id=\"attachment_13900673\" class=\"wp-caption aligncenter\" style=\"max-width: 1222px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900673\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Stauffacher_Telegram.jpg\" alt=\"\" width=\"1222\" height=\"881\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Stauffacher_Telegram.jpg 1222w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Stauffacher_Telegram-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Stauffacher_Telegram-1020x735.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Stauffacher_Telegram-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Stauffacher_Telegram-768x554.jpg 768w\" sizes=\"(max-width: 1222px) 100vw, 1222px\">\u003cfigcaption class=\"wp-caption-text\">A Western Union telegram sent to Frank Stauffacher from the New York City film society Cinema 16 in 1949, part of BAMPFA’s Art in Cinema collection. \u003ccite>(University of California, Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bay Area Alternative Film Starts at SFMOMA\u003c/h2>\n\u003cp>“Over the past half-century, no American city has become more consistently identified with alternative cinema than San Francisco and its environs,” Scott MacDonald writes in the introduction to his 2006 publication \u003ci>Art in Cinema: Documents Toward a History of the Film Society\u003c/i>. A long list follows of famous film and videomakers with Bay Area ties (\u003ca href=\"https://www.kqed.org/arts/12265794/bruce-conner-artist-who-twice-declared-himself-dead-lives-on-at-sfmoma\" target=\"_blank\" rel=\"noopener noreferrer\">Bruce Conner\u003c/a>, Bruce Baillie, George and Mike Kuchar, Trinh T. Minh-ha, Marlon Riggs, \u003ca href=\"https://www.kqed.org/arts/13892105/artist-cauleen-smith-on-black-utopia-in-california\" target=\"_blank\" rel=\"noopener noreferrer\">Cauleen Smith\u003c/a>), and the institutions that supported them (SFAI, Canyon Cinema, the Berkeley Art Museum and Pacific Film Archive, SF Cinematheque).\u003c/p>\n\u003cp>“But before any of these organizations began to make major contributions to independent media,” MacDonald continues, “the Art in Cinema film series … had demonstrated not only that there \u003ci>was\u003c/i> an alternative film history and an audience for it, but that the Bay Area could be one of its nodal points.”\u003c/p>\n\u003cp>Helmed between 1946 and 1954 by legendary artist and exhibitor Frank Stauffacher, Art in Cinema was one of the first regular film program at an American museum. Today, it seems only natural that film would be part of a contemporary art museum’s programming. “It’s such a complex and fascinating art with its own history, of the moving image, from celluloid to digital,” says Susan Oxtoby, BAMPFA’s director of film and senior film curator. “All of the complexities of the art form of cinema are ones that should be part of a contemporary art museum.”\u003c/p>\n\u003cp>In recent years, under the leadership of Manager of Film Programs Gina Basso, SFMOMA would screen three to six films a month, including the \u003ci>\u003ca href=\"https://www.sfmoma.org/series/past-seasons-of-modern-cinema/\" target=\"_blank\" rel=\"noopener noreferrer\">Modern Cinema\u003c/a>\u003c/i> program, which ran for 10 seasons and focused on critically acclaimed filmmakers like Werner Herzog, Claire Denis and Satyajit Ray, as well as themes within contemporary cinema. (2019’s \u003ci>Haunted! Gothic Tales by Women\u003c/i> was a personal favorite.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In contrast to other museum departments, where curators may only meet their audience at member events, artist talks or exhibition walk-throughs, Basso or her film program associate was present at every screening, introducing the selection and its context. “It really was a sense of walking in and having someone know my name or I knew the name of a frequent audience member,” she says. Regulars would save each other seats; some with preferred spots would cast sidelong glances if others encroached on their territory.\u003c/p>\n\u003cp>A crucial element of what makes film events so transcendent is the presence of the audience, that finite time spent together solely focused on one thing. The collective experience of watching a film is immeasurably different from streaming the same film at home. “You miss the essence of the community,” Basso says of home viewings, “which is conversation and people commiserating in the lobby for so long that I actually have to kick them out.”\u003c/p>\n\u003cp>SFMOMA’s film audiences, Basso says, were diverse and intergenerational. The barrier to entry with film is low—much lower, often, than other museum programming. “Everyone knows how to go see a film,” she says. “It’s really an experience that people understand.”\u003c/p>\n\u003cfigure id=\"attachment_13900700\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900700\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Shapeshifters_1200.jpg\" alt=\"A man stands with his back to camera surrounded by audio and video equipment, some of which projects bright abstract pink, purple and blue shapes onto the wall in front of him.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Shapeshifters_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Shapeshifters_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Shapeshifters_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Shapeshifters_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Shapeshifters_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">During the pandemic shutdown, Shapeshifters livestreamed 20 shows, with about half recorded in their space. On Nov. 1, 2020 it was live video, film and light projections by Projection Art (Dennis Keefe and Jim Baldocchi), Lori Varga & Kit Young. \u003ccite>(Shapeshifters Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘New Things Popping Up All the Time’\u003c/h2>\n\u003cp>Of course, the Bay Area’s alternative film scene, as MacDonald detailed, is now much more than SFMOMA.\u003c/p>\n\u003cp>Before the pandemic necessitated a sudden stop to all indoor public gatherings, \u003ca href=\"http://www.atasite.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Artists’ Television Access\u003c/a> (ATA), a storefront theater on San Francisco’s Valencia Street, hosted events two to three times a week. \u003ca href=\"https://www.mcevoyarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">McEvoy Foundation for the Arts\u003c/a>, a nonprofit space that opened in 2017, purposefully built a dedicated screening room into its gallery floor plan, showing curated programs of short films alongside their art exhibitions. \u003ca href=\"http://www.othercinema.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Other Cinema\u003c/a>, organized by local filmmaker Craig Baldwin, showcased an eclectic and adventurous program of experimental film, video and performance—many featuring the artists in person—at ATA once a week. March 2020—that fateful month—was meant to usher in the fourth iteration of Light Field’s \u003ca href=\"https://www.kqed.org/arts/13876247/light-field-film-festival-returns-to-push-the-limits-of-celluloid\" target=\"_blank\" rel=\"noopener noreferrer\">celluloid film festival\u003c/a> at San Francisco’s alternative art space The Lab.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Across the bay, the Berkeley Art Museum and Pacific Film Archive boasted around 500 film events a year. \u003ca href=\"http://shapeshifterscinema.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shapeshifters Cinema\u003c/a>, run by Gilbert Guerrero and Kathleen Quillian, was \u003ca href=\"https://www.kqed.org/arts/13874349/shapeshifters-cinema-and-brewery-promises-art-film-refuge-in-an-oakland-victorian\" target=\"_blank\" rel=\"noopener noreferrer\">poised to fully open\u003c/a> their microcinema and brewery in Oakland’s Jack London Square, building off their once-a-month expanded cinema programming at Temescal Arts Center. Business, as they say, was booming.\u003c/p>\n\u003cp>Even when their doors closed, programs and spaces pivoted, as so many did, to online screenings and \u003ca href=\"http://shapeshifterscinema.com/past-workshops/\" target=\"_blank\" rel=\"noopener noreferrer\">workshops\u003c/a>. \u003ca href=\"https://www.sfcinematheque.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Cinematheque\u003c/a>’s director Steve Polta transitioned \u003ca href=\"https://www.kqed.org/arts/13885180/at-a-crossroads-sf-cinematheques-avant-garde-festival-goes-online\" target=\"_blank\" rel=\"noopener noreferrer\">Crossroads\u003c/a>, a festival of experimental and avant-garde film (which previously took place at SFMOMA), into a free online format. \u003ca href=\"http://canyoncinema.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Canyon Cinema\u003c/a>, a nonprofit film distribution company that started as a backyard cinema in 1961, focused on expanding its digital holdings, and now offers more than 1,000 titles for distribution in digital formats. And in the past two months, the renegade spirit of the Bay Area has reemerged in events like \u003ca href=\"https://www.instagram.com/sfmagiclantern/\" target=\"_blank\" rel=\"noopener noreferrer\">Magic Lantern\u003c/a>’s screenings at the North Beach bar Vesuvio, held outside in Kerouac Alley. Curated by Anthony Buchanan and Lapo Guzzini, the series most recently celebrated the origins of DIY culture in San Francisco with \u003ca href=\"https://www.instagram.com/p/CR4TTVBrmjB/\" target=\"_blank\" rel=\"noopener noreferrer\">a program of punk rock films\u003c/a>.\u003c/p>\n\u003cp>“There are a lot of things happening, but they’re just not happening under a big spotlight with the imprint and resources of an institution,” says Brett Kashmere, Canyon Cinema’s executive director. “There’s new things popping up all the time.”\u003c/p>\n\u003cfigure id=\"attachment_13900701\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900701\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/LightField_63_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LightField_63_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LightField_63_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LightField_63_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LightField_63_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LightField_63_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The audience watches Lis Rhodes’ ‘Light Music’ at the 2017 Light Field Film Festival at The Lab. \u003ccite>(Raphael Villet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Deeply Collaborative Ecosystem\u003c/h2>\n\u003cp>Attend two events at any of the above spaces and you’ll immediately recognize faces. Quillian describes a deeply collaborative and interconnected ecosystem. She and Guerrero met as volunteers at Artists’ Television Access, where Guerrero is now a board member. “I learned about experimental films by hanging out and being at ATA, as well as how to run a nonprofit organization,” Quillian says. “I was an intern at Canyon like a million years ago, that’s when I learned about the big-name experimental filmmakers.” SF Cinematheque is Shapeshifters’ fiscal sponsor. Craig Baldwin often connects artists showing at Other Cinema with Quillian and Guerrero to set up shows in the East Bay.\u003c/p>\n\u003cp>“The commonality amongst these organizations and projects is that they’re light in infrastructure and adaptable,” Kashmere points out. “And I think that’s something that’s consistent with Bay Area film culture, that sense of self-reliance and collaboration and adaptability, and being light on your feet.”\u003c/p>\n\u003cp>Even so, smaller organizations and artist-run projects across the Bay Area have historically benefitted from the presence of larger-scale institutions. Earlier this year, SFMOMA and SF Cinematheque co-presented \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/assembly-of-images/\" target=\"_blank\" rel=\"noopener noreferrer\">Assembly of Images\u003c/a>\u003c/i>, an online film program curated by Basso featuring work that explored the representation of African Americans in photography and film. A piece from Canyon Cinema’s holdings, Christopher Harris’ \u003ci>Reckless Eyeballing\u003c/i>, was included in the program, and Kashmere says SFMOMA’s screening fee covered roughly half the cost of digitization.\u003c/p>\n\u003cfigure id=\"attachment_13900674\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900674\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Harris_RecklessEyeballing_2.jpeg\" alt=\"\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Harris_RecklessEyeballing_2.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Harris_RecklessEyeballing_2-160x119.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Harris_RecklessEyeballing_2-768x573.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Christopher Harris’ ‘Reckless Eyeballing,’ 2004. \u003ccite>(Courtesy the artist and Canyon Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Guerrero, similarly, describes instances when a larger institution might have the resources to bring an artist to town and install technically complex or difficult-to-show work that’s beyond Shapeshifters’ capacity. “But then these smaller venues get to feed off that and artists can show maybe early works or things they’re experimenting on,” he explains.\u003c/p>\n\u003cp>Collaboration—even for larger venues like BAMPFA—is a financial necessity. “When we all coordinate,” says Susan Oxtoby, BAMPFA’s director of film and senior film curator, “it allows us to bring interesting filmmakers to the Bay Area and for them to have a show in the city, a show in the East Bay, maybe partnering with the Rafael in Marin County. The audiences are all around the region, and it’s really important to make certain the venues in different parts of the Bay Area are doing the best programming.”\u003c/p>\n\u003cp>In fact, when the pandemic hit, it was the final days of BAMPFA and SFMOMA’s co-presented retrospective of the French filmmaker Agnès Varda.\u003c/p>\n\u003ch2>A ‘Stunning Disavowal of its Own History’\u003c/h2>\n\u003cp>On its \u003ca href=\"https://www.sfmoma.org/artists-artworks/film/\" target=\"_blank\" rel=\"noopener noreferrer\">own website\u003c/a>, SFMOMA describes a commitment to “exhibiting film as an essential medium of modern and contemporary art.”\u003c/p>\n\u003cp>And yet, in a July 19 email to staff titled “Connecting People to the Art of Our Time,” Benezra described film as a program that failed to drive attendance at the museum, one that “has historically had low attendance.” The flimsiest of predictions for its preemptive cancellation followed: the program “would inevitably struggle as films are increasingly streamed.”\u003c/p>\n\u003cp>According to an SFMOMA spokesperson, “While there was no specific goal for attendance at film programs, we have seen a steady decline that preceded the pandemic, from 6,700 in FY17 to 3,800 in FY20, and only 4% of our current membership have attended films.” (FY20 covers July 2019–June 2020, during which the museum was closed for 3.5 months.)\u003c/p>\n\u003cp>Just because something has existed for a long time does not inherently mean it must continue to exist. SFMOMA’s film program was certainly waxed and waned over its 84 years. But to reduce its past—and present—to “low attendance” versus “streaming” denies the existence of the film program’s very mission, and gives it no chance to flourish in a reopened museum. (The Phyllis Wattis Theater has remained closed since the March 2020 shutdown.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Practically, the end of SFMOMA’s film program means the loss of \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\" target=\"_blank\" rel=\"noopener noreferrer\">yet another\u003c/a> Bay Area curatorial position—Basso’s job ends with the close of her fall 2021 season. It’s unclear how the cuts will affect on-call projectionists and other theater staff, many of whom are artists and filmmakers themselves. With less events, there will certainly be less shifts to fill.\u003c/p>\n\u003cp>Physically, there’s the question of what SFMOMA will do with its Wattis Theater—according to Kashmere, “maybe the best screening room in all of San Francisco.” An SFMOMA spokesperson side-stepped questions about future uses for the space, citing rising concerns about the spread of the delta variant.\u003c/p>\n\u003cp>But psychically, having the Bay Area’s largest and best-funded art museum essentially state that film does \u003ci>not belong\u003c/i> within its walls is utterly demoralizing. In a \u003ca href=\"https://canyoncinema.com/2021/07/23/canyon-cinema-response-to-the-elimination-of-sfmomas-film-program/\" target=\"_blank\" rel=\"noopener noreferrer\">fiery response\u003c/a> to SFMOMA’s “stunning disavowal of its own history,” Canyon Cinema’s staff and board collectively demanded the museum change its name.\u003c/p>\n\u003cp>If SFMOMA eliminates film from its institutional purview, the letter argues, the museum ceases to be a “modern art” institution.\u003c/p>\n\u003cfigure id=\"attachment_13900677\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900677\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/BAMPFA_Film_3_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BAMPFA_Film_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BAMPFA_Film_3_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BAMPFA_Film_3_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BAMPFA_Film_3_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BAMPFA_Film_3_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A moment from BAMPFA’s tribute to Norwegian actress Liv Ullmann in 2018. \u003ccite>(Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘A Better Future for Film’\u003c/h2>\n\u003cp>So many of the people I spoke to for this article mentioned the experimental filmmaker Paul Clipson, who worked as a projectionist at SFMOMA and died in 2018. Clipson loaned equipment to Light Field for their second festival in 2017; Basso watched him project his own work in the Wattis Theater during lunch breaks; Polta says after Crossroads found a home at SFMOMA he learned Clipson had been lobbying for the partnership internally.\u003c/p>\n\u003cp>That one person can have such an impact on the Bay Area’s film scene speaks to Clipson’s talent and generosity, but also to the fact that individual connections are much stronger than institutions. Even in the long-term—especially in the long-term.\u003c/p>\n\u003cp>“That’s maybe the new world that we’re going to live in,” Guerrero says, “which is ‘fuck the institutions and their money, we’re just going to collaborate with each other to build our own independent ecosystem.’ We’ll pull the money together to get artists out here, and have a circuit they can go through and really collaborate more around programming and supporting artists.”\u003c/p>\n\u003cp>Light Field co-programmer Patricia Villon shares this sentiment. “I hope that this can be a reflective moment to remember we can build a better future for film in the Bay Area,” Villion wrote via email, “with or without the workings of the museum and despite these cuts.”\u003c/p>\n\u003cp>Already, the months ahead are packed: partnerships between the Roxie Theater, \u003ca href=\"https://www.mcevoyarts.org/event/the-mirror/\" target=\"_blank\" rel=\"noopener noreferrer\">McEvoy\u003c/a>, \u003ca href=\"https://canyoncinema.com/2021/07/30/canyon-cinema-and-the-roxie-theater-to-launch-new-programming-partnership/\" target=\"_blank\" rel=\"noopener noreferrer\">Canyon Cinema\u003c/a> and \u003ca href=\"https://www.sfcinematheque.org/screenings/good-skies-almost-all-the-time-bruce-baillie-memorial-screening-publication-launch/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Cinematheque\u003c/a>; the Sept. 1 return of indoor screenings at BAMPFA; the Sept. 11–16 livestreaming of Crossroads.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SFMOMA may have launched the Bay Area’s alternative film scene, but its presence may not be necessary for all the thrilling, flickering projections to come.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "June 30 Was a Devastating Day For Women Everywhere",
"headTitle": "June 30 Was a Devastating Day For Women Everywhere | KQED",
"content": "\u003cp>Bill Cosby is free. He’s \u003ca href=\"https://apnews.com/article/bill-cosby-conviction-overturned-5c073fb64bc5df4d7b99ee7fadddbe5a\" target=\"_blank\" rel=\"noopener noreferrer\">free on a technicality\u003c/a>, despite 60 women coming forward and repeatedly sharing their \u003ca href=\"https://www.thecut.com/2015/07/bill-cosbys-accusers-speak-out.html\" target=\"_blank\" rel=\"noopener noreferrer\">harrowing and credible stories\u003c/a> with the whole world. He’s free despite his own incriminating testimony. He’s free after serving only three years in prison despite a whole lifetime of allegedly drugging and raping and traumatizing women. He is unapologetic and unrepentant, and he is free. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13882786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>Also free, we learned as of yesterday, is James Franco, who finally wheedled his way out from under sexual misconduct and fraud allegations. He agreed to settle a class-action lawsuit filed by former students for over $2.2 million, three years after the women first accused him of sexually exploitative practices during acting lessons he held at the Studio 4 school. Franco’s former co-stars, \u003ca href=\"https://www.kqed.org/pop/106415/will-hbo-give-james-franco-yet-another-pass\" target=\"_blank\" rel=\"noopener noreferrer\">Ally Sheedy\u003c/a> and \u003ca href=\"https://people.com/tv/busy-philipps-says-bully-james-franco-pushed-her-to-the-ground-while-filming-freaks-and-geeks/\" target=\"_blank\" rel=\"noopener noreferrer\">Busy Philipps\u003c/a>, both spoke out about their own awful experiences with the actor. At this point, even his one-time best friend Seth Rogen \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/seth-rogen-james-franco-sexual-misconduct-accusations-1234950486/\" target=\"_blank\" rel=\"noopener noreferrer\">has disowned Franco\u003c/a>. But, just like Bill Cosby, Franco is free.\u003c/p>\n\u003cp>Dylan Farrow described the Cosby and Franco outcomes as a “travesty,” and summed up the feelings of frustrated women everywhere \u003ca href=\"https://twitter.com/RealDylanFarrow/status/1410334656591917056\" target=\"_blank\" rel=\"noopener noreferrer\">on Twitter\u003c/a>.\u003c/p>\n\u003cblockquote>\u003cp>It is a perfect example of how not just our society, but our justice system, continually fails survivors of sexual assault. For those that question … survivors about the reasons and timing of coming forward, I hope that today will serve as a teachable moment on empathy, on why it takes years—if ever—for someone to disclose their abuse. Many survivors will look at the events of today and decide it’s not worth it; that even when justice is served, it can be taken away … My heart goes out to the survivors today and every day.\u003c/p>\u003c/blockquote>\n\u003cp>[aside postid='arts_13899317']To make matters worse, also on June 30, Britney Spears was \u003ca href=\"https://www.npr.org/2021/06/30/1012027100/judge-denies-britney-spears-request-father-removed-conservator\" target=\"_blank\" rel=\"noopener noreferrer\">denied freedom from her conservatorship\u003c/a>. This despite her \u003ca href=\"https://www.kqed.org/arts/13899317/britney-spears-full-statement-to-the-court-in-her-conservatorship-hearing\" target=\"_blank\" rel=\"noopener noreferrer\">disturbing testimony\u003c/a> detailing the myriad ways her life is restricted, controlled and, frankly, not her own. Spears bravely stood up in a court, pleaded with a judge to help her (because, among other things, she says she is being forced to keep using birth control against her will) and, despite an outpouring of public support, it all came to naught. Britney Spears is not free.\u003c/p>\n\u003cp>If American women had ever been in any doubt about who the legal system in this country protects, June 30 let us know, loudly and clearly, three times in a row. If any of us had been laboring under the assumption that things were improving for women in the post-#MeToo landscape, June 30 shut that hope right back down, over and over again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the years since the hashtag exploded onto the cultural landscape in 2017, much has been made of the #MeToo movement and the ways that it “targets” men. But the truth of the matter is that even after hundreds of thousands of women publicly revealed their traumas; even after famous women named and shamed their attackers, the only two high-profile abusers punished in a court of law post-#MeToo were Bill Cosby and Harvey Weinstein. (We almost got Jeffrey Epstein too, but we all know how that turned out.) We understood them to be only the two most obvious, most egregious serial predators. And what that quietly told women everywhere was that, in order to bring down a rapist in a court of law, scores of women have to be victimized first. If you happen to get raped by a man who doesn’t rape scores of other women? Well, good luck and godspeed.\u003c/p>\n\u003cp>Now, of course, one of the only two legal victories we were clinging to for the sake of hope, sanity and some semblance of justice is suddenly null and void. Because a fairly feeble technicality (three justices dissented) was given priority over the lives, physical and mental welfare, and interrupted careers of 60 women.\u003c/p>\n\u003cp>[aside postid='arts_13892800']That means our only remaining proof that justice might prevail in matters of sexual assault is Harvey Weinstein. And despite his 23-year prison sentence, his case reeks of injustice too. Because while Weinstein was convicted of third-degree rape and first-degree criminal sexual act, those were only two of the five charges that he faced. In the wave of relief that followed his two convictions, America somehow managed to forget the fact that he was found \u003cem>not\u003c/em> guilty on three other charges. An astonishing outcome, given what we’d been told, repeatedly, about the man on trial.\u003c/p>\n\u003cp>Weinstein was found not guilty of first-degree rape, defined in the state of New York as “\u003ca href=\"https://criminaldefense.1800nynylaw.com/new-york-penal-code-130-35-rape-in-the-first-degree.html\" target=\"_blank\" rel=\"noopener noreferrer\">engag[ing] in sexual intercourse with another person by forcible compulsion\u003c/a>.” This despite Jessica Mann’s harrowing testimony that, “The more I fought, the angrier he got.” He was also found not guilty of two counts of predatory sexual assault. Annabella Sciorra appeared in court specifically in support of those charges. She testified that she was raped by Weinstein after he forced his way into her apartment. “I was punching, I was kicking him, I was trying to take him away from me,” she said. Apparently the jury didn’t believe her.\u003c/p>\n\u003cp>Even in Weinstein’s case, the overwhelming reality of just how hard it is for women to get justice in this country is writ large. But at least Harvey Weinstein isn’t free.\u003c/p>\n\u003cp>That feeling of outrage that washed over us when Cosby was released yesterday isn’t new, of course. We feel it every time we think about \u003ca href=\"https://en.wikipedia.org/wiki/Christine_Blasey_Ford\" target=\"_blank\" rel=\"noopener noreferrer\">Christine Blasey Ford\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Anita_Hill\" target=\"_blank\" rel=\"noopener noreferrer\">Anita Hill\u003c/a> and the victimized students of \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Hunting_Ground\" target=\"_blank\" rel=\"noopener noreferrer\">The Hunting Ground\u003c/a>\u003c/em> and the female soldiers of \u003ca href=\"https://en.wikipedia.org/wiki/The_Invisible_War\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Invisible War\u003c/em>\u003c/a>. We feel it when we think about \u003ca href=\"https://en.wikipedia.org/wiki/People_v._Turner\" target=\"_blank\" rel=\"noopener noreferrer\">Brock Turner\u003c/a>. And we definitely feel it every time we remember all the men who were “#MeToo-ed” but \u003ca href=\"https://www.kqed.org/arts/13892800/allen-v-farrow-is-the-most-damning-indictment-of-woody-allen-yet\" target=\"_blank\" rel=\"noopener noreferrer\">never faced criminal charges\u003c/a>, and are \u003ca href=\"https://www.kqed.org/arts/13889064/johnny-depps-uk-libel-case-failed-and-his-us-one-is-likely-doomed-too\" target=\"_blank\" rel=\"noopener noreferrer\">still working\u003c/a>.\u003c/p>\n\u003cp>If I sound depressed and despondent and hopeless, it’s because I am. Like most women in this country, I am tired. I am tired of men getting away with it. I am tired of flimsy punishments that don’t fit the crime. I am tired of hearing women relive their traumas over and over again, only to be tossed the smallest consolation crumbs.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I didn’t want to write this essay. I really didn’t. The truth is, I started it back in February 2020 after Weinstein’s three not-guilty verdicts. But I stopped because, at the time, it felt more important to let American women have a moment of vindication. Then on June 30, the truth screamed at us from every corner of the news: the American legal system does not care about the lives of women. Not really. Not enough. And when it can so swiftly take away one of the small slivers of justice that was so hard won, we’re allowed a moment to grieve too.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bill Cosby is free. He’s \u003ca href=\"https://apnews.com/article/bill-cosby-conviction-overturned-5c073fb64bc5df4d7b99ee7fadddbe5a\" target=\"_blank\" rel=\"noopener noreferrer\">free on a technicality\u003c/a>, despite 60 women coming forward and repeatedly sharing their \u003ca href=\"https://www.thecut.com/2015/07/bill-cosbys-accusers-speak-out.html\" target=\"_blank\" rel=\"noopener noreferrer\">harrowing and credible stories\u003c/a> with the whole world. He’s free despite his own incriminating testimony. He’s free after serving only three years in prison despite a whole lifetime of allegedly drugging and raping and traumatizing women. He is unapologetic and unrepentant, and he is free. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13882786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>Also free, we learned as of yesterday, is James Franco, who finally wheedled his way out from under sexual misconduct and fraud allegations. He agreed to settle a class-action lawsuit filed by former students for over $2.2 million, three years after the women first accused him of sexually exploitative practices during acting lessons he held at the Studio 4 school. Franco’s former co-stars, \u003ca href=\"https://www.kqed.org/pop/106415/will-hbo-give-james-franco-yet-another-pass\" target=\"_blank\" rel=\"noopener noreferrer\">Ally Sheedy\u003c/a> and \u003ca href=\"https://people.com/tv/busy-philipps-says-bully-james-franco-pushed-her-to-the-ground-while-filming-freaks-and-geeks/\" target=\"_blank\" rel=\"noopener noreferrer\">Busy Philipps\u003c/a>, both spoke out about their own awful experiences with the actor. At this point, even his one-time best friend Seth Rogen \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/seth-rogen-james-franco-sexual-misconduct-accusations-1234950486/\" target=\"_blank\" rel=\"noopener noreferrer\">has disowned Franco\u003c/a>. But, just like Bill Cosby, Franco is free.\u003c/p>\n\u003cp>Dylan Farrow described the Cosby and Franco outcomes as a “travesty,” and summed up the feelings of frustrated women everywhere \u003ca href=\"https://twitter.com/RealDylanFarrow/status/1410334656591917056\" target=\"_blank\" rel=\"noopener noreferrer\">on Twitter\u003c/a>.\u003c/p>\n\u003cblockquote>\u003cp>It is a perfect example of how not just our society, but our justice system, continually fails survivors of sexual assault. For those that question … survivors about the reasons and timing of coming forward, I hope that today will serve as a teachable moment on empathy, on why it takes years—if ever—for someone to disclose their abuse. Many survivors will look at the events of today and decide it’s not worth it; that even when justice is served, it can be taken away … My heart goes out to the survivors today and every day.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To make matters worse, also on June 30, Britney Spears was \u003ca href=\"https://www.npr.org/2021/06/30/1012027100/judge-denies-britney-spears-request-father-removed-conservator\" target=\"_blank\" rel=\"noopener noreferrer\">denied freedom from her conservatorship\u003c/a>. This despite her \u003ca href=\"https://www.kqed.org/arts/13899317/britney-spears-full-statement-to-the-court-in-her-conservatorship-hearing\" target=\"_blank\" rel=\"noopener noreferrer\">disturbing testimony\u003c/a> detailing the myriad ways her life is restricted, controlled and, frankly, not her own. Spears bravely stood up in a court, pleaded with a judge to help her (because, among other things, she says she is being forced to keep using birth control against her will) and, despite an outpouring of public support, it all came to naught. Britney Spears is not free.\u003c/p>\n\u003cp>If American women had ever been in any doubt about who the legal system in this country protects, June 30 let us know, loudly and clearly, three times in a row. If any of us had been laboring under the assumption that things were improving for women in the post-#MeToo landscape, June 30 shut that hope right back down, over and over again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the years since the hashtag exploded onto the cultural landscape in 2017, much has been made of the #MeToo movement and the ways that it “targets” men. But the truth of the matter is that even after hundreds of thousands of women publicly revealed their traumas; even after famous women named and shamed their attackers, the only two high-profile abusers punished in a court of law post-#MeToo were Bill Cosby and Harvey Weinstein. (We almost got Jeffrey Epstein too, but we all know how that turned out.) We understood them to be only the two most obvious, most egregious serial predators. And what that quietly told women everywhere was that, in order to bring down a rapist in a court of law, scores of women have to be victimized first. If you happen to get raped by a man who doesn’t rape scores of other women? Well, good luck and godspeed.\u003c/p>\n\u003cp>Now, of course, one of the only two legal victories we were clinging to for the sake of hope, sanity and some semblance of justice is suddenly null and void. Because a fairly feeble technicality (three justices dissented) was given priority over the lives, physical and mental welfare, and interrupted careers of 60 women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That means our only remaining proof that justice might prevail in matters of sexual assault is Harvey Weinstein. And despite his 23-year prison sentence, his case reeks of injustice too. Because while Weinstein was convicted of third-degree rape and first-degree criminal sexual act, those were only two of the five charges that he faced. In the wave of relief that followed his two convictions, America somehow managed to forget the fact that he was found \u003cem>not\u003c/em> guilty on three other charges. An astonishing outcome, given what we’d been told, repeatedly, about the man on trial.\u003c/p>\n\u003cp>Weinstein was found not guilty of first-degree rape, defined in the state of New York as “\u003ca href=\"https://criminaldefense.1800nynylaw.com/new-york-penal-code-130-35-rape-in-the-first-degree.html\" target=\"_blank\" rel=\"noopener noreferrer\">engag[ing] in sexual intercourse with another person by forcible compulsion\u003c/a>.” This despite Jessica Mann’s harrowing testimony that, “The more I fought, the angrier he got.” He was also found not guilty of two counts of predatory sexual assault. Annabella Sciorra appeared in court specifically in support of those charges. She testified that she was raped by Weinstein after he forced his way into her apartment. “I was punching, I was kicking him, I was trying to take him away from me,” she said. Apparently the jury didn’t believe her.\u003c/p>\n\u003cp>Even in Weinstein’s case, the overwhelming reality of just how hard it is for women to get justice in this country is writ large. But at least Harvey Weinstein isn’t free.\u003c/p>\n\u003cp>That feeling of outrage that washed over us when Cosby was released yesterday isn’t new, of course. We feel it every time we think about \u003ca href=\"https://en.wikipedia.org/wiki/Christine_Blasey_Ford\" target=\"_blank\" rel=\"noopener noreferrer\">Christine Blasey Ford\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Anita_Hill\" target=\"_blank\" rel=\"noopener noreferrer\">Anita Hill\u003c/a> and the victimized students of \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Hunting_Ground\" target=\"_blank\" rel=\"noopener noreferrer\">The Hunting Ground\u003c/a>\u003c/em> and the female soldiers of \u003ca href=\"https://en.wikipedia.org/wiki/The_Invisible_War\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Invisible War\u003c/em>\u003c/a>. We feel it when we think about \u003ca href=\"https://en.wikipedia.org/wiki/People_v._Turner\" target=\"_blank\" rel=\"noopener noreferrer\">Brock Turner\u003c/a>. And we definitely feel it every time we remember all the men who were “#MeToo-ed” but \u003ca href=\"https://www.kqed.org/arts/13892800/allen-v-farrow-is-the-most-damning-indictment-of-woody-allen-yet\" target=\"_blank\" rel=\"noopener noreferrer\">never faced criminal charges\u003c/a>, and are \u003ca href=\"https://www.kqed.org/arts/13889064/johnny-depps-uk-libel-case-failed-and-his-us-one-is-likely-doomed-too\" target=\"_blank\" rel=\"noopener noreferrer\">still working\u003c/a>.\u003c/p>\n\u003cp>If I sound depressed and despondent and hopeless, it’s because I am. Like most women in this country, I am tired. I am tired of men getting away with it. I am tired of flimsy punishments that don’t fit the crime. I am tired of hearing women relive their traumas over and over again, only to be tossed the smallest consolation crumbs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I didn’t want to write this essay. I really didn’t. The truth is, I started it back in February 2020 after Weinstein’s three not-guilty verdicts. But I stopped because, at the time, it felt more important to let American women have a moment of vindication. Then on June 30, the truth screamed at us from every corner of the news: the American legal system does not care about the lives of women. Not really. Not enough. And when it can so swiftly take away one of the small slivers of justice that was so hard won, we’re allowed a moment to grieve too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What’s Wrong With Social Media? Chimamanda Ngozi Adichie and Trevor Noah Just Explained",
"headTitle": "What’s Wrong With Social Media? Chimamanda Ngozi Adichie and Trevor Noah Just Explained | KQED",
"content": "\u003cp>Earlier this week, feminist author Chimamanda Ngozi Adichie went viral after posting an essay titled “\u003ca href=\"https://www.chimamanda.com/\" target=\"_blank\" rel=\"noopener noreferrer\">It Is Obscene: A True Reflection in Three Parts\u003c/a>.” (It garnered so much traffic so quickly, her website temporarily crashed.) In the essay, Adichie wrote about two students in her workshop who disparaged her on Twitter while also seeking to benefit from her name elsewhere. She also touched on the fallout from the \u003ca href=\"https://www.npr.org/2021/06/17/1007350665/chimamanda-ngozi-adichie-directs-fiery-essay-at-former-student-and-cancel-cultur\" target=\"_blank\" rel=\"noopener noreferrer\">problematic comments\u003c/a> she made about trans women in a 2017 interview.\u003c/p>\n\u003cp>In her new essay, Adichie’s conclusions about the effects of social media—particularly on “young people”—were decisive. “There are many social-media-savvy people who are choking on sanctimony and lacking in compassion,” she wrote, “who can fluidly pontificate on Twitter about kindness but are unable to actually show kindness.”\u003c/p>\n\u003cp>[aside postid='pop_69713']Adichie continued: “People who demand that you denounce your friends for flimsy reasons in order to remain a member of the chosen puritan class. People who depend on obfuscation, who have no compassion for anybody genuinely curious or confused. Ask them a question and you are told that the answer is to repeat a mantra … And so we have a generation of young people on social media so terrified of having the wrong opinions that they have robbed themselves of the opportunity to think and to learn and to grow.”\u003c/p>\n\u003cp>The author concluded: “I have spoken to young people who tell me they are terrified to tweet anything, that they read and re-read their tweets because they fear they will be attacked by their own. The assumption of good faith is dead. What matters is not goodness but the appearance of goodness. We are no longer human beings. We are now angels jostling to out-angel one another. God help us. It is obscene.”\u003c/p>\n\u003cp>Adichie’s sentiments were immediately greeted with a swift wall of objection on Twitter that has, in the days since, been replaced by a wave of support and intellectual analysis.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/thomaschattwill/status/1405172793780604929\u003c/p>\n\u003cp>Adichie’s essay effectively highlighted the nuance and humanity that gets lost in performative righteousness. But during Wednesday night’s \u003cem>Daily Show\u003c/em>, Trevor Noah adeptly described the dark road that comes after trying to out-good people on the internet. In an in-depth analysis of social media etiquette, prompted by \u003ca href=\"https://www.nbcnews.com/think/opinion/chrissy-teigen-s-bullying-regret-fit-well-known-pattern-here-ncna1271016\" target=\"_blank\" rel=\"noopener noreferrer\">Chrissy Teigen’s apologies for bullying behavior\u003c/a> online, Noah attempted to take a hopeful tone.\u003c/p>\n\u003cp>“I’m glad [Teigen is] owning up to being a horrible person online,” he began, “because that is what we want, right? We want people to be better and we want people to grow. … What really gives me hope is that, back when Chrissy was bullying people online, millions of people were cheering for her. But now, a lot of those people are criticizing her for that same thing that they cheered. … It shows you that society has evolved.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sNiQ60xBTG4\u003c/p>\n\u003cp>Noah, without referencing Adichie’s essay, expanded on her observations regarding the online obsession with the “appearance of goodness.” He pointed out that the online compulsion to call others out for bad behavior often has a tendency to result in more of the same.\u003c/p>\n\u003cp>“What we have to understand,” Noah explained, “is that social media pushes people into being their most asshole-ish self. Roasting people, dunking on them, that’s how you get the likes. … Twitter sees when a few people attack someone, and they put that in the trending topics. … So then what do you end up with? You end up with millions of people looking to roast each other. To say the nastiest things they can think of, until they go too far, until all of a sudden the outrage they were a part of turns on them.”\u003c/p>\n\u003cp>Noah expanded further, saying, “That’s not a mistake. It’s how the system is set up. … There’s something about the platform that incentivizes people to be the worst versions of themselves.” [aside postid='arts_13893734']\u003c/p>\n\u003cp>Together, Adichie and Noah’s analyses perfectly pinpoint the cycle of bullying that social media can, and does, perpetuate. In online contexts, the desire to appear honorable can obliterate reasoned discussion, in favor of tearing down others in a manner that’s both simplified and amplified because of the format.\u003c/p>\n\u003cp>This online calling out and piling on has long been dismissed on the right as “cancel culture”—a term that is inherently disingenuous given the continuing careers of people who’ve been “canceled.” (In an interview with \u003cem>The Sunday Times\u003c/em> last week, Kevin Hart—whose positions were \u003ca href=\"https://twitter.com/WrittenByHanna/status/1404960739346030593\" target=\"_blank\" rel=\"noopener noreferrer\">compared to Adichie\u003c/a>‘s essay by some Twitter users—noted that he’d been “canceled, what, three or four times?”)\u003c/p>\n\u003cp>https://twitter.com/AOC/status/1281392795748569089\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We have long needed an analysis of social media that allows for a spectrum between the left’s desire to hold others accountable and the right’s ongoing suggestion that any and all criticism be dismissed as so-called cancel culture. With Adichie and Noah’s sharp observations this week, we might finally be getting somewhere.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this week, feminist author Chimamanda Ngozi Adichie went viral after posting an essay titled “\u003ca href=\"https://www.chimamanda.com/\" target=\"_blank\" rel=\"noopener noreferrer\">It Is Obscene: A True Reflection in Three Parts\u003c/a>.” (It garnered so much traffic so quickly, her website temporarily crashed.) In the essay, Adichie wrote about two students in her workshop who disparaged her on Twitter while also seeking to benefit from her name elsewhere. She also touched on the fallout from the \u003ca href=\"https://www.npr.org/2021/06/17/1007350665/chimamanda-ngozi-adichie-directs-fiery-essay-at-former-student-and-cancel-cultur\" target=\"_blank\" rel=\"noopener noreferrer\">problematic comments\u003c/a> she made about trans women in a 2017 interview.\u003c/p>\n\u003cp>In her new essay, Adichie’s conclusions about the effects of social media—particularly on “young people”—were decisive. “There are many social-media-savvy people who are choking on sanctimony and lacking in compassion,” she wrote, “who can fluidly pontificate on Twitter about kindness but are unable to actually show kindness.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Adichie continued: “People who demand that you denounce your friends for flimsy reasons in order to remain a member of the chosen puritan class. People who depend on obfuscation, who have no compassion for anybody genuinely curious or confused. Ask them a question and you are told that the answer is to repeat a mantra … And so we have a generation of young people on social media so terrified of having the wrong opinions that they have robbed themselves of the opportunity to think and to learn and to grow.”\u003c/p>\n\u003cp>The author concluded: “I have spoken to young people who tell me they are terrified to tweet anything, that they read and re-read their tweets because they fear they will be attacked by their own. The assumption of good faith is dead. What matters is not goodness but the appearance of goodness. We are no longer human beings. We are now angels jostling to out-angel one another. God help us. It is obscene.”\u003c/p>\n\u003cp>Adichie’s sentiments were immediately greeted with a swift wall of objection on Twitter that has, in the days since, been replaced by a wave of support and intellectual analysis.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Adichie’s essay effectively highlighted the nuance and humanity that gets lost in performative righteousness. But during Wednesday night’s \u003cem>Daily Show\u003c/em>, Trevor Noah adeptly described the dark road that comes after trying to out-good people on the internet. In an in-depth analysis of social media etiquette, prompted by \u003ca href=\"https://www.nbcnews.com/think/opinion/chrissy-teigen-s-bullying-regret-fit-well-known-pattern-here-ncna1271016\" target=\"_blank\" rel=\"noopener noreferrer\">Chrissy Teigen’s apologies for bullying behavior\u003c/a> online, Noah attempted to take a hopeful tone.\u003c/p>\n\u003cp>“I’m glad [Teigen is] owning up to being a horrible person online,” he began, “because that is what we want, right? We want people to be better and we want people to grow. … What really gives me hope is that, back when Chrissy was bullying people online, millions of people were cheering for her. But now, a lot of those people are criticizing her for that same thing that they cheered. … It shows you that society has evolved.”\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/sNiQ60xBTG4'\n title='//www.youtube.com/embed/sNiQ60xBTG4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Noah, without referencing Adichie’s essay, expanded on her observations regarding the online obsession with the “appearance of goodness.” He pointed out that the online compulsion to call others out for bad behavior often has a tendency to result in more of the same.\u003c/p>\n\u003cp>“What we have to understand,” Noah explained, “is that social media pushes people into being their most asshole-ish self. Roasting people, dunking on them, that’s how you get the likes. … Twitter sees when a few people attack someone, and they put that in the trending topics. … So then what do you end up with? You end up with millions of people looking to roast each other. To say the nastiest things they can think of, until they go too far, until all of a sudden the outrage they were a part of turns on them.”\u003c/p>\n\u003cp>Noah expanded further, saying, “That’s not a mistake. It’s how the system is set up. … There’s something about the platform that incentivizes people to be the worst versions of themselves.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Together, Adichie and Noah’s analyses perfectly pinpoint the cycle of bullying that social media can, and does, perpetuate. In online contexts, the desire to appear honorable can obliterate reasoned discussion, in favor of tearing down others in a manner that’s both simplified and amplified because of the format.\u003c/p>\n\u003cp>This online calling out and piling on has long been dismissed on the right as “cancel culture”—a term that is inherently disingenuous given the continuing careers of people who’ve been “canceled.” (In an interview with \u003cem>The Sunday Times\u003c/em> last week, Kevin Hart—whose positions were \u003ca href=\"https://twitter.com/WrittenByHanna/status/1404960739346030593\" target=\"_blank\" rel=\"noopener noreferrer\">compared to Adichie\u003c/a>‘s essay by some Twitter users—noted that he’d been “canceled, what, three or four times?”)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>We have long needed an analysis of social media that allows for a spectrum between the left’s desire to hold others accountable and the right’s ongoing suggestion that any and all criticism be dismissed as so-called cancel culture. With Adichie and Noah’s sharp observations this week, we might finally be getting somewhere.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What Happens If Shrooms Get Decriminalized in California?",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">Y\u003c/span>ou know what’s a wild topic right now? The discussion around decriminalizing and destigmatizing the use of hallucinogenic substances and psychedelic plants.\u003c/p>\n\u003cp>Start with the money. Psychedelic pharmaceutical stocks are such a hot trend that on April 20, a day known for celebrating marijuana, \u003ca href=\"https://www.nasdaq.com/articles/3-of-the-top-psychedelic-stocks-that-will-blow-your-mind-2021-04-20\" target=\"_blank\" rel=\"noopener noreferrer\">Nasdaq provided a guide\u003c/a> for potential investors.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>On the medical side, there’s been ample research into the healing properties of psychedelic mushrooms, but there probably isn’t a study more convincing than the testimony of Mike Tyson, who in an interview published last week said that \u003ca href=\"https://www.reuters.com/lifestyle/sports/mike-tyson-says-psychedelics-saved-his-life-now-he-hopes-they-can-change-world-2021-05-28/\" target=\"_blank\" rel=\"noopener noreferrer\">taking shrooms saved his life\u003c/a>.\u003c/p>\n\u003cp>And when it comes to the legislative aspects, one can look at Oakland, where mushrooms were decriminalized in 2019. Some of the same people who backed that legislation two years ago celebrated a new milestone last week, when a bill to decriminalize psychedelics statewide made some significant progress.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last Tuesday, the California Senate \u003ca href=\"https://www.kqed.org/news/11873841/decriminalizing-psychedelic-drugs-in-california-as-senate-considers-bill-debate-continues\" target=\"_blank\" rel=\"noopener noreferrer\">narrowly approved SB 519\u003c/a>. The bill, authored by San Francisco Senator Scott Wiener, would allow prescription of psychedelics for medical use, plus possession of psychedelics for personal use, and would expunge the records of those previously convicted of possession. This would include “psilocybin, psilocyn, dimethyltryptamine (DMT), ibogaine, mescaline, lysergic acid diethylamide (LSD), ketamine, and 3,4-methylenedioxymethamphetamine (MDMA),” according to the \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220SB519\" target=\"_blank\" rel=\"noopener noreferrer\">text of the bill\u003c/a>.\u003c/p>\n\u003cp>While managing to convince a slight majority of California senators (21 out of 40) to support the bill is impressive, it still needs to pass the Assembly and be signed by Governor Newsom in order to become law. But there’s a definite buzz in the air. In our lifetime—and perhaps very soon—acid, shrooms, and ecstasy could all be legal. How wild is that?\u003c/p>\n\u003cfigure id=\"attachment_13898553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898553\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Carlos.Larry_-800x561.jpg\" alt=\"Carlos Plazola and Larry Norris (L–R) have advocated for SB 519, the California bill that would decriminalize psychedelics like mushrooms.\" width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Carlos.Larry_-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Carlos.Larry_-1020x715.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Carlos.Larry_-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Carlos.Larry_-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Carlos.Larry_.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Plazola and Larry Norris (L–R) have advocated for SB 519, the California bill that would decriminalize psychedelics like mushrooms. \u003ccite>(Courtesy Photos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">C\u003c/span>arlos Plazola and Larry Norris, co-founders of the advocacy group \u003ca href=\"https://www.decriminalizenature.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Decriminalize Nature\u003c/a>, play a significant part in the conversation I’ve been following. They tell me that people all over the world are talking about decriminalizing natural hallucination-inducing plants, known as entheogens, but that “\u003cspan style=\"font-weight: 400\">the cutting-edge work is happening here in the U.S.,” Plazola says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s a tiered system of how countries categorize these plants, ranging from legal, to decriminalized, then unenforced and on down to illegal. And here in the United States, it’s pretty much the same, with different states having drastically different laws. Look at Oregon, where \u003ca href=\"https://www.oregonlive.com/politics/2020/11/oregon-becomes-first-state-to-legalize-psychedelic-mushrooms.html\" target=\"_blank\" rel=\"noopener noreferrer\">mushrooms were first legalized\u003c/a>, and then look at the neighboring state of Idaho, “one of the \u003ca href=\"https://psilocybin.net/laws/idaho/\" target=\"_blank\" rel=\"noopener noreferrer\">toughest U.S. states\u003c/a> when it comes to the legality of magic mushroom spores.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Maybe it’s just about us having a new conversation around nature,” says Norris. “How can somebody make a plant that grows out of the ground illegal? That’s mind-boggling.”\u003c/span>\u003c/p>\n\u003cp>Decriminalize Nature has already backed decriminalizing legislation that’s passed in seven different cities across the United States, including Washington, D.C. Now, with Oakland and Santa Cruz already decriminalized, all eyes are on the state of California.[aside postID='news_11873841']\u003c/p>\n\u003cp>It’s essential to understand why advocates like Decriminalize Nature aim for decriminalizing instead of legalizing. A decriminalized status means that people who grow, gather or give away mushrooms won’t be prosecuted. It addresses the failed war on drugs, supports people who use psychedelics for spiritual practices, and, importantly, undercuts the predatory profit of big business.\u003c/p>\n\u003cp>Many believe that barrier to entry for big business is the only safeguard keeping the psychedelic industry from turning into the marijuana industry, with all its inequity. A 2017 \u003ca href=\"https://apnews.com/article/race-and-ethnicity-lifestyle-business-8e047483fc6e83e2e5f6dc971cb4aa73\" target=\"_blank\" rel=\"noopener noreferrer\">study from Marijuana Business Daily\u003c/a> showed that 81% of cannabis business owners and founders were white.\u003c/p>\n\u003cp>“Prop. 215 was pushed by people who cared about the medical cannabis decriminalization movement,” says Plazola, referring to the 1996 initiative that allowed medicinal marijuana in California. But while decriminalization can help those most in need, he explains, full legalization can open the floodgates for investors. “\u003cspan style=\"font-weight: 400\">Prop. 64 raised tons of money,” he says, in reference to the 2016 legislation that legalized recreational cannabis in the Golden State, “but it came with quid pro quos; that’s when the industry got corrupted.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898552\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/ReggieHarris.jpg\" alt=\"Reggie Harris has developed a test for mushrooms' potency.\" width=\"683\" height=\"924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ReggieHarris.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ReggieHarris-160x216.jpg 160w\" sizes=\"(max-width: 683px) 100vw, 683px\">\u003cfigcaption class=\"wp-caption-text\">Reggie Harris has developed a test for mushrooms’ potency. \u003ccite>(Chaz Hubbard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another person wary of big money in psychedelics is Reggie Harris. He’s the founder of \u003ca href=\"https://www.instagram.com/oakland_hyphae/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Hyphae\u003c/a>, a business that advocates for “plant medicine cultivators and enthusiasts.” Harris, an advisory board member of Decriminalize Nature, says it’s a no-brainer that big business would want to get into the psychedelic game once legislation changes.\u003c/p>\n\u003cp>So, a few months ago, he decided to do something about it.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“For everybody who smokes cannabis, you know, you got the Cannabis Cup or the Emerald Cup,” Harris says. “I felt like it was only right to put a flag down and do the \u003ca href=\"https://www.oaklandhyphae510.com/post/oakland-hyphae-presents-the-spring-2021-psilocybin-cup-final-results\" target=\"_blank\" rel=\"noopener noreferrer\">Psilocybin Cup.\u003c/a>“\u003c/span>\u003c/p>\n\u003cp>The multi-day virtual conference, held this past April, allowed people from all over the world to connect and discuss entheogens and all they entail. Along with touching on the money issues, the medical side and the legality of it all, the Psilocybin Cup allowed attendees to have the potency of their products tested—which Reggie says is rare, and could potentially change a grower’s fortune.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Prior to the cup, Harris was providing tests for free. His slogan was “if you can get your sample to Oakland, I’ll test it.” \u003c/span>Now, Harris says, “the best cultivators are paying me to take samples of their mushrooms and test them.”\u003c/p>\n\u003cp>Through sharing those test results, Harris says he’s gotten calls from large companies in countries where mushrooms are completely legal. That made him realize the value of being able to identify a quality product.[aside postID='news_11750909']\u003c/p>\n\u003cp>At the Psilocybin Cup, Harris worked with a number of African American\u003cspan style=\"font-weight: 400\"> growers, and waived their entry fee so he could test their products–which will hopefully lead to them getting a foothold in the growing market.\u003c/span>\u003c/p>\n\u003cp>How does Harris test?\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s a machine where you take samples of mushrooms—five grams,” Harris tells me, explaining that the shrooms are ground into a dust-like form and then mixed with a solvent solution that separates the various components. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Harris, who studied political science at Florida A&M but obviously knows a thing or two about mycology, continues: “And then we run the solution through the chromatograph. And it spits out info on a computer screen that has peaks and valleys. And we measure that against what we call a standard”—the standard level of all the psychoactive components of a magic mushroom, including psilocybin, psilocin, baeocystin, and norbaeocystin.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Based on those peaks and standards, we can calculate how many parts per million are in that sample,” Harris tells me, all casually, like he’s not explaining chemistry to an Arts and Culture writer. “Does that makes sense?”\u003c/span>\u003c/p>\n\u003cp>Verbally, I said that I understood, but what I was really thinking was that this conversation about decriminalizing plants had gotten deeper than I had expected.\u003c/p>\n\u003cp>I pivoted and asked the obvious next question: how do you determine a winner of the Psilocybin Cup?\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Let the data do the talking,” says Harris.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898543\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/download-2-800x600.jpg\" alt=\"Larry Norris speaks at an Oakland City Council meeting in support of decriminalizing psychedelic mushrooms in the city.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/download-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/download-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/download-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/download-2.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Larry Norris speaks at an Oakland City Council meeting in support of decriminalizing psychedelic mushrooms in the city. \u003ccite>(Courtesy Larry Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ast week, Harris announced the second Psilocybin Cup, set for September 20, \u003ca href=\"https://920coalition.org/10-fun-ways-to-celebrate-magic-mushroom-day\" target=\"_blank\" rel=\"noopener noreferrer\">Magic Mushroom Day\u003c/a>.\u003c/p>\n\u003cp>Until then, this discussion around shrooms and other entheogens will continue. The data will talk, as will community organizers and elected lawmakers.\u003c/p>\n\u003cp>And while we might be on the “cutting edge” of change, at least in the way \u003cem>we\u003c/em> know the world in its current incarnation, there’s something Larry Norris said that sticks out to me.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There are cave paintings in Algeria,” he told me, paintings which suggest human beings have been eating shrooms since \u003ca href=\"https://www.britannica.com/place/Tassili-n-Ajjer\" target=\"_blank\" rel=\"noopener noreferrer\">7,000 years ago\u003c/a>. “People have been working with plants and mushrooms for a \u003cem>long time\u003c/em>.”\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I don’t know what’s wilder—the fact that those paintings still exist, or that the first agricultural societies were talking about mushrooms the way we are now, 7,000 years later.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">Y\u003c/span>ou know what’s a wild topic right now? The discussion around decriminalizing and destigmatizing the use of hallucinogenic substances and psychedelic plants.\u003c/p>\n\u003cp>Start with the money. Psychedelic pharmaceutical stocks are such a hot trend that on April 20, a day known for celebrating marijuana, \u003ca href=\"https://www.nasdaq.com/articles/3-of-the-top-psychedelic-stocks-that-will-blow-your-mind-2021-04-20\" target=\"_blank\" rel=\"noopener noreferrer\">Nasdaq provided a guide\u003c/a> for potential investors.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>On the medical side, there’s been ample research into the healing properties of psychedelic mushrooms, but there probably isn’t a study more convincing than the testimony of Mike Tyson, who in an interview published last week said that \u003ca href=\"https://www.reuters.com/lifestyle/sports/mike-tyson-says-psychedelics-saved-his-life-now-he-hopes-they-can-change-world-2021-05-28/\" target=\"_blank\" rel=\"noopener noreferrer\">taking shrooms saved his life\u003c/a>.\u003c/p>\n\u003cp>And when it comes to the legislative aspects, one can look at Oakland, where mushrooms were decriminalized in 2019. Some of the same people who backed that legislation two years ago celebrated a new milestone last week, when a bill to decriminalize psychedelics statewide made some significant progress.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last Tuesday, the California Senate \u003ca href=\"https://www.kqed.org/news/11873841/decriminalizing-psychedelic-drugs-in-california-as-senate-considers-bill-debate-continues\" target=\"_blank\" rel=\"noopener noreferrer\">narrowly approved SB 519\u003c/a>. The bill, authored by San Francisco Senator Scott Wiener, would allow prescription of psychedelics for medical use, plus possession of psychedelics for personal use, and would expunge the records of those previously convicted of possession. This would include “psilocybin, psilocyn, dimethyltryptamine (DMT), ibogaine, mescaline, lysergic acid diethylamide (LSD), ketamine, and 3,4-methylenedioxymethamphetamine (MDMA),” according to the \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220SB519\" target=\"_blank\" rel=\"noopener noreferrer\">text of the bill\u003c/a>.\u003c/p>\n\u003cp>While managing to convince a slight majority of California senators (21 out of 40) to support the bill is impressive, it still needs to pass the Assembly and be signed by Governor Newsom in order to become law. But there’s a definite buzz in the air. In our lifetime—and perhaps very soon—acid, shrooms, and ecstasy could all be legal. How wild is that?\u003c/p>\n\u003cfigure id=\"attachment_13898553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898553\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Carlos.Larry_-800x561.jpg\" alt=\"Carlos Plazola and Larry Norris (L–R) have advocated for SB 519, the California bill that would decriminalize psychedelics like mushrooms.\" width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Carlos.Larry_-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Carlos.Larry_-1020x715.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Carlos.Larry_-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Carlos.Larry_-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Carlos.Larry_.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Plazola and Larry Norris (L–R) have advocated for SB 519, the California bill that would decriminalize psychedelics like mushrooms. \u003ccite>(Courtesy Photos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">C\u003c/span>arlos Plazola and Larry Norris, co-founders of the advocacy group \u003ca href=\"https://www.decriminalizenature.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Decriminalize Nature\u003c/a>, play a significant part in the conversation I’ve been following. They tell me that people all over the world are talking about decriminalizing natural hallucination-inducing plants, known as entheogens, but that “\u003cspan style=\"font-weight: 400\">the cutting-edge work is happening here in the U.S.,” Plazola says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s a tiered system of how countries categorize these plants, ranging from legal, to decriminalized, then unenforced and on down to illegal. And here in the United States, it’s pretty much the same, with different states having drastically different laws. Look at Oregon, where \u003ca href=\"https://www.oregonlive.com/politics/2020/11/oregon-becomes-first-state-to-legalize-psychedelic-mushrooms.html\" target=\"_blank\" rel=\"noopener noreferrer\">mushrooms were first legalized\u003c/a>, and then look at the neighboring state of Idaho, “one of the \u003ca href=\"https://psilocybin.net/laws/idaho/\" target=\"_blank\" rel=\"noopener noreferrer\">toughest U.S. states\u003c/a> when it comes to the legality of magic mushroom spores.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Maybe it’s just about us having a new conversation around nature,” says Norris. “How can somebody make a plant that grows out of the ground illegal? That’s mind-boggling.”\u003c/span>\u003c/p>\n\u003cp>Decriminalize Nature has already backed decriminalizing legislation that’s passed in seven different cities across the United States, including Washington, D.C. Now, with Oakland and Santa Cruz already decriminalized, all eyes are on the state of California.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s essential to understand why advocates like Decriminalize Nature aim for decriminalizing instead of legalizing. A decriminalized status means that people who grow, gather or give away mushrooms won’t be prosecuted. It addresses the failed war on drugs, supports people who use psychedelics for spiritual practices, and, importantly, undercuts the predatory profit of big business.\u003c/p>\n\u003cp>Many believe that barrier to entry for big business is the only safeguard keeping the psychedelic industry from turning into the marijuana industry, with all its inequity. A 2017 \u003ca href=\"https://apnews.com/article/race-and-ethnicity-lifestyle-business-8e047483fc6e83e2e5f6dc971cb4aa73\" target=\"_blank\" rel=\"noopener noreferrer\">study from Marijuana Business Daily\u003c/a> showed that 81% of cannabis business owners and founders were white.\u003c/p>\n\u003cp>“Prop. 215 was pushed by people who cared about the medical cannabis decriminalization movement,” says Plazola, referring to the 1996 initiative that allowed medicinal marijuana in California. But while decriminalization can help those most in need, he explains, full legalization can open the floodgates for investors. “\u003cspan style=\"font-weight: 400\">Prop. 64 raised tons of money,” he says, in reference to the 2016 legislation that legalized recreational cannabis in the Golden State, “but it came with quid pro quos; that’s when the industry got corrupted.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898552\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/ReggieHarris.jpg\" alt=\"Reggie Harris has developed a test for mushrooms' potency.\" width=\"683\" height=\"924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ReggieHarris.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/ReggieHarris-160x216.jpg 160w\" sizes=\"(max-width: 683px) 100vw, 683px\">\u003cfigcaption class=\"wp-caption-text\">Reggie Harris has developed a test for mushrooms’ potency. \u003ccite>(Chaz Hubbard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another person wary of big money in psychedelics is Reggie Harris. He’s the founder of \u003ca href=\"https://www.instagram.com/oakland_hyphae/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Hyphae\u003c/a>, a business that advocates for “plant medicine cultivators and enthusiasts.” Harris, an advisory board member of Decriminalize Nature, says it’s a no-brainer that big business would want to get into the psychedelic game once legislation changes.\u003c/p>\n\u003cp>So, a few months ago, he decided to do something about it.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“For everybody who smokes cannabis, you know, you got the Cannabis Cup or the Emerald Cup,” Harris says. “I felt like it was only right to put a flag down and do the \u003ca href=\"https://www.oaklandhyphae510.com/post/oakland-hyphae-presents-the-spring-2021-psilocybin-cup-final-results\" target=\"_blank\" rel=\"noopener noreferrer\">Psilocybin Cup.\u003c/a>“\u003c/span>\u003c/p>\n\u003cp>The multi-day virtual conference, held this past April, allowed people from all over the world to connect and discuss entheogens and all they entail. Along with touching on the money issues, the medical side and the legality of it all, the Psilocybin Cup allowed attendees to have the potency of their products tested—which Reggie says is rare, and could potentially change a grower’s fortune.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Prior to the cup, Harris was providing tests for free. His slogan was “if you can get your sample to Oakland, I’ll test it.” \u003c/span>Now, Harris says, “the best cultivators are paying me to take samples of their mushrooms and test them.”\u003c/p>\n\u003cp>Through sharing those test results, Harris says he’s gotten calls from large companies in countries where mushrooms are completely legal. That made him realize the value of being able to identify a quality product.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the Psilocybin Cup, Harris worked with a number of African American\u003cspan style=\"font-weight: 400\"> growers, and waived their entry fee so he could test their products–which will hopefully lead to them getting a foothold in the growing market.\u003c/span>\u003c/p>\n\u003cp>How does Harris test?\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s a machine where you take samples of mushrooms—five grams,” Harris tells me, explaining that the shrooms are ground into a dust-like form and then mixed with a solvent solution that separates the various components. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Harris, who studied political science at Florida A&M but obviously knows a thing or two about mycology, continues: “And then we run the solution through the chromatograph. And it spits out info on a computer screen that has peaks and valleys. And we measure that against what we call a standard”—the standard level of all the psychoactive components of a magic mushroom, including psilocybin, psilocin, baeocystin, and norbaeocystin.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Based on those peaks and standards, we can calculate how many parts per million are in that sample,” Harris tells me, all casually, like he’s not explaining chemistry to an Arts and Culture writer. “Does that makes sense?”\u003c/span>\u003c/p>\n\u003cp>Verbally, I said that I understood, but what I was really thinking was that this conversation about decriminalizing plants had gotten deeper than I had expected.\u003c/p>\n\u003cp>I pivoted and asked the obvious next question: how do you determine a winner of the Psilocybin Cup?\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Let the data do the talking,” says Harris.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898543\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/download-2-800x600.jpg\" alt=\"Larry Norris speaks at an Oakland City Council meeting in support of decriminalizing psychedelic mushrooms in the city.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/download-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/download-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/download-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/download-2.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Larry Norris speaks at an Oakland City Council meeting in support of decriminalizing psychedelic mushrooms in the city. \u003ccite>(Courtesy Larry Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ast week, Harris announced the second Psilocybin Cup, set for September 20, \u003ca href=\"https://920coalition.org/10-fun-ways-to-celebrate-magic-mushroom-day\" target=\"_blank\" rel=\"noopener noreferrer\">Magic Mushroom Day\u003c/a>.\u003c/p>\n\u003cp>Until then, this discussion around shrooms and other entheogens will continue. The data will talk, as will community organizers and elected lawmakers.\u003c/p>\n\u003cp>And while we might be on the “cutting edge” of change, at least in the way \u003cem>we\u003c/em> know the world in its current incarnation, there’s something Larry Norris said that sticks out to me.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There are cave paintings in Algeria,” he told me, paintings which suggest human beings have been eating shrooms since \u003ca href=\"https://www.britannica.com/place/Tassili-n-Ajjer\" target=\"_blank\" rel=\"noopener noreferrer\">7,000 years ago\u003c/a>. “People have been working with plants and mushrooms for a \u003cem>long time\u003c/em>.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I don’t know what’s wilder—the fact that those paintings still exist, or that the first agricultural societies were talking about mushrooms the way we are now, 7,000 years later.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Naomi Osaka Needs a Mental Health Break From Tennis—Sexism May Be a Factor",
"headTitle": "Naomi Osaka Needs a Mental Health Break From Tennis—Sexism May Be a Factor | KQED",
"content": "\u003cp>On Tuesday, the tennis Grand Slams—the French Open, U.S. Open, Wimbledon and Australian Open—released \u003ca href=\"https://www.wimbledon.com/en_GB/news/articles/2021-06-01/2021-06-01_statement_from_the_grand_slam_tournaments_regarding_naomi_osaka.html\" target=\"_blank\" rel=\"noopener noreferrer\">a statement supporting\u003c/a> Naomi Osaka’s decision to withdraw from competition for mental health reasons. It read, in part: “We wish to offer Naomi Osaka our support and assistance in any way possible as she takes time away from the court. She is an exceptional athlete and we look forward to her return as soon as she deems appropriate.”\u003c/p>\n\u003cp>To many onlookers, the sympathetic tone seemed fairly disingenuous coming, as it did, just two days after the organizations threatened Osaka with disqualification and exclusion from future tournaments. That same day—Sunday—the \u003ca href=\"https://www.rolandgarros.com/en-us/article/statement-from-grand-slam-tournaments-regarding-naomi-osaka\" target=\"_blank\" rel=\"noopener noreferrer\">French Open fined\u003c/a> the 23-year-old $15,000 for not wanting to fulfill her press obligations.\u003c/p>\n\u003cp>Osaka had first announced her desire to stop doing press conferences in \u003ca href=\"https://twitter.com/naomiosaka/status/1397665030015959040\" target=\"_blank\" rel=\"noopener noreferrer\">a statement\u003c/a> published to Twitter on May 26. “I’ve often felt that people have no regard for athletes’ mental health and this rings very true whenever I see a press conference or partake in one,” she said.\u003c/p>\n\u003cp>On Monday, she followed that up with a statement of complete \u003ca href=\"https://www.instagram.com/p/CPi9kJHJfxO/\" target=\"_blank\" rel=\"noopener noreferrer\">withdrawal from this year’s French Open\u003c/a>, released via Instagram. It read in part:\u003c/p>\n\u003cblockquote>\u003cp>I have suffered long bouts of depression since the US Open in 2018 and I have had a really hard time coping with that. Anyone that knows me knows I am introverted, and anyone that has seen me at tournaments will notice that I’m often wearing headphones as that helps dull my social anxiety. So here in Paris I was already feeling vulnerable and anxious so I thought it was better to exercise self-care and skip the press conferences … Slams are intense. I’m gonna take some time away from the court now.”\u003c/p>\u003c/blockquote>\n\u003cp>Tennis stars like Venus Williams, Gaël Monfils, \u003ca href=\"https://www.instagram.com/p/CPi9kJHJfxO/\" target=\"_blank\" rel=\"noopener noreferrer\">Sloane Stephens\u003c/a>, \u003ca href=\"https://uk.sports.yahoo.com/news/naomi-osaka-grand-slams-pledge-174317441.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAALhcCW_FtzGIk6TZJxSg-cLzPGiERu0_nXCLyfwE39qMYWoWxz3fU_RYeRyAN0Of5d2Naq65bpykxtJao72KHYcw4tOn2eVFlBFUL38ANX2LjfAauQ-IvWzRGAUohPjtl0HF7Oj72TiP2CsGlOQNo1y75qD0Tb3mHIVMCDTx4-jb\" target=\"_blank\" rel=\"noopener noreferrer\">Boris Becker and Martina Navratilova\u003c/a> have all offered their sympathy and support for Osaka. Monfils, 34, is another tennis pro who has previously expressed mental anguish over media scrutiny. Last February at an Australian Open press conference, he broke down, telling journalists, “I’m already on the ground. You shoot me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While it’s impossible to know all of the elements causing Osaka to take a break from tennis, the pressures on female players—and the scrutiny they’re subjected to—are undoubtedly even more intense than what their male counterparts navigate.\u003c/p>\n\u003cp>To illustrate, here are five times tennis has failed women at the top of their game.\u003c/p>\n\u003cp>\u003cstrong>The Genie Bouchard Twirl\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bekZR7pNYug\u003c/p>\n\u003cp>During the 2015 Australian Open, Tennis Australia commentator Ian Cohen greeted a triumphant Bouchard with the question: “Can you give us a twirl and tell us about your outfit?” She was visibly taken aback before obliging, undoubtedly \u003ca href=\"https://www.youtube.com/watch?v=sdZHama6exo\" target=\"_blank\" rel=\"noopener noreferrer\">under pressure\u003c/a> from the awaiting camera and packed arena. Later at a press conference, the first Canadian ever to be ranked in the \u003ca href=\"https://en.wikipedia.org/wiki/Eugenie_Bouchard#Career_statistics\" target=\"_blank\" rel=\"noopener noreferrer\">Top 5 in tennis singles\u003c/a> said: “I’m fine with being asked to twirl if they ask the guys to flex their muscles.”\u003c/p>\n\u003cp>\u003cstrong>Serena Williams Cited for “Verbal Abuse”\u003c/strong>\u003c/p>\n\u003cp>During the 2018 U.S. Open final, Williams was docked a point for receiving coaching signals—something she strongly denied. She was then cited for breaking her racket. Finally, after she demanded an apology from umpire Carlos Ramos—calling him a liar and a thief—she was cited for “verbal abuse” and lost the game because of it.\u003c/p>\n\u003cp>[aside postid='pop_106107']On the court, Williams told the referee: “This is not fair. This has happened to me too many times. There’s a lot of men out here that have said a lot of things worse, and it doesn’t happen to them. Because I’m a woman, you’re going to take that away from me, and that is not right.”\u003c/p>\n\u003cp>Williams wasn’t wrong. Though \u003ca href=\"http://www.cnn.com/2009/SPORT/09/18/tennis.federer.outburst.fine.garner/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Roger Federer\u003c/a>, \u003ca href=\"https://www.latimes.com/archives/la-xpm-1987-09-07-sp-4075-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">John McEnroe\u003c/a> and \u003ca href=\"https://www.upi.com/Archives/1990/08/31/Agassi-fined-3000-for-spitting-and-swearing-at-umpire/5668652075200/\" target=\"_blank\" rel=\"noopener noreferrer\">Andre Agassi\u003c/a> have all received fines for bad language on the court, the expletives they used were significantly worse than anything Williams said. Plus in 1991, there were zero consequences for Jimmy Connors after he repeatedly referred to an umpire as “an abortion.” Andy Murray even got away with kicking a ball at an umpire’s head in 2016—surely a luxury that would never have been afforded to a Black woman. Regardless, the International Tennis Federation later defended the decisions of Ramos and the referee, and docked Williams a combined $17,000 for all three code violations.\u003c/p>\n\u003cp>\u003cstrong>Alizé Cornet Given Code Violation For Fixing Shirt\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N4zcvg0Q23I&t=87s\u003c/p>\n\u003cp>In 2018, the day after tennis fans had sat and watched male player \u003ca href=\"https://ftw.usatoday.com/2018/09/novak-djokovic-john-millman-us-open-tennis-clothing-change-heat-shirtless-gif\" target=\"_blank\" rel=\"noopener noreferrer\">Novak Djokovic\u003c/a> sit completely shirtless on the court, Alizé Cornet was \u003ca href=\"https://www.glamour.com/story/tennis-player-alize-cornet-penalized-for-fixing-shirt-on-court-at-2018-us-open\" target=\"_blank\" rel=\"noopener noreferrer\">hit with a code violation\u003c/a> from an umpire for trying to fix her top. Having realized she was wearing her shirt backwards after a break, Cornet quickly flipped it and was subsequently given a verbal warning, much to her surprise. The following day, the U.S. Open released a statement, at least, saying they regretted the citation.\u003c/p>\n\u003cp>\u003cstrong>The Serena Williams Catsuit Ban\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13898131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/GettyImages-966119140-800x533.jpg\" alt=\"Serena Williams in her now-banned catsuit at the 2018 French Open in Paris.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/GettyImages-966119140-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/GettyImages-966119140-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/GettyImages-966119140-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/GettyImages-966119140-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/GettyImages-966119140-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/GettyImages-966119140-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/GettyImages-966119140-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Serena Williams in her now-banned catsuit at the 2018 French Open in Paris. \u003ccite>(Cameron Spencer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2018, on the heels of winning the Australian Open \u003cem>and\u003c/em> having a baby, Serena Williams arrived on the court in Paris wearing a sleek and practical black Nike catsuit. Despite being an immediate hit with fans, French Tennis Federation president Bernard Giudicelli told \u003cem>Tennis Magazine\u003c/em> that the catsuit would not be permitted in future. “I think we sometimes went too far,” he said two months later. “It will no longer be accepted. You have to respect the game and the place.”\u003c/p>\n\u003cp>\u003cstrong>Frequent and Widespread Sexist Questions \u003c/strong>\u003c/p>\n\u003cp>Getting players to twirl isn’t the only way female players are treated differently to their male counterparts by sports journalists. After a 2015 incident in which Serena Williams was asked why she wasn’t smiling, three Cornell computer scientists starting \u003ca href=\"https://www.nytimes.com/2017/09/08/upshot/sexism-and-shopping-female-players-get-most-of-the-odd-questions-at-the-us-open.html\" target=\"_blank\" rel=\"noopener noreferrer\">researching sexist double standards in tennis journalism\u003c/a>. Liye Fu, Lillian Lee and Cristian Danescu-Niculescu-Mizil processed tens of thousands of questions posed to tennis players over a 15-year span. And they found that 70% of non-tennis-related questions were directed at the female players. In addition to sporting queries, women were also asked about manicures, shopping, cooking and many other things the male players were not.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>With all those extra stressors in mind, not only should Naomi Osaka not be penalized for her decision to step back from media duties, she should be held up as an example of what excellent self-care looks like. The way Osaka has been criticized in \u003ca href=\"https://www.huffpost.com/entry/piers-morgan-naomi-osaka-column_n_60b57246e4b0c5658f975583\" target=\"_blank\" rel=\"noopener noreferrer\">some corners of the media\u003c/a> for her decision is a crucial example of why it was so necessary in the first place.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday, the tennis Grand Slams—the French Open, U.S. Open, Wimbledon and Australian Open—released \u003ca href=\"https://www.wimbledon.com/en_GB/news/articles/2021-06-01/2021-06-01_statement_from_the_grand_slam_tournaments_regarding_naomi_osaka.html\" target=\"_blank\" rel=\"noopener noreferrer\">a statement supporting\u003c/a> Naomi Osaka’s decision to withdraw from competition for mental health reasons. It read, in part: “We wish to offer Naomi Osaka our support and assistance in any way possible as she takes time away from the court. She is an exceptional athlete and we look forward to her return as soon as she deems appropriate.”\u003c/p>\n\u003cp>To many onlookers, the sympathetic tone seemed fairly disingenuous coming, as it did, just two days after the organizations threatened Osaka with disqualification and exclusion from future tournaments. That same day—Sunday—the \u003ca href=\"https://www.rolandgarros.com/en-us/article/statement-from-grand-slam-tournaments-regarding-naomi-osaka\" target=\"_blank\" rel=\"noopener noreferrer\">French Open fined\u003c/a> the 23-year-old $15,000 for not wanting to fulfill her press obligations.\u003c/p>\n\u003cp>Osaka had first announced her desire to stop doing press conferences in \u003ca href=\"https://twitter.com/naomiosaka/status/1397665030015959040\" target=\"_blank\" rel=\"noopener noreferrer\">a statement\u003c/a> published to Twitter on May 26. “I’ve often felt that people have no regard for athletes’ mental health and this rings very true whenever I see a press conference or partake in one,” she said.\u003c/p>\n\u003cp>On Monday, she followed that up with a statement of complete \u003ca href=\"https://www.instagram.com/p/CPi9kJHJfxO/\" target=\"_blank\" rel=\"noopener noreferrer\">withdrawal from this year’s French Open\u003c/a>, released via Instagram. It read in part:\u003c/p>\n\u003cblockquote>\u003cp>I have suffered long bouts of depression since the US Open in 2018 and I have had a really hard time coping with that. Anyone that knows me knows I am introverted, and anyone that has seen me at tournaments will notice that I’m often wearing headphones as that helps dull my social anxiety. So here in Paris I was already feeling vulnerable and anxious so I thought it was better to exercise self-care and skip the press conferences … Slams are intense. I’m gonna take some time away from the court now.”\u003c/p>\u003c/blockquote>\n\u003cp>Tennis stars like Venus Williams, Gaël Monfils, \u003ca href=\"https://www.instagram.com/p/CPi9kJHJfxO/\" target=\"_blank\" rel=\"noopener noreferrer\">Sloane Stephens\u003c/a>, \u003ca href=\"https://uk.sports.yahoo.com/news/naomi-osaka-grand-slams-pledge-174317441.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAALhcCW_FtzGIk6TZJxSg-cLzPGiERu0_nXCLyfwE39qMYWoWxz3fU_RYeRyAN0Of5d2Naq65bpykxtJao72KHYcw4tOn2eVFlBFUL38ANX2LjfAauQ-IvWzRGAUohPjtl0HF7Oj72TiP2CsGlOQNo1y75qD0Tb3mHIVMCDTx4-jb\" target=\"_blank\" rel=\"noopener noreferrer\">Boris Becker and Martina Navratilova\u003c/a> have all offered their sympathy and support for Osaka. Monfils, 34, is another tennis pro who has previously expressed mental anguish over media scrutiny. Last February at an Australian Open press conference, he broke down, telling journalists, “I’m already on the ground. You shoot me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While it’s impossible to know all of the elements causing Osaka to take a break from tennis, the pressures on female players—and the scrutiny they’re subjected to—are undoubtedly even more intense than what their male counterparts navigate.\u003c/p>\n\u003cp>To illustrate, here are five times tennis has failed women at the top of their game.\u003c/p>\n\u003cp>\u003cstrong>The Genie Bouchard Twirl\u003c/strong>\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/bekZR7pNYug'\n title='//www.youtube.com/embed/bekZR7pNYug'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>During the 2015 Australian Open, Tennis Australia commentator Ian Cohen greeted a triumphant Bouchard with the question: “Can you give us a twirl and tell us about your outfit?” She was visibly taken aback before obliging, undoubtedly \u003ca href=\"https://www.youtube.com/watch?v=sdZHama6exo\" target=\"_blank\" rel=\"noopener noreferrer\">under pressure\u003c/a> from the awaiting camera and packed arena. Later at a press conference, the first Canadian ever to be ranked in the \u003ca href=\"https://en.wikipedia.org/wiki/Eugenie_Bouchard#Career_statistics\" target=\"_blank\" rel=\"noopener noreferrer\">Top 5 in tennis singles\u003c/a> said: “I’m fine with being asked to twirl if they ask the guys to flex their muscles.”\u003c/p>\n\u003cp>\u003cstrong>Serena Williams Cited for “Verbal Abuse”\u003c/strong>\u003c/p>\n\u003cp>During the 2018 U.S. Open final, Williams was docked a point for receiving coaching signals—something she strongly denied. She was then cited for breaking her racket. Finally, after she demanded an apology from umpire Carlos Ramos—calling him a liar and a thief—she was cited for “verbal abuse” and lost the game because of it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On the court, Williams told the referee: “This is not fair. This has happened to me too many times. There’s a lot of men out here that have said a lot of things worse, and it doesn’t happen to them. Because I’m a woman, you’re going to take that away from me, and that is not right.”\u003c/p>\n\u003cp>Williams wasn’t wrong. Though \u003ca href=\"http://www.cnn.com/2009/SPORT/09/18/tennis.federer.outburst.fine.garner/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Roger Federer\u003c/a>, \u003ca href=\"https://www.latimes.com/archives/la-xpm-1987-09-07-sp-4075-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">John McEnroe\u003c/a> and \u003ca href=\"https://www.upi.com/Archives/1990/08/31/Agassi-fined-3000-for-spitting-and-swearing-at-umpire/5668652075200/\" target=\"_blank\" rel=\"noopener noreferrer\">Andre Agassi\u003c/a> have all received fines for bad language on the court, the expletives they used were significantly worse than anything Williams said. Plus in 1991, there were zero consequences for Jimmy Connors after he repeatedly referred to an umpire as “an abortion.” Andy Murray even got away with kicking a ball at an umpire’s head in 2016—surely a luxury that would never have been afforded to a Black woman. Regardless, the International Tennis Federation later defended the decisions of Ramos and the referee, and docked Williams a combined $17,000 for all three code violations.\u003c/p>\n\u003cp>\u003cstrong>Alizé Cornet Given Code Violation For Fixing Shirt\u003c/strong>\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/N4zcvg0Q23I'\n title='//www.youtube.com/embed/N4zcvg0Q23I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2018, the day after tennis fans had sat and watched male player \u003ca href=\"https://ftw.usatoday.com/2018/09/novak-djokovic-john-millman-us-open-tennis-clothing-change-heat-shirtless-gif\" target=\"_blank\" rel=\"noopener noreferrer\">Novak Djokovic\u003c/a> sit completely shirtless on the court, Alizé Cornet was \u003ca href=\"https://www.glamour.com/story/tennis-player-alize-cornet-penalized-for-fixing-shirt-on-court-at-2018-us-open\" target=\"_blank\" rel=\"noopener noreferrer\">hit with a code violation\u003c/a> from an umpire for trying to fix her top. Having realized she was wearing her shirt backwards after a break, Cornet quickly flipped it and was subsequently given a verbal warning, much to her surprise. The following day, the U.S. Open released a statement, at least, saying they regretted the citation.\u003c/p>\n\u003cp>\u003cstrong>The Serena Williams Catsuit Ban\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13898131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/GettyImages-966119140-800x533.jpg\" alt=\"Serena Williams in her now-banned catsuit at the 2018 French Open in Paris.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/GettyImages-966119140-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/GettyImages-966119140-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/GettyImages-966119140-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/GettyImages-966119140-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/GettyImages-966119140-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/GettyImages-966119140-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/GettyImages-966119140-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Serena Williams in her now-banned catsuit at the 2018 French Open in Paris. \u003ccite>(Cameron Spencer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2018, on the heels of winning the Australian Open \u003cem>and\u003c/em> having a baby, Serena Williams arrived on the court in Paris wearing a sleek and practical black Nike catsuit. Despite being an immediate hit with fans, French Tennis Federation president Bernard Giudicelli told \u003cem>Tennis Magazine\u003c/em> that the catsuit would not be permitted in future. “I think we sometimes went too far,” he said two months later. “It will no longer be accepted. You have to respect the game and the place.”\u003c/p>\n\u003cp>\u003cstrong>Frequent and Widespread Sexist Questions \u003c/strong>\u003c/p>\n\u003cp>Getting players to twirl isn’t the only way female players are treated differently to their male counterparts by sports journalists. After a 2015 incident in which Serena Williams was asked why she wasn’t smiling, three Cornell computer scientists starting \u003ca href=\"https://www.nytimes.com/2017/09/08/upshot/sexism-and-shopping-female-players-get-most-of-the-odd-questions-at-the-us-open.html\" target=\"_blank\" rel=\"noopener noreferrer\">researching sexist double standards in tennis journalism\u003c/a>. Liye Fu, Lillian Lee and Cristian Danescu-Niculescu-Mizil processed tens of thousands of questions posed to tennis players over a 15-year span. And they found that 70% of non-tennis-related questions were directed at the female players. In addition to sporting queries, women were also asked about manicures, shopping, cooking and many other things the male players were not.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With all those extra stressors in mind, not only should Naomi Osaka not be penalized for her decision to step back from media duties, she should be held up as an example of what excellent self-care looks like. The way Osaka has been criticized in \u003ca href=\"https://www.huffpost.com/entry/piers-morgan-naomi-osaka-column_n_60b57246e4b0c5658f975583\" target=\"_blank\" rel=\"noopener noreferrer\">some corners of the media\u003c/a> for her decision is a crucial example of why it was so necessary in the first place.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Thirty Years After ‘Thelma & Louise,’ Feminist Revenge Movie Endings Still Suck",
"headTitle": "Thirty Years After ‘Thelma & Louise,’ Feminist Revenge Movie Endings Still Suck | KQED",
"content": "\u003cp>Spoiler alert: You’re about to hear, in detail, the endings of the movies \u003cem>Promising Young Woman\u003c/em> and \u003cem>Things Heard and Seen\u003c/em>. If you don’t want to, please leave now.\u003c/p>\n\u003cp>I’m about to talk about the ending of \u003cem>Thelma & Louise\u003c/em> too, but if you still haven’t seen that, this probably isn’t the essay for you. The movie turned 30 on May 24 and is, at this point, woven deep into the American consciousness. Who could ever forget the image of the brand-new outlaws driving that ’66 T-Bird into the Grand Canyon, hands locked together in united defiance? Women who would rather die a fiery death on their own terms than live under the thumbs of any more men. It’s an iconic ending to an unerringly feminist movie.\u003c/p>\n\u003cp>And I absolutely hate it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=66CP-pq7Cx0\u003c/p>\n\u003cp>Allow me to give my ire some context. In \u003cem>Thelma & Louise\u003c/em>, the titular characters are on the run after Louise murders a man who is in the process of violently raping Thelma. (We find out later that Louise had, some years earlier, herself survived a deeply traumatizing sexual assault.) After Louise’s life savings are stolen by a hitchhiker who Thelma spends the night with, Thelma robs a convenience store in order to get gas money. The friends then blow up the truck of a man who is persistently sexually harassing them as they desperately try to reach Mexico.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These outlaws aren’t just easy to root for, they offer wish fulfillment to every woman watching. Then, after a few days of living free for the first time in their entire lives, and discovering strength they never knew they had, they just… \u003cem>die\u003c/em>.\u003c/p>\n\u003cp>[aside postid='pop_105090']Imagine, for a moment, how you’d feel if, at the end of \u003cem>The Shawshank Redemption\u003c/em>, instead of making it to Zihuatanejo, Andy and Red just died instead? Right at the moment when they were almost free, no less. Well, that’s how I feel every time I watch \u003cem>Thelma & Louise\u003c/em>. I also think about this every time I watch \u003cem>True Romance\u003c/em> and see that even Clarence and Alabama Worley got to their beach in time. Why is it, I wonder, that Thelma and Louise are denied the happy ending granted to other pop culture outlaws?\u003c/p>\n\u003cp>Two movies released in the last six months offer some answers. The first is \u003cem>Things Heard and Seen\u003c/em>, a supernatural thriller set in 1980 and starring Amanda Seyfried. The second is \u003cem>Promising Young Woman\u003c/em>, one of the most talked about movies of the last year, starring Carey Mulligan. Like \u003cem>Thelma & Louise\u003c/em>, both of these films are driven by feminist themes. And like \u003cem>Thelma & Louise\u003c/em>, they both end with our heroines dying brutal, untimely deaths.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HCAaonjgDEA\u003c/p>\n\u003cp>In \u003cem>Things Heard and Seen\u003c/em>, Seyfried’s character, Catherine, abandons a rewarding career and relocates to upstate New York at the behest of her (cheating, gaslighting) husband, George. The two move into an old farmhouse where supernatural events occur nightly. Catherine soon comes to find that the house has borne witness to two separate incidents of femicide at the hands of violent husbands.\u003c/p>\n\u003cp>After seeing that Catherine is having a hard time advocating for herself, Catherine’s assertive new friend Justine invites her to a women’s group. George objects to this kind of female solidarity. Then, after Justine finds out that George is having an affair \u003cem>and\u003c/em> that he got his job through fraudulent means, he runs her car off the road, leaving her in a coma. When Catherine finally reaches her breaking point and readies herself to leave him, George drugs Catherine and kills her with an axe.\u003c/p>\n\u003cp>[aside postid='pop_112098']One of the most startling things about this conclusion is that the viewer is supposed to find some semblance of satisfaction in the aftermath of Catherine’s gory murder. We see her spirit join forces with the ghost of the last woman murdered in the house, to make sure that George doesn’t get away. They wake Justine from her coma so she can tell police what George did. Then they guide a sailboat carrying an escaping George into the eye of a storm, and to his certain death.\u003c/p>\n\u003cp>Writer/director \u003ca href=\"https://www.imdb.com/name/nm0075849/\" target=\"_blank\" rel=\"noopener noreferrer\">Shari Springer Berman\u003c/a> told \u003cem>Decider\u003c/em> that she viewed the movie’s message as empowering. “I was excited to make a film where we showed a woman trying to find her voice, and to get her voice with the help of some very unexpected allies.”\u003c/p>\n\u003cp>That’s all well and good, but in \u003cem>Things Heard and Seen\u003c/em>—just as in \u003cem>Thelma & Louise\u003c/em>—the punishment for a woman seeking liberation is death. The fact that the movie asks us to celebrate this outcome because it results in the punishment of a sociopath is fairly astonishing. Even more so because it’s also exactly what happens at the end of \u003cem>Promising Young Woman\u003c/em>.\u003c/p>\n\u003cp>For the first half of its narrative, \u003cem>Promising Young Woman\u003c/em>—also like \u003cem>Thelma & Louise\u003c/em>—offers wish fulfillment for women. When we meet her, Cassie is already wide awake to life’s misogynistic realities. She has been since her best friend Nina’s rape and subsequent suicide in college. Now, in a defiant expression of vengeance, Cassie goes to clubs alone, acts inebriated and waits for a “nice guy” to help her. Once these men try to take physical advantage of her (and they always do), Cassie snaps awake and teaches them a lesson.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7i5kiFDunk8\u003c/p>\n\u003cp>One of \u003cem>Promising Young Woman\u003c/em>’s great successes is in its portrayal of predators. These are not outwardly creepy, drooling boogie men. They are men who look and act, on the surface at least, like people you know. Driving the point home further is the fact that each of them is played by a beloved comic actor—\u003ca href=\"https://www.imdb.com/name/nm3931538/?ref_=tt_cl_t3\" target=\"_blank\" rel=\"noopener noreferrer\">Sam Richardson\u003c/a>, \u003ca href=\"https://www.imdb.com/name/nm0111013/?ref_=tt_cl_t1\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Brody\u003c/a>, and \u003ca href=\"https://www.imdb.com/name/nm0339011/?ref_=ttfc_fc_cl_t23\" target=\"_blank\" rel=\"noopener noreferrer\">Max Greenfield\u003c/a> all appear. This, the movie quietly informs the men watching, is why women live in fear. It’s impossible to tell the difference between the nice guys and the would-be rapists until it’s too late.\u003c/p>\n\u003cp>It is when Cassie tries to exact revenge on Al, the man who raped Nina, that the narrative goes wildly awry. Al manages to get free from Cassie’s handcuffs and murders her; smothering her to death before callously burning her body. It’s a vicious and deeply disappointing end for a realistically flawed character who simply wanted to feel some semblance of justice in her lifetime. Similar to \u003cem>Things Heard and Seen\u003c/em>, the viewer is supposed to find subsequent relief from the fact that Cassie’s death sets off a chain of events that results in the arrest of Nina’s rapist—this time, for murder.\u003c/p>\n\u003cp>[aside postid='pop_103560']\u003ca href=\"https://variety.com/2020/film/news/promising-young-woman-carey-mulligan-emerald-fennell-1234848775/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a> called \u003cem>Promising Young Woman\u003c/em> “the most audacious, feminist movie of the year.” And the \u003cem>New York Times\u003c/em> declared that problematic ending “the movie’s most authentic moment… \u003cem>Promising Young Woman\u003c/em> isn’t a revenge fantasy so much as a sad tale of warped grief and blazing fury.”\u003c/p>\n\u003cp>Last December, director \u003ca href=\"https://www.harpersbazaar.com/culture/film-tv/a35045490/promising-young-woman-ending-explained/\" target=\"_blank\" rel=\"noopener noreferrer\">Emerald Fennel told \u003cem>Harper’s Bazaar\u003c/em>\u003c/a>: “It was the only ending that felt real to me … That’s not to say it’s not incredibly devastating and grueling to watch. But I just couldn’t see it any other way. I wish I could! I wish I could have let myself, and everybody else, off the hook, because there is, of course, a hypothetical alternative ending to this movie that is incredibly satisfying.”\u003c/p>\n\u003cp>And Fennel made a conscious decision not to give it to us. Because when it comes to revenge movies, women aren’t ever truly allowed off the hook. Traditional rape-revenge movies—think \u003ca href=\"https://www.imdb.com/title/tt1242432/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I Spit on Your Grave\u003c/em>\u003c/a>, and yes, even 2017’s much-lauded \u003ca href=\"https://www.kqed.org/pop/103560/revenge-is-marketed-as-a-metoo-movie-but-is-actually-part-of-the-problem\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Revenge\u003c/em>\u003c/a>—are either too exploitative or too triggering to provide many women in the audience a real escape. \u003ca href=\"https://www.imdb.com/title/tt0278435/?ref_=nv_sr_srsg_5\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Enough\u003c/em>\u003c/a> is too long of a slog for too quick of a payoff. And Olivia Wilde’s \u003ca href=\"https://www.imdb.com/title/tt6211976/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Vigilante\u003c/em>\u003c/a> provides some catharsis in the story arc, but is so relentlessly bleak throughout, it’s not something you’d ever stage a girls’ night around.\u003c/p>\n\u003cp>It has taken Hollywood three decades to give women another revenge spree movie we could have a little fun with. But just as \u003cem>Thelma & Louise\u003c/em> refused to allow our heroines to get away with it, even the candy-colored, sometimes comedic \u003cem>Promising Young Woman\u003c/em> denied us as well.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Women don’t need realistic endings to feminist revenge movies; we need endings that give us a respite from the frightening statistics about \u003ca href=\"https://ncadv.org/STATISTICS\" target=\"_blank\" rel=\"noopener noreferrer\">rape\u003c/a> and \u003ca href=\"https://now.org/resource/violence-against-women-in-the-united-states-statistic/\" target=\"_blank\" rel=\"noopener noreferrer\">intimate partner violence\u003c/a> and \u003ca href=\"https://www.rainn.org/statistics/criminal-justice-system\" target=\"_blank\" rel=\"noopener noreferrer\">injustice\u003c/a> that swirl in our brains on a loop. That we still haven’t been granted that relief, even three decades after \u003cem>Thelma & Louise\u003c/em> won the Oscar for best screenplay, isn’t just depressing, it’s an indication of how much further we still have to go.\u003c/p>\n\n",
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"excerpt": "The feminist classic turns 30 this month, but movies still haven't figured out how to liberate women without also punishing them.",
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"title": "Thirty Years After ‘Thelma & Louise,’ Feminist Revenge Movie Endings Still Suck | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spoiler alert: You’re about to hear, in detail, the endings of the movies \u003cem>Promising Young Woman\u003c/em> and \u003cem>Things Heard and Seen\u003c/em>. If you don’t want to, please leave now.\u003c/p>\n\u003cp>I’m about to talk about the ending of \u003cem>Thelma & Louise\u003c/em> too, but if you still haven’t seen that, this probably isn’t the essay for you. The movie turned 30 on May 24 and is, at this point, woven deep into the American consciousness. Who could ever forget the image of the brand-new outlaws driving that ’66 T-Bird into the Grand Canyon, hands locked together in united defiance? Women who would rather die a fiery death on their own terms than live under the thumbs of any more men. It’s an iconic ending to an unerringly feminist movie.\u003c/p>\n\u003cp>And I absolutely hate it.\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/66CP-pq7Cx0'\n title='//www.youtube.com/embed/66CP-pq7Cx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Allow me to give my ire some context. In \u003cem>Thelma & Louise\u003c/em>, the titular characters are on the run after Louise murders a man who is in the process of violently raping Thelma. (We find out later that Louise had, some years earlier, herself survived a deeply traumatizing sexual assault.) After Louise’s life savings are stolen by a hitchhiker who Thelma spends the night with, Thelma robs a convenience store in order to get gas money. The friends then blow up the truck of a man who is persistently sexually harassing them as they desperately try to reach Mexico.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These outlaws aren’t just easy to root for, they offer wish fulfillment to every woman watching. Then, after a few days of living free for the first time in their entire lives, and discovering strength they never knew they had, they just… \u003cem>die\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Imagine, for a moment, how you’d feel if, at the end of \u003cem>The Shawshank Redemption\u003c/em>, instead of making it to Zihuatanejo, Andy and Red just died instead? Right at the moment when they were almost free, no less. Well, that’s how I feel every time I watch \u003cem>Thelma & Louise\u003c/em>. I also think about this every time I watch \u003cem>True Romance\u003c/em> and see that even Clarence and Alabama Worley got to their beach in time. Why is it, I wonder, that Thelma and Louise are denied the happy ending granted to other pop culture outlaws?\u003c/p>\n\u003cp>Two movies released in the last six months offer some answers. The first is \u003cem>Things Heard and Seen\u003c/em>, a supernatural thriller set in 1980 and starring Amanda Seyfried. The second is \u003cem>Promising Young Woman\u003c/em>, one of the most talked about movies of the last year, starring Carey Mulligan. Like \u003cem>Thelma & Louise\u003c/em>, both of these films are driven by feminist themes. And like \u003cem>Thelma & Louise\u003c/em>, they both end with our heroines dying brutal, untimely deaths.\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/HCAaonjgDEA'\n title='//www.youtube.com/embed/HCAaonjgDEA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In \u003cem>Things Heard and Seen\u003c/em>, Seyfried’s character, Catherine, abandons a rewarding career and relocates to upstate New York at the behest of her (cheating, gaslighting) husband, George. The two move into an old farmhouse where supernatural events occur nightly. Catherine soon comes to find that the house has borne witness to two separate incidents of femicide at the hands of violent husbands.\u003c/p>\n\u003cp>After seeing that Catherine is having a hard time advocating for herself, Catherine’s assertive new friend Justine invites her to a women’s group. George objects to this kind of female solidarity. Then, after Justine finds out that George is having an affair \u003cem>and\u003c/em> that he got his job through fraudulent means, he runs her car off the road, leaving her in a coma. When Catherine finally reaches her breaking point and readies herself to leave him, George drugs Catherine and kills her with an axe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One of the most startling things about this conclusion is that the viewer is supposed to find some semblance of satisfaction in the aftermath of Catherine’s gory murder. We see her spirit join forces with the ghost of the last woman murdered in the house, to make sure that George doesn’t get away. They wake Justine from her coma so she can tell police what George did. Then they guide a sailboat carrying an escaping George into the eye of a storm, and to his certain death.\u003c/p>\n\u003cp>Writer/director \u003ca href=\"https://www.imdb.com/name/nm0075849/\" target=\"_blank\" rel=\"noopener noreferrer\">Shari Springer Berman\u003c/a> told \u003cem>Decider\u003c/em> that she viewed the movie’s message as empowering. “I was excited to make a film where we showed a woman trying to find her voice, and to get her voice with the help of some very unexpected allies.”\u003c/p>\n\u003cp>That’s all well and good, but in \u003cem>Things Heard and Seen\u003c/em>—just as in \u003cem>Thelma & Louise\u003c/em>—the punishment for a woman seeking liberation is death. The fact that the movie asks us to celebrate this outcome because it results in the punishment of a sociopath is fairly astonishing. Even more so because it’s also exactly what happens at the end of \u003cem>Promising Young Woman\u003c/em>.\u003c/p>\n\u003cp>For the first half of its narrative, \u003cem>Promising Young Woman\u003c/em>—also like \u003cem>Thelma & Louise\u003c/em>—offers wish fulfillment for women. When we meet her, Cassie is already wide awake to life’s misogynistic realities. She has been since her best friend Nina’s rape and subsequent suicide in college. Now, in a defiant expression of vengeance, Cassie goes to clubs alone, acts inebriated and waits for a “nice guy” to help her. Once these men try to take physical advantage of her (and they always do), Cassie snaps awake and teaches them a lesson.\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/7i5kiFDunk8'\n title='//www.youtube.com/embed/7i5kiFDunk8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of \u003cem>Promising Young Woman\u003c/em>’s great successes is in its portrayal of predators. These are not outwardly creepy, drooling boogie men. They are men who look and act, on the surface at least, like people you know. Driving the point home further is the fact that each of them is played by a beloved comic actor—\u003ca href=\"https://www.imdb.com/name/nm3931538/?ref_=tt_cl_t3\" target=\"_blank\" rel=\"noopener noreferrer\">Sam Richardson\u003c/a>, \u003ca href=\"https://www.imdb.com/name/nm0111013/?ref_=tt_cl_t1\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Brody\u003c/a>, and \u003ca href=\"https://www.imdb.com/name/nm0339011/?ref_=ttfc_fc_cl_t23\" target=\"_blank\" rel=\"noopener noreferrer\">Max Greenfield\u003c/a> all appear. This, the movie quietly informs the men watching, is why women live in fear. It’s impossible to tell the difference between the nice guys and the would-be rapists until it’s too late.\u003c/p>\n\u003cp>It is when Cassie tries to exact revenge on Al, the man who raped Nina, that the narrative goes wildly awry. Al manages to get free from Cassie’s handcuffs and murders her; smothering her to death before callously burning her body. It’s a vicious and deeply disappointing end for a realistically flawed character who simply wanted to feel some semblance of justice in her lifetime. Similar to \u003cem>Things Heard and Seen\u003c/em>, the viewer is supposed to find subsequent relief from the fact that Cassie’s death sets off a chain of events that results in the arrest of Nina’s rapist—this time, for murder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://variety.com/2020/film/news/promising-young-woman-carey-mulligan-emerald-fennell-1234848775/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a> called \u003cem>Promising Young Woman\u003c/em> “the most audacious, feminist movie of the year.” And the \u003cem>New York Times\u003c/em> declared that problematic ending “the movie’s most authentic moment… \u003cem>Promising Young Woman\u003c/em> isn’t a revenge fantasy so much as a sad tale of warped grief and blazing fury.”\u003c/p>\n\u003cp>Last December, director \u003ca href=\"https://www.harpersbazaar.com/culture/film-tv/a35045490/promising-young-woman-ending-explained/\" target=\"_blank\" rel=\"noopener noreferrer\">Emerald Fennel told \u003cem>Harper’s Bazaar\u003c/em>\u003c/a>: “It was the only ending that felt real to me … That’s not to say it’s not incredibly devastating and grueling to watch. But I just couldn’t see it any other way. I wish I could! I wish I could have let myself, and everybody else, off the hook, because there is, of course, a hypothetical alternative ending to this movie that is incredibly satisfying.”\u003c/p>\n\u003cp>And Fennel made a conscious decision not to give it to us. Because when it comes to revenge movies, women aren’t ever truly allowed off the hook. Traditional rape-revenge movies—think \u003ca href=\"https://www.imdb.com/title/tt1242432/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I Spit on Your Grave\u003c/em>\u003c/a>, and yes, even 2017’s much-lauded \u003ca href=\"https://www.kqed.org/pop/103560/revenge-is-marketed-as-a-metoo-movie-but-is-actually-part-of-the-problem\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Revenge\u003c/em>\u003c/a>—are either too exploitative or too triggering to provide many women in the audience a real escape. \u003ca href=\"https://www.imdb.com/title/tt0278435/?ref_=nv_sr_srsg_5\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Enough\u003c/em>\u003c/a> is too long of a slog for too quick of a payoff. And Olivia Wilde’s \u003ca href=\"https://www.imdb.com/title/tt6211976/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Vigilante\u003c/em>\u003c/a> provides some catharsis in the story arc, but is so relentlessly bleak throughout, it’s not something you’d ever stage a girls’ night around.\u003c/p>\n\u003cp>It has taken Hollywood three decades to give women another revenge spree movie we could have a little fun with. But just as \u003cem>Thelma & Louise\u003c/em> refused to allow our heroines to get away with it, even the candy-colored, sometimes comedic \u003cem>Promising Young Woman\u003c/em> denied us as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Women don’t need realistic endings to feminist revenge movies; we need endings that give us a respite from the frightening statistics about \u003ca href=\"https://ncadv.org/STATISTICS\" target=\"_blank\" rel=\"noopener noreferrer\">rape\u003c/a> and \u003ca href=\"https://now.org/resource/violence-against-women-in-the-united-states-statistic/\" target=\"_blank\" rel=\"noopener noreferrer\">intimate partner violence\u003c/a> and \u003ca href=\"https://www.rainn.org/statistics/criminal-justice-system\" target=\"_blank\" rel=\"noopener noreferrer\">injustice\u003c/a> that swirl in our brains on a loop. That we still haven’t been granted that relief, even three decades after \u003cem>Thelma & Louise\u003c/em> won the Oscar for best screenplay, isn’t just depressing, it’s an indication of how much further we still have to go.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "ok-but-what-is-solidarity",
"title": "OK, But... What Is Solidarity?",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>olidarity: it’s a loaded term. Convoluted and nuanced, very important in concept, definitely overused as an expression, and not always highlighted when practiced.\u003c/p>\n\u003cp>But the \u003cem>practice\u003c/em> of solidarity is a normal part of co-existing with each other. Right?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Solidarity has been on my mind a lot lately, especially in regard to violence, the Asian community, the African American community and policing.\u003c/p>\n\u003cp>Earlier this week, Congress passed \u003ca href=\"https://www.npr.org/2021/05/18/997847571/congress-passes-bill-to-counter-the-rise-in-anti-asian-hate-crimes\" target=\"_blank\" rel=\"noopener noreferrer\">the COVID-19 Hate Crimes Act\u003c/a>, a federal bill created to help further document and ultimately curb instances of anti-Asian hate crimes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The legislation passed with rare bipartisan support, a clear response to what \u003ca href=\"https://stopaapihate.org/national-report-through-march-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Stop AAPI Hate\u003c/a>‘s website shows as an increase in anti-Asian violence reported across the board—verbal, physical and online. The majority of the reports come from California, including the \u003ca href=\"https://www.npr.org/2021/05/05/994055360/man-arrested-in-san-francisco-stabbing-of-2-asian-women\" target=\"_blank\" rel=\"noopener noreferrer\">stabbing of two older Asian women in San Francisco\u003c/a> earlier this month.\u003c/p>\n\u003cp>But the details about hate crimes and they way they’re punished require nuance. A recent episode of \u003ca href=\"https://www.kqed.org/news/11872804/with-calls-to-stopaapihate-are-more-hate-crime-laws-the-solution\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay\u003c/a> podcast illustrates some issues with the current legal definition of “hate crimes”—that they’re an accessory to another charge, for example, and often hard to identify as a motive.\u003c/p>\n\u003cp>And about those motives: who are the perpetrators in each case, and what’s the reason for their actions? This has brought up discussions about violence manifesting as a \u003ca href=\"https://www.elle.com/culture/career-politics/a35635188/anti-asian-racism-history-violence/\" target=\"_blank\" rel=\"noopener noreferrer\">form of white supremacy\u003c/a>, as well as the notion that African Americans are targeting Asians.\u003c/p>\n\u003cfigure id=\"attachment_13894382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894382\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Image-from-iOS-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2.jpg 1620w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of demonstrators hold signs that say, “Stop Asian Hate” during a vigil and rally in San Francisco’s Chinatown on March 20, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I read a piece about the \u003ca href=\"https://www.vox.com/22321234/black-asian-american-tensions-solidarity-history\" target=\"_blank\" rel=\"noopener noreferrer\">historical division between the two groups\u003c/a>, revisited reports on the killing of Latasha Harlins and the death of Vincent Chin. I revisited \u003ca href=\"https://youtu.be/cDp38sltic8?t=365\" target=\"_blank\" rel=\"noopener noreferrer\">this quote\u003c/a> from the late Mike “Dream” Francisco about Southeast Asian folks getting into the same street life that Black and Brown folks find themselves in, because of similar struggles. I even thought back to my experience, and how the first person in my circle to die of violence was a middle-school friend named Norro, who was Cambodian.\u003c/p>\n\u003cp>Over the past two months I’ve participated in two panel discussions about violence in the community and kept tabs on the uptick in violence in inner-cities across America. In Oakland, where today the city counted its \u003ca href=\"https://www.eastbaytimes.com/2021/05/20/man-fatally-shot-in-east-oakland-41/\" target=\"_blank\" rel=\"noopener noreferrer\">53rd homicide\u003c/a> of the year, the issue of violence runs far deeper than any panel discussion can possibly dig.\u003c/p>\n\u003cp>Add to that the tug o’ war between those who believe in defunding police and those who say there should be an increase in police department funding, \u003ca href=\"https://oaklandside.org/2021/02/12/oakland-chinatown-policing-hate-crimes-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">specifically as a reaction to anti-Asian violence\u003c/a>. And of course, that intertwines with the topic of \u003ca href=\"https://www.kqed.org/arts/13896306/public-safety-for-asian-americans-starts-with-nurturing-our-communities\" target=\"_blank\" rel=\"noopener noreferrer\">other public safety resources\u003c/a> for community members.\u003c/p>\n\u003cp>Now you see why it’s a lot to think about.\u003c/p>\n\u003cp>But late last month, doing a little art in community made it all so simple.\u003c/p>\n\u003cfigure id=\"attachment_13897594\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897594\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/DSC00207-800x535.jpg\" alt=\"Malik Seneferu works on a mural in Oakland's Chinatown.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malik Seneferu works on a mural in Oakland’s Chinatown. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>t Madison Park in Oakland’s Chinatown, I talked to artist \u003ca href=\"https://www.cececarpio.com/\">Cece Carpio\u003c/a> as she and my daughter painted what she described as a “diver being swallowed by a sea monster.”\u003c/p>\n\u003cp>Cece explained that she’s juggling a lot right now: her day job connecting people to resources during the pandemic through the City of San Francisco’s COVID relief task force, working through the planning stages of a new 100-foot mural that she’s set to paint later this year on the side of the Luggage Store gallery in San Francisco’s Tenderloin, and creating community events, like this one.\u003c/p>\n\u003cp>Cece worked along with Tommy Wong of \u003ca href=\"https://www.instagram.com/civicdesignstudio510/\" target=\"_blank\" rel=\"noopener noreferrer\">Civic Design Studio\u003c/a> and \u003ca href=\"https://www.instagram.com/goodgoodeatz/\" target=\"_blank\" rel=\"noopener noreferrer\">Good Good Eatz\u003c/a> to organize the \u003ca href=\"https://www.instagram.com/p/CNYcx0rBjws/\" target=\"_blank\" rel=\"noopener noreferrer\">Love And Protect: Community Mural Series.\u003c/a> They were also part of the dozen-plus professional artists painting alongside community members. This meant my daughter was throwing up paint with the likes of published illustrator \u003ca href=\"https://twitter.com/RobertTres\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Liu-Trujillo\u003c/a> and the first woman member of the Black Panther Party, \u003ca href=\"http://www.theblackwomanisgod.com/artists/jtlewis\" target=\"_blank\" rel=\"noopener noreferrer\">Joan Tarika Lewis\u003c/a>.[aside postID='arts_13868732']\u003c/p>\n\u003cp>Backed by \u003ca href=\"https://linktr.ee/asians4blklives/\">Asians 4 Black Lives\u003c/a>,\u003ca href=\"https://www.instagram.com/curyj510/\"> CuryJ\u003c/a>, the \u003ca href=\"https://www.instagram.com/oakchinatowncoalition/\">Oakland Chinatown Coalition\u003c/a>,\u003ca href=\"https://www.instagram.com/trustyourstruggle/\"> Trust Your Struggle\u003c/a> and more community organizations, the event was focused on showing solidarity through visual arts.\u003c/p>\n\u003cp>The intention wasn’t just to heal those impacted by violence against members of the Asian community, but to also continue to \u003ca href=\"https://www.kqed.org/arts/13895462/in-oakland-building-black-and-asian-solidarity-at-the-street-level\" target=\"_blank\" rel=\"noopener noreferrer\">dispel the notion\u003c/a> that it’s a ‘Black versus Asian’ thing happening in the Bay Area, and across the nation, Cece said.\u003c/p>\n\u003cp>Emory Douglas, Black Panther Party Minister of Culture, was also at the park that day, and a few days later we discussed the idea of solidarity.\u003c/p>\n\u003cp>“It’s an ongoing process,” Douglas told me during a phone call.\u003c/p>\n\u003cp>Douglas grew up in community with Asian groups in the ’60s and ’70s. He used to shoot pool with the Red Guard in Chinatown, and when it was time to stand together for social justice issues, they did so. He says he’s clear on the historical context of Black solidarity with the Asian community. And he’s clear that former President Trump’s anti-Asian statements about the spread of COVID-19 have fanned the flames contributing to the rise in hate crimes over the past year.\u003c/p>\n\u003cp>Now, Emory Douglas is banking on the next generation to take the concept of solidarity a bit further.\u003c/p>\n\u003cp>“You have young people, very progressive people,” says Douglas, “who are becoming more aware and less culturally conditioned to ‘the tradition,’ and are living more in the context of solidarity. They’re transcending the idea of just thinking about themselves, and becoming aware of what’s going on in the real world.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13897593\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/IMG_4976-2-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_4976-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_4976-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_4976-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_4976-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_4976-2.jpg 1344w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Sharing equal footing as racial solidarity during that weekend in Oakland’s Chinatown was the theme of intergenerational solidarity.\u003c/p>\n\u003cp>“It’s a real honor to show up when my elders, especially my mom, invites me to show up,” said Elokin Orton-Cheung, an herbalist who painted with their mother on the canvas next to my daughter and me.\u003c/p>\n\u003cp>Ming Mur-Ray, an artist and Elokin’s mother, told me she was surprised by the turnout. “I’m moved to see the seniors from Harrison Senior Housing came out and participated,” said Ming, noting that four out of eight members of the group she works with showed up.\u003c/p>\n\u003cp>For the residents of senior housing, a fear of simply walking down the sidewalk is warranted, given the street attacks on Asian elders. But participation in an anti-Asian violence event was clearly important enough to take the risk. “One person came back on Sunday, by herself,” said Ming. “Because she wrote a word wrong, so she painted it over and corrected it.”\u003c/p>\n\u003cfigure id=\"attachment_13897598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/SOlidarity.MAIN_-800x600.jpg\" alt=\"A collection of completed murals in Oakland's Chinatown. The murals, meant to be portable, are currently moving from location to location.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collection of completed murals in Oakland’s Chinatown. The murals, meant to be portable, are currently moving from location to location. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elokin explained that events like this build on years and of community organizing, but there’s something different when art is the focus. “We’ve been coming together for vigils and protests, and coming together for loss of life in our community, but coming together to celebrate—coming together for sacredness in Black and Asian communities—is really beautiful.”\u003c/p>\n\u003cp>That day in the park I watched San Francisco muralist \u003ca href=\"https://www.instagram.com/lileli82/\">Elaine Chu\u003c/a> paint one canvas, and TDK’s \u003ca href=\"https://www.instagram.com/agentdecoy/\" target=\"_blank\" rel=\"noopener noreferrer\">Spie \u003c/a>prep his aerosol cans for action on another. Not far from us, \u003ca href=\"https://www.instagram.com/karen_seneferu/\" target=\"_blank\" rel=\"noopener noreferrer\">Karen Seneferu\u003c/a> and \u003ca href=\"https://www.instagram.com/maliksart/\" target=\"_blank\" rel=\"noopener noreferrer\">Malik Seneferu\u003c/a> were already putting a regal shade of purple paint on a canvas.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/theletterthi/\">Thitiwat Phromratanapongse \u003c/a>introduced himself as T and took a break from painting to pass me a towel. He’d overheard me joking that I was going to dip my daughter in Lake Merritt to wash her off—the paint she’d used to create her fictional sea monster and diver had also consumed her outfit.\u003c/p>\n\u003cp>A few people wore shirts that read “unity” in several different languages. Images of tigers and panthers were painted. In the middle of the labyrinth permanently marked on the park’s blacktop stood an altar.\u003c/p>\n\u003cp>Well, if this isn’t “solidarity,” what is?\u003c/p>\n\u003cfigure id=\"attachment_13897597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/DSC00247-800x535.jpg\" alt=\"Flowers and a small altar at the center of a Black and Asian solidarity event in Oakland's Chinatown.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flowers and a small altar at the center of a Black and Asian solidarity event in Oakland’s Chinatown. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">J\u003c/span>ust last week, the 6-foot by 6-foot canvases, about 17 of them, were mounted in various businesses in Old Oakland, many of them in old Swan’s Market. A significant place for the artwork, as Cece Carpio points out, that area was once a part of the old Chinatown.\u003c/p>\n\u003cp>“For me, solidarity is very simple,” Carpio explained recently. “It’s how we co-exist.” Bingo. Simply coexisting, and knowing that as a human, there are certain expectations for existence.\u003c/p>\n\u003cp>Cece elaborated: “What are common grounds? What are collective decisions? What is collective hope? And what is our collective experience?”\u003c/p>\n\u003cp>A series of questions that might lead to confusion, but ends with two specific thoughts: What is it we want to see collectively? And how do we work collaboratively, pursuing this vision of the world we want to live in?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Using our respective communities as an example, Cece said, “We have different languages, different cultures, we eat different food. But essentially, we come together. In the same way there are common race and class struggles, there are similarities. In our collective visions, our collective goal is to live in equity, to live in justice.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>olidarity: it’s a loaded term. Convoluted and nuanced, very important in concept, definitely overused as an expression, and not always highlighted when practiced.\u003c/p>\n\u003cp>But the \u003cem>practice\u003c/em> of solidarity is a normal part of co-existing with each other. Right?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Solidarity has been on my mind a lot lately, especially in regard to violence, the Asian community, the African American community and policing.\u003c/p>\n\u003cp>Earlier this week, Congress passed \u003ca href=\"https://www.npr.org/2021/05/18/997847571/congress-passes-bill-to-counter-the-rise-in-anti-asian-hate-crimes\" target=\"_blank\" rel=\"noopener noreferrer\">the COVID-19 Hate Crimes Act\u003c/a>, a federal bill created to help further document and ultimately curb instances of anti-Asian hate crimes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The legislation passed with rare bipartisan support, a clear response to what \u003ca href=\"https://stopaapihate.org/national-report-through-march-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Stop AAPI Hate\u003c/a>‘s website shows as an increase in anti-Asian violence reported across the board—verbal, physical and online. The majority of the reports come from California, including the \u003ca href=\"https://www.npr.org/2021/05/05/994055360/man-arrested-in-san-francisco-stabbing-of-2-asian-women\" target=\"_blank\" rel=\"noopener noreferrer\">stabbing of two older Asian women in San Francisco\u003c/a> earlier this month.\u003c/p>\n\u003cp>But the details about hate crimes and they way they’re punished require nuance. A recent episode of \u003ca href=\"https://www.kqed.org/news/11872804/with-calls-to-stopaapihate-are-more-hate-crime-laws-the-solution\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay\u003c/a> podcast illustrates some issues with the current legal definition of “hate crimes”—that they’re an accessory to another charge, for example, and often hard to identify as a motive.\u003c/p>\n\u003cp>And about those motives: who are the perpetrators in each case, and what’s the reason for their actions? This has brought up discussions about violence manifesting as a \u003ca href=\"https://www.elle.com/culture/career-politics/a35635188/anti-asian-racism-history-violence/\" target=\"_blank\" rel=\"noopener noreferrer\">form of white supremacy\u003c/a>, as well as the notion that African Americans are targeting Asians.\u003c/p>\n\u003cfigure id=\"attachment_13894382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894382\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Image-from-iOS-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-2.jpg 1620w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of demonstrators hold signs that say, “Stop Asian Hate” during a vigil and rally in San Francisco’s Chinatown on March 20, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I read a piece about the \u003ca href=\"https://www.vox.com/22321234/black-asian-american-tensions-solidarity-history\" target=\"_blank\" rel=\"noopener noreferrer\">historical division between the two groups\u003c/a>, revisited reports on the killing of Latasha Harlins and the death of Vincent Chin. I revisited \u003ca href=\"https://youtu.be/cDp38sltic8?t=365\" target=\"_blank\" rel=\"noopener noreferrer\">this quote\u003c/a> from the late Mike “Dream” Francisco about Southeast Asian folks getting into the same street life that Black and Brown folks find themselves in, because of similar struggles. I even thought back to my experience, and how the first person in my circle to die of violence was a middle-school friend named Norro, who was Cambodian.\u003c/p>\n\u003cp>Over the past two months I’ve participated in two panel discussions about violence in the community and kept tabs on the uptick in violence in inner-cities across America. In Oakland, where today the city counted its \u003ca href=\"https://www.eastbaytimes.com/2021/05/20/man-fatally-shot-in-east-oakland-41/\" target=\"_blank\" rel=\"noopener noreferrer\">53rd homicide\u003c/a> of the year, the issue of violence runs far deeper than any panel discussion can possibly dig.\u003c/p>\n\u003cp>Add to that the tug o’ war between those who believe in defunding police and those who say there should be an increase in police department funding, \u003ca href=\"https://oaklandside.org/2021/02/12/oakland-chinatown-policing-hate-crimes-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">specifically as a reaction to anti-Asian violence\u003c/a>. And of course, that intertwines with the topic of \u003ca href=\"https://www.kqed.org/arts/13896306/public-safety-for-asian-americans-starts-with-nurturing-our-communities\" target=\"_blank\" rel=\"noopener noreferrer\">other public safety resources\u003c/a> for community members.\u003c/p>\n\u003cp>Now you see why it’s a lot to think about.\u003c/p>\n\u003cp>But late last month, doing a little art in community made it all so simple.\u003c/p>\n\u003cfigure id=\"attachment_13897594\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897594\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/DSC00207-800x535.jpg\" alt=\"Malik Seneferu works on a mural in Oakland's Chinatown.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00207.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malik Seneferu works on a mural in Oakland’s Chinatown. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>t Madison Park in Oakland’s Chinatown, I talked to artist \u003ca href=\"https://www.cececarpio.com/\">Cece Carpio\u003c/a> as she and my daughter painted what she described as a “diver being swallowed by a sea monster.”\u003c/p>\n\u003cp>Cece explained that she’s juggling a lot right now: her day job connecting people to resources during the pandemic through the City of San Francisco’s COVID relief task force, working through the planning stages of a new 100-foot mural that she’s set to paint later this year on the side of the Luggage Store gallery in San Francisco’s Tenderloin, and creating community events, like this one.\u003c/p>\n\u003cp>Cece worked along with Tommy Wong of \u003ca href=\"https://www.instagram.com/civicdesignstudio510/\" target=\"_blank\" rel=\"noopener noreferrer\">Civic Design Studio\u003c/a> and \u003ca href=\"https://www.instagram.com/goodgoodeatz/\" target=\"_blank\" rel=\"noopener noreferrer\">Good Good Eatz\u003c/a> to organize the \u003ca href=\"https://www.instagram.com/p/CNYcx0rBjws/\" target=\"_blank\" rel=\"noopener noreferrer\">Love And Protect: Community Mural Series.\u003c/a> They were also part of the dozen-plus professional artists painting alongside community members. This meant my daughter was throwing up paint with the likes of published illustrator \u003ca href=\"https://twitter.com/RobertTres\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Liu-Trujillo\u003c/a> and the first woman member of the Black Panther Party, \u003ca href=\"http://www.theblackwomanisgod.com/artists/jtlewis\" target=\"_blank\" rel=\"noopener noreferrer\">Joan Tarika Lewis\u003c/a>.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Backed by \u003ca href=\"https://linktr.ee/asians4blklives/\">Asians 4 Black Lives\u003c/a>,\u003ca href=\"https://www.instagram.com/curyj510/\"> CuryJ\u003c/a>, the \u003ca href=\"https://www.instagram.com/oakchinatowncoalition/\">Oakland Chinatown Coalition\u003c/a>,\u003ca href=\"https://www.instagram.com/trustyourstruggle/\"> Trust Your Struggle\u003c/a> and more community organizations, the event was focused on showing solidarity through visual arts.\u003c/p>\n\u003cp>The intention wasn’t just to heal those impacted by violence against members of the Asian community, but to also continue to \u003ca href=\"https://www.kqed.org/arts/13895462/in-oakland-building-black-and-asian-solidarity-at-the-street-level\" target=\"_blank\" rel=\"noopener noreferrer\">dispel the notion\u003c/a> that it’s a ‘Black versus Asian’ thing happening in the Bay Area, and across the nation, Cece said.\u003c/p>\n\u003cp>Emory Douglas, Black Panther Party Minister of Culture, was also at the park that day, and a few days later we discussed the idea of solidarity.\u003c/p>\n\u003cp>“It’s an ongoing process,” Douglas told me during a phone call.\u003c/p>\n\u003cp>Douglas grew up in community with Asian groups in the ’60s and ’70s. He used to shoot pool with the Red Guard in Chinatown, and when it was time to stand together for social justice issues, they did so. He says he’s clear on the historical context of Black solidarity with the Asian community. And he’s clear that former President Trump’s anti-Asian statements about the spread of COVID-19 have fanned the flames contributing to the rise in hate crimes over the past year.\u003c/p>\n\u003cp>Now, Emory Douglas is banking on the next generation to take the concept of solidarity a bit further.\u003c/p>\n\u003cp>“You have young people, very progressive people,” says Douglas, “who are becoming more aware and less culturally conditioned to ‘the tradition,’ and are living more in the context of solidarity. They’re transcending the idea of just thinking about themselves, and becoming aware of what’s going on in the real world.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13897593\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/IMG_4976-2-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_4976-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_4976-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_4976-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_4976-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_4976-2.jpg 1344w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Sharing equal footing as racial solidarity during that weekend in Oakland’s Chinatown was the theme of intergenerational solidarity.\u003c/p>\n\u003cp>“It’s a real honor to show up when my elders, especially my mom, invites me to show up,” said Elokin Orton-Cheung, an herbalist who painted with their mother on the canvas next to my daughter and me.\u003c/p>\n\u003cp>Ming Mur-Ray, an artist and Elokin’s mother, told me she was surprised by the turnout. “I’m moved to see the seniors from Harrison Senior Housing came out and participated,” said Ming, noting that four out of eight members of the group she works with showed up.\u003c/p>\n\u003cp>For the residents of senior housing, a fear of simply walking down the sidewalk is warranted, given the street attacks on Asian elders. But participation in an anti-Asian violence event was clearly important enough to take the risk. “One person came back on Sunday, by herself,” said Ming. “Because she wrote a word wrong, so she painted it over and corrected it.”\u003c/p>\n\u003cfigure id=\"attachment_13897598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/SOlidarity.MAIN_-800x600.jpg\" alt=\"A collection of completed murals in Oakland's Chinatown. The murals, meant to be portable, are currently moving from location to location.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/SOlidarity.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collection of completed murals in Oakland’s Chinatown. The murals, meant to be portable, are currently moving from location to location. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elokin explained that events like this build on years and of community organizing, but there’s something different when art is the focus. “We’ve been coming together for vigils and protests, and coming together for loss of life in our community, but coming together to celebrate—coming together for sacredness in Black and Asian communities—is really beautiful.”\u003c/p>\n\u003cp>That day in the park I watched San Francisco muralist \u003ca href=\"https://www.instagram.com/lileli82/\">Elaine Chu\u003c/a> paint one canvas, and TDK’s \u003ca href=\"https://www.instagram.com/agentdecoy/\" target=\"_blank\" rel=\"noopener noreferrer\">Spie \u003c/a>prep his aerosol cans for action on another. Not far from us, \u003ca href=\"https://www.instagram.com/karen_seneferu/\" target=\"_blank\" rel=\"noopener noreferrer\">Karen Seneferu\u003c/a> and \u003ca href=\"https://www.instagram.com/maliksart/\" target=\"_blank\" rel=\"noopener noreferrer\">Malik Seneferu\u003c/a> were already putting a regal shade of purple paint on a canvas.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/theletterthi/\">Thitiwat Phromratanapongse \u003c/a>introduced himself as T and took a break from painting to pass me a towel. He’d overheard me joking that I was going to dip my daughter in Lake Merritt to wash her off—the paint she’d used to create her fictional sea monster and diver had also consumed her outfit.\u003c/p>\n\u003cp>A few people wore shirts that read “unity” in several different languages. Images of tigers and panthers were painted. In the middle of the labyrinth permanently marked on the park’s blacktop stood an altar.\u003c/p>\n\u003cp>Well, if this isn’t “solidarity,” what is?\u003c/p>\n\u003cfigure id=\"attachment_13897597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/DSC00247-800x535.jpg\" alt=\"Flowers and a small altar at the center of a Black and Asian solidarity event in Oakland's Chinatown.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/DSC00247.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flowers and a small altar at the center of a Black and Asian solidarity event in Oakland’s Chinatown. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">J\u003c/span>ust last week, the 6-foot by 6-foot canvases, about 17 of them, were mounted in various businesses in Old Oakland, many of them in old Swan’s Market. A significant place for the artwork, as Cece Carpio points out, that area was once a part of the old Chinatown.\u003c/p>\n\u003cp>“For me, solidarity is very simple,” Carpio explained recently. “It’s how we co-exist.” Bingo. Simply coexisting, and knowing that as a human, there are certain expectations for existence.\u003c/p>\n\u003cp>Cece elaborated: “What are common grounds? What are collective decisions? What is collective hope? And what is our collective experience?”\u003c/p>\n\u003cp>A series of questions that might lead to confusion, but ends with two specific thoughts: What is it we want to see collectively? And how do we work collaboratively, pursuing this vision of the world we want to live in?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Using our respective communities as an example, Cece said, “We have different languages, different cultures, we eat different food. But essentially, we come together. In the same way there are common race and class struggles, there are similarities. In our collective visions, our collective goal is to live in equity, to live in justice.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Pacific Football Fish Just Arrived in California, and Now is the Time to Leave California",
"headTitle": "A Pacific Football Fish Just Arrived in California, and Now is the Time to Leave California | KQED",
"content": "\u003cp>I don’t want to be dramatic. Actually, scratch that—yes, I do. Because this isn’t KQED Science, it’s KQED Arts and Culture. And some of us over here (mostly me) are not equipped for the moment when aqua monsters climb 3,000 feet out of their natural, deep sea habitats and lie dead on the shoreline in front of God and everyone.\u003c/p>\n\u003cp>That’s what happened earlier this month on the shores of Crystal Cove State Park in Orange County, when this thing showed up.\u003c/p>\n\u003cfigure id=\"attachment_13897298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897298\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.10.14-PM-800x799.png\" alt=\"Is that a creepy arm growing out of your head, or are you just happy to see me?\" width=\"800\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.10.14-PM-800x799.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.10.14-PM-1020x1019.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.10.14-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.10.14-PM-768x767.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.10.14-PM-1536x1534.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.10.14-PM.png 1612w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Is that a creepy arm growing out of your head, or are you just happy to see me? \u003ccite>(Facebook/ @crystalcovestateparkofficial)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If it were up to me, we’d be calling it a Toothy Terror Dome. Or an Armed Piranha, on account of that appendage sticking out of its head. Someone on Facebook suggested “Nope Fish,” which I’d settle for too. But no. According to Crystal Cove State Park’s \u003ca href=\"https://www.facebook.com/crystalcovestateparkofficial\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>very calm\u003c/em> Facebook page\u003c/a>, this razor-faced death pod is “most likely” called a \u003ca href=\"https://www.calacademy.org/explore-science/pacific-footballfish\" target=\"_blank\" rel=\"noopener noreferrer\">Pacific Football Fish\u003c/a>. And it’s apparently part of the Anglerfish family, which contains 200 species. (Not a Thanksgiving table I’d want to visit, thanks.)\u003c/p>\n\u003cp>The Crystal Cove boffins say that the demon disc is a tricky little so-and-so, and uses that arm dangler to lure other creatures to their murky deaths. The “stalk on the head [has] bioluminescent tips,” Crystal Cove says, “used to entice prey in the darkness of waters.” As for the foolish creatures that end up falling for that whole source-of-light ruse? Why, they get gobbled up by “teeth, like pointed shards of glass, [that] are transparent.”\u003c/p>\n\u003cp>Cool.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a statement that is in no way comforting, Crystal Cove State Park explains that these malevolent meal seekers have mouths that are “capable of sucking up and swallowing prey the size of their own body.” And that body, dear reader, can measure as much as 24 inches long. So, this fish could potentially eat a chihuahua. Or a small raccoon. Or a small otter. Or a small possum. Just, all of the cute things, basically.\u003c/p>\n\u003cfigure id=\"attachment_13897300\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897300\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.23.29-PM-800x800.png\" alt=\"It's not quite as bad from this angle—but it's still not great, huh?\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.23.29-PM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.23.29-PM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.23.29-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.23.29-PM-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.23.29-PM-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.23.29-PM.png 1612w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s not quite as bad from this angle—but it’s still not great, huh? \u003ccite>(Facebook/ @crystalcovestateparkofficial)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The staff at Crystal Cove State Park very quickly surmised that the demon disc is a female. They know this because apparently the males only grow to about an inch long. Which sounds almost cute, until you find out that they “latch onto the female with their teeth and become sexual parasites, eventually coalescing with the female until nothing is left of their form but their testes for reproduction.”\u003c/p>\n\u003cp>Cool.\u003c/p>\n\u003cp>Taking an unfeasibly optimistic approach, Crystal Cove State Park tried to end its Facebook post on a high note without giving us all nightmares. “Seeing this strange and fascinating fish is a testament to the diversity of marine life lurking below the water’s surface in California’s MPAs [marine protected areas],” it said. “And as scientists continue to learn more about these deep sea creatures, it’s important to reflect on how much is still to be learned from our wonderful ocean.”\u003c/p>\n\u003cp>K. But, you know, it’s also important to reflect on never ever going into that ocean ever again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sweet dreams, everybody!\u003c/p>\n\n",
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"excerpt": "A demon hell fish washed up on the shore in Orange County and it's big enough to eat a chihuahua, so, bye, basically.",
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"title": "A Pacific Football Fish Just Arrived in California, and Now is the Time to Leave California | KQED",
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"headline": "A Pacific Football Fish Just Arrived in California, and Now is the Time to Leave California",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I don’t want to be dramatic. Actually, scratch that—yes, I do. Because this isn’t KQED Science, it’s KQED Arts and Culture. And some of us over here (mostly me) are not equipped for the moment when aqua monsters climb 3,000 feet out of their natural, deep sea habitats and lie dead on the shoreline in front of God and everyone.\u003c/p>\n\u003cp>That’s what happened earlier this month on the shores of Crystal Cove State Park in Orange County, when this thing showed up.\u003c/p>\n\u003cfigure id=\"attachment_13897298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897298\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.10.14-PM-800x799.png\" alt=\"Is that a creepy arm growing out of your head, or are you just happy to see me?\" width=\"800\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.10.14-PM-800x799.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.10.14-PM-1020x1019.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.10.14-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.10.14-PM-768x767.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.10.14-PM-1536x1534.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.10.14-PM.png 1612w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Is that a creepy arm growing out of your head, or are you just happy to see me? \u003ccite>(Facebook/ @crystalcovestateparkofficial)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If it were up to me, we’d be calling it a Toothy Terror Dome. Or an Armed Piranha, on account of that appendage sticking out of its head. Someone on Facebook suggested “Nope Fish,” which I’d settle for too. But no. According to Crystal Cove State Park’s \u003ca href=\"https://www.facebook.com/crystalcovestateparkofficial\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>very calm\u003c/em> Facebook page\u003c/a>, this razor-faced death pod is “most likely” called a \u003ca href=\"https://www.calacademy.org/explore-science/pacific-footballfish\" target=\"_blank\" rel=\"noopener noreferrer\">Pacific Football Fish\u003c/a>. And it’s apparently part of the Anglerfish family, which contains 200 species. (Not a Thanksgiving table I’d want to visit, thanks.)\u003c/p>\n\u003cp>The Crystal Cove boffins say that the demon disc is a tricky little so-and-so, and uses that arm dangler to lure other creatures to their murky deaths. The “stalk on the head [has] bioluminescent tips,” Crystal Cove says, “used to entice prey in the darkness of waters.” As for the foolish creatures that end up falling for that whole source-of-light ruse? Why, they get gobbled up by “teeth, like pointed shards of glass, [that] are transparent.”\u003c/p>\n\u003cp>Cool.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a statement that is in no way comforting, Crystal Cove State Park explains that these malevolent meal seekers have mouths that are “capable of sucking up and swallowing prey the size of their own body.” And that body, dear reader, can measure as much as 24 inches long. So, this fish could potentially eat a chihuahua. Or a small raccoon. Or a small otter. Or a small possum. Just, all of the cute things, basically.\u003c/p>\n\u003cfigure id=\"attachment_13897300\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897300\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.23.29-PM-800x800.png\" alt=\"It's not quite as bad from this angle—but it's still not great, huh?\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.23.29-PM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.23.29-PM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.23.29-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.23.29-PM-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.23.29-PM-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-17-at-5.23.29-PM.png 1612w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s not quite as bad from this angle—but it’s still not great, huh? \u003ccite>(Facebook/ @crystalcovestateparkofficial)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The staff at Crystal Cove State Park very quickly surmised that the demon disc is a female. They know this because apparently the males only grow to about an inch long. Which sounds almost cute, until you find out that they “latch onto the female with their teeth and become sexual parasites, eventually coalescing with the female until nothing is left of their form but their testes for reproduction.”\u003c/p>\n\u003cp>Cool.\u003c/p>\n\u003cp>Taking an unfeasibly optimistic approach, Crystal Cove State Park tried to end its Facebook post on a high note without giving us all nightmares. “Seeing this strange and fascinating fish is a testament to the diversity of marine life lurking below the water’s surface in California’s MPAs [marine protected areas],” it said. “And as scientists continue to learn more about these deep sea creatures, it’s important to reflect on how much is still to be learned from our wonderful ocean.”\u003c/p>\n\u003cp>K. But, you know, it’s also important to reflect on never ever going into that ocean ever again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sweet dreams, everybody!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "nature-is-stressful-bruh",
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"content": "\u003cfigure id=\"attachment_13897062\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/IMG_8986-800x600.jpg\" alt=\"A dried shell of a former living creature at Lake Folsom.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13897062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_8986-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_8986-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_8986-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_8986-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_8986-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_8986-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_8986-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A dried shell of a former living creature at Lake Folsom. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>mong all my \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">other work\u003c/a>, I haven’t sat down and written a column in nearly a month. Writing droughts are natural, and I’m in the thick of one.\u003c/p>\n\u003cp>Leads for potential stories are piled up in my inbox. Anxiety is kicking my ass. Plus I’ve got this back pain that’s causing my left arm to go numb when I sit down. An inflamed muscle is putting pressure on a nerve near my neck, the doctor and chiropractor both tell me; likely a byproduct of bad posture and built-up stress.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>So I’ve been stretching, icing my back, and taking meds. Oh, and spending time in nature.\u003c/p>\n\u003cp>I love nature. Luckily, my “backyard”—Northern California—is home to landscapes that look like the images on postcards they sell at gas stations. Unfortunately, this land also seems to be as flammable as newspaper dipped in kerosene.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The peril this region faces due to drought, lack of investment in infrastructure and man-made manipulation of the environment is already one of the greatest stresses of our lifetime. And when you’re paying attention to the issues facing your outdoor weekend hike, finding relief in nature becomes a convoluted idea.\u003c/p>\n\u003cfigure id=\"attachment_13897059\" class=\"wp-caption alignnone\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13897059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/IMG_1232.jpg\" alt=\"One of the many redwood trees in the Muir Woods.\" width=\"768\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_1232.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_1232-160x213.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">One of the many redwood trees at Muir Woods. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Following last month’s \u003ca href=\"https://www.gov.ca.gov/2021/04/21/governor-newsom-takes-action-to-respond-to-drought-conditions/\" target=\"_blank\" rel=\"noopener noreferrer\">official announcement\u003c/a> from Governor Newsom that California is indeed in the throes of another “drought,” the \u003cem>Los Angeles Times\u003c/em>’ editorial board published a piece proclaiming, in essence: this isn’t a drought, \u003ca href=\"https://www.latimes.com/opinion/story/2021-05-06/editorial-there-is-no-drought\" target=\"_blank\" rel=\"noopener noreferrer\">it’s the new climate\u003c/a>.\u003c/p>\n\u003cp>As if on cue, over the weekend the National Weather Service issued the \u003ca href=\"https://www.sacbee.com/news/weather-news/article251277629.html\">first red flag warning of the year\u003c/a>—a rare occurrence for as early as May. Sure enough, a number of small fires popped up around Northern California.\u003c/p>\n\u003cp>These are the things I think about when I’m out in the Bay Area’s enclaves of nature. Especially when I’m reminded of the bigger, global issue, through news of \u003ca href=\"https://www.whitehouse.gov/briefing-room/statements-releases/2021/04/22/fact-sheet-president-biden-sets-2030-greenhouse-gas-pollution-reduction-target-aimed-at-creating-good-paying-union-jobs-and-securing-u-s-leadership-on-clean-energy-technologies/\" target=\"_blank\" rel=\"noopener noreferrer\">President Biden\u003c/a> upping the ante to cut America’s greenhouse emissions before it’s too late, or this \u003ca href=\"https://grist.org/climate-tipping-points-amazon-greenland-boreal-forest/\" target=\"_blank\" rel=\"noopener noreferrer\">Grist article\u003c/a> about the way that wildfires, melting polar caps, and greenhouse emissions work in tandem to push one another to a globally destructive tipping point of no return.\u003c/p>\n\u003cp>Do you see why nature can be stressful?\u003c/p>\n\u003cfigure id=\"attachment_13897058\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897058\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/IMG_3863-800x600.jpg\" alt=\"Folsom Lake life guard towers in the foreground, way int he distance is the lake's water. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_3863-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_3863-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_3863-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_3863-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_3863-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_3863-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_3863-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Folsom Lake lifeguard towers in the foreground. Far in the distance is the lake’s water. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> few days ago I went to Folsom Lake, where water levels have receded so much that if you’re looking to engage in some water-related activities, you’ve got to drive along the dry lakebed for a couple minutes in order to get close to the remaining pocket of water.\u003c/p>\n\u003cp>Meanwhile, the park is attracting hordes of folks, iPhones in hand, who come for the \u003ca href=\"https://www.rosevilletoday.com/news/roseville/folsom-lake-super-bloom/\" target=\"_blank\" rel=\"noopener noreferrer\">lupine super bloom\u003c/a>, a wildly gorgeous royal purple flower that’s only growing en masse \u003cem>because\u003c/em> the water levels are so low.\u003c/p>\n\u003cp>A few days after visiting Folsom Lake, I called a park official to check about the water levels. They told me this is the lowest they’ve seen it in the 17 years they’ve worked there, and this is the tail end of the “rainy season,” with a dry summer to come. That’s not a good sign.\u003c/p>\n\u003cfigure id=\"attachment_13897099\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897099\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/IMG_5447-800x1067.jpg\" alt=\"A field of wildflowers bloom on the side of the road near California's Lake Barryessa.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_5447-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_5447-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_5447-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_5447-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_5447-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_5447-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_5447.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A field of wildflowers bloom on the side of the road near California’s Lake Barryessa. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>About 95 miles west, near Lake Berryessa, wildflowers have blossomed where wildfires ravaged the ridges last year. The sight is a bit of a relief: Maybe nature can heal itself. Or, as I’m quick to think, maybe the new foliage is fuel for the next fire.\u003c/p>\n\u003cp>I \u003ca href=\"https://www.kqed.org/arts/13865533/daps-and-hugs-im-moving-out-of-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">moved\u003c/a> to the middle of this state in 2019, driving up and down I-80 regularly for the past two years (you can see why my back hurts). Around the midpoint of my trip, there’s a hill in Vacaville that I look to as a random barometer of how dry the area is. The hill was green for all of eight weeks, and has since turned caramel-colored. The fires are coming, and we haven’t even recovered from the flames of yesteryear.\u003c/p>\n\u003cfigure id=\"attachment_13897061\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897061\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/IMG_0735-800x342.jpg\" alt=\"The grass on hill near Cherry Glen Road in Vacaville, turning from green to brown.\" width=\"800\" height=\"342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_0735-800x342.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_0735-1020x436.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_0735-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_0735-768x328.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_0735.jpg 1023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The grass on hill near Cherry Glen Road in Vacaville, turning from green to brown. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At this point, I might be hypersensitive to anything nature-related. I’m an arts and culture reporter obsessed with nature—because it’s beautiful, sure, but because I also know it dictates my areas of coverage.\u003c/p>\n\u003cp>So now my ears perk up when I hear about the \u003ca href=\"https://www.kqed.org/science/1973805/climate-solutions-in-east-palo-alto\" target=\"_blank\" rel=\"noopener noreferrer\">rising water levels in East Palo Alto\u003c/a>, or how people still await \u003ca href=\"https://www.kqed.org/news/11872328/survivors-stuck-in-limbo-as-pge-fire-victim-trust-pays-out-50-million-in-fees\" target=\"_blank\" rel=\"noopener noreferrer\">payouts from PG&E\u003c/a> for the utility’s role in recent wildfires.\u003c/p>\n\u003cp>Earlier this week on \u003ca href=\"https://oaklandside.org/2021/05/11/20-photos-of-oakland-pride-on-display-at-510-day/\" target=\"_blank\" rel=\"noopener noreferrer\">510 Day\u003c/a>, I made it a point to take a walk with my kid and romanticize this magical piece of land known as the East Bay. We hit that trail near Lone Tree Point in Rodeo, just to look out over the Bay as the sun set. But my whole “pride rock” moment of enjoying everything the light touches was interrupted by the thought of how, not too far from where we stood, over near the Carquinez Strait, toxins are \u003ca href=\"https://www.youtube.com/watch?v=zTiLPrtAYlY\" target=\"_blank\" rel=\"noopener noreferrer\">leaching into the bay from a contaminated area\u003c/a> with each wave that crashes up against the coast.\u003c/p>\n\u003cp>We’re gonna have to pay for that. We \u003cem>are\u003c/em> paying for that.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13897060\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/IMG_6338-800x1000.jpg\" alt=\"A clearing in Muir Woods\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_6338-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_6338-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_6338-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_6338.jpg 819w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> don’t think I have biophobia or anything. I love being outside too much. But I can’t stop thinking about nature, and not in a good way.\u003c/p>\n\u003cp>Last Friday I went to Muir Woods for the first time. Jaw-dropping. It’s like a theme park where the main attraction is… trees. The air is fresh, the trees are ancient and you’re there caught in the middle, reminded of just how insignificant your time really is on this big spinning rock.\u003c/p>\n\u003cp>Most impressively, the trees tell their own stories. The way they lean, the burn marks from fires, the nibbles from insects and pests. The rings at the bottom of the fallen trees mark years of drought and heavy rain. Real writers, those trees are, publishing history every year—no writer’s block there.\u003c/p>\n\u003cp>I stood under the canopy and wondered: How long this will be here? What will happen to it in my lifetime? And what can be done so that \u003cem>nothing\u003c/em> happens?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s not a fear of nature that I have, it’s the fear of what will come of nature. And thus, what will come of \u003cem>us\u003c/em>. All of us. Stressed yet?\u003c/p>\n\n",
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"excerpt": "I keep turning to nature for relief—and it keeps reminding me that it's not well. ",
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"title": "Nature is Stressful, Bruh | KQED",
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"subhead": "With another drought, more wildfires and rising sea levels, is it even possible to find relief in nature?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13897062\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/IMG_8986-800x600.jpg\" alt=\"A dried shell of a former living creature at Lake Folsom.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13897062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_8986-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_8986-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_8986-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_8986-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_8986-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_8986-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_8986-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A dried shell of a former living creature at Lake Folsom. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>mong all my \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">other work\u003c/a>, I haven’t sat down and written a column in nearly a month. Writing droughts are natural, and I’m in the thick of one.\u003c/p>\n\u003cp>Leads for potential stories are piled up in my inbox. Anxiety is kicking my ass. Plus I’ve got this back pain that’s causing my left arm to go numb when I sit down. An inflamed muscle is putting pressure on a nerve near my neck, the doctor and chiropractor both tell me; likely a byproduct of bad posture and built-up stress.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>So I’ve been stretching, icing my back, and taking meds. Oh, and spending time in nature.\u003c/p>\n\u003cp>I love nature. Luckily, my “backyard”—Northern California—is home to landscapes that look like the images on postcards they sell at gas stations. Unfortunately, this land also seems to be as flammable as newspaper dipped in kerosene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The peril this region faces due to drought, lack of investment in infrastructure and man-made manipulation of the environment is already one of the greatest stresses of our lifetime. And when you’re paying attention to the issues facing your outdoor weekend hike, finding relief in nature becomes a convoluted idea.\u003c/p>\n\u003cfigure id=\"attachment_13897059\" class=\"wp-caption alignnone\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13897059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/IMG_1232.jpg\" alt=\"One of the many redwood trees in the Muir Woods.\" width=\"768\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_1232.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_1232-160x213.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">One of the many redwood trees at Muir Woods. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Following last month’s \u003ca href=\"https://www.gov.ca.gov/2021/04/21/governor-newsom-takes-action-to-respond-to-drought-conditions/\" target=\"_blank\" rel=\"noopener noreferrer\">official announcement\u003c/a> from Governor Newsom that California is indeed in the throes of another “drought,” the \u003cem>Los Angeles Times\u003c/em>’ editorial board published a piece proclaiming, in essence: this isn’t a drought, \u003ca href=\"https://www.latimes.com/opinion/story/2021-05-06/editorial-there-is-no-drought\" target=\"_blank\" rel=\"noopener noreferrer\">it’s the new climate\u003c/a>.\u003c/p>\n\u003cp>As if on cue, over the weekend the National Weather Service issued the \u003ca href=\"https://www.sacbee.com/news/weather-news/article251277629.html\">first red flag warning of the year\u003c/a>—a rare occurrence for as early as May. Sure enough, a number of small fires popped up around Northern California.\u003c/p>\n\u003cp>These are the things I think about when I’m out in the Bay Area’s enclaves of nature. Especially when I’m reminded of the bigger, global issue, through news of \u003ca href=\"https://www.whitehouse.gov/briefing-room/statements-releases/2021/04/22/fact-sheet-president-biden-sets-2030-greenhouse-gas-pollution-reduction-target-aimed-at-creating-good-paying-union-jobs-and-securing-u-s-leadership-on-clean-energy-technologies/\" target=\"_blank\" rel=\"noopener noreferrer\">President Biden\u003c/a> upping the ante to cut America’s greenhouse emissions before it’s too late, or this \u003ca href=\"https://grist.org/climate-tipping-points-amazon-greenland-boreal-forest/\" target=\"_blank\" rel=\"noopener noreferrer\">Grist article\u003c/a> about the way that wildfires, melting polar caps, and greenhouse emissions work in tandem to push one another to a globally destructive tipping point of no return.\u003c/p>\n\u003cp>Do you see why nature can be stressful?\u003c/p>\n\u003cfigure id=\"attachment_13897058\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897058\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/IMG_3863-800x600.jpg\" alt=\"Folsom Lake life guard towers in the foreground, way int he distance is the lake's water. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_3863-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_3863-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_3863-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_3863-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_3863-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_3863-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_3863-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Folsom Lake lifeguard towers in the foreground. Far in the distance is the lake’s water. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> few days ago I went to Folsom Lake, where water levels have receded so much that if you’re looking to engage in some water-related activities, you’ve got to drive along the dry lakebed for a couple minutes in order to get close to the remaining pocket of water.\u003c/p>\n\u003cp>Meanwhile, the park is attracting hordes of folks, iPhones in hand, who come for the \u003ca href=\"https://www.rosevilletoday.com/news/roseville/folsom-lake-super-bloom/\" target=\"_blank\" rel=\"noopener noreferrer\">lupine super bloom\u003c/a>, a wildly gorgeous royal purple flower that’s only growing en masse \u003cem>because\u003c/em> the water levels are so low.\u003c/p>\n\u003cp>A few days after visiting Folsom Lake, I called a park official to check about the water levels. They told me this is the lowest they’ve seen it in the 17 years they’ve worked there, and this is the tail end of the “rainy season,” with a dry summer to come. That’s not a good sign.\u003c/p>\n\u003cfigure id=\"attachment_13897099\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897099\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/IMG_5447-800x1067.jpg\" alt=\"A field of wildflowers bloom on the side of the road near California's Lake Barryessa.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_5447-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_5447-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_5447-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_5447-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_5447-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_5447-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_5447.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A field of wildflowers bloom on the side of the road near California’s Lake Barryessa. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>About 95 miles west, near Lake Berryessa, wildflowers have blossomed where wildfires ravaged the ridges last year. The sight is a bit of a relief: Maybe nature can heal itself. Or, as I’m quick to think, maybe the new foliage is fuel for the next fire.\u003c/p>\n\u003cp>I \u003ca href=\"https://www.kqed.org/arts/13865533/daps-and-hugs-im-moving-out-of-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">moved\u003c/a> to the middle of this state in 2019, driving up and down I-80 regularly for the past two years (you can see why my back hurts). Around the midpoint of my trip, there’s a hill in Vacaville that I look to as a random barometer of how dry the area is. The hill was green for all of eight weeks, and has since turned caramel-colored. The fires are coming, and we haven’t even recovered from the flames of yesteryear.\u003c/p>\n\u003cfigure id=\"attachment_13897061\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897061\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/IMG_0735-800x342.jpg\" alt=\"The grass on hill near Cherry Glen Road in Vacaville, turning from green to brown.\" width=\"800\" height=\"342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_0735-800x342.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_0735-1020x436.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_0735-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_0735-768x328.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_0735.jpg 1023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The grass on hill near Cherry Glen Road in Vacaville, turning from green to brown. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At this point, I might be hypersensitive to anything nature-related. I’m an arts and culture reporter obsessed with nature—because it’s beautiful, sure, but because I also know it dictates my areas of coverage.\u003c/p>\n\u003cp>So now my ears perk up when I hear about the \u003ca href=\"https://www.kqed.org/science/1973805/climate-solutions-in-east-palo-alto\" target=\"_blank\" rel=\"noopener noreferrer\">rising water levels in East Palo Alto\u003c/a>, or how people still await \u003ca href=\"https://www.kqed.org/news/11872328/survivors-stuck-in-limbo-as-pge-fire-victim-trust-pays-out-50-million-in-fees\" target=\"_blank\" rel=\"noopener noreferrer\">payouts from PG&E\u003c/a> for the utility’s role in recent wildfires.\u003c/p>\n\u003cp>Earlier this week on \u003ca href=\"https://oaklandside.org/2021/05/11/20-photos-of-oakland-pride-on-display-at-510-day/\" target=\"_blank\" rel=\"noopener noreferrer\">510 Day\u003c/a>, I made it a point to take a walk with my kid and romanticize this magical piece of land known as the East Bay. We hit that trail near Lone Tree Point in Rodeo, just to look out over the Bay as the sun set. But my whole “pride rock” moment of enjoying everything the light touches was interrupted by the thought of how, not too far from where we stood, over near the Carquinez Strait, toxins are \u003ca href=\"https://www.youtube.com/watch?v=zTiLPrtAYlY\" target=\"_blank\" rel=\"noopener noreferrer\">leaching into the bay from a contaminated area\u003c/a> with each wave that crashes up against the coast.\u003c/p>\n\u003cp>We’re gonna have to pay for that. We \u003cem>are\u003c/em> paying for that.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13897060\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/IMG_6338-800x1000.jpg\" alt=\"A clearing in Muir Woods\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_6338-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_6338-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_6338-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/IMG_6338.jpg 819w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> don’t think I have biophobia or anything. I love being outside too much. But I can’t stop thinking about nature, and not in a good way.\u003c/p>\n\u003cp>Last Friday I went to Muir Woods for the first time. Jaw-dropping. It’s like a theme park where the main attraction is… trees. The air is fresh, the trees are ancient and you’re there caught in the middle, reminded of just how insignificant your time really is on this big spinning rock.\u003c/p>\n\u003cp>Most impressively, the trees tell their own stories. The way they lean, the burn marks from fires, the nibbles from insects and pests. The rings at the bottom of the fallen trees mark years of drought and heavy rain. Real writers, those trees are, publishing history every year—no writer’s block there.\u003c/p>\n\u003cp>I stood under the canopy and wondered: How long this will be here? What will happen to it in my lifetime? And what can be done so that \u003cem>nothing\u003c/em> happens?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s not a fear of nature that I have, it’s the fear of what will come of nature. And thus, what will come of \u003cem>us\u003c/em>. All of us. Stressed yet?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/brittctann/\" target=\"_blank\" rel=\"noopener noreferrer\">Brittany Tanner\u003c/a> is a Bay Area vocalist, songwriter, and entrepreneur. As a member of the hip-hop ensemble SOL Development and the collective BE-IMAGINATIVE, both featured in the KQED Arts documentary \u003c/em>\u003ca href=\"https://www.whenthewatersgetdeep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">When the Waters Get Deep\u003c/a>\u003cem>, Tanner has helped work to disrupt the hopelessness from gun violence. She is also a founder of \u003ca href=\"https://thesongremedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Song Remedy\u003c/a>, a healing circle and space led by Black and brown women dedicated to transforming pain into medicine.\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">…\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> remember once cleaning my mom’s whole house because I didn’t have money to buy her a gift. Now that I’m a mother myself, I see that one day a year is not enough to repay her for all the magic, dedication and love she’s gifted me, but a reminder to uplift and praise her every damn day.\u003c/p>\n\u003cp style=\"text-align: center\">…\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13896943\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-12-800x569.jpg\" alt=\" \" width=\"800\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-12-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-12-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-12-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-12.jpg 1016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I was born to Sabrina McDaniel and Carnell Tanner August 8, 1985. They were both sixteen at the time. I had an amazing childhood. I grew up a country girl in Bakersfield, California. My great-grandpa always had some grapes fermenting in the bin outside, and my uncle Steve who lived next door kept chickens and homing pigeons, plus a team of the most vicious pit bulls. We’d occasionally catch crawdeggs in the canal, then sit in a circle popping the meat out the tails. There was a mulberry tree in the backyard, plenty of skinned knees, more than a couple black eyes, a whole lotta cussin’ and then church with grandma every Sunday.\u003c/p>\n\u003cp>My brothers and I were bad as hell—it was just the three of us for a while, until my mom had my younger brother and sister. Then there were five of us. We’d ride our bikes all over the neighborhood, getting chased by dogs, playing knock-knock zoom-zoom at night and just getting into all the trouble we could think of. We grew up in the house that my grandma Rene used to live in, built by my great-grandpa. He and my great-grandma Miller lived a house and a huge field down the street from us. My aunt Sandra and uncle Andre lived to the right, and my uncle Steve and aunt Dametia lived on the left.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13896795\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-35-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>When my mom was at school or work, the neighborhood watched and cared for us. My uncle Steve used to watch us through his blinds. I remember looking up and trying to see if he was looking at us so I could make my next move. You didn’t want to get caught by him—he gave the type of whoopin’s that make you hold your breath for a long time.\u003c/p>\n\u003cp>One day me and my brother Meechie were lighting little fires in the field, but putting them out quickly so they wouldn’t get too big. I had sandals on, so Meechie had to stomp the fires out for me. Well, he was lighting one and I was lighting one, and I guess he took too long getting to mine and the whole field caught on fire. When it got too big we had to run and get the adults. I was hysterical the whole time, not because of the fire but because of the ass whoopin’ I knew we were gonna get. Meechie took all the blame and I kept on with the hysterical crying, in shock and relief. I never thanked him enough for that.\u003c/p>\n\u003cp>Me, Meechie and Darius would fight all the time—like physically fight. We would even have boxing matches in the backyard with our cousins with no gloves. There was no scratching allowed. I used to think that rule was because I was a girl until Meech came in the house with a welt on his face and we all got in trouble. Another time, Meech and Darius were playing tug of war against me and they colluded to let go. I flew into the wall and got knocked out. When I awoke, they were both hovering over me, with Meech telling me to wake up and Darius starting to cry.\u003c/p>\n\u003cfigure id=\"attachment_13896793\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896793\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-34-800x535.jpg\" alt=\"Brittany Tanner and family pose for a photo.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittany Tanner and family pose for a photo. \u003ccite>(Brittany Tanner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No matter how much we fought in the house, though, we had each other’s backs outside. In those days everybody knew everybody, and they definitely knew my folks. The Millers, McDaniels and the Woffords on my mom’s side and the Antonys/Tanners on my dad’s.\u003c/p>\n\u003cp>It was one of those sunny days and my older cousin Kreshell took me to Sixth Street Park. We weren’t even there an hour and they started shooting. I mean shootin’ shootin’, like AK-47s or something. I was by the swings and my uncle Steve told me to run to the bathroom, when I tell you I was the tallest kid in there, crying out to Jesus! I was in there talking ’bout “Jesus, Jesus, Jesus!”\u003c/p>\n\u003cp>The next morning I was at church repenting, crying my eyes out and telling the whole church how I felt a bullet go straight through my back but God saved me. I remember all the mothers and my grandma laying hands and praying for me. In each moment, there was always my community coming together in ritual to nurture my spirit and pass down wisdom. Sometimes that looked like a whoopin’, sometimes it looked like a hug, sometimes it was everybody kickin’ it at the family BBQ, and more times it was your mother telling all your business so the rest of the family can hold you accountable.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13896798\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-33-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>When I was 18 I moved to Las Vegas trying to be grown. I was so lost. I felt my family didn’t understand me. I wanted to become a singer and was taking all the wrong paths and meeting all the wrong people to achieve that dream. I remember being surrounded by people but still feeling so alone. Just because I was finding my own way didn’t mean I had to abandon who I was and where I’d come from. I continued to fumble for years trying to connect with spirit and find my way.\u003c/p>\n\u003cp>It wasn’t until 2012 when I moved to D.C. and found my adopted community that I began to learn my full purpose. Not only did I began to see my calling as a vocalist but I realized I was so much more. I began to transition back to my roots. It started with me wanting to eat better and then I started being accountable for my bullshit. I was having difficult conversations that forced me to take a deep look into myself. I’m still looking.\u003c/p>\n\u003cp>I moved to Oakland with my SOL Development family in the summer of 2015. The year before I moved to D.C., I wrote the song “Brother.” I had no idea that in 2021 I’d break down and cry every time I heard it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13896797\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-30-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30-1536x866.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>On October 17, 2019, my brother Demetrius “Meech” Tanner was murdered in Baltimore. My cousin Sandee called me, told me to sit down, and told me he’d been shot. I was doing my sis Lauren’s (of SOL Development) hair. I couldn’t even finish. My partner Nell drove me to Bakersfield to be with my family, and when we got there I laid in the bed with my mom and we cried. We’d been filming the documentary \u003ca href=\"https://www.kqed.org/arts/13889347/sol-development-guides-the-lyrical-doc-when-the-waters-get-deep\" target=\"_blank\" rel=\"noopener noreferrer\">When The Waters Get Deep\u003c/a> for a whole year. I felt so privileged to be in such healing spaces facilitated by BE Imaginative. Those interactions catapulted me into the healing work I began with \u003ca href=\"https://thesongremedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Song Remedy\u003c/a>. And through all the healing work and transitions, I’ve always had to lean into community. That is my sacred place.\u003c/p>\n\u003cp>I became a mother August 30, 2020. My pregnancy was full of mixed emotions. I felt the joy from preparing to bring new life, but there was so much grief. I began going live on Instagram and sang whatever affirmations people would write in the comments. I began to once again feel community. Their affirmations were speaking directly to me, and the grieving that I was running from flowed right out of me.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13896796\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-32-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>As a mother my number-one priority is to always pour into myself in that way, to stay committed to growth and healing, to ritual, to sacred community. I fall short of that often, and try my best to be transparent about that, so that my community can play its part and step in when needed.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Being a mother—a Black mother—is the hardest, most rewarding job, but it is impossible without aunties, uncles, cousins, grandmas, grandpas and loved ones.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/brittctann/\" target=\"_blank\" rel=\"noopener noreferrer\">Brittany Tanner\u003c/a> is a Bay Area vocalist, songwriter, and entrepreneur. As a member of the hip-hop ensemble SOL Development and the collective BE-IMAGINATIVE, both featured in the KQED Arts documentary \u003c/em>\u003ca href=\"https://www.whenthewatersgetdeep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">When the Waters Get Deep\u003c/a>\u003cem>, Tanner has helped work to disrupt the hopelessness from gun violence. She is also a founder of \u003ca href=\"https://thesongremedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Song Remedy\u003c/a>, a healing circle and space led by Black and brown women dedicated to transforming pain into medicine.\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">…\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> remember once cleaning my mom’s whole house because I didn’t have money to buy her a gift. Now that I’m a mother myself, I see that one day a year is not enough to repay her for all the magic, dedication and love she’s gifted me, but a reminder to uplift and praise her every damn day.\u003c/p>\n\u003cp style=\"text-align: center\">…\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13896943\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-12-800x569.jpg\" alt=\" \" width=\"800\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-12-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-12-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-12-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-12.jpg 1016w\" 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>I was born to Sabrina McDaniel and Carnell Tanner August 8, 1985. They were both sixteen at the time. I had an amazing childhood. I grew up a country girl in Bakersfield, California. My great-grandpa always had some grapes fermenting in the bin outside, and my uncle Steve who lived next door kept chickens and homing pigeons, plus a team of the most vicious pit bulls. We’d occasionally catch crawdeggs in the canal, then sit in a circle popping the meat out the tails. There was a mulberry tree in the backyard, plenty of skinned knees, more than a couple black eyes, a whole lotta cussin’ and then church with grandma every Sunday.\u003c/p>\n\u003cp>My brothers and I were bad as hell—it was just the three of us for a while, until my mom had my younger brother and sister. Then there were five of us. We’d ride our bikes all over the neighborhood, getting chased by dogs, playing knock-knock zoom-zoom at night and just getting into all the trouble we could think of. We grew up in the house that my grandma Rene used to live in, built by my great-grandpa. He and my great-grandma Miller lived a house and a huge field down the street from us. My aunt Sandra and uncle Andre lived to the right, and my uncle Steve and aunt Dametia lived on the left.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13896795\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-35-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>When my mom was at school or work, the neighborhood watched and cared for us. My uncle Steve used to watch us through his blinds. I remember looking up and trying to see if he was looking at us so I could make my next move. You didn’t want to get caught by him—he gave the type of whoopin’s that make you hold your breath for a long time.\u003c/p>\n\u003cp>One day me and my brother Meechie were lighting little fires in the field, but putting them out quickly so they wouldn’t get too big. I had sandals on, so Meechie had to stomp the fires out for me. Well, he was lighting one and I was lighting one, and I guess he took too long getting to mine and the whole field caught on fire. When it got too big we had to run and get the adults. I was hysterical the whole time, not because of the fire but because of the ass whoopin’ I knew we were gonna get. Meechie took all the blame and I kept on with the hysterical crying, in shock and relief. I never thanked him enough for that.\u003c/p>\n\u003cp>Me, Meechie and Darius would fight all the time—like physically fight. We would even have boxing matches in the backyard with our cousins with no gloves. There was no scratching allowed. I used to think that rule was because I was a girl until Meech came in the house with a welt on his face and we all got in trouble. Another time, Meech and Darius were playing tug of war against me and they colluded to let go. I flew into the wall and got knocked out. When I awoke, they were both hovering over me, with Meech telling me to wake up and Darius starting to cry.\u003c/p>\n\u003cfigure id=\"attachment_13896793\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896793\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-34-800x535.jpg\" alt=\"Brittany Tanner and family pose for a photo.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittany Tanner and family pose for a photo. \u003ccite>(Brittany Tanner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No matter how much we fought in the house, though, we had each other’s backs outside. In those days everybody knew everybody, and they definitely knew my folks. The Millers, McDaniels and the Woffords on my mom’s side and the Antonys/Tanners on my dad’s.\u003c/p>\n\u003cp>It was one of those sunny days and my older cousin Kreshell took me to Sixth Street Park. We weren’t even there an hour and they started shooting. I mean shootin’ shootin’, like AK-47s or something. I was by the swings and my uncle Steve told me to run to the bathroom, when I tell you I was the tallest kid in there, crying out to Jesus! I was in there talking ’bout “Jesus, Jesus, Jesus!”\u003c/p>\n\u003cp>The next morning I was at church repenting, crying my eyes out and telling the whole church how I felt a bullet go straight through my back but God saved me. I remember all the mothers and my grandma laying hands and praying for me. In each moment, there was always my community coming together in ritual to nurture my spirit and pass down wisdom. Sometimes that looked like a whoopin’, sometimes it looked like a hug, sometimes it was everybody kickin’ it at the family BBQ, and more times it was your mother telling all your business so the rest of the family can hold you accountable.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13896798\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-33-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>When I was 18 I moved to Las Vegas trying to be grown. I was so lost. I felt my family didn’t understand me. I wanted to become a singer and was taking all the wrong paths and meeting all the wrong people to achieve that dream. I remember being surrounded by people but still feeling so alone. Just because I was finding my own way didn’t mean I had to abandon who I was and where I’d come from. I continued to fumble for years trying to connect with spirit and find my way.\u003c/p>\n\u003cp>It wasn’t until 2012 when I moved to D.C. and found my adopted community that I began to learn my full purpose. Not only did I began to see my calling as a vocalist but I realized I was so much more. I began to transition back to my roots. It started with me wanting to eat better and then I started being accountable for my bullshit. I was having difficult conversations that forced me to take a deep look into myself. I’m still looking.\u003c/p>\n\u003cp>I moved to Oakland with my SOL Development family in the summer of 2015. The year before I moved to D.C., I wrote the song “Brother.” I had no idea that in 2021 I’d break down and cry every time I heard it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13896797\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-30-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30-1536x866.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>On October 17, 2019, my brother Demetrius “Meech” Tanner was murdered in Baltimore. My cousin Sandee called me, told me to sit down, and told me he’d been shot. I was doing my sis Lauren’s (of SOL Development) hair. I couldn’t even finish. My partner Nell drove me to Bakersfield to be with my family, and when we got there I laid in the bed with my mom and we cried. We’d been filming the documentary \u003ca href=\"https://www.kqed.org/arts/13889347/sol-development-guides-the-lyrical-doc-when-the-waters-get-deep\" target=\"_blank\" rel=\"noopener noreferrer\">When The Waters Get Deep\u003c/a> for a whole year. I felt so privileged to be in such healing spaces facilitated by BE Imaginative. Those interactions catapulted me into the healing work I began with \u003ca href=\"https://thesongremedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Song Remedy\u003c/a>. And through all the healing work and transitions, I’ve always had to lean into community. That is my sacred place.\u003c/p>\n\u003cp>I became a mother August 30, 2020. My pregnancy was full of mixed emotions. I felt the joy from preparing to bring new life, but there was so much grief. I began going live on Instagram and sang whatever affirmations people would write in the comments. I began to once again feel community. Their affirmations were speaking directly to me, and the grieving that I was running from flowed right out of me.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13896796\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-32-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>As a mother my number-one priority is to always pour into myself in that way, to stay committed to growth and healing, to ritual, to sacred community. I fall short of that often, and try my best to be transparent about that, so that my community can play its part and step in when needed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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},
"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
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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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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"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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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"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",
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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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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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