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"slug": "what-is-black-art-in-san-francisco-in-2019",
"title": "What is 'Black Art' in San Francisco in 2019 ?",
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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\">A\u003c/span> voice came from the area near the door in the lobby of the CounterPulse Theatre and Gallery in San Francisco, asking for all the attendees who identify as black of African American to come with them; the rest of the audience was instructed to head toward the general seating area.\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>A dozen black folks, a baker’s dozen including myself, were escorted up a set of stairs and into a small room. That’s where we saw a performance, an Igbo masquerade, for our eyes only. I’m not at liberty to recount further details of that aspect of the evening, but I can tell you this: I found what I had been searching for.\u003c/p>\n\u003cp>I had spent the previous week looking for, and trying to define, “black art.”\u003c/p>\n\u003cp>I read the article in the \u003cem>New York Times\u003c/em> about the “\u003ca href=\"https://www.nytimes.com/2019/11/24/arts/design/black-artists.html\" target=\"_blank\" rel=\"noopener noreferrer\">rising presence of black artists of every ilk\u003c/a>“—and the side-eye responses.\u003c/p>\n\u003cp>I saw the film \u003cem>Queen & Slim\u003c/em>, read the articles\u003ca href=\"https://www.nytimes.com/2019/11/21/magazine/queen-slim-movie.html\" target=\"_blank\" rel=\"noopener noreferrer\"> praising it\u003c/a> and \u003ca href=\"https://www.vulture.com/2019/11/queen-and-slim-movie-review.html\" target=\"_blank\" rel=\"noopener noreferrer\">critiquing it\u003c/a> (and I cracked up at the hashtag \u003ca href=\"https://twitter.com/hashtag/TweetLikeLena?src=hashtag_click\" target=\"_blank\" rel=\"noopener noreferrer\">#TweetLikeLena\u003c/a>).\u003c/p>\n\u003cp>I read about the issues around\u003ca href=\"https://www.nytimes.com/2019/12/03/arts/design/art-basel-miami-black-art.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Art spaces and ownership\u003c/a>, spawned by Art Basel. (And of course, I saw the story about the \u003ca href=\"https://www.vogue.com/article/the-120000-art-basel-banana-explained-maurizio-cattelan\" target=\"_blank\" rel=\"noopener noreferrer\">$120,000 banana\u003c/a>, and \u003ca href=\"https://www.cnn.com/style/article/david-datuna-banana-art-basel-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">the person who ate the banana\u003c/a>, and\u003ca href=\"https://twitter.com/fwmj/status/1204808132926394368?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> the Kanye meme\u003c/a> it inspired.)\u003c/p>\n\u003cp>And I’ve been following Chicago rapper and book club founder Noname. She shook a few folks when she publicly stated\u003ca href=\"https://uproxx.com/music/noname-white-audiences-black-art/\" target=\"_blank\" rel=\"noopener noreferrer\"> her stance against performing in front of majority white audiences\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13871393\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-complete_open_graph wp-image-13871393\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1200x1137.png\" alt=\"Via Noname's Twtitter\" width=\"640\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1200x1137.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-160x152.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-800x758.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-768x728.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1020x966.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM.png 1330w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Via Noname’s Twitter. \u003ccite>(Via Noname's Twtitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I found myself awake at 2am watching this interview with \u003ca href=\"https://www.youtube.com/watch?v=F4vIGvKpT1c\" target=\"_blank\" rel=\"noopener noreferrer\">Toni Morrison\u003c/a>, describing what it’s like to not adhere to the “white gaze” in her art. I also watched this old episode of Bernie Mac on \u003ca href=\"https://www.youtube.com/watch?v=UaXVt1QTwRU&t=21s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Def Comedy Jam\u003c/em>\u003c/a>, because I’m pretty sure that’s where I get \u003cem>my\u003c/em> definition of Black Art. The artists’ method of oral storytelling, the audience rolling in the aisle in reaction, and ownership over the content.\u003c/p>\n\u003cp>But… damn. What about the venue owner? And the distributor? (I was watching on YouTube, owned by Google.) There’s always something. Can you really have art that is fully black in America? Or is \u003cem>that\u003c/em> a part of Black Art? You know, being creative despite the circumstances?\u003c/p>\n\u003cfigure id=\"attachment_13871418\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871418\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/0-800x450.jpg\" alt='\"mouth/full\" performance at CounterPulse.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“mouth/full” performance at CounterPulse. \u003ccite>( Photos by Robbie Sweeny)\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 Counterpulse, after coming down the stairs from the small room, we were asked to sit on three pews set up in a triangle in the middle of the stage area. Two long pieces of church-style red carpet made a cross in the middle of the pews; a pulpit sat in the middle of that.\u003c/p>\n\u003cp>We were in the show. Everyone else sat outside of the triangle, in the theatre seating.\u003c/p>\n\u003cp>The two-person \u003cem>mouth//full\u003c/em>, written and performed by \u003ca href=\"http://counterpulse.org/other-artists/gabriel-christian-chibueze-crouch/\" target=\"_blank\" rel=\"noopener noreferrer\">Gabriel Christian and Chibueze Crouch\u003c/a>, included a set of spiritual dance performances and monologues focusing on experiences in the Black Church. Throughout the performance, the carpet became disheveled, and the minister’s pulpit was hoisted on Gabriel’s back and carried away; almost symbolically going from organized religion back to a space of open spirituality.\u003c/p>\n\u003cp>By the end of the performance, the group of us in the pews were invited to step into one of four groups based on affirmative statements we identified with—two of them led by guest artists \u003ca href=\"https://www.afrourban.org/post/180567987456/about-moclearly-monica-hastings-smith\" target=\"_blank\" rel=\"noopener noreferrer\">Monica Hastings-Smith\u003c/a> and Rev. Mutima Imani. Once groups were established, we shared in a session of communal chanting.\u003c/p>\n\u003cp>I damn near forgot there were other people in the audience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Intermission came and I caught a little fresh air before doubling back for the second act, \u003cem>She-Verse,\u003c/em> a multimedia piece by \u003ca href=\"http://counterpulse.org/other-artists/cherie-hill-iriedance/\">Cherie Hill IrieDance, \u003c/a>which explores the parallels between the way women and the planet are treated. The racially diverse group—Lashon A. Daley, Andreína Maldonado, Rose Rothfeder and dancer/choreographer Cherie Hill—put on a show that was a little lighter than the piece prior to it. But still, being written by a black woman makes it Black Art, right? Hill, \u003ca href=\"http://www.iriedance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a dance scholar\u003c/a>, believes so.\u003c/p>\n\u003cp>“My work comes from black feminism. And when I think of Black Art, I think it comes from black people,” she told me. “Black people are diverse, so there are going to be a lot of different things put out there.”\u003c/p>\n\u003cp>Chibueze Crouch also believes there’s a broad answer to the question, but when it boils down to it, “There’s a shared sense of community in Black Art… there’s always something shared in the experiences between the creators and consumers of Black Art.”\u003c/p>\n\u003cp>In regard to the opening, Crouch told me, the aim was to center black experiences, uplift tradition and modernize it with subtle changes that nod to gender rights, as well. “It’s about reclaiming that black spirituality; the masquerade was the original church, the original place where black people could gather and do art,” Crouch said. “It’s where Black Art comes from: the spirituality, the shared experience.”\u003c/p>\n\u003cp>Gabriel Christian added, in regards to the play’s format, that “everyone else has the privilege of seeing us in communion, but not everyone is going to get it… I’ve already had reviews from white people talking about how they didn’t get it, and that’s fine. I don’t think it was meant to be gotten by anybody but the folks inside of that triangle.”\u003c/p>\n\u003cp>Christian emphasized that those outside the triangle are privy to only “a snapshot of what it’s like for us to be in community, and how powerful it is, and how sacred it is.”\u003c/p>\n\u003cfigure id=\"attachment_13871456\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/0-1-800x533.jpg\" alt=\"The Cherie Hill IrieDance cast\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cherie Hill IrieDance cast. \u003ccite>(Robbie Sweeny)\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\">O\u003c/span>n that small stage, I saw something that spoke to Noname’s concerns over who’s consuming our art, as well as the conversation around \u003cem>Queen & Slim\u003c/em>, and how black trauma is shown and African American Vernacular English is used.\u003c/p>\n\u003cp>Before concluding our conversation, Christian said, “I think it’s impossible to \u003cem>not\u003c/em> be an artist, and be a black person living here.”\u003c/p>\n\u003cp>To which Crouch added: “We have to make survival palatable.”\u003c/p>\n\u003cp>It made me think of the poet Toni Cade Bambara, whose work contributed to the\u003ca href=\"https://libguides.wustl.edu/poetry-bam/timeline\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Arts Movement\u003c/a>, and who once wrote: “The purpose of a writer is to make revolution \u003cem>irresistible\u003c/em>.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘She-Verse’ and ‘mouth//full’ run for two more performances, Dec. 13 and 14, at CounterPulse in San Francisco. \u003ca href=\"https://counterpulse.org/event/performingdiaspora2019/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\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\">A\u003c/span> voice came from the area near the door in the lobby of the CounterPulse Theatre and Gallery in San Francisco, asking for all the attendees who identify as black of African American to come with them; the rest of the audience was instructed to head toward the general seating area.\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>A dozen black folks, a baker’s dozen including myself, were escorted up a set of stairs and into a small room. That’s where we saw a performance, an Igbo masquerade, for our eyes only. I’m not at liberty to recount further details of that aspect of the evening, but I can tell you this: I found what I had been searching for.\u003c/p>\n\u003cp>I had spent the previous week looking for, and trying to define, “black art.”\u003c/p>\n\u003cp>I read the article in the \u003cem>New York Times\u003c/em> about the “\u003ca href=\"https://www.nytimes.com/2019/11/24/arts/design/black-artists.html\" target=\"_blank\" rel=\"noopener noreferrer\">rising presence of black artists of every ilk\u003c/a>“—and the side-eye responses.\u003c/p>\n\u003cp>I saw the film \u003cem>Queen & Slim\u003c/em>, read the articles\u003ca href=\"https://www.nytimes.com/2019/11/21/magazine/queen-slim-movie.html\" target=\"_blank\" rel=\"noopener noreferrer\"> praising it\u003c/a> and \u003ca href=\"https://www.vulture.com/2019/11/queen-and-slim-movie-review.html\" target=\"_blank\" rel=\"noopener noreferrer\">critiquing it\u003c/a> (and I cracked up at the hashtag \u003ca href=\"https://twitter.com/hashtag/TweetLikeLena?src=hashtag_click\" target=\"_blank\" rel=\"noopener noreferrer\">#TweetLikeLena\u003c/a>).\u003c/p>\n\u003cp>I read about the issues around\u003ca href=\"https://www.nytimes.com/2019/12/03/arts/design/art-basel-miami-black-art.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Art spaces and ownership\u003c/a>, spawned by Art Basel. (And of course, I saw the story about the \u003ca href=\"https://www.vogue.com/article/the-120000-art-basel-banana-explained-maurizio-cattelan\" target=\"_blank\" rel=\"noopener noreferrer\">$120,000 banana\u003c/a>, and \u003ca href=\"https://www.cnn.com/style/article/david-datuna-banana-art-basel-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">the person who ate the banana\u003c/a>, and\u003ca href=\"https://twitter.com/fwmj/status/1204808132926394368?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> the Kanye meme\u003c/a> it inspired.)\u003c/p>\n\u003cp>And I’ve been following Chicago rapper and book club founder Noname. She shook a few folks when she publicly stated\u003ca href=\"https://uproxx.com/music/noname-white-audiences-black-art/\" target=\"_blank\" rel=\"noopener noreferrer\"> her stance against performing in front of majority white audiences\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13871393\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-complete_open_graph wp-image-13871393\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1200x1137.png\" alt=\"Via Noname's Twtitter\" width=\"640\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1200x1137.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-160x152.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-800x758.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-768x728.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1020x966.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM.png 1330w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Via Noname’s Twitter. \u003ccite>(Via Noname's Twtitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I found myself awake at 2am watching this interview with \u003ca href=\"https://www.youtube.com/watch?v=F4vIGvKpT1c\" target=\"_blank\" rel=\"noopener noreferrer\">Toni Morrison\u003c/a>, describing what it’s like to not adhere to the “white gaze” in her art. I also watched this old episode of Bernie Mac on \u003ca href=\"https://www.youtube.com/watch?v=UaXVt1QTwRU&t=21s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Def Comedy Jam\u003c/em>\u003c/a>, because I’m pretty sure that’s where I get \u003cem>my\u003c/em> definition of Black Art. The artists’ method of oral storytelling, the audience rolling in the aisle in reaction, and ownership over the content.\u003c/p>\n\u003cp>But… damn. What about the venue owner? And the distributor? (I was watching on YouTube, owned by Google.) There’s always something. Can you really have art that is fully black in America? Or is \u003cem>that\u003c/em> a part of Black Art? You know, being creative despite the circumstances?\u003c/p>\n\u003cfigure id=\"attachment_13871418\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871418\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/0-800x450.jpg\" alt='\"mouth/full\" performance at CounterPulse.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“mouth/full” performance at CounterPulse. \u003ccite>( Photos by Robbie Sweeny)\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 Counterpulse, after coming down the stairs from the small room, we were asked to sit on three pews set up in a triangle in the middle of the stage area. Two long pieces of church-style red carpet made a cross in the middle of the pews; a pulpit sat in the middle of that.\u003c/p>\n\u003cp>We were in the show. Everyone else sat outside of the triangle, in the theatre seating.\u003c/p>\n\u003cp>The two-person \u003cem>mouth//full\u003c/em>, written and performed by \u003ca href=\"http://counterpulse.org/other-artists/gabriel-christian-chibueze-crouch/\" target=\"_blank\" rel=\"noopener noreferrer\">Gabriel Christian and Chibueze Crouch\u003c/a>, included a set of spiritual dance performances and monologues focusing on experiences in the Black Church. Throughout the performance, the carpet became disheveled, and the minister’s pulpit was hoisted on Gabriel’s back and carried away; almost symbolically going from organized religion back to a space of open spirituality.\u003c/p>\n\u003cp>By the end of the performance, the group of us in the pews were invited to step into one of four groups based on affirmative statements we identified with—two of them led by guest artists \u003ca href=\"https://www.afrourban.org/post/180567987456/about-moclearly-monica-hastings-smith\" target=\"_blank\" rel=\"noopener noreferrer\">Monica Hastings-Smith\u003c/a> and Rev. Mutima Imani. Once groups were established, we shared in a session of communal chanting.\u003c/p>\n\u003cp>I damn near forgot there were other people in the audience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Intermission came and I caught a little fresh air before doubling back for the second act, \u003cem>She-Verse,\u003c/em> a multimedia piece by \u003ca href=\"http://counterpulse.org/other-artists/cherie-hill-iriedance/\">Cherie Hill IrieDance, \u003c/a>which explores the parallels between the way women and the planet are treated. The racially diverse group—Lashon A. Daley, Andreína Maldonado, Rose Rothfeder and dancer/choreographer Cherie Hill—put on a show that was a little lighter than the piece prior to it. But still, being written by a black woman makes it Black Art, right? Hill, \u003ca href=\"http://www.iriedance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a dance scholar\u003c/a>, believes so.\u003c/p>\n\u003cp>“My work comes from black feminism. And when I think of Black Art, I think it comes from black people,” she told me. “Black people are diverse, so there are going to be a lot of different things put out there.”\u003c/p>\n\u003cp>Chibueze Crouch also believes there’s a broad answer to the question, but when it boils down to it, “There’s a shared sense of community in Black Art… there’s always something shared in the experiences between the creators and consumers of Black Art.”\u003c/p>\n\u003cp>In regard to the opening, Crouch told me, the aim was to center black experiences, uplift tradition and modernize it with subtle changes that nod to gender rights, as well. “It’s about reclaiming that black spirituality; the masquerade was the original church, the original place where black people could gather and do art,” Crouch said. “It’s where Black Art comes from: the spirituality, the shared experience.”\u003c/p>\n\u003cp>Gabriel Christian added, in regards to the play’s format, that “everyone else has the privilege of seeing us in communion, but not everyone is going to get it… I’ve already had reviews from white people talking about how they didn’t get it, and that’s fine. I don’t think it was meant to be gotten by anybody but the folks inside of that triangle.”\u003c/p>\n\u003cp>Christian emphasized that those outside the triangle are privy to only “a snapshot of what it’s like for us to be in community, and how powerful it is, and how sacred it is.”\u003c/p>\n\u003cfigure id=\"attachment_13871456\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/0-1-800x533.jpg\" alt=\"The Cherie Hill IrieDance cast\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cherie Hill IrieDance cast. \u003ccite>(Robbie Sweeny)\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\">O\u003c/span>n that small stage, I saw something that spoke to Noname’s concerns over who’s consuming our art, as well as the conversation around \u003cem>Queen & Slim\u003c/em>, and how black trauma is shown and African American Vernacular English is used.\u003c/p>\n\u003cp>Before concluding our conversation, Christian said, “I think it’s impossible to \u003cem>not\u003c/em> be an artist, and be a black person living here.”\u003c/p>\n\u003cp>To which Crouch added: “We have to make survival palatable.”\u003c/p>\n\u003cp>It made me think of the poet Toni Cade Bambara, whose work contributed to the\u003ca href=\"https://libguides.wustl.edu/poetry-bam/timeline\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Arts Movement\u003c/a>, and who once wrote: “The purpose of a writer is to make revolution \u003cem>irresistible\u003c/em>.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘She-Verse’ and ‘mouth//full’ run for two more performances, Dec. 13 and 14, at CounterPulse in San Francisco. \u003ca href=\"https://counterpulse.org/event/performingdiaspora2019/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "music-for-our-emergency",
"title": "Music For Our Climate Emergency",
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"headTitle": "Music For Our Climate Emergency | KQED",
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"content": "\u003cp>Greta Thunberg did not sail across the Atlantic Ocean\u003ca href=\"https://news.un.org/en/story/2019/08/1045161\"> for two weeks\u003c/a> to become a lead singer. But, just days after the 16-year-old proselytizer\u003ca href=\"https://www.npr.org/2019/09/23/763452863/transcript-greta-thunbergs-speech-at-the-u-n-climate-action-summit\"> censured\u003c/a> a room of world leaders many times her age for their shared “fairy tales of eternal economic growth,” the internet made her one, anyway.\u003c/p>\n\u003cp>The most impassioned moments of Thunberg’s September sermon at the United Nations quickly sprouted musical memes. In New York, a drummer \u003ca href=\"https://www.rollingstone.com/culture/culture-news/greta-thunberg-swedish-death-metal-892000/\">growled\u003c/a> her words above relentless Swedish death metal, a nod to her homeland that doubled as a fundraising blunderbuss for Greenpeace. Two producers turned the speech into bombastic electronica, with roaring choirs and stomping boots\u003ca href=\"https://www.youtube.com/watch?v=5GOoajKDIME\"> set to scenes\u003c/a> of forests burning and children marching. And another\u003ca href=\"https://www.youtube.com/watch?v=ABIbH-LtpFs\"> mashed\u003c/a> the day’s \u003cem>cri de cœur\u003c/em>—”Right here, right now is where we draw the line.”—with the Fatboy Slim hit “Right Here, Right Now.” Just days later, Slim himself slipped it into a live set, \u003ca href=\"https://www.youtube.com/watch?v=bWvFcR7UtAI\">sending \u003c/a>his audience into a tizzy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zpWftLOWXLY\u003c/p>\n\u003cp>Environmentalism in music is nothing new, of course. A full quarter-century before James Hansen \u003ca href=\"https://www.nytimes.com/1988/06/24/us/global-warming-has-begun-expert-tells-senate.html\">told Congress\u003c/a> that humans were changing their climate, Peter La Farge, an indigenous songwriter from the Southwest, repeatedly warned of environmental devastation on 1963’s\u003ca href=\"https://folkways.si.edu/peter-la-farge/as-long-as-the-grass-shall-grow-sings-of-the-indians/american-folk-american-indian/music/album/smithsonian\"> \u003cem>As Long as the Grass Shall\u003c/em> \u003cem>Grow\u003c/em>\u003c/a>, a remarkable album of Native American laments about the various plagues of pioneers. From Joni Mitchell \u003ca href=\"https://www.youtube.com/watch?v=94bdMSCdw20\">singing\u003c/a> of the birds, bees and DDT to Neil Young\u003ca href=\"https://www.youtube.com/watch?v=33N8M6tQ4e0\"> rhapsodizing\u003c/a> of “Mother Earth / and her healing ways” in 1990 (or\u003ca href=\"https://www.youtube.com/watch?v=LaaJCJvFP9M\"> grousing\u003c/a> about “old white guys trying to kill mother nature” in 2019), the stars of the ’60s and ’70s have often stepped into a\u003ca href=\"https://www.nrdc.org/stories/story-silent-spring\"> post-\u003cem>Silent Spring\u003c/em>\u003c/a> fray.\u003c/p>\n\u003cp>It’s never stopped, really: Depeche Mode\u003ca href=\"https://www.youtube.com/watch?v=VwS5WexDVHI\"> sang\u003c/a> of forests dying and streams putrefying in 1983, presciently alluding to climate-science deniers. One of Dave Matthews’ earliest songs, “\u003ca href=\"https://www.youtube.com/watch?v=sdLj0c9iaEA\">One Sweet World\u003c/a>,” inspired a Ben & Jerry’s flavor that has raised tens of thousands of dollars for an\u003ca href=\"http://saveourenvironment.org/\"> environmental coalition\u003c/a>. There are\u003ca href=\"https://www.youtube.com/watch?v=I3skR9wQL8s\"> entire milieus\u003c/a> of metal and punk devoted to socioecological unsustainability, realms where\u003ca href=\"https://www.youtube.com/watch?v=8uiADLX1ZXc\"> nuclear weapons\u003c/a> and\u003ca href=\"https://www.youtube.com/watch?v=3QjXtrQKf88\"> animal agriculture\u003c/a> share culpability. On her second album, Miley Cyrus wrote a\u003ca href=\"https://www.youtube.com/watch?v=YNEZp8BWGEU\"> rock song\u003c/a> about “going green,” while Anohni sardonically\u003ca href=\"https://www.youtube.com/watch?v=Fi0q0O4V5Qs\"> longed\u003c/a> for it all to burn—”dogs crying for water… fish go belly-up in the sea”—above demonic horns and militant drums on “4 Degrees.” Mos Def has\u003ca href=\"https://www.youtube.com/watch?v=2N5Bk8FMw9Y\"> rapped\u003c/a> about the money-hungry ruining the water supply. And even Smash Mouth tried to alarm us about the corroding ozone layer and melting ice shelf during “All Star,” that song from\u003ca href=\"https://www.youtube.com/watch?v=Uo2SNtFofWI\"> \u003cem>Shrek\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thunberg’s unlikely ascendance as a source of inspiring samples highlights something that’s missing: a song that helps us sort through our globally mounting anxiety about climate change and our role in our own potential doom, an actual anthem that propels people towards action. Despite its news-cycle ubiquity and increasing threat of globe-altering impacts, songs touching on climate change have rarely crossed the threshold of the mainstream, existing instead as a distant flicker on the radar of our collective awareness. “Big Yellow Taxi,” perhaps as close as we’ve gotten to a unifying environmental ode, turns 50 next year; it’s been so ubiquitous for so long it feels as pat as an advertising jingle.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=94bdMSCdw20\u003c/p>\n\u003cp>In the last few years, however, global warming and the intense feelings it fosters have begun to creep subtly into lyrics where you may overlook them, a quiet corollary to a movement \u003ca href=\"https://pitchfork.com/thepitch/how-experimental-musicians-are-soundtracking-the-end-of-the-world/\">spider-webbing\u003c/a> through electronic music. Songwriters are increasingly treating climate unease like the very air we breathe or the technology we use—a part of life with which we must reckon and reconcile, like love or lust or loss.\u003c/p>\n\u003cp>These new tunes aren’t protest songs as we think of them, and they don’t shoehorn motivational slogans into their choruses; they are reflections of a reality lived under the specter of global collapse, the evidence of our personal adjustments to an anxiously indeterminate present and future. And their writers, unlike Thunberg, aren’t looking to proselytize to world leaders or to synthesize scientific research into an empowering single—they’re not the experts, after all. They’re just people offering others a way to sort through what’s happening, even to mourn what’s already been lost. It’s the difference between a command and a confession, a lecture and a conversation.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“We’re afraid of darkness. We’re afraid of endings. We’re afraid of death,”\u003c/strong> says Tamara Lindeman, a Canadian singer whose work as The Weather Station has started \u003ca href=\"https://theweatherstation.bandcamp.com/track/the-most-dangerous-thing-about-you\">to integrate\u003c/a> snippets of impending disaster into her songs. Her next album, due in 2020, commits to the subject. “To look at something so profoundly devastating is so scary, but it’s powerful if you can allow yourself to feel those feelings. You can stop hiding from it. Having that experience through art is healthy.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mcPDgWMkEiM\u003c/p>\n\u003cp>Some of these newer songs confront global warming like a mammoth sparring partner, squaring up to the subject wielding rhetoric like fists. Andrew Bird’s “\u003ca href=\"https://www.youtube.com/watch?v=Pv68Kivrl5g\">Manifest\u003c/a>” sounds as breezy as a Sunday stroll through the Laurel Canyon, with licks of whistling and gliding strings. But in the first verse, he renounces the United States’ westward sprawl, condemning a country of unfaithful stewards. He gazes at the ocean with anxiety and ponders the way we burn ancient organisms—the fossils in our fossil fuels—just to drive to the grocery store. During 2016’s “\u003ca href=\"https://www.youtube.com/watch?v=X_UKDPR7k_E\">Generation Why\u003c/a>,” Weyes Blood offers her fearful vision like she’s reading the evening news: “It’s not the past that scares me / Now what a great future this is gonna be.” She spells out “YOLO” during the hook, her mind caught in the evermore-tight vice between modern indulgence and future existence.\u003c/p>\n\u003cp>Others, though, are almost subliminal in their climate change invocations. Justin Vernon hides his worry in plain sight during Bon Iver’s “\u003ca href=\"https://www.youtube.com/watch?v=oIzFg4eEvbQ\">Holyfields\u003c/a>.” With his clutched falsetto, he renders “The dawn is rising / the land ain’t rising” almost as an aside, as if the circumstances of\u003ca href=\"https://www.washingtonpost.com/lifestyle/kidspost/high-tides-flood-venice-for-third-time-in-one-week/2019/11/18/ad73a1f8-0701-11ea-ac12-3325d49eacaa_story.html\"> modern Venice\u003c/a> and\u003ca href=\"https://www.nytimes.com/interactive/2019/10/29/climate/coastal-cities-underwater.html\"> future\u003c/a> Mumbai, Bangkok and Miami are so obvious they’re best left coded. Lana Del Rey slips her own stark observations into the final verse of “\u003ca href=\"https://www.youtube.com/watch?v=LrSX_OcpeJg\">The Greatest\u003c/a>,” calmly inserting a note about wildfires and eternal heat waves between lines about Kanye West’s blond hair and Hawaii’s bomb scare. On a song where “the culture is lit,” it’s a lyrical detail that’s easy to miss—just as it’s possible to overlook that, on the album’s \u003ca href=\"https://images.app.goo.gl/NyMxNWrxnBe1idkz5\">cover\u003c/a>, California is burning.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Blake Mills knows that coastline in flames well.\u003c/strong>\u003c/p>\n\u003cp>Born in Santa Monica and raised in Malibu, the songwriter and star producer, once\u003ca href=\"https://www.nytimes.com/2014/09/16/arts/music/blake-mills-releases-his-second-album-heigh-ho.html\"> called\u003c/a> “the last guitarist I heard that I thought was phenomenal” by Eric Clapton, is conditioned to months of perpetually balmy days, interrupted with occasional downpours as fall slides into winter. But a few years ago that rain was slow to come, and the landscape around Los Angeles felt like a tinderbox. When, at last, storms arrived, a friend joked to Mills that maybe it would be the last rain ever for Los Angeles. The storm’s petrichor, Mills remembers, smelled of nostalgia.\u003c/p>\n\u003cp>Mills sat down at his piano and began to ponder what that might mean. The result—a sobering, tender ballad called “Summer All Over”—teeters at the threshold of hope and despair. With his sigh caked on the keys like mud at the bottom of some drought-devastated lake, Mills tempers his quiet horror by “looking for laughter, looking for kindness,” for any human quality that aims to right our colossal wrongs. Mills captures that seesaw of feelings musically with a pervasive flicker of melodic dissonance. Electronics drift in the background, like smog hovering above a troubled valley.\u003c/p>\n\u003cp>“Writing about the season of summer inherently evokes a Beach Boys vibe, maybe because I’m in Los Angeles,” says Mills, who penned the song with Cass McCombs and hopes to release it on his third album. “But the implication of the warmest season happening all over the world at the same time is an ‘endless summer.’ ”\u003c/p>\n\u003cp>He notes the sad irony of a term that, less than 50 years ago, belonged to\u003ca href=\"https://open.spotify.com/album/05J8PFXdYKeYNb8YjqqJYr\"> a relatively carefree\u003c/a> Beach Boys collection. But “Summer All Over,” an enticing title that suggests burnished bodies on a California shoreline, is tragically beautiful, a warm hug from an old ghost. Rock and roll can’t be all good times on the bleeding edge of environmental ruin.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>While touring for the last several years,\u003c/strong> Kentucky songwriter Joan Shelley came to similar epiphanies along the California coast. Not long ago, she was driving north from Los Angeles to Seattle between shows, marveling at the scenery along California’s fabled Highway 1. She remembers the cliffs and the sunlight glittering on the Pacific, a fantasy come to life. That image is captured by “\u003ca href=\"https://joanshelley.bandcamp.com/track/stay-all-night\">Stay All Night\u003c/a>,” a seaside reflection from her quietly uneasy 2019 album,\u003ca href=\"https://joanshelley.bandcamp.com/album/like-the-river-loves-the-sea\"> \u003cem>Like the River Loves the Sea\u003c/em>\u003c/a>. She marvels at the vista but, in the final verse of her reverie, wonders how temporary it may be, hoping that “the waves don’t rise this high.” Actually, it was the opposite: On a recent return visit, that road was closed, nearby cliffs washed into the water by landslides.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=3&v=3u4Pe2YHH-Y&feature=emb_logo\u003c/p>\n\u003cp>During the album’s arresting centerpiece, “\u003ca href=\"https://www.youtube.com/watch?v=3u4Pe2YHH-Y\">The Fading\u003c/a>,” Shelley retreats to Kentucky, the place Mark Twain (\u003ca href=\"https://oregonscribbler.com/mark-twain-i-want-to-be-in-kentucky-when-the-end-of-the-world-comes-because-they-are-always-20-years-behind/\">allegedly\u003c/a>) joked he’d like to be when the world ended, because it’s always years behind everywhere else. Shelley keys on that idea as she reclines to witness the natural world overrun the order we’ve imposed upon it. “I cheered the flood / when the water hit the wall and won,” she lilts, her cotton-soft voice temporarily stiffening. It’s a love song at, and for, the end of time, an exercise in appreciating what you’ve had the chance to cherish, whether it’s a drink of gin or a gentle lover or a lovely day.\u003c/p>\n\u003cp>Sometimes, Shelley admits, she turns off the news, because the devastation is too much to hear. As a songwriter, then, it was paramount to create a new way of approaching that helplessness, of facing those truths. These songs don’t protest reality—they simply acknowledge it.\u003c/p>\n\u003cp>“With the small rooms I play for, I’m hoping to give people tools for feeling where we may want to be numb. There’s a grief that is hard to admit to,” she says. “But through art, people can express those low-humming anxieties in a way that isn’t so hard to face.”\u003c/p>\n\u003cp>The sweetly wizened voice trailing Shelley’s during “The Fading” belongs to fellow Kentucky native Will Oldham. She, in turn, adds harmonies across \u003cem>I Made a Place\u003c/em>, Oldham’s first record as Bonnie “Prince” Billy in eight years. Moments of intense worry and woe linger in the record’s quiet corners, absorbing the light of these seemingly incandescent songs. During the album’s jaunty first verse, a home burns, part of a personal conflagration that Oldham suggests is spreading. And during the hypnotic “Nothing Is Busted,” a wounded woman and an oblivious man capture the dynamic between our ecosystem and our social order, a relationship hamstrung by the need for new things to sell, buy and discard. “This particular assemblage of molecules and memories someday soon may just run out of gas,” Oldham sings in one song’s closing verse without pausing to take so much as a breath, as if racing against the apocalypse.\u003c/p>\n\u003cp>For most of \u003cem>I Made a Place\u003c/em>, Oldham dances around or with these end times. But during “This Is Far From Over,” an acoustic stunner near the album’s center, he faces them with softness and resolve. Presumably written for his newborn daughter, the song conjures a world where rising tides force her to take to the sea as an adult, a continental refugee who will do her best to persevere. It is a tragic lullaby, a preemptive apology for the mess she will inherit. Despite the title, Oldham is neither blithe nor disingenuous, using the last verse to confront the possibility that new kinds of life will thrive in humanity’s absence. “The whole world’s far from over,” he sings in the final line at the edge of his falsetto, just where his voice might crack into tears.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“Our kids are being handed a rotten deal, everyone’s children,”\u003c/strong> says The National’s Matt Berninger, father to a 10-year-old daughter, Isla. “The Industrial Revolution gave the Earth a gaping wound not that long ago in the grand scheme, and it’s bleeding out fast. But a tipping point is happening, I think, in understanding how rigged that system is.”\u003c/p>\n\u003cp>The National have rarely been an overtly political band—Berninger has instead spent two decades mapping the darkest and most dangerous corners of his psyche. He’s worried out loud about\u003ca href=\"https://www.youtube.com/watch?v=gPp-3QSXf1g\"> handing down\u003c/a> his worst habits to Isla, about\u003ca href=\"https://www.youtube.com/watch?v=gsZmE95t2Yw\"> taking love too hard\u003c/a> for his own health, and about\u003ca href=\"https://www.youtube.com/watch?v=MxL_xRM0Wug\"> losing himself\u003c/a> in the\u003ca href=\"https://www.youtube.com/watch?v=dCfWAVRR794\"> strange alchemy\u003c/a> of lust and blood and booze. But now the peril of climate change has entered that matrix of considerations, part of “the soup of everyone’s minds and hearts all the time,” as he puts it, alongside sex and drugs and comedy and general dread.\u003c/p>\n\u003cp>In December 2018, Berninger was at a wedding just north of Los Angeles when a song sketch from The National’s Aaron Dessner arrived. Berninger woke up one morning before sunset and, while wandering the streets, unspooled 17 verses to the loop, a sort of living chronicle of his consciousness. There were headline anxieties about the alt-right and immigration, opinions about R.E.M. and The Bible, an interest in the seemingly infinite minimalism of artist\u003ca href=\"http://www.artnet.com/artists/hanne-darboven/evolution-leibniz-a-bSB3naI0qNnejm9Es8cqXw2\"> Hanne Darboven\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Po61rjjdUPs\u003c/p>\n\u003cp>When he sent the epic to Dessner and filmmaker and producer Mike Mills, they trimmed his diarist sprawl and added an unexpected twist: the dire verses of “\u003ca href=\"https://www.youtube.com/watch?v=FvFrSG37idM\">Noble Experiment\u003c/a>,” a waltz for the end of humanity, released by indie-rock eccentrics Thinking Fellers Union 282 in 1994. During the finished version, “\u003ca href=\"https://open.spotify.com/track/50DAgICmMnWaUVXQiLGlLx\">Not in Kansas\u003c/a>” from this year’s \u003cem>I Am Easy to Find\u003c/em>, a small choir intones those doomed words—”Be a fish or a weed or a sparrow / For the Earth has grown tired and all of your time has expired”—between Berninger’s own verses.\u003c/p>\n\u003cp>The National effectively nest the end of the world inside a laundry list of mundane thoughts; it’s like finding your own death certificate in the day’s otherwise ordinary mail. The world teems with distractions, “Not in Kansas” implies, to keep us from the crisis at the door.\u003c/p>\n\u003cp>“I don’t know how any artist isn’t talking about all of this stuff—sexism, racism, global warming, corporate corruption. I can’t spend time on a song now unless it’s somehow \u003cem>aware\u003c/em> of that stuff,” Berninger says. “Art has the responsibility to try to enlighten, instead of \u003cem>just\u003c/em> entertain. Pop music is still afraid to get into it, but not everyone.”\u003c/p>\n\u003cp>Perhaps the closest that recent pop has come to the subject is “\u003ca href=\"https://www.youtube.com/watch?v=4W9VYY5QpLg\">PARAD(w/m)E\u003c/a>,” a slyly sparkling 2018 single from the North Carolina duo Sylvan Esso. The tune is ebullient, with a chorus that sounds like a mechanized schoolyard chant and verses that shimmer like sunshine on the distant desert horizon. It’s possible to hear and even sing along without ever reflecting on its apocalyptic scenes—the gasless gas stations, the flora-less forests, the reprieve-less heat.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4W9VYY5QpLg\u003c/p>\n\u003cp>Singer Amelia Meath laughs ruefully about fans who show up to shows wearing homemade shirts reading “How’s that for manifesting our destiny,” having misinterpreted the song’s linchpin indictment as a self-help mantra fit for yogis. About halfway in, Nick Sanborn’s keyboards wobble from their glistening perch, slinking briefly into a morass beneath taunting handclaps. In the refrain, Meath’s proclamation of liberation—”We finally got free”—comes only after she reveals the cause: We’ve already ruined everything.\u003c/p>\n\u003cp>While “PARAD(w/m)E” never landed on \u003cem>Billboard\u003c/em>‘s charts, it suggests a clear framework for some future global-warming protest anthem, much like Billie Eilish’s subtly hypnotic “all the good girls go to hell”: lyrics so sharp listeners might not feel the knife, surrounded by music that celebrates whatever it is we’ve salvaged.\u003c/p>\n\u003cp>“No one likes the guy at the party who is just talking about horrible stuff all the time. But that’s me,” says Meath, smiling. She’s worked to weave such concerns into Sylvan Esso’s third LP, likely arriving in 2020, without being didactic. “That song is cloaked, very specifically, to be easy to swallow. That is the dream: Make the funnest music about the heaviest shit.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>In Iceland, mourners \u003c/strong>\u003ca href=\"https://www.usatoday.com/story/news/world/2019/08/19/okjokull-glacier-funeral-iceland-activists-establish-plaque/2049194001/\">\u003cstrong>hold\u003c/strong>\u003c/a>\u003cstrong> funerals for dead glaciers.\u003c/strong> In Washington state, a pioneering three-credit \u003ca href=\"https://www.uwb.edu/news/february-2018/environmental-grief\">course\u003c/a> called “Environmental Grief & Climate Anxiety: Coping in the Age of Consequences” teaches students how to sort through their despair and identify its sources. (The class subsequently became a\u003ca href=\"https://www.foxnews.com/us/global-warming-bringing-you-down-washington-state-offers-course-on-eco-anxiety-climate-grief.amp\"> Fox News punchline\u003c/a>.) And in magazines from\u003ca href=\"https://www.vogue.com/article/eco-anxiety-grief-mental-health-climate-change\"> \u003cem>Vogue\u003c/em>\u003c/a> to\u003ca href=\"https://www.vice.com/amp/en_uk/article/gy48d4/environmental-grief-climate-change-anxiety\"> \u003cem>Vice\u003c/em>\u003c/a>, recent articles about “eco-grief” signal the drift of these fears into the mainstream.\u003c/p>\n\u003cp>Songs about climate change are an inevitable, essential, and overdue component of that movement, a necessary response and tool for people “to process the truth and the existential dread,” as Berninger puts it. And while these songs have slowly started to accumulate during the last several years, it seems that we’re just at the edge of a new tide of them.\u003c/p>\n\u003cp>Next year, alongside new records from Sylvan Esso and The Weather Station, Grimes—a fringe pop star who has delighted in dancing at the edge of accessibility for a decade—will release\u003ca href=\"https://pitchfork.com/news/grimes-announces-new-album-miss-anthropocene/\"> \u003cem>Miss Anthropocene\u003c/em>\u003c/a>. “Each song will be a different embodiment of human extinction,” she has written. So far, its singles have mined the power dynamics of abusive relationships and the burden of despondency, topics that get to the nuance of the overarching issue.\u003c/p>\n\u003cp>In a presidential election year, when the United States is officially able \u003ca href=\"https://www.nytimes.com/2019/11/04/climate/trump-paris-agreement-climate.html\">to exit\u003c/a> the Paris Climate Agreement, Grimes likely won’t be alone, either in commiserating peers or coping listeners. The British singer-songwriter Bill Fay, now in his late 70s, touches on the topic for \u003ca href=\"https://pitchfork.com/news/bill-fay-announces-new-album-countless-branches-shares-new-song-listen/\">\u003cem>Countless Branches\u003c/em>\u003c/a>, due in January, while buzzy LA producer \u003ca href=\"http://shallou.com\">Shallou\u003c/a> cloaks concerns about environmental collapse in breakup imagery on an album due next summer.\u003c/p>\n\u003cp>None of these songwriters work under the illusion that these tunes, however poppy or plainspoken, will literally \u003cem>fix\u003c/em> anything, from reversing President Donald Trump’s confusing climate-change \u003ca href=\"https://time.com/5622374/donald-trump-climate-change-hoax-event/\">denial\u003c/a> to adjusting people’s disposable plastic habits. As working musicians, they have practical issues of their own to navigate, anyway, as the mechanisms of distribution for their work—be it a server churning through electricity or\u003ca href=\"https://www.google.com/amp/s/www.vice.com/amp/en_uk/article/9kz3y5/this-is-how-bad-your-vinyl-obsession-is-for-the-world\"> an LP made with petroleum\u003c/a> or a tour bus burning gas—inextricably entail a carbon footprint for now. Coldplay \u003ca href=\"https://news.yahoo.com/coldplay-postpones-future-global-tours-climate-change-fears-135905727.html\">won’t tour\u003c/a> behind their recent \u003cem>Everyday Life\u003c/em> until they can do so in a carbon-neutral way, a powerful stand from one of the world’s biggest bands but a strategy that’s not yet sustainable for small acts working merely for their living. It’s the essential friction of making and selling art that questions capitalist foundations.\u003c/p>\n\u003cp>But for now, these songs simply exist for the people who need them, their writers included. They’re not expressions of what they know or what they want you to do but only how they feel—and implicit permission slips for you to feel that way, too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’m not hoping to shine a light on something for anybody. Everything that needs to be said is being said really clearly,” says Mills, referring to scientists and policy experts who know and can articulate what he cannot. “But my song is about how we’re reacting to that information. And despair in music can help soak up the despair of the people listening.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Music+For+Our+Emergency&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Greta Thunberg did not sail across the Atlantic Ocean\u003ca href=\"https://news.un.org/en/story/2019/08/1045161\"> for two weeks\u003c/a> to become a lead singer. But, just days after the 16-year-old proselytizer\u003ca href=\"https://www.npr.org/2019/09/23/763452863/transcript-greta-thunbergs-speech-at-the-u-n-climate-action-summit\"> censured\u003c/a> a room of world leaders many times her age for their shared “fairy tales of eternal economic growth,” the internet made her one, anyway.\u003c/p>\n\u003cp>The most impassioned moments of Thunberg’s September sermon at the United Nations quickly sprouted musical memes. In New York, a drummer \u003ca href=\"https://www.rollingstone.com/culture/culture-news/greta-thunberg-swedish-death-metal-892000/\">growled\u003c/a> her words above relentless Swedish death metal, a nod to her homeland that doubled as a fundraising blunderbuss for Greenpeace. Two producers turned the speech into bombastic electronica, with roaring choirs and stomping boots\u003ca href=\"https://www.youtube.com/watch?v=5GOoajKDIME\"> set to scenes\u003c/a> of forests burning and children marching. And another\u003ca href=\"https://www.youtube.com/watch?v=ABIbH-LtpFs\"> mashed\u003c/a> the day’s \u003cem>cri de cœur\u003c/em>—”Right here, right now is where we draw the line.”—with the Fatboy Slim hit “Right Here, Right Now.” Just days later, Slim himself slipped it into a live set, \u003ca href=\"https://www.youtube.com/watch?v=bWvFcR7UtAI\">sending \u003c/a>his audience into a tizzy.\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/zpWftLOWXLY'\n title='//www.youtube.com/embed/zpWftLOWXLY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Environmentalism in music is nothing new, of course. A full quarter-century before James Hansen \u003ca href=\"https://www.nytimes.com/1988/06/24/us/global-warming-has-begun-expert-tells-senate.html\">told Congress\u003c/a> that humans were changing their climate, Peter La Farge, an indigenous songwriter from the Southwest, repeatedly warned of environmental devastation on 1963’s\u003ca href=\"https://folkways.si.edu/peter-la-farge/as-long-as-the-grass-shall-grow-sings-of-the-indians/american-folk-american-indian/music/album/smithsonian\"> \u003cem>As Long as the Grass Shall\u003c/em> \u003cem>Grow\u003c/em>\u003c/a>, a remarkable album of Native American laments about the various plagues of pioneers. From Joni Mitchell \u003ca href=\"https://www.youtube.com/watch?v=94bdMSCdw20\">singing\u003c/a> of the birds, bees and DDT to Neil Young\u003ca href=\"https://www.youtube.com/watch?v=33N8M6tQ4e0\"> rhapsodizing\u003c/a> of “Mother Earth / and her healing ways” in 1990 (or\u003ca href=\"https://www.youtube.com/watch?v=LaaJCJvFP9M\"> grousing\u003c/a> about “old white guys trying to kill mother nature” in 2019), the stars of the ’60s and ’70s have often stepped into a\u003ca href=\"https://www.nrdc.org/stories/story-silent-spring\"> post-\u003cem>Silent Spring\u003c/em>\u003c/a> fray.\u003c/p>\n\u003cp>It’s never stopped, really: Depeche Mode\u003ca href=\"https://www.youtube.com/watch?v=VwS5WexDVHI\"> sang\u003c/a> of forests dying and streams putrefying in 1983, presciently alluding to climate-science deniers. One of Dave Matthews’ earliest songs, “\u003ca href=\"https://www.youtube.com/watch?v=sdLj0c9iaEA\">One Sweet World\u003c/a>,” inspired a Ben & Jerry’s flavor that has raised tens of thousands of dollars for an\u003ca href=\"http://saveourenvironment.org/\"> environmental coalition\u003c/a>. There are\u003ca href=\"https://www.youtube.com/watch?v=I3skR9wQL8s\"> entire milieus\u003c/a> of metal and punk devoted to socioecological unsustainability, realms where\u003ca href=\"https://www.youtube.com/watch?v=8uiADLX1ZXc\"> nuclear weapons\u003c/a> and\u003ca href=\"https://www.youtube.com/watch?v=3QjXtrQKf88\"> animal agriculture\u003c/a> share culpability. On her second album, Miley Cyrus wrote a\u003ca href=\"https://www.youtube.com/watch?v=YNEZp8BWGEU\"> rock song\u003c/a> about “going green,” while Anohni sardonically\u003ca href=\"https://www.youtube.com/watch?v=Fi0q0O4V5Qs\"> longed\u003c/a> for it all to burn—”dogs crying for water… fish go belly-up in the sea”—above demonic horns and militant drums on “4 Degrees.” Mos Def has\u003ca href=\"https://www.youtube.com/watch?v=2N5Bk8FMw9Y\"> rapped\u003c/a> about the money-hungry ruining the water supply. And even Smash Mouth tried to alarm us about the corroding ozone layer and melting ice shelf during “All Star,” that song from\u003ca href=\"https://www.youtube.com/watch?v=Uo2SNtFofWI\"> \u003cem>Shrek\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thunberg’s unlikely ascendance as a source of inspiring samples highlights something that’s missing: a song that helps us sort through our globally mounting anxiety about climate change and our role in our own potential doom, an actual anthem that propels people towards action. Despite its news-cycle ubiquity and increasing threat of globe-altering impacts, songs touching on climate change have rarely crossed the threshold of the mainstream, existing instead as a distant flicker on the radar of our collective awareness. “Big Yellow Taxi,” perhaps as close as we’ve gotten to a unifying environmental ode, turns 50 next year; it’s been so ubiquitous for so long it feels as pat as an advertising jingle.\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/94bdMSCdw20'\n title='//www.youtube.com/embed/94bdMSCdw20'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the last few years, however, global warming and the intense feelings it fosters have begun to creep subtly into lyrics where you may overlook them, a quiet corollary to a movement \u003ca href=\"https://pitchfork.com/thepitch/how-experimental-musicians-are-soundtracking-the-end-of-the-world/\">spider-webbing\u003c/a> through electronic music. Songwriters are increasingly treating climate unease like the very air we breathe or the technology we use—a part of life with which we must reckon and reconcile, like love or lust or loss.\u003c/p>\n\u003cp>These new tunes aren’t protest songs as we think of them, and they don’t shoehorn motivational slogans into their choruses; they are reflections of a reality lived under the specter of global collapse, the evidence of our personal adjustments to an anxiously indeterminate present and future. And their writers, unlike Thunberg, aren’t looking to proselytize to world leaders or to synthesize scientific research into an empowering single—they’re not the experts, after all. They’re just people offering others a way to sort through what’s happening, even to mourn what’s already been lost. It’s the difference between a command and a confession, a lecture and a conversation.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“We’re afraid of darkness. We’re afraid of endings. We’re afraid of death,”\u003c/strong> says Tamara Lindeman, a Canadian singer whose work as The Weather Station has started \u003ca href=\"https://theweatherstation.bandcamp.com/track/the-most-dangerous-thing-about-you\">to integrate\u003c/a> snippets of impending disaster into her songs. Her next album, due in 2020, commits to the subject. “To look at something so profoundly devastating is so scary, but it’s powerful if you can allow yourself to feel those feelings. You can stop hiding from it. Having that experience through art is healthy.”\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/mcPDgWMkEiM'\n title='//www.youtube.com/embed/mcPDgWMkEiM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some of these newer songs confront global warming like a mammoth sparring partner, squaring up to the subject wielding rhetoric like fists. Andrew Bird’s “\u003ca href=\"https://www.youtube.com/watch?v=Pv68Kivrl5g\">Manifest\u003c/a>” sounds as breezy as a Sunday stroll through the Laurel Canyon, with licks of whistling and gliding strings. But in the first verse, he renounces the United States’ westward sprawl, condemning a country of unfaithful stewards. He gazes at the ocean with anxiety and ponders the way we burn ancient organisms—the fossils in our fossil fuels—just to drive to the grocery store. During 2016’s “\u003ca href=\"https://www.youtube.com/watch?v=X_UKDPR7k_E\">Generation Why\u003c/a>,” Weyes Blood offers her fearful vision like she’s reading the evening news: “It’s not the past that scares me / Now what a great future this is gonna be.” She spells out “YOLO” during the hook, her mind caught in the evermore-tight vice between modern indulgence and future existence.\u003c/p>\n\u003cp>Others, though, are almost subliminal in their climate change invocations. Justin Vernon hides his worry in plain sight during Bon Iver’s “\u003ca href=\"https://www.youtube.com/watch?v=oIzFg4eEvbQ\">Holyfields\u003c/a>.” With his clutched falsetto, he renders “The dawn is rising / the land ain’t rising” almost as an aside, as if the circumstances of\u003ca href=\"https://www.washingtonpost.com/lifestyle/kidspost/high-tides-flood-venice-for-third-time-in-one-week/2019/11/18/ad73a1f8-0701-11ea-ac12-3325d49eacaa_story.html\"> modern Venice\u003c/a> and\u003ca href=\"https://www.nytimes.com/interactive/2019/10/29/climate/coastal-cities-underwater.html\"> future\u003c/a> Mumbai, Bangkok and Miami are so obvious they’re best left coded. Lana Del Rey slips her own stark observations into the final verse of “\u003ca href=\"https://www.youtube.com/watch?v=LrSX_OcpeJg\">The Greatest\u003c/a>,” calmly inserting a note about wildfires and eternal heat waves between lines about Kanye West’s blond hair and Hawaii’s bomb scare. On a song where “the culture is lit,” it’s a lyrical detail that’s easy to miss—just as it’s possible to overlook that, on the album’s \u003ca href=\"https://images.app.goo.gl/NyMxNWrxnBe1idkz5\">cover\u003c/a>, California is burning.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Blake Mills knows that coastline in flames well.\u003c/strong>\u003c/p>\n\u003cp>Born in Santa Monica and raised in Malibu, the songwriter and star producer, once\u003ca href=\"https://www.nytimes.com/2014/09/16/arts/music/blake-mills-releases-his-second-album-heigh-ho.html\"> called\u003c/a> “the last guitarist I heard that I thought was phenomenal” by Eric Clapton, is conditioned to months of perpetually balmy days, interrupted with occasional downpours as fall slides into winter. But a few years ago that rain was slow to come, and the landscape around Los Angeles felt like a tinderbox. When, at last, storms arrived, a friend joked to Mills that maybe it would be the last rain ever for Los Angeles. The storm’s petrichor, Mills remembers, smelled of nostalgia.\u003c/p>\n\u003cp>Mills sat down at his piano and began to ponder what that might mean. The result—a sobering, tender ballad called “Summer All Over”—teeters at the threshold of hope and despair. With his sigh caked on the keys like mud at the bottom of some drought-devastated lake, Mills tempers his quiet horror by “looking for laughter, looking for kindness,” for any human quality that aims to right our colossal wrongs. Mills captures that seesaw of feelings musically with a pervasive flicker of melodic dissonance. Electronics drift in the background, like smog hovering above a troubled valley.\u003c/p>\n\u003cp>“Writing about the season of summer inherently evokes a Beach Boys vibe, maybe because I’m in Los Angeles,” says Mills, who penned the song with Cass McCombs and hopes to release it on his third album. “But the implication of the warmest season happening all over the world at the same time is an ‘endless summer.’ ”\u003c/p>\n\u003cp>He notes the sad irony of a term that, less than 50 years ago, belonged to\u003ca href=\"https://open.spotify.com/album/05J8PFXdYKeYNb8YjqqJYr\"> a relatively carefree\u003c/a> Beach Boys collection. But “Summer All Over,” an enticing title that suggests burnished bodies on a California shoreline, is tragically beautiful, a warm hug from an old ghost. Rock and roll can’t be all good times on the bleeding edge of environmental ruin.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>While touring for the last several years,\u003c/strong> Kentucky songwriter Joan Shelley came to similar epiphanies along the California coast. Not long ago, she was driving north from Los Angeles to Seattle between shows, marveling at the scenery along California’s fabled Highway 1. She remembers the cliffs and the sunlight glittering on the Pacific, a fantasy come to life. That image is captured by “\u003ca href=\"https://joanshelley.bandcamp.com/track/stay-all-night\">Stay All Night\u003c/a>,” a seaside reflection from her quietly uneasy 2019 album,\u003ca href=\"https://joanshelley.bandcamp.com/album/like-the-river-loves-the-sea\"> \u003cem>Like the River Loves the Sea\u003c/em>\u003c/a>. She marvels at the vista but, in the final verse of her reverie, wonders how temporary it may be, hoping that “the waves don’t rise this high.” Actually, it was the opposite: On a recent return visit, that road was closed, nearby cliffs washed into the water by landslides.\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/3u4Pe2YHH-Y'\n title='//www.youtube.com/embed/3u4Pe2YHH-Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>During the album’s arresting centerpiece, “\u003ca href=\"https://www.youtube.com/watch?v=3u4Pe2YHH-Y\">The Fading\u003c/a>,” Shelley retreats to Kentucky, the place Mark Twain (\u003ca href=\"https://oregonscribbler.com/mark-twain-i-want-to-be-in-kentucky-when-the-end-of-the-world-comes-because-they-are-always-20-years-behind/\">allegedly\u003c/a>) joked he’d like to be when the world ended, because it’s always years behind everywhere else. Shelley keys on that idea as she reclines to witness the natural world overrun the order we’ve imposed upon it. “I cheered the flood / when the water hit the wall and won,” she lilts, her cotton-soft voice temporarily stiffening. It’s a love song at, and for, the end of time, an exercise in appreciating what you’ve had the chance to cherish, whether it’s a drink of gin or a gentle lover or a lovely day.\u003c/p>\n\u003cp>Sometimes, Shelley admits, she turns off the news, because the devastation is too much to hear. As a songwriter, then, it was paramount to create a new way of approaching that helplessness, of facing those truths. These songs don’t protest reality—they simply acknowledge it.\u003c/p>\n\u003cp>“With the small rooms I play for, I’m hoping to give people tools for feeling where we may want to be numb. There’s a grief that is hard to admit to,” she says. “But through art, people can express those low-humming anxieties in a way that isn’t so hard to face.”\u003c/p>\n\u003cp>The sweetly wizened voice trailing Shelley’s during “The Fading” belongs to fellow Kentucky native Will Oldham. She, in turn, adds harmonies across \u003cem>I Made a Place\u003c/em>, Oldham’s first record as Bonnie “Prince” Billy in eight years. Moments of intense worry and woe linger in the record’s quiet corners, absorbing the light of these seemingly incandescent songs. During the album’s jaunty first verse, a home burns, part of a personal conflagration that Oldham suggests is spreading. And during the hypnotic “Nothing Is Busted,” a wounded woman and an oblivious man capture the dynamic between our ecosystem and our social order, a relationship hamstrung by the need for new things to sell, buy and discard. “This particular assemblage of molecules and memories someday soon may just run out of gas,” Oldham sings in one song’s closing verse without pausing to take so much as a breath, as if racing against the apocalypse.\u003c/p>\n\u003cp>For most of \u003cem>I Made a Place\u003c/em>, Oldham dances around or with these end times. But during “This Is Far From Over,” an acoustic stunner near the album’s center, he faces them with softness and resolve. Presumably written for his newborn daughter, the song conjures a world where rising tides force her to take to the sea as an adult, a continental refugee who will do her best to persevere. It is a tragic lullaby, a preemptive apology for the mess she will inherit. Despite the title, Oldham is neither blithe nor disingenuous, using the last verse to confront the possibility that new kinds of life will thrive in humanity’s absence. “The whole world’s far from over,” he sings in the final line at the edge of his falsetto, just where his voice might crack into tears.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“Our kids are being handed a rotten deal, everyone’s children,”\u003c/strong> says The National’s Matt Berninger, father to a 10-year-old daughter, Isla. “The Industrial Revolution gave the Earth a gaping wound not that long ago in the grand scheme, and it’s bleeding out fast. But a tipping point is happening, I think, in understanding how rigged that system is.”\u003c/p>\n\u003cp>The National have rarely been an overtly political band—Berninger has instead spent two decades mapping the darkest and most dangerous corners of his psyche. He’s worried out loud about\u003ca href=\"https://www.youtube.com/watch?v=gPp-3QSXf1g\"> handing down\u003c/a> his worst habits to Isla, about\u003ca href=\"https://www.youtube.com/watch?v=gsZmE95t2Yw\"> taking love too hard\u003c/a> for his own health, and about\u003ca href=\"https://www.youtube.com/watch?v=MxL_xRM0Wug\"> losing himself\u003c/a> in the\u003ca href=\"https://www.youtube.com/watch?v=dCfWAVRR794\"> strange alchemy\u003c/a> of lust and blood and booze. But now the peril of climate change has entered that matrix of considerations, part of “the soup of everyone’s minds and hearts all the time,” as he puts it, alongside sex and drugs and comedy and general dread.\u003c/p>\n\u003cp>In December 2018, Berninger was at a wedding just north of Los Angeles when a song sketch from The National’s Aaron Dessner arrived. Berninger woke up one morning before sunset and, while wandering the streets, unspooled 17 verses to the loop, a sort of living chronicle of his consciousness. There were headline anxieties about the alt-right and immigration, opinions about R.E.M. and The Bible, an interest in the seemingly infinite minimalism of artist\u003ca href=\"http://www.artnet.com/artists/hanne-darboven/evolution-leibniz-a-bSB3naI0qNnejm9Es8cqXw2\"> Hanne Darboven\u003c/a>.\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/Po61rjjdUPs'\n title='//www.youtube.com/embed/Po61rjjdUPs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When he sent the epic to Dessner and filmmaker and producer Mike Mills, they trimmed his diarist sprawl and added an unexpected twist: the dire verses of “\u003ca href=\"https://www.youtube.com/watch?v=FvFrSG37idM\">Noble Experiment\u003c/a>,” a waltz for the end of humanity, released by indie-rock eccentrics Thinking Fellers Union 282 in 1994. During the finished version, “\u003ca href=\"https://open.spotify.com/track/50DAgICmMnWaUVXQiLGlLx\">Not in Kansas\u003c/a>” from this year’s \u003cem>I Am Easy to Find\u003c/em>, a small choir intones those doomed words—”Be a fish or a weed or a sparrow / For the Earth has grown tired and all of your time has expired”—between Berninger’s own verses.\u003c/p>\n\u003cp>The National effectively nest the end of the world inside a laundry list of mundane thoughts; it’s like finding your own death certificate in the day’s otherwise ordinary mail. The world teems with distractions, “Not in Kansas” implies, to keep us from the crisis at the door.\u003c/p>\n\u003cp>“I don’t know how any artist isn’t talking about all of this stuff—sexism, racism, global warming, corporate corruption. I can’t spend time on a song now unless it’s somehow \u003cem>aware\u003c/em> of that stuff,” Berninger says. “Art has the responsibility to try to enlighten, instead of \u003cem>just\u003c/em> entertain. Pop music is still afraid to get into it, but not everyone.”\u003c/p>\n\u003cp>Perhaps the closest that recent pop has come to the subject is “\u003ca href=\"https://www.youtube.com/watch?v=4W9VYY5QpLg\">PARAD(w/m)E\u003c/a>,” a slyly sparkling 2018 single from the North Carolina duo Sylvan Esso. The tune is ebullient, with a chorus that sounds like a mechanized schoolyard chant and verses that shimmer like sunshine on the distant desert horizon. It’s possible to hear and even sing along without ever reflecting on its apocalyptic scenes—the gasless gas stations, the flora-less forests, the reprieve-less heat.\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/4W9VYY5QpLg'\n title='//www.youtube.com/embed/4W9VYY5QpLg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Singer Amelia Meath laughs ruefully about fans who show up to shows wearing homemade shirts reading “How’s that for manifesting our destiny,” having misinterpreted the song’s linchpin indictment as a self-help mantra fit for yogis. About halfway in, Nick Sanborn’s keyboards wobble from their glistening perch, slinking briefly into a morass beneath taunting handclaps. In the refrain, Meath’s proclamation of liberation—”We finally got free”—comes only after she reveals the cause: We’ve already ruined everything.\u003c/p>\n\u003cp>While “PARAD(w/m)E” never landed on \u003cem>Billboard\u003c/em>‘s charts, it suggests a clear framework for some future global-warming protest anthem, much like Billie Eilish’s subtly hypnotic “all the good girls go to hell”: lyrics so sharp listeners might not feel the knife, surrounded by music that celebrates whatever it is we’ve salvaged.\u003c/p>\n\u003cp>“No one likes the guy at the party who is just talking about horrible stuff all the time. But that’s me,” says Meath, smiling. She’s worked to weave such concerns into Sylvan Esso’s third LP, likely arriving in 2020, without being didactic. “That song is cloaked, very specifically, to be easy to swallow. That is the dream: Make the funnest music about the heaviest shit.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>In Iceland, mourners \u003c/strong>\u003ca href=\"https://www.usatoday.com/story/news/world/2019/08/19/okjokull-glacier-funeral-iceland-activists-establish-plaque/2049194001/\">\u003cstrong>hold\u003c/strong>\u003c/a>\u003cstrong> funerals for dead glaciers.\u003c/strong> In Washington state, a pioneering three-credit \u003ca href=\"https://www.uwb.edu/news/february-2018/environmental-grief\">course\u003c/a> called “Environmental Grief & Climate Anxiety: Coping in the Age of Consequences” teaches students how to sort through their despair and identify its sources. (The class subsequently became a\u003ca href=\"https://www.foxnews.com/us/global-warming-bringing-you-down-washington-state-offers-course-on-eco-anxiety-climate-grief.amp\"> Fox News punchline\u003c/a>.) And in magazines from\u003ca href=\"https://www.vogue.com/article/eco-anxiety-grief-mental-health-climate-change\"> \u003cem>Vogue\u003c/em>\u003c/a> to\u003ca href=\"https://www.vice.com/amp/en_uk/article/gy48d4/environmental-grief-climate-change-anxiety\"> \u003cem>Vice\u003c/em>\u003c/a>, recent articles about “eco-grief” signal the drift of these fears into the mainstream.\u003c/p>\n\u003cp>Songs about climate change are an inevitable, essential, and overdue component of that movement, a necessary response and tool for people “to process the truth and the existential dread,” as Berninger puts it. And while these songs have slowly started to accumulate during the last several years, it seems that we’re just at the edge of a new tide of them.\u003c/p>\n\u003cp>Next year, alongside new records from Sylvan Esso and The Weather Station, Grimes—a fringe pop star who has delighted in dancing at the edge of accessibility for a decade—will release\u003ca href=\"https://pitchfork.com/news/grimes-announces-new-album-miss-anthropocene/\"> \u003cem>Miss Anthropocene\u003c/em>\u003c/a>. “Each song will be a different embodiment of human extinction,” she has written. So far, its singles have mined the power dynamics of abusive relationships and the burden of despondency, topics that get to the nuance of the overarching issue.\u003c/p>\n\u003cp>In a presidential election year, when the United States is officially able \u003ca href=\"https://www.nytimes.com/2019/11/04/climate/trump-paris-agreement-climate.html\">to exit\u003c/a> the Paris Climate Agreement, Grimes likely won’t be alone, either in commiserating peers or coping listeners. The British singer-songwriter Bill Fay, now in his late 70s, touches on the topic for \u003ca href=\"https://pitchfork.com/news/bill-fay-announces-new-album-countless-branches-shares-new-song-listen/\">\u003cem>Countless Branches\u003c/em>\u003c/a>, due in January, while buzzy LA producer \u003ca href=\"http://shallou.com\">Shallou\u003c/a> cloaks concerns about environmental collapse in breakup imagery on an album due next summer.\u003c/p>\n\u003cp>None of these songwriters work under the illusion that these tunes, however poppy or plainspoken, will literally \u003cem>fix\u003c/em> anything, from reversing President Donald Trump’s confusing climate-change \u003ca href=\"https://time.com/5622374/donald-trump-climate-change-hoax-event/\">denial\u003c/a> to adjusting people’s disposable plastic habits. As working musicians, they have practical issues of their own to navigate, anyway, as the mechanisms of distribution for their work—be it a server churning through electricity or\u003ca href=\"https://www.google.com/amp/s/www.vice.com/amp/en_uk/article/9kz3y5/this-is-how-bad-your-vinyl-obsession-is-for-the-world\"> an LP made with petroleum\u003c/a> or a tour bus burning gas—inextricably entail a carbon footprint for now. Coldplay \u003ca href=\"https://news.yahoo.com/coldplay-postpones-future-global-tours-climate-change-fears-135905727.html\">won’t tour\u003c/a> behind their recent \u003cem>Everyday Life\u003c/em> until they can do so in a carbon-neutral way, a powerful stand from one of the world’s biggest bands but a strategy that’s not yet sustainable for small acts working merely for their living. It’s the essential friction of making and selling art that questions capitalist foundations.\u003c/p>\n\u003cp>But for now, these songs simply exist for the people who need them, their writers included. They’re not expressions of what they know or what they want you to do but only how they feel—and implicit permission slips for you to feel that way, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m not hoping to shine a light on something for anybody. Everything that needs to be said is being said really clearly,” says Mills, referring to scientists and policy experts who know and can articulate what he cannot. “But my song is about how we’re reacting to that information. And despair in music can help soak up the despair of the people listening.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Music+For+Our+Emergency&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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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\">H\u003c/span>ave you ever looked at the Center for Disease Control’s \u003ca href=\"https://www.cdc.gov/tobacco/disparities/african-americans/index.htm\">web page\u003c/a> that highlights the tobacco industry’s impact on African Americans? It’s horrifying.\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>According to the data, black folks say they want to quit smoking more than other demographic, but fail more often. We are more readily exposed to second hand smoke than other groups. And we live in communities where smoking advertisements disproportionately saturate the market—especially ads for menthols.\u003c/p>\n\u003cp>And in big bold letters, in the middle of the page, it says, “Tobacco use is a major contributor to the three leading causes of death among African Americans—heart disease, cancer, and stroke.”\u003c/p>\n\u003cp>Yeah, the numbers are up to date. And at the same time, this issue isn’t anything new. It’s been like this for ages. Some might say it’s been like this since our ancestors were enslaved on the tobacco farms in the Carolinas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m looking at it from slavery to vaping,” says Tracy Brown, lead artist and curator of the \u003ca href=\"https://www.eventbrite.com/e/same-game-different-smokers-exhibition-registration-79486629649\">\u003cem>Same Game Different Smokers\u003c/em>\u003c/a>, an exhibition sponsored by The African American Tobacco Contol Leadership Council (AATCLC) and the African American Center at the San Francisco Library, which is running at the San Francisco Main Library from Dec. 7 through the first week of February.\u003c/p>\n\u003cfigure id=\"attachment_13870551\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-800x555.png\" alt=\"Jim Crow meets Newport\" width=\"800\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-800x555.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-768x532.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM.png 952w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Crow meets Newport. \u003ccite>(Tracy Brown)\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>n exhibition about the tobacco industry preying on African Americans isn’t new—there have been many others. But many of them look at the 1950s and ’60s, according to Brown. “I make the case that the tobacco industry has been targeting the black community since the 1600s,” she says.\u003c/p>\n\u003cp>Brown uses archival images, depictions of black people from the last decade as well as from the last century. She compares the posture of people in the photos, combines that with data collected from industry documents, and shows it all as evidence why 45,000 African Americans die from smoking every year.\u003c/p>\n\u003cp>But Brown, who works with the\u003ca href=\"https://www.savingblacklives.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> African American Tobacco Control Leadership Council\u003c/a>, says San Francisco’s recent passage of legislation \u003ca href=\"https://www.kqed.org/news/11784856/san-francisco-voters-uphold-ban-on-e-cigarette-sales-rejecting-juul-funded-proposition-c\" target=\"_blank\" rel=\"noopener noreferrer\">banning the sale of e-cigarettes\u003c/a> is a glimmer of hope, and may be a sign that Big Tobacco is losing control.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/RDnews/2020/01/WattTobaccoExhibit.mp3\" Image=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download-1.jpg \" Title=\"A New Exhibition Sheds Light on How Big Tobacco Targeted Generations of Black Americans\"]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>KQED’s \u003ca href=\"https://www.kqed.org/author/bwatt\">Brian Watt\u003c/a> visited \u003c/em>\u003ca href=\"http://sfpl.org/?pg=1041223901\" target=\"_blank\" rel=\"noopener noreferrer\">Same Game Different Smokers\u003c/a>\u003cem>, an exhibition at the San Francisco Public Library that sheds light on how big tobacco companies have historically preyed on African American communities. Tap play above to listen to the segment. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>She adds it’s unfortunate that change has been spawned by headline after headline of vaping deaths, largely in white communities. But maybe it’ll open the conversation to smoking’s impacts, past and preset, on the black community.\u003c/p>\n\u003cp>“We know that menthol products have been used to target the black community,” says Brown. “The makers of Newport, for example.”\u003c/p>\n\u003cp>According to the CDC, “Over 7 out of 10 African American youth ages 12-17 years who smoke use menthol cigarettes.”\u003c/p>\n\u003cp>I asked the dumb question that needed to be asked: why do black folks like menthol?\u003c/p>\n\u003cp>Brown says, “We tend to lean toward menthol, not because of a natural inclination, but what happens with menthol when you smoke it. It sweetens the taste of tobacco, cools down and numbs your mouth and throat. The kids like menthol and mint flavors.”\u003c/p>\n\u003cp>But the black community isn’t unique in liking menthol products, says Brown. “What’s unique is the tobacco industry using \u003cem>JET\u003c/em> magazine and \u003cem>Ebony\u003c/em>, and attaching them to images of us that are very attractive.”\u003c/p>\n\u003cfigure id=\"attachment_13870723\" class=\"wp-caption alignright\" style=\"max-width: 193px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13870723\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/download.jpg\" alt=\"Tracy Brown\" width=\"193\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download-160x410.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download-469x1200.jpg 469w\" sizes=\"(max-width: 193px) 100vw, 193px\">\u003cfigcaption class=\"wp-caption-text\">Tracy Brown. \u003ccite>(Tracy Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was a time when I smoked menthols as a teen. But during that short stint, on one fateful day, I put a partially lit Newport into my pants pocket while rushing to jump the 58 bus in downtown Oakland. Yup, that’s all it took for me to kick the habit.\u003c/p>\n\u003cp>Some people aren’t as lucky to feel the pain of smoking so acutely. For most of my friends, at this age, it’s habitual. But at one time, I recall them telling me it was about a feeling, or just about access, or simply an aesthetic thing.\u003c/p>\n\u003cp>Brown says that aesthetic—that attractive image, which the big tobacco companies successfully sold—was strategic. But it goes beyond advertising. “They sponsored events, they work with black leaders… the tobacco industry has been very cunning in getting support of the black community,” says Brown.\u003c/p>\n\u003cp>There are reportedly \u003ca href=\"https://www.tobaccofreekids.org/assets/factsheets/0208.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">documents that show \u003c/a> that show tobacco companies, like Phillip Morris, have been “engaged” with the NAACP the National Urban League and The United Negro College Fund since the 1950s.\u003c/p>\n\u003cp>Prior to doing any research, Brown already presumed the people who run the industry were “shiesty.” Digging into old reports and data confirmed that assumption, and talking to people about firsthand experiences brought further revelations about the size of the tobacco industry’s target on the black community.\u003c/p>\n\u003cp>“One guy told me his mom would leave a lit cigarette in each room so she’d have something to smoke as she walked thru the house,” says Brown.\u003c/p>\n\u003cp>She’s been impacted by smoking on a personal level, too. She’s lost six close family members from tobacco. “One of my favorite aunts died this year,” she says, “and she was a chain smoker.”\u003c/p>\n\u003cp>She told me her aunt’s name was Victoria—Aunt Vicky—who loved gardening and watching movies, “and she could talk mess with the best of them,” said Brown, who used to visit her all the time in Florida.\u003c/p>\n\u003cp>Brown says she has family roots down there, as well as Mississippi and South Carolina. She’s traced her lineage, and has found the family that enslaved her paternal grandfather’s side. “My great-great-great grandfather was able to buy the land.”\u003c/p>\n\u003cp>Of course, it was “40 acres and a mule,” supposedly granted to formerly enslaved folks by the \u003ca href=\"https://www.georgiaencyclopedia.org/articles/history-archaeology/shermans-field-order-no-15\" target=\"_blank\" rel=\"noopener noreferrer\">Freedman’s Bureau\u003c/a>. And, of course, it was agricultural land in South Carolina—where they most likely grew tobacco.\u003c/p>\n\u003cfigure id=\"attachment_13870956\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870956\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Newport-800x528.jpg\" alt=\"Newport and Kool cigarette ads.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-1200x793.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport.jpg 1337w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Newport and Kool cigarette ads.\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\">B\u003c/span>ut Brown, a proud San Francisco native, says San Francisco is doing something significant with its e-cigarette ban, hence her desire to hold the opening here. Ultimately, she wants to spread the word, bring the exhibit to other cities, get the FDA to step to the plate, and see something happen on a federal level.\u003c/p>\n\u003cp>At the same time, Brown isn’t waiting on elected officials. She wants families to be proactive, too. And she’s extending an invitation to all school districts to take a school trip or tell the friends and family about the exhibition. “I’ve talked to every child in my life about these products,” she says.\u003c/p>\n\u003cp>It’s a drastic shift from when I was a kid. Just a few decades ago, smoking was everywhere. Joe Camel was a cool-ass smoking cartoon. The fly guys all smoked in movies. There were billboards and bus benches. Not to mention ads in the corner stores—and there were stores on every corner. Hell, one of the coldest lines of all time is Richie Rich’s: “\u003ca href=\"https://www.youtube.com/watch?v=CiZ3XtGtmQs\" target=\"_blank\" rel=\"noopener noreferrer\">Where you from? Oakland, smokin’!\u003c/a>”\u003c/p>\n\u003cp>Of course, Rich was talking about smoking marijuana. But even that usually came rolled in tobacco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Same Game Different Smokers’ runs Dec. 7–Feb. 6 at the Main Branch of the San Francisco Public Library. The opening reception on Dec. 7 includes a presentation from \u003ca href=\"https://www.facebook.com/pages/category/Community-Organization/Ohlone-Sisters-2025939511008221/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">The Ohlone Sisters, \u003c/a>a performance by \u003ca href=\"https://www.actaonline.org/profile/omnira-institute/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Awon Ohun Omnira (Voices of Freedom) \u003c/a>and a mural by \u003ca href=\"http://www.aerosoulart.com/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Aerosoul Arts\u003c/a> called “Emancipate Yourself From Menthol Slavery.” \u003ca href=\"https://sfpl.org/index.php?pg=1041223901\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\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\">H\u003c/span>ave you ever looked at the Center for Disease Control’s \u003ca href=\"https://www.cdc.gov/tobacco/disparities/african-americans/index.htm\">web page\u003c/a> that highlights the tobacco industry’s impact on African Americans? It’s horrifying.\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>According to the data, black folks say they want to quit smoking more than other demographic, but fail more often. We are more readily exposed to second hand smoke than other groups. And we live in communities where smoking advertisements disproportionately saturate the market—especially ads for menthols.\u003c/p>\n\u003cp>And in big bold letters, in the middle of the page, it says, “Tobacco use is a major contributor to the three leading causes of death among African Americans—heart disease, cancer, and stroke.”\u003c/p>\n\u003cp>Yeah, the numbers are up to date. And at the same time, this issue isn’t anything new. It’s been like this for ages. Some might say it’s been like this since our ancestors were enslaved on the tobacco farms in the Carolinas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m looking at it from slavery to vaping,” says Tracy Brown, lead artist and curator of the \u003ca href=\"https://www.eventbrite.com/e/same-game-different-smokers-exhibition-registration-79486629649\">\u003cem>Same Game Different Smokers\u003c/em>\u003c/a>, an exhibition sponsored by The African American Tobacco Contol Leadership Council (AATCLC) and the African American Center at the San Francisco Library, which is running at the San Francisco Main Library from Dec. 7 through the first week of February.\u003c/p>\n\u003cfigure id=\"attachment_13870551\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-800x555.png\" alt=\"Jim Crow meets Newport\" width=\"800\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-800x555.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-768x532.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM.png 952w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Crow meets Newport. \u003ccite>(Tracy Brown)\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>n exhibition about the tobacco industry preying on African Americans isn’t new—there have been many others. But many of them look at the 1950s and ’60s, according to Brown. “I make the case that the tobacco industry has been targeting the black community since the 1600s,” she says.\u003c/p>\n\u003cp>Brown uses archival images, depictions of black people from the last decade as well as from the last century. She compares the posture of people in the photos, combines that with data collected from industry documents, and shows it all as evidence why 45,000 African Americans die from smoking every year.\u003c/p>\n\u003cp>But Brown, who works with the\u003ca href=\"https://www.savingblacklives.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> African American Tobacco Control Leadership Council\u003c/a>, says San Francisco’s recent passage of legislation \u003ca href=\"https://www.kqed.org/news/11784856/san-francisco-voters-uphold-ban-on-e-cigarette-sales-rejecting-juul-funded-proposition-c\" target=\"_blank\" rel=\"noopener noreferrer\">banning the sale of e-cigarettes\u003c/a> is a glimmer of hope, and may be a sign that Big Tobacco is losing control.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>KQED’s \u003ca href=\"https://www.kqed.org/author/bwatt\">Brian Watt\u003c/a> visited \u003c/em>\u003ca href=\"http://sfpl.org/?pg=1041223901\" target=\"_blank\" rel=\"noopener noreferrer\">Same Game Different Smokers\u003c/a>\u003cem>, an exhibition at the San Francisco Public Library that sheds light on how big tobacco companies have historically preyed on African American communities. Tap play above to listen to the segment. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>She adds it’s unfortunate that change has been spawned by headline after headline of vaping deaths, largely in white communities. But maybe it’ll open the conversation to smoking’s impacts, past and preset, on the black community.\u003c/p>\n\u003cp>“We know that menthol products have been used to target the black community,” says Brown. “The makers of Newport, for example.”\u003c/p>\n\u003cp>According to the CDC, “Over 7 out of 10 African American youth ages 12-17 years who smoke use menthol cigarettes.”\u003c/p>\n\u003cp>I asked the dumb question that needed to be asked: why do black folks like menthol?\u003c/p>\n\u003cp>Brown says, “We tend to lean toward menthol, not because of a natural inclination, but what happens with menthol when you smoke it. It sweetens the taste of tobacco, cools down and numbs your mouth and throat. The kids like menthol and mint flavors.”\u003c/p>\n\u003cp>But the black community isn’t unique in liking menthol products, says Brown. “What’s unique is the tobacco industry using \u003cem>JET\u003c/em> magazine and \u003cem>Ebony\u003c/em>, and attaching them to images of us that are very attractive.”\u003c/p>\n\u003cfigure id=\"attachment_13870723\" class=\"wp-caption alignright\" style=\"max-width: 193px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13870723\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/download.jpg\" alt=\"Tracy Brown\" width=\"193\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download-160x410.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download-469x1200.jpg 469w\" sizes=\"(max-width: 193px) 100vw, 193px\">\u003cfigcaption class=\"wp-caption-text\">Tracy Brown. \u003ccite>(Tracy Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was a time when I smoked menthols as a teen. But during that short stint, on one fateful day, I put a partially lit Newport into my pants pocket while rushing to jump the 58 bus in downtown Oakland. Yup, that’s all it took for me to kick the habit.\u003c/p>\n\u003cp>Some people aren’t as lucky to feel the pain of smoking so acutely. For most of my friends, at this age, it’s habitual. But at one time, I recall them telling me it was about a feeling, or just about access, or simply an aesthetic thing.\u003c/p>\n\u003cp>Brown says that aesthetic—that attractive image, which the big tobacco companies successfully sold—was strategic. But it goes beyond advertising. “They sponsored events, they work with black leaders… the tobacco industry has been very cunning in getting support of the black community,” says Brown.\u003c/p>\n\u003cp>There are reportedly \u003ca href=\"https://www.tobaccofreekids.org/assets/factsheets/0208.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">documents that show \u003c/a> that show tobacco companies, like Phillip Morris, have been “engaged” with the NAACP the National Urban League and The United Negro College Fund since the 1950s.\u003c/p>\n\u003cp>Prior to doing any research, Brown already presumed the people who run the industry were “shiesty.” Digging into old reports and data confirmed that assumption, and talking to people about firsthand experiences brought further revelations about the size of the tobacco industry’s target on the black community.\u003c/p>\n\u003cp>“One guy told me his mom would leave a lit cigarette in each room so she’d have something to smoke as she walked thru the house,” says Brown.\u003c/p>\n\u003cp>She’s been impacted by smoking on a personal level, too. She’s lost six close family members from tobacco. “One of my favorite aunts died this year,” she says, “and she was a chain smoker.”\u003c/p>\n\u003cp>She told me her aunt’s name was Victoria—Aunt Vicky—who loved gardening and watching movies, “and she could talk mess with the best of them,” said Brown, who used to visit her all the time in Florida.\u003c/p>\n\u003cp>Brown says she has family roots down there, as well as Mississippi and South Carolina. She’s traced her lineage, and has found the family that enslaved her paternal grandfather’s side. “My great-great-great grandfather was able to buy the land.”\u003c/p>\n\u003cp>Of course, it was “40 acres and a mule,” supposedly granted to formerly enslaved folks by the \u003ca href=\"https://www.georgiaencyclopedia.org/articles/history-archaeology/shermans-field-order-no-15\" target=\"_blank\" rel=\"noopener noreferrer\">Freedman’s Bureau\u003c/a>. And, of course, it was agricultural land in South Carolina—where they most likely grew tobacco.\u003c/p>\n\u003cfigure id=\"attachment_13870956\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870956\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Newport-800x528.jpg\" alt=\"Newport and Kool cigarette ads.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-1200x793.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport.jpg 1337w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Newport and Kool cigarette ads.\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\">B\u003c/span>ut Brown, a proud San Francisco native, says San Francisco is doing something significant with its e-cigarette ban, hence her desire to hold the opening here. Ultimately, she wants to spread the word, bring the exhibit to other cities, get the FDA to step to the plate, and see something happen on a federal level.\u003c/p>\n\u003cp>At the same time, Brown isn’t waiting on elected officials. She wants families to be proactive, too. And she’s extending an invitation to all school districts to take a school trip or tell the friends and family about the exhibition. “I’ve talked to every child in my life about these products,” she says.\u003c/p>\n\u003cp>It’s a drastic shift from when I was a kid. Just a few decades ago, smoking was everywhere. Joe Camel was a cool-ass smoking cartoon. The fly guys all smoked in movies. There were billboards and bus benches. Not to mention ads in the corner stores—and there were stores on every corner. Hell, one of the coldest lines of all time is Richie Rich’s: “\u003ca href=\"https://www.youtube.com/watch?v=CiZ3XtGtmQs\" target=\"_blank\" rel=\"noopener noreferrer\">Where you from? Oakland, smokin’!\u003c/a>”\u003c/p>\n\u003cp>Of course, Rich was talking about smoking marijuana. But even that usually came rolled in tobacco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Same Game Different Smokers’ runs Dec. 7–Feb. 6 at the Main Branch of the San Francisco Public Library. The opening reception on Dec. 7 includes a presentation from \u003ca href=\"https://www.facebook.com/pages/category/Community-Organization/Ohlone-Sisters-2025939511008221/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">The Ohlone Sisters, \u003c/a>a performance by \u003ca href=\"https://www.actaonline.org/profile/omnira-institute/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Awon Ohun Omnira (Voices of Freedom) \u003c/a>and a mural by \u003ca href=\"http://www.aerosoulart.com/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Aerosoul Arts\u003c/a> called “Emancipate Yourself From Menthol Slavery.” \u003ca href=\"https://sfpl.org/index.php?pg=1041223901\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As rain falls on greater Northern California, and snow accumulates on the Sierra Nevada mountains, I keep laughing in disbelief, thinking about Kaddo’s situation.\u003c/p>\n\u003cp>See, Kaddo is a rapper from 77th and Greenside in East Oakland. After getting transferred from Telsa’s Fremont factory to the one in Reno, he now lives in Nevada. He’s so committed to his craft and community, he used to drive back and forth just to record tracks.\u003c/p>\n\u003cp>A few weeks ago, I saw him in person and he told me about life on the interstate. How living in Reno isn’t that bad, though some folks say the city’s name is an acronym for “Run Every N*gg* Out.” He says Nevada’s open carry laws have made living there more comfortable than in Oakland, at least when it comes to weapons. And he’s even gotten accustomed to the long slowdown over Donner Summit when there’s a storm approaching. The image of Kaddo, a black man with locs and gold teeth, putting chains on his car tires in the middle of the snowstorm sticks with me. It’s a reminder that although my commute is bad, \u003cem>it ain’t that bad\u003c/em>.\u003c/p>\n\u003cp>But it’s still bad.\u003c/p>\n\u003cp>Since \u003ca href=\"https://www.kqed.org/arts/13865533/daps-and-hugs-im-moving-out-of-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">moving out of Oakland\u003c/a> to Sacramento three months ago, I’ve seen a lot: car accidents, roadkill, sunsets. I’ve driven past the charred fields from fires that scorched the grassy hillsides adjacent to the Carquinez Bridge. One day on Amtrak, my phone died, so I biked home through hail. When I turned my phone on, I learned a tornado had touched down in Davis at the same time my train went through town. And then there was the day the dammed refinery in Crockett exploded; it caused my Greyhound bus to take the supremely scenic route—a four-hour detour through Stockton.\u003c/p>\n\u003cp>I often ask myself, what’s the difference between a “commute” and “road trip”?\u003c/p>\n\u003cp>I’ve grown extremely familiar with the highways and byways between the Bay Area and the state capital. I know best times to go through the Yolo Bypass, as well as the MacArthur Maze (hint: never). I’ve gotten familiar with where CHP likes to hide out to catch speeding drivers. Hell, give me a few more months and I’ll have memorized the grazing patterns of the cattle alongside I-80.\u003c/p>\n\u003cp>I’ve reluctantly fallen in love with this commute, and how it gives me time to think about more than just Oakland. But I always end up thinking about Oakland. If we’re going to be honest, I’m suffering, bro. It ain’t even FOMO. It’s POMO—the pain of missing out.\u003c/p>\n\u003cp>It hurts to not be in the town for small events. You know, potlucks, movie screenings and earthquakes—“Earthquake Twitter” just isn’t as fun from outside of the club. I think anyone who’s left home goes through this process. You know, where home isn’t home anymore, and at the same time, your new home isn’t home either.\u003c/p>\n\u003cp>So I’ve been trying to hold on to things that remind me of home. The result: long rides turn into listening sessions as I tap into\u003ca href=\"https://open.spotify.com/playlist/3jqXw1a8N8wdApp1B6k7pA?si=EiDtFdoGR2a6PCg8grlBbg\" target=\"_blank\" rel=\"noopener noreferrer\"> some of the greatest musical gifts\u003c/a> the Bay Area has to offer.\u003c/p>\n\u003cfigure id=\"attachment_13870530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Kaddo-800x562.jpg\" alt=\"Kaddo.\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Kaddo-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Kaddo-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Kaddo-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Kaddo.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaddo. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve listened to all four of the projects \u003ca href=\"https://www.larryjunetfm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Larry June\u003c/a> put out this year— and I’ve enjoyed every last bar about healthy salads and fly cars; even if he does sometimes have an off-beat flow.\u003c/p>\n\u003cp>I’ve chuckled at the comedic bars from Guapdad 4000, who released his first album \u003ca href=\"https://soundcloud.com/guapdad4000/sets/dior-deposits-2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dior Deposits\u003c/em>\u003c/a> last month. And I’ve downright cracked up listening to \u003ca href=\"https://www.rollingstone.com/music/music-news/shaq-damian-lillard-rap-beef-explainer-893406/\" target=\"_blank\" rel=\"noopener noreferrer\">Dame D.O.L.L.A. trade bars with Shaq Fu\u003c/a>.\u003c/p>\n\u003cp>I played the latest project from the duo SU’Lan, \u003ca href=\"https://soundcloud.com/officialsulan/sets/tia-tamera\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tia and Tamera\u003c/em>\u003c/a>, and instantly started to drive faster. It’s wild how certain music does that.\u003c/p>\n\u003cp>Nef The Pharoh dropped \u003ca href=\"https://soundcloud.com/nefidelaphante/sets/mushrooms-coloring-books\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mushrooms and Coloring Books\u003c/em>\u003c/a>, and now every time my Greyhound passes the Vallejo bus station, I get the urge to play the track “South Vallejo.”\u003c/p>\n\u003cp>Prezi Plane Jane dropped a seven-piece special called \u003ca href=\"https://soundcloud.com/planejane12\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Money Bag\u003c/em>\u003c/a>. Beejus dropped a dozen tracks on a project called \u003ca href=\"https://soundcloud.com/beejusmusic/sets/beautiful\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Beautiful\u003c/em>\u003c/a>. And Tia Nomore dropped a 30-minute project called \u003ca href=\"https://ffm.to/level\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Level\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Of course, I listened to \u003ca href=\"https://www.youtube.com/watch?v=Jxau-deuEYE&feature=youtu.be\" target=\"_blank\" rel=\"noopener noreferrer\">Kaddo’s latest work\u003c/a>. I mean, he travels twice the distance I do in order to do his work; I had to listen solely off the strength of that.\u003c/p>\n\u003cp>I’ve played music from elder statesmen, like E-40, who recently put out \u003ca href=\"https://soundcloud.com/e40/sets/practice-makes-paper-2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Practice Makes Paper\u003c/em>\u003c/a>, a 26-track project for his 26th studio album. I’ve listened to artists in the thick of their career like P-Lo, who between producing for other artists and serving as spokesperson for the 49ers dropped \u003ca href=\"https://soundcloud.com/heartbreakplo/sets/shine\" target=\"_blank\" rel=\"noopener noreferrer\">Shine\u003c/a>.\u003c/p>\n\u003cp>And I’ve also paid attention to new artists, like \u003ca href=\"https://fanlink.to/DaysWeLost\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Sneed\u003c/a>. Man! His \u003cem>Days We Lost\u003c/em> album is \u003cem>made\u003c/em> for looking out of the window during long drives. It’s all about the coming-of-age process; I swear, the song “\u003ca href=\"https://www.youtube.com/watch?v=Yw7_Fgaf8PU\" target=\"_blank\" rel=\"noopener noreferrer\">Junior\u003c/a>” could be a theme song to a movie, playing over old footage from when he was younger.\u003c/p>\n\u003cp>The passing of time, the passing of the scenery. All in a day’s commute.\u003c/p>\n\u003cfigure id=\"attachment_13870425\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/gBr9EXrV-1-800x1202.jpg\" alt=\"Michael Sneed\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1-799x1200.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1.jpg 1363w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young Michael Sneed graces the stage at the Life Is Living festival in Oakland, circa 2011. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was this one morning, a few weeks ago, when my dadmobile pushed past the Red Top Road exit on I-80, headed west. Beyond the cows and the spot where the motorcycle cop sometimes hides, and just before cresting the hillside that separates Fairfield from Vallejo. That’s when Rexx Life Raj’s song “\u003ca href=\"https://www.youtube.com/watch?v=E3976ZIbJc8\" target=\"_blank\" rel=\"noopener noreferrer\">The Fog\u003c/a>” came on.\u003c/p>\n\u003cp>No lie, at that exact moment, wisps of Bay Area fog began to accumulate in front of my car. A few seconds later, I was inside a full fog bank. I let out one of those laughs that deranged people do in the movies, pounding the steering wheel in excitement at the perfect timing of it all.\u003c/p>\n\u003cp>“Ayy, walk through the fog like bay weather / Still undefeated like Mayweather / I know I’m doin’ it right / The universe sendin’ me signs in bold letters,” Raj sang.\u003c/p>\n\u003cp>I feel him. I’m on my path too, and all the signs are there.\u003c/p>\n\u003cp>Even though I’m late for work in San Francisco, tired of driving 80mph on Interstate 80 in attempts to make it to and from Sacramento in under 80 minutes. Back pains from sitting. Pocket pains from spending. The last three months have been rough. But man, music.\u003c/p>\n\u003cp>What’s the old saying? When it hits, you feel no pain.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Stream Pendarvis Harshaw’s hand-curated playlist for long-distance commuting below. Not showing up for you? \u003ca href=\"https://open.spotify.com/playlist/3jqXw1a8N8wdApp1B6k7pA?si=rzszES1JSBaa9HKwIS4xDQ\">Click here.\u003c/a> \u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/3jqXw1a8N8wdApp1B6k7pA\" width=\"800\" height=\"500\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As rain falls on greater Northern California, and snow accumulates on the Sierra Nevada mountains, I keep laughing in disbelief, thinking about Kaddo’s situation.\u003c/p>\n\u003cp>See, Kaddo is a rapper from 77th and Greenside in East Oakland. After getting transferred from Telsa’s Fremont factory to the one in Reno, he now lives in Nevada. He’s so committed to his craft and community, he used to drive back and forth just to record tracks.\u003c/p>\n\u003cp>A few weeks ago, I saw him in person and he told me about life on the interstate. How living in Reno isn’t that bad, though some folks say the city’s name is an acronym for “Run Every N*gg* Out.” He says Nevada’s open carry laws have made living there more comfortable than in Oakland, at least when it comes to weapons. And he’s even gotten accustomed to the long slowdown over Donner Summit when there’s a storm approaching. The image of Kaddo, a black man with locs and gold teeth, putting chains on his car tires in the middle of the snowstorm sticks with me. It’s a reminder that although my commute is bad, \u003cem>it ain’t that bad\u003c/em>.\u003c/p>\n\u003cp>But it’s still bad.\u003c/p>\n\u003cp>Since \u003ca href=\"https://www.kqed.org/arts/13865533/daps-and-hugs-im-moving-out-of-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">moving out of Oakland\u003c/a> to Sacramento three months ago, I’ve seen a lot: car accidents, roadkill, sunsets. I’ve driven past the charred fields from fires that scorched the grassy hillsides adjacent to the Carquinez Bridge. One day on Amtrak, my phone died, so I biked home through hail. When I turned my phone on, I learned a tornado had touched down in Davis at the same time my train went through town. And then there was the day the dammed refinery in Crockett exploded; it caused my Greyhound bus to take the supremely scenic route—a four-hour detour through Stockton.\u003c/p>\n\u003cp>I often ask myself, what’s the difference between a “commute” and “road trip”?\u003c/p>\n\u003cp>I’ve grown extremely familiar with the highways and byways between the Bay Area and the state capital. I know best times to go through the Yolo Bypass, as well as the MacArthur Maze (hint: never). I’ve gotten familiar with where CHP likes to hide out to catch speeding drivers. Hell, give me a few more months and I’ll have memorized the grazing patterns of the cattle alongside I-80.\u003c/p>\n\u003cp>I’ve reluctantly fallen in love with this commute, and how it gives me time to think about more than just Oakland. But I always end up thinking about Oakland. If we’re going to be honest, I’m suffering, bro. It ain’t even FOMO. It’s POMO—the pain of missing out.\u003c/p>\n\u003cp>It hurts to not be in the town for small events. You know, potlucks, movie screenings and earthquakes—“Earthquake Twitter” just isn’t as fun from outside of the club. I think anyone who’s left home goes through this process. You know, where home isn’t home anymore, and at the same time, your new home isn’t home either.\u003c/p>\n\u003cp>So I’ve been trying to hold on to things that remind me of home. The result: long rides turn into listening sessions as I tap into\u003ca href=\"https://open.spotify.com/playlist/3jqXw1a8N8wdApp1B6k7pA?si=EiDtFdoGR2a6PCg8grlBbg\" target=\"_blank\" rel=\"noopener noreferrer\"> some of the greatest musical gifts\u003c/a> the Bay Area has to offer.\u003c/p>\n\u003cfigure id=\"attachment_13870530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Kaddo-800x562.jpg\" alt=\"Kaddo.\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Kaddo-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Kaddo-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Kaddo-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Kaddo.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaddo. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve listened to all four of the projects \u003ca href=\"https://www.larryjunetfm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Larry June\u003c/a> put out this year— and I’ve enjoyed every last bar about healthy salads and fly cars; even if he does sometimes have an off-beat flow.\u003c/p>\n\u003cp>I’ve chuckled at the comedic bars from Guapdad 4000, who released his first album \u003ca href=\"https://soundcloud.com/guapdad4000/sets/dior-deposits-2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dior Deposits\u003c/em>\u003c/a> last month. And I’ve downright cracked up listening to \u003ca href=\"https://www.rollingstone.com/music/music-news/shaq-damian-lillard-rap-beef-explainer-893406/\" target=\"_blank\" rel=\"noopener noreferrer\">Dame D.O.L.L.A. trade bars with Shaq Fu\u003c/a>.\u003c/p>\n\u003cp>I played the latest project from the duo SU’Lan, \u003ca href=\"https://soundcloud.com/officialsulan/sets/tia-tamera\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tia and Tamera\u003c/em>\u003c/a>, and instantly started to drive faster. It’s wild how certain music does that.\u003c/p>\n\u003cp>Nef The Pharoh dropped \u003ca href=\"https://soundcloud.com/nefidelaphante/sets/mushrooms-coloring-books\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mushrooms and Coloring Books\u003c/em>\u003c/a>, and now every time my Greyhound passes the Vallejo bus station, I get the urge to play the track “South Vallejo.”\u003c/p>\n\u003cp>Prezi Plane Jane dropped a seven-piece special called \u003ca href=\"https://soundcloud.com/planejane12\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Money Bag\u003c/em>\u003c/a>. Beejus dropped a dozen tracks on a project called \u003ca href=\"https://soundcloud.com/beejusmusic/sets/beautiful\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Beautiful\u003c/em>\u003c/a>. And Tia Nomore dropped a 30-minute project called \u003ca href=\"https://ffm.to/level\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Level\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Of course, I listened to \u003ca href=\"https://www.youtube.com/watch?v=Jxau-deuEYE&feature=youtu.be\" target=\"_blank\" rel=\"noopener noreferrer\">Kaddo’s latest work\u003c/a>. I mean, he travels twice the distance I do in order to do his work; I had to listen solely off the strength of that.\u003c/p>\n\u003cp>I’ve played music from elder statesmen, like E-40, who recently put out \u003ca href=\"https://soundcloud.com/e40/sets/practice-makes-paper-2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Practice Makes Paper\u003c/em>\u003c/a>, a 26-track project for his 26th studio album. I’ve listened to artists in the thick of their career like P-Lo, who between producing for other artists and serving as spokesperson for the 49ers dropped \u003ca href=\"https://soundcloud.com/heartbreakplo/sets/shine\" target=\"_blank\" rel=\"noopener noreferrer\">Shine\u003c/a>.\u003c/p>\n\u003cp>And I’ve also paid attention to new artists, like \u003ca href=\"https://fanlink.to/DaysWeLost\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Sneed\u003c/a>. Man! His \u003cem>Days We Lost\u003c/em> album is \u003cem>made\u003c/em> for looking out of the window during long drives. It’s all about the coming-of-age process; I swear, the song “\u003ca href=\"https://www.youtube.com/watch?v=Yw7_Fgaf8PU\" target=\"_blank\" rel=\"noopener noreferrer\">Junior\u003c/a>” could be a theme song to a movie, playing over old footage from when he was younger.\u003c/p>\n\u003cp>The passing of time, the passing of the scenery. All in a day’s commute.\u003c/p>\n\u003cfigure id=\"attachment_13870425\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/gBr9EXrV-1-800x1202.jpg\" alt=\"Michael Sneed\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1-799x1200.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1.jpg 1363w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young Michael Sneed graces the stage at the Life Is Living festival in Oakland, circa 2011. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was this one morning, a few weeks ago, when my dadmobile pushed past the Red Top Road exit on I-80, headed west. Beyond the cows and the spot where the motorcycle cop sometimes hides, and just before cresting the hillside that separates Fairfield from Vallejo. That’s when Rexx Life Raj’s song “\u003ca href=\"https://www.youtube.com/watch?v=E3976ZIbJc8\" target=\"_blank\" rel=\"noopener noreferrer\">The Fog\u003c/a>” came on.\u003c/p>\n\u003cp>No lie, at that exact moment, wisps of Bay Area fog began to accumulate in front of my car. A few seconds later, I was inside a full fog bank. I let out one of those laughs that deranged people do in the movies, pounding the steering wheel in excitement at the perfect timing of it all.\u003c/p>\n\u003cp>“Ayy, walk through the fog like bay weather / Still undefeated like Mayweather / I know I’m doin’ it right / The universe sendin’ me signs in bold letters,” Raj sang.\u003c/p>\n\u003cp>I feel him. I’m on my path too, and all the signs are there.\u003c/p>\n\u003cp>Even though I’m late for work in San Francisco, tired of driving 80mph on Interstate 80 in attempts to make it to and from Sacramento in under 80 minutes. Back pains from sitting. Pocket pains from spending. The last three months have been rough. But man, music.\u003c/p>\n\u003cp>What’s the old saying? When it hits, you feel no pain.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Stream Pendarvis Harshaw’s hand-curated playlist for long-distance commuting below. Not showing up for you? \u003ca href=\"https://open.spotify.com/playlist/3jqXw1a8N8wdApp1B6k7pA?si=rzszES1JSBaa9HKwIS4xDQ\">Click here.\u003c/a> \u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/3jqXw1a8N8wdApp1B6k7pA\" width=\"800\" height=\"500\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s Thanksgiving! Which, of course, means a flood of earnest guidelines for the \u003ca href=\"https://www.nytimes.com/2018/11/20/well/family/thanksgiving-partisan-politics-conversations-families.html\" target=\"_blank\" rel=\"noopener noreferrer\">conversation around the extended-family dinner table\u003c/a> during a divided political era. While Barack Obama advocates \u003ca href=\"https://twitter.com/BarackObama/status/1199754566130114567\" target=\"_blank\" rel=\"noopener noreferrer\">listening and highlighting common humanity\u003c/a> this year, and while those on both the \u003ca href=\"https://babylonbee.com/news/7-ways-you-can-own-your-liberal-relatives-at-thanksgiving-this-year\" target=\"_blank\" rel=\"noopener noreferrer\">right\u003c/a> and the \u003ca href=\"https://www.thenewcivilrightsmovement.com/2019/11/here-are-5-one-liners-to-fight-back-against-your-trump-supporting-family-members-at-this-years-thanksgiving-dinner/?utm_source=&utm_medium=email&utm_campaign=3088\" target=\"_blank\" rel=\"noopener noreferrer\">left\u003c/a> prepare battle strategies, I humbly offer a great American tradition: avoidance.\u003c/p>\n\u003cp>In that spirit, here are 30 safe topics of discussion for this year’s Thanksgiving family dinner. Keep this tab open on your phone under the tablecloth for quick reference in a pinch—and whatever you do, \u003ca href=\"https://twitter.com/Ghastly/status/1195336960799313922\" target=\"_blank\" rel=\"noopener noreferrer\">don’t say “OK Boomer” after the family prayer\u003c/a>.\u003c/p>\n\u003cp>1. \u003ca href=\"https://www.vanityfair.com/hollywood/2019/11/the-mandalorian-star-wars-baby-yoda\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Yoda\u003c/a>\u003cbr>\n2. Weird \u003ca href=\"https://www.youtube.com/watch?v=aQUrAh7GRqo\" target=\"_blank\" rel=\"noopener noreferrer\">’70s and ’80s movies from the vault\u003c/a> on Disney+\u003cbr>\n3. The awfulness of \u003cem>Game of Thrones\u003c/em>‘ final season\u003cbr>\n4. \u003ca href=\"https://www.kqed.org/arts/13869562/bay-area-teacher-uses-lizzo-to-teach-second-graders-how-to-be-great\" target=\"_blank\" rel=\"noopener noreferrer\">This teacher dancing on a classroom desk to Lizzo\u003c/a>\u003cbr>\n5. If Chuck E. Cheese will ever bring back \u003ca href=\"https://consequenceofsound.net/2017/08/chuck-e-cheese-is-getting-rid-of-its-animatronic-band/\" target=\"_blank\" rel=\"noopener noreferrer\">the animatronic band\u003c/a>\u003cbr>\n6. What kind of cheese everyone enjoys\u003cbr>\n7. Pets and the cute things they’ve done lately\u003cbr>\n8. If you should landscape your yard differently or not\u003cbr>\n9. If the “\u003ca href=\"https://www.reddit.com/r/warriors/comments/ds3dmx/i_love_the_baby_warriors/\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Warriors\u003c/a>” can win without Steph Curry\u003cbr>\n10. Dolly Parton’s \u003ca href=\"https://people.com/country/dolly-parton-husband-carl-thomas-dean-biggest-fan/\" target=\"_blank\" rel=\"noopener noreferrer\">husband\u003c/a>\u003cbr>\n11. \u003cem>Dolly Parton’s America\u003c/em>\u003cbr>\n12. Coffee, and the particulars of which brands and styles everyone likes\u003cbr>\n13. Traffic/road conditions\u003cbr>\n14. Minor health problems\u003cbr>\n15. The guy with the Final Jeopardy answer “\u003ca href=\"https://www.youtube.com/watch?v=2XhBozV07Ac\" target=\"_blank\" rel=\"noopener noreferrer\">We Love You, Alex\u003c/a>”\u003cbr>\n16. \u003ca href=\"https://www.vox.com/the-goods/2019/9/24/20881656/vsco-girl-meme-what-is-a-vsco-girl\" target=\"_blank\" rel=\"noopener noreferrer\">VSCO Girls\u003c/a>\u003cbr>\n17. How to prepare Thanksgiving leftovers\u003cbr>\n18. What any present school-age children are studying in school\u003cbr>\n19. If anyone still puts up wallpaper in their house\u003cbr>\n20. The Nationals winning the World Series\u003cbr>\n21. The 49ers’ 10-1 season\u003cbr>\n22. \u003ca href=\"https://www.mlb.com/cut4/joe-buck-wants-a-joe-buck-sucks-shirt\" target=\"_blank\" rel=\"noopener noreferrer\">The seemingly universal disdain for Joe Buck\u003c/a>\u003cbr>\n23. Funny things you’ve seen on TikTok\u003cbr>\n24. An explanation of what TikTok is\u003cbr>\n25. Any cute kid anyone saw doing anything on \u003cem>Ellen\u003c/em>\u003cbr>\n26. The food you’re currently eating\u003cbr>\n27. Apple vs. pumpkin pie\u003cbr>\n28. \u003ca href=\"https://www.kqed.org/arts/13868823/tom-delonge-is-ufo-hunting-with-the-army-now-because-this-timeline-is-nuts\" target=\"_blank\" rel=\"noopener noreferrer\">The guy from Blink-182 serving as a UFO specialist for the U.S. Army\u003c/a>\u003cbr>\n29. Family members who aren’t there\u003cbr>\n30. \u003ca href=\"https://www.kqed.org/arts/13869528/a-dog-in-san-diego-just-learned-to-talk-using-a-soundboard-but-still\" target=\"_blank\" rel=\"noopener noreferrer\">The dog that learned to talk\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s Thanksgiving! Which, of course, means a flood of earnest guidelines for the \u003ca href=\"https://www.nytimes.com/2018/11/20/well/family/thanksgiving-partisan-politics-conversations-families.html\" target=\"_blank\" rel=\"noopener noreferrer\">conversation around the extended-family dinner table\u003c/a> during a divided political era. While Barack Obama advocates \u003ca href=\"https://twitter.com/BarackObama/status/1199754566130114567\" target=\"_blank\" rel=\"noopener noreferrer\">listening and highlighting common humanity\u003c/a> this year, and while those on both the \u003ca href=\"https://babylonbee.com/news/7-ways-you-can-own-your-liberal-relatives-at-thanksgiving-this-year\" target=\"_blank\" rel=\"noopener noreferrer\">right\u003c/a> and the \u003ca href=\"https://www.thenewcivilrightsmovement.com/2019/11/here-are-5-one-liners-to-fight-back-against-your-trump-supporting-family-members-at-this-years-thanksgiving-dinner/?utm_source=&utm_medium=email&utm_campaign=3088\" target=\"_blank\" rel=\"noopener noreferrer\">left\u003c/a> prepare battle strategies, I humbly offer a great American tradition: avoidance.\u003c/p>\n\u003cp>In that spirit, here are 30 safe topics of discussion for this year’s Thanksgiving family dinner. Keep this tab open on your phone under the tablecloth for quick reference in a pinch—and whatever you do, \u003ca href=\"https://twitter.com/Ghastly/status/1195336960799313922\" target=\"_blank\" rel=\"noopener noreferrer\">don’t say “OK Boomer” after the family prayer\u003c/a>.\u003c/p>\n\u003cp>1. \u003ca href=\"https://www.vanityfair.com/hollywood/2019/11/the-mandalorian-star-wars-baby-yoda\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Yoda\u003c/a>\u003cbr>\n2. Weird \u003ca href=\"https://www.youtube.com/watch?v=aQUrAh7GRqo\" target=\"_blank\" rel=\"noopener noreferrer\">’70s and ’80s movies from the vault\u003c/a> on Disney+\u003cbr>\n3. The awfulness of \u003cem>Game of Thrones\u003c/em>‘ final season\u003cbr>\n4. \u003ca href=\"https://www.kqed.org/arts/13869562/bay-area-teacher-uses-lizzo-to-teach-second-graders-how-to-be-great\" target=\"_blank\" rel=\"noopener noreferrer\">This teacher dancing on a classroom desk to Lizzo\u003c/a>\u003cbr>\n5. If Chuck E. Cheese will ever bring back \u003ca href=\"https://consequenceofsound.net/2017/08/chuck-e-cheese-is-getting-rid-of-its-animatronic-band/\" target=\"_blank\" rel=\"noopener noreferrer\">the animatronic band\u003c/a>\u003cbr>\n6. What kind of cheese everyone enjoys\u003cbr>\n7. Pets and the cute things they’ve done lately\u003cbr>\n8. If you should landscape your yard differently or not\u003cbr>\n9. If the “\u003ca href=\"https://www.reddit.com/r/warriors/comments/ds3dmx/i_love_the_baby_warriors/\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Warriors\u003c/a>” can win without Steph Curry\u003cbr>\n10. Dolly Parton’s \u003ca href=\"https://people.com/country/dolly-parton-husband-carl-thomas-dean-biggest-fan/\" target=\"_blank\" rel=\"noopener noreferrer\">husband\u003c/a>\u003cbr>\n11. \u003cem>Dolly Parton’s America\u003c/em>\u003cbr>\n12. Coffee, and the particulars of which brands and styles everyone likes\u003cbr>\n13. Traffic/road conditions\u003cbr>\n14. Minor health problems\u003cbr>\n15. The guy with the Final Jeopardy answer “\u003ca href=\"https://www.youtube.com/watch?v=2XhBozV07Ac\" target=\"_blank\" rel=\"noopener noreferrer\">We Love You, Alex\u003c/a>”\u003cbr>\n16. \u003ca href=\"https://www.vox.com/the-goods/2019/9/24/20881656/vsco-girl-meme-what-is-a-vsco-girl\" target=\"_blank\" rel=\"noopener noreferrer\">VSCO Girls\u003c/a>\u003cbr>\n17. How to prepare Thanksgiving leftovers\u003cbr>\n18. What any present school-age children are studying in school\u003cbr>\n19. If anyone still puts up wallpaper in their house\u003cbr>\n20. The Nationals winning the World Series\u003cbr>\n21. The 49ers’ 10-1 season\u003cbr>\n22. \u003ca href=\"https://www.mlb.com/cut4/joe-buck-wants-a-joe-buck-sucks-shirt\" target=\"_blank\" rel=\"noopener noreferrer\">The seemingly universal disdain for Joe Buck\u003c/a>\u003cbr>\n23. Funny things you’ve seen on TikTok\u003cbr>\n24. An explanation of what TikTok is\u003cbr>\n25. Any cute kid anyone saw doing anything on \u003cem>Ellen\u003c/em>\u003cbr>\n26. The food you’re currently eating\u003cbr>\n27. Apple vs. pumpkin pie\u003cbr>\n28. \u003ca href=\"https://www.kqed.org/arts/13868823/tom-delonge-is-ufo-hunting-with-the-army-now-because-this-timeline-is-nuts\" target=\"_blank\" rel=\"noopener noreferrer\">The guy from Blink-182 serving as a UFO specialist for the U.S. Army\u003c/a>\u003cbr>\n29. Family members who aren’t there\u003cbr>\n30. \u003ca href=\"https://www.kqed.org/arts/13869528/a-dog-in-san-diego-just-learned-to-talk-using-a-soundboard-but-still\" target=\"_blank\" rel=\"noopener noreferrer\">The dog that learned to talk\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In an age when comics struggle to top what’s happening in Washington, D.C., it’s worth recalling one German playwright who nailed political satire in the age of Adolf Hitler.\u003c/p>\n\u003cp>Bertolt Brecht’s 1941 play, \u003ca href=\"https://foothill.edu/theatre/productions/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Resistible Rise of Arturo Ui\u003c/em>\u003c/a>, is a dark but funny parable about the rise of fascism in 20th century Europe.\u003c/p>\n\u003cp>“Two hours and a half in which you’ll see extortion, murder, arson, larceny, bribery, blackmail, yellow journalism, and other by-products of capitalism,” say announcers Chayenne Greenberg and Parker Hough at the beginning of a Foothill Theatre Arts production up now in Los Altos Hills.\u003c/p>\n\u003cp>American playwright Bruce Norris adapted Brecht’s play two years ago, to take full advantage of the current political climate.\u003c/p>\n\u003cp>“We need to bring back law and order, folks. We need the right defensive measures. I’ll tell you what we need. We need a wall, a human shield to keep the bad ones out, and I’m the only one who can provide it,” says the title character, Arturo Ui, played with understated but effective malice by high school math teacher Anthony Silk.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ui is a small time mobster in 1930s Chicago running a protection racket in the local cauliflower business: his thugs ask grocers and wholesalers for money to protect them from the violence the thugs deliver if the hapless business folk don’t pay.\u003c/p>\n\u003cfigure id=\"attachment_13870311\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870311\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut.jpg\" alt='Mob boss Arturo (Anthony Silk, left) gets word from his first lieutenant Roma (Asher Krohn, right) in \"The Resistible Rise of Arturo Ui,\" presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills.' width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-1200x801.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mob boss Arturo (Anthony Silk, left) gets word from his first lieutenant Roma (Asher Krohn, right) in “The Resistible Rise of Arturo Ui,” presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills. \u003ccite>(Courtesy of Alex Minami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clad in a pin-striped suit and fedora, Ui masters the art of corrupting politicians and judges, while pandering to racists and reporters. “Playing this character who is somewhat the embodiment of both Trump and Hitler has been challenging, and there have been certainly days when I want to go home and take a shower,” Silk says.\u003c/p>\n\u003cp>At one point, Ui gets tutoring from a washed-up Shakespearean actor who teaches Ui the locution and physicality of epic villains like Richard III and Macbeth.\u003c/p>\n\u003cp>“At bloodshed, you experience arousal, and cruelty fills you with inspiration, while kindness only fills you with disgust. You are the very textbook definition of a sociopath!” says grieving widow Betty Dullfeet, played by Margaret Allen. Dullfeet, though, ends up capitulating, too, just like everyone else who doesn’t want to die.\u003c/p>\n\u003cp>Director Bruce McLeod says he wants the audience to think about complicity. Remember, the play’s called the “resistible” rise of Arturo Ui. “Most of [Brecht’s] plays deal in some way with how we deal with people in power. By not doing something, you are essentially acquiescing to people who will take advantage of the situation,” McLeod says.\u003c/p>\n\u003cp>Or as Ui says in the play, “History’s violent and indecent. But as political scientists observe, we only get the leaders we deserve.”\u003c/p>\n\u003cfigure id=\"attachment_13870312\" class=\"wp-caption aligncenter\" style=\"max-width: 3000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870312\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3.jpg\" alt='Gangsters Flake (Jessica Lopang, left) and Butcher (Brittany Williams, right) offer a bribe to Dogsborough (George Mauro, center) in \"The Resistible Rise of Arturo Ui,\" presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills.' width=\"3000\" height=\"2002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3.jpg 3000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-1920x1281.jpg 1920w\" sizes=\"(max-width: 3000px) 100vw, 3000px\">\u003cfigcaption class=\"wp-caption-text\">Gangsters Flake (Jessica Lopang, left) and Butcher (Brittany Williams, right) offer a bribe to Dogsborough (George Mauro, center) in “The Resistible Rise of Arturo Ui,” presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills. \u003ccite>(Courtesy of Alex Minami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sure, it’s easy to complain about Hitler and other demagogues. But, Brecht is asking, what are you going to do about it?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Foothill Theatre Arts delivers \u003cstrong>The Resistible Rise of Arturo Ui\u003c/strong> through November 24, 2019 at Foothill College in Los Altos Hills. For more information, click \u003ca href=\"https://foothill.edu/theatre/productions/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an age when comics struggle to top what’s happening in Washington, D.C., it’s worth recalling one German playwright who nailed political satire in the age of Adolf Hitler.\u003c/p>\n\u003cp>Bertolt Brecht’s 1941 play, \u003ca href=\"https://foothill.edu/theatre/productions/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Resistible Rise of Arturo Ui\u003c/em>\u003c/a>, is a dark but funny parable about the rise of fascism in 20th century Europe.\u003c/p>\n\u003cp>“Two hours and a half in which you’ll see extortion, murder, arson, larceny, bribery, blackmail, yellow journalism, and other by-products of capitalism,” say announcers Chayenne Greenberg and Parker Hough at the beginning of a Foothill Theatre Arts production up now in Los Altos Hills.\u003c/p>\n\u003cp>American playwright Bruce Norris adapted Brecht’s play two years ago, to take full advantage of the current political climate.\u003c/p>\n\u003cp>“We need to bring back law and order, folks. We need the right defensive measures. I’ll tell you what we need. We need a wall, a human shield to keep the bad ones out, and I’m the only one who can provide it,” says the title character, Arturo Ui, played with understated but effective malice by high school math teacher Anthony Silk.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ui is a small time mobster in 1930s Chicago running a protection racket in the local cauliflower business: his thugs ask grocers and wholesalers for money to protect them from the violence the thugs deliver if the hapless business folk don’t pay.\u003c/p>\n\u003cfigure id=\"attachment_13870311\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870311\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut.jpg\" alt='Mob boss Arturo (Anthony Silk, left) gets word from his first lieutenant Roma (Asher Krohn, right) in \"The Resistible Rise of Arturo Ui,\" presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills.' width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-1200x801.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mob boss Arturo (Anthony Silk, left) gets word from his first lieutenant Roma (Asher Krohn, right) in “The Resistible Rise of Arturo Ui,” presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills. \u003ccite>(Courtesy of Alex Minami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clad in a pin-striped suit and fedora, Ui masters the art of corrupting politicians and judges, while pandering to racists and reporters. “Playing this character who is somewhat the embodiment of both Trump and Hitler has been challenging, and there have been certainly days when I want to go home and take a shower,” Silk says.\u003c/p>\n\u003cp>At one point, Ui gets tutoring from a washed-up Shakespearean actor who teaches Ui the locution and physicality of epic villains like Richard III and Macbeth.\u003c/p>\n\u003cp>“At bloodshed, you experience arousal, and cruelty fills you with inspiration, while kindness only fills you with disgust. You are the very textbook definition of a sociopath!” says grieving widow Betty Dullfeet, played by Margaret Allen. Dullfeet, though, ends up capitulating, too, just like everyone else who doesn’t want to die.\u003c/p>\n\u003cp>Director Bruce McLeod says he wants the audience to think about complicity. Remember, the play’s called the “resistible” rise of Arturo Ui. “Most of [Brecht’s] plays deal in some way with how we deal with people in power. By not doing something, you are essentially acquiescing to people who will take advantage of the situation,” McLeod says.\u003c/p>\n\u003cp>Or as Ui says in the play, “History’s violent and indecent. But as political scientists observe, we only get the leaders we deserve.”\u003c/p>\n\u003cfigure id=\"attachment_13870312\" class=\"wp-caption aligncenter\" style=\"max-width: 3000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870312\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3.jpg\" alt='Gangsters Flake (Jessica Lopang, left) and Butcher (Brittany Williams, right) offer a bribe to Dogsborough (George Mauro, center) in \"The Resistible Rise of Arturo Ui,\" presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills.' width=\"3000\" height=\"2002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3.jpg 3000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-1920x1281.jpg 1920w\" sizes=\"(max-width: 3000px) 100vw, 3000px\">\u003cfigcaption class=\"wp-caption-text\">Gangsters Flake (Jessica Lopang, left) and Butcher (Brittany Williams, right) offer a bribe to Dogsborough (George Mauro, center) in “The Resistible Rise of Arturo Ui,” presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills. \u003ccite>(Courtesy of Alex Minami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sure, it’s easy to complain about Hitler and other demagogues. But, Brecht is asking, what are you going to do about it?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Foothill Theatre Arts delivers \u003cstrong>The Resistible Rise of Arturo Ui\u003c/strong> through November 24, 2019 at Foothill College in Los Altos Hills. For more information, click \u003ca href=\"https://foothill.edu/theatre/productions/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Reality TV Became the Most Life-Threatening Genre in the World",
"headTitle": "How Reality TV Became the Most Life-Threatening Genre in the World | KQED",
"content": "\u003cp>Former \u003cem>American Idol\u003c/em> and \u003cem>Fear Factor\u003c/em> contestant, \u003ca href=\"https://en.wikipedia.org/wiki/Antonella_Barba\" target=\"_blank\" rel=\"noopener noreferrer\">Antonella Barba\u003c/a>, was sentenced to three years and nine months in prison this week after being caught with nearly two pounds of fentanyl. During the trial, \u003ca href=\"https://pagesix.com/2019/11/20/american-idol-star-antonella-barba-blames-show-for-drug-arrest/\" target=\"_blank\" rel=\"noopener noreferrer\">her attorney stated\u003c/a> that: “The \u003cem>American Idol\u003c/em> experience brought about a detrimental change in Ms. Barba’s life.”\u003c/p>\n\u003cp>It may not have altered the outcome of her trial, but there is ample evidence to suggest that participating in reality TV competitions can be terrible for your health. Substance abuse has proven to be a recurring issue. \u003ca href=\"https://en.wikipedia.org/wiki/Todd_Herzog\">\u003cem>Survivor China\u003c/em>\u003c/a> winner Todd Herzog reportedly didn’t drink before the show, but has since battled alcoholism; \u003cem>Big Brother\u003c/em> winner \u003ca href=\"https://www.thefix.com/content/15-reality-stars-busted-drugs\">Adam Jasinski\u003c/a> developed an addiction and was caught attempting to sell oxycodone; and \u003ca href=\"https://www.thefix.com/content/15-reality-stars-busted-drugs\">\u003cem>Storage Wars\u003c/em>‘ Mark Balelo\u003c/a> killed himself two days after being arrested for meth possession.\u003c/p>\n\u003cp>From \u003cem>America’s Next Top Model \u003c/em>alone\u003cem>,\u003c/em> \u003ca href=\"https://www.etonline.com/news/160363_6_horrible_things_that_happened_to_top_model_contestants_after_the_show_ended\">Jael Strauss\u003c/a> developed a major meth habit; \u003ca href=\"https://www.etonline.com/news/160363_6_horrible_things_that_happened_to_top_model_contestants_after_the_show_ended\">Lisa D’Amato\u003c/a> ended up on \u003cem>Celebrity Rehab\u003c/em> thanks to amphetamines, cocaine, mushrooms and alcohol dependency; and Renee Alway, six years after her elimination, \u003ca href=\"https://abcnews.go.com/Entertainment/renee-alway-americas-top-model-prison/story?id=28236042\">landed herself a 12-year prison\u003c/a> sentence for multiple burglaries, car thefts and weapons charges stemming from a heroin addiction. Alway says that after the show, “It was just closed door after closed door… I couldn’t get past the reality TV stigma that had been put on me… and then there’s the pressure of the fans. ‘Where are you?’ ‘What happened?’ It’s almost like a setup for failure.”\u003c/p>\n\u003cp>https://youtu.be/qy3c4dNzEJ0?t=203\u003c/p>\n\u003cp>Reality TV is now such a ubiquitous genre, it’s easy to forget that, especially for regular people with zero media training, the whirlwind of having one’s life put under a microscope and dissected on social media can be far more than anxiety-inducing—it can be literally life-endangering. The list of post-reality TV suicides is sobering, to say the least.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two Season 14 \u003cem>Bachelor\u003c/em> contestants, \u003ca href=\"https://bachelor-nation.fandom.com/wiki/Alexa_McAllister\">Alexa McAllister\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Gia_Allemand\">Gia Allemand\u003c/a>, committed suicide after the show, as did \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/bachelorette-contestant-julien-hugs-suicide-note-read-aloud-at-funeral-20101311/\">Julien Hug\u003c/a> who appeared on \u003cem>The Bachelorette\u003c/em> in 2009. \u003cem>Kitchen Nightmares’\u003c/em> \u003ca href=\"https://www.imdb.com/news/ni4642572\">Joseph Cerniglia\u003c/a> jumped off a bridge, while \u003cem>Hell’s Kitchen\u003c/em> contestant \u003ca href=\"https://hellskitchen.fandom.com/wiki/Rachel_Brown\">Rachel Brown\u003c/a> and \u003cem>MasterChef\u003c/em>’s \u003ca href=\"https://www.cnn.com/2013/10/13/showbiz/masterchef-joshua-marks-suicide/index.html\">Joshua Marks\u003c/a> shot themselves. \u003cem>The Voice\u003c/em>’s \u003ca href=\"https://woldcnews.com/1515526/anthony-riley-former-voice-contestant-dies-of-apparent-suicide/\">Anthony Riley\u003c/a> and \u003cem>X Factor\u003c/em> contestant \u003ca href=\"https://en.wikipedia.org/wiki/Simone_Battle\">Simone Battle\u003c/a> both hanged themselves. \u003ca href=\"https://www.youtube.com/watch?v=qtOesRewO9c\">Paula Goodspeed\u003c/a> took an overdose in front of Paula Abdul’s house after being rejected from \u003cem>American Idol\u003c/em>. And before \u003cem>Real Housewives of Beverly Hills\u003c/em>‘ \u003ca href=\"https://www.eonline.com/fr/news/258422/timeline-of-a-tragedy-real-housewives-russell-armstrong-was-always-depressed\">Russell Armstrong\u003c/a> killed himself in 2011, he said that being on TV “took our manageable problems and made them worse.”\u003c/p>\n\u003cp>In the UK, \u003cem>Love Island\u003c/em> contestants have been the subject of much concern, after two, \u003ca href=\"https://en.wikipedia.org/wikihttps://en.wikipedia.org/wiki/Mike_Thalassitis/Mike_Thalassitis\">Mike Thalassitis\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Sophie_Gradon\">Sophie Gradon\u003c/a>, took their own lives. Gradon’s boyfriend \u003ca href=\"https://www.bbc.com/news/uk-england-tyne-47623086\">Aaron Armstrong\u003c/a> followed suit less than three weeks after she died. And he’s not the only spouse to have suffered—after appearing on \u003cem>Megan Wants A Millionaire\u003c/em>, \u003ca href=\"https://en.wikipedia.org/wiki/Murder_of_Jasmine_Fiore\">Ryan Jenkins\u003c/a> murdered his girlfriend, Jasmine Fiore, then hanged himself.\u003c/p>\n\u003cp>Serious issues were established decades ago around the well-being of individuals who appear on reality TV. In 1995, 32-year-old \u003ca href=\"https://en.wikipedia.org/wiki/Murder_of_Scott_Amedure\">Scott Amedure\u003c/a> was murdered after sharing fantasies about his friend Jonathan Schmitz on \u003cem>The Jenny Jones Show. \u003c/em>Schmitz had been told that he was there to meet a secret admirer, whom he had assumed would be a woman. Three days after the friends appeared on the show, Schmitz killed Amedure with a shotgun.\u003c/p>\n\u003cp>Five years later, Nancy Campbell-Panitz was beaten to death by her ex-husband, Ralf Panitz, after the pair appeared in a \u003cem>Jerry Springer\u003c/em> episode titled “Secret Mistresses Confronted.” Panitz was convicted of \u003ca href=\"https://www.cbsnews.com/news/jerry-springer-murder-conviction/\">second degree murder\u003c/a>. That same year, the talk show \u003ca href=\"https://en.wikipedia.org/wiki/Forgive_or_Forget\">\u003cem>Forgive Or Forget\u003c/em>\u003c/a>, hosted by Robin Givens, featured a 17-year-old named \u003ca href=\"https://www.theguardian.com/g2/story/0,3604,347943,00.html\">Charlene Burkey\u003c/a>, who was pregnant with her third child. Her boyfriend Larry Kieper appeared alongside her, skipping out on a court date related to weapons possession charges to do so. The night before the show aired, Burkey was shot twice in the head. Two friends of Kieper’s were arrested and charged with her murder.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3EvUzzbzFNc\u003c/p>\n\u003cp>Both the families of Amedure and Campbell-Panitz sued the TV networks responsible for \u003cem>Jones\u003c/em> and \u003cem>Springer\u003c/em>. But after a Court of Appeals verdict overturned a $30 million dollar award to Scott Amedure’s family, stating that TV shows have no legal duty to protect their guests, Campbell-Panitz’s son dropped his lawsuit. Both shows continued for many years, and the controversial format was adopted by other countries around the world.\u003c/p>\n\u003cp>Just this year, in May, a 63-year-old man named \u003ca href=\"https://www.yahoo.com/entertainment/talk-show-guest-died-by-suicide-after-failing-liedetector-test-onair-and-being-dumped-by-his-girlfriend-123837728.html\">Steve Dymond took his own life\u003c/a> a week after appearing on Britain’s premier tabloid talk show. During his appearance on \u003cem>The Jeremy Kyle Show \u003c/em>(somewhere in tone between \u003cem>Jerry Springer\u003c/em> and \u003cem>Dr. Phil\u003c/em>)\u003cem>, \u003c/em>Dymond had been given a polygraph test that concluded that he had been unfaithful to his fiancé. She promptly broke up with him. During the highly-publicized inquest into his death, it was revealed that two hours before being sent home from the studio, Dymond told a researcher for the show that \u003ca href=\"https://www.theguardian.com/uk-news/2019/oct/07/jeremy-kyle-show-guest-said-i-wish-i-was-dead-coroner-told\" target=\"_blank\" rel=\"noopener noreferrer\">he wished he was dead\u003c/a>.\u003c/p>\n\u003cp>In response to the furor following Dymond’s death, Carla Wright, an ex-TV researcher on \u003cem>The Trisha Goddard Show—\u003c/em>which ran from 1998 to 2009 in the UK, and between 2012 and 2014 in the US—\u003ca href=\"https://www.theguardian.com/commentisfree/2019/may/15/jeremy-kyle-cruelty-guests-death-show-tv\">admitted in \u003cem>The Guardian\u003c/em>\u003c/a> that little regard was given to the welfare of the guests on these kinds of shows. “We pounced on them, with their lives in crisis,” she wrote, “and told them this was a chance to make positive change… For compliance, we would do a mental health check asking about medication, diagnosis and suicide attempts. Depression and anxiety were okay, as far as we were concerned.”\u003c/p>\n\u003cp>One \u003cem>Love Island\u003c/em> contestant, \u003ca href=\"https://twitter.com/_domlever?lang=en\">Dom Lever\u003c/a>, confirmed on Twitter after his time on the show that, “You get a psychological evaluation before and after you go on the show, but hands down, once you are done on the show, you don’t get any support unless you’re number one.”\u003c/p>\n\u003cp>As the public chews up and spits out contestant after contestant on a neverending assembly line of shows, it’s increasingly apparent that not enough is being done to safeguard the health and safety of those participating. These shows have always been guilty pleasures for most of us. But what happens when the guilt starts to outweigh the pleasure?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If the networks expect us to keep tuning in, they need to do far more to protect the people that appear on them. Frankly, that should have started decades ago.\u003c/p>\n\n",
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"excerpt": "As Antonella Barba goes to prison, a look back at the many former reality TV contestants who've faced death, drug use, suicide and mental illness.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Former \u003cem>American Idol\u003c/em> and \u003cem>Fear Factor\u003c/em> contestant, \u003ca href=\"https://en.wikipedia.org/wiki/Antonella_Barba\" target=\"_blank\" rel=\"noopener noreferrer\">Antonella Barba\u003c/a>, was sentenced to three years and nine months in prison this week after being caught with nearly two pounds of fentanyl. During the trial, \u003ca href=\"https://pagesix.com/2019/11/20/american-idol-star-antonella-barba-blames-show-for-drug-arrest/\" target=\"_blank\" rel=\"noopener noreferrer\">her attorney stated\u003c/a> that: “The \u003cem>American Idol\u003c/em> experience brought about a detrimental change in Ms. Barba’s life.”\u003c/p>\n\u003cp>It may not have altered the outcome of her trial, but there is ample evidence to suggest that participating in reality TV competitions can be terrible for your health. Substance abuse has proven to be a recurring issue. \u003ca href=\"https://en.wikipedia.org/wiki/Todd_Herzog\">\u003cem>Survivor China\u003c/em>\u003c/a> winner Todd Herzog reportedly didn’t drink before the show, but has since battled alcoholism; \u003cem>Big Brother\u003c/em> winner \u003ca href=\"https://www.thefix.com/content/15-reality-stars-busted-drugs\">Adam Jasinski\u003c/a> developed an addiction and was caught attempting to sell oxycodone; and \u003ca href=\"https://www.thefix.com/content/15-reality-stars-busted-drugs\">\u003cem>Storage Wars\u003c/em>‘ Mark Balelo\u003c/a> killed himself two days after being arrested for meth possession.\u003c/p>\n\u003cp>From \u003cem>America’s Next Top Model \u003c/em>alone\u003cem>,\u003c/em> \u003ca href=\"https://www.etonline.com/news/160363_6_horrible_things_that_happened_to_top_model_contestants_after_the_show_ended\">Jael Strauss\u003c/a> developed a major meth habit; \u003ca href=\"https://www.etonline.com/news/160363_6_horrible_things_that_happened_to_top_model_contestants_after_the_show_ended\">Lisa D’Amato\u003c/a> ended up on \u003cem>Celebrity Rehab\u003c/em> thanks to amphetamines, cocaine, mushrooms and alcohol dependency; and Renee Alway, six years after her elimination, \u003ca href=\"https://abcnews.go.com/Entertainment/renee-alway-americas-top-model-prison/story?id=28236042\">landed herself a 12-year prison\u003c/a> sentence for multiple burglaries, car thefts and weapons charges stemming from a heroin addiction. Alway says that after the show, “It was just closed door after closed door… I couldn’t get past the reality TV stigma that had been put on me… and then there’s the pressure of the fans. ‘Where are you?’ ‘What happened?’ It’s almost like a setup for failure.”\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/qy3c4dNzEJ0'\n title='//www.youtube.com/embed/qy3c4dNzEJ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reality TV is now such a ubiquitous genre, it’s easy to forget that, especially for regular people with zero media training, the whirlwind of having one’s life put under a microscope and dissected on social media can be far more than anxiety-inducing—it can be literally life-endangering. The list of post-reality TV suicides is sobering, to say the least.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two Season 14 \u003cem>Bachelor\u003c/em> contestants, \u003ca href=\"https://bachelor-nation.fandom.com/wiki/Alexa_McAllister\">Alexa McAllister\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Gia_Allemand\">Gia Allemand\u003c/a>, committed suicide after the show, as did \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/bachelorette-contestant-julien-hugs-suicide-note-read-aloud-at-funeral-20101311/\">Julien Hug\u003c/a> who appeared on \u003cem>The Bachelorette\u003c/em> in 2009. \u003cem>Kitchen Nightmares’\u003c/em> \u003ca href=\"https://www.imdb.com/news/ni4642572\">Joseph Cerniglia\u003c/a> jumped off a bridge, while \u003cem>Hell’s Kitchen\u003c/em> contestant \u003ca href=\"https://hellskitchen.fandom.com/wiki/Rachel_Brown\">Rachel Brown\u003c/a> and \u003cem>MasterChef\u003c/em>’s \u003ca href=\"https://www.cnn.com/2013/10/13/showbiz/masterchef-joshua-marks-suicide/index.html\">Joshua Marks\u003c/a> shot themselves. \u003cem>The Voice\u003c/em>’s \u003ca href=\"https://woldcnews.com/1515526/anthony-riley-former-voice-contestant-dies-of-apparent-suicide/\">Anthony Riley\u003c/a> and \u003cem>X Factor\u003c/em> contestant \u003ca href=\"https://en.wikipedia.org/wiki/Simone_Battle\">Simone Battle\u003c/a> both hanged themselves. \u003ca href=\"https://www.youtube.com/watch?v=qtOesRewO9c\">Paula Goodspeed\u003c/a> took an overdose in front of Paula Abdul’s house after being rejected from \u003cem>American Idol\u003c/em>. And before \u003cem>Real Housewives of Beverly Hills\u003c/em>‘ \u003ca href=\"https://www.eonline.com/fr/news/258422/timeline-of-a-tragedy-real-housewives-russell-armstrong-was-always-depressed\">Russell Armstrong\u003c/a> killed himself in 2011, he said that being on TV “took our manageable problems and made them worse.”\u003c/p>\n\u003cp>In the UK, \u003cem>Love Island\u003c/em> contestants have been the subject of much concern, after two, \u003ca href=\"https://en.wikipedia.org/wikihttps://en.wikipedia.org/wiki/Mike_Thalassitis/Mike_Thalassitis\">Mike Thalassitis\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Sophie_Gradon\">Sophie Gradon\u003c/a>, took their own lives. Gradon’s boyfriend \u003ca href=\"https://www.bbc.com/news/uk-england-tyne-47623086\">Aaron Armstrong\u003c/a> followed suit less than three weeks after she died. And he’s not the only spouse to have suffered—after appearing on \u003cem>Megan Wants A Millionaire\u003c/em>, \u003ca href=\"https://en.wikipedia.org/wiki/Murder_of_Jasmine_Fiore\">Ryan Jenkins\u003c/a> murdered his girlfriend, Jasmine Fiore, then hanged himself.\u003c/p>\n\u003cp>Serious issues were established decades ago around the well-being of individuals who appear on reality TV. In 1995, 32-year-old \u003ca href=\"https://en.wikipedia.org/wiki/Murder_of_Scott_Amedure\">Scott Amedure\u003c/a> was murdered after sharing fantasies about his friend Jonathan Schmitz on \u003cem>The Jenny Jones Show. \u003c/em>Schmitz had been told that he was there to meet a secret admirer, whom he had assumed would be a woman. Three days after the friends appeared on the show, Schmitz killed Amedure with a shotgun.\u003c/p>\n\u003cp>Five years later, Nancy Campbell-Panitz was beaten to death by her ex-husband, Ralf Panitz, after the pair appeared in a \u003cem>Jerry Springer\u003c/em> episode titled “Secret Mistresses Confronted.” Panitz was convicted of \u003ca href=\"https://www.cbsnews.com/news/jerry-springer-murder-conviction/\">second degree murder\u003c/a>. That same year, the talk show \u003ca href=\"https://en.wikipedia.org/wiki/Forgive_or_Forget\">\u003cem>Forgive Or Forget\u003c/em>\u003c/a>, hosted by Robin Givens, featured a 17-year-old named \u003ca href=\"https://www.theguardian.com/g2/story/0,3604,347943,00.html\">Charlene Burkey\u003c/a>, who was pregnant with her third child. Her boyfriend Larry Kieper appeared alongside her, skipping out on a court date related to weapons possession charges to do so. The night before the show aired, Burkey was shot twice in the head. Two friends of Kieper’s were arrested and charged with her murder.\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/3EvUzzbzFNc'\n title='//www.youtube.com/embed/3EvUzzbzFNc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Both the families of Amedure and Campbell-Panitz sued the TV networks responsible for \u003cem>Jones\u003c/em> and \u003cem>Springer\u003c/em>. But after a Court of Appeals verdict overturned a $30 million dollar award to Scott Amedure’s family, stating that TV shows have no legal duty to protect their guests, Campbell-Panitz’s son dropped his lawsuit. Both shows continued for many years, and the controversial format was adopted by other countries around the world.\u003c/p>\n\u003cp>Just this year, in May, a 63-year-old man named \u003ca href=\"https://www.yahoo.com/entertainment/talk-show-guest-died-by-suicide-after-failing-liedetector-test-onair-and-being-dumped-by-his-girlfriend-123837728.html\">Steve Dymond took his own life\u003c/a> a week after appearing on Britain’s premier tabloid talk show. During his appearance on \u003cem>The Jeremy Kyle Show \u003c/em>(somewhere in tone between \u003cem>Jerry Springer\u003c/em> and \u003cem>Dr. Phil\u003c/em>)\u003cem>, \u003c/em>Dymond had been given a polygraph test that concluded that he had been unfaithful to his fiancé. She promptly broke up with him. During the highly-publicized inquest into his death, it was revealed that two hours before being sent home from the studio, Dymond told a researcher for the show that \u003ca href=\"https://www.theguardian.com/uk-news/2019/oct/07/jeremy-kyle-show-guest-said-i-wish-i-was-dead-coroner-told\" target=\"_blank\" rel=\"noopener noreferrer\">he wished he was dead\u003c/a>.\u003c/p>\n\u003cp>In response to the furor following Dymond’s death, Carla Wright, an ex-TV researcher on \u003cem>The Trisha Goddard Show—\u003c/em>which ran from 1998 to 2009 in the UK, and between 2012 and 2014 in the US—\u003ca href=\"https://www.theguardian.com/commentisfree/2019/may/15/jeremy-kyle-cruelty-guests-death-show-tv\">admitted in \u003cem>The Guardian\u003c/em>\u003c/a> that little regard was given to the welfare of the guests on these kinds of shows. “We pounced on them, with their lives in crisis,” she wrote, “and told them this was a chance to make positive change… For compliance, we would do a mental health check asking about medication, diagnosis and suicide attempts. Depression and anxiety were okay, as far as we were concerned.”\u003c/p>\n\u003cp>One \u003cem>Love Island\u003c/em> contestant, \u003ca href=\"https://twitter.com/_domlever?lang=en\">Dom Lever\u003c/a>, confirmed on Twitter after his time on the show that, “You get a psychological evaluation before and after you go on the show, but hands down, once you are done on the show, you don’t get any support unless you’re number one.”\u003c/p>\n\u003cp>As the public chews up and spits out contestant after contestant on a neverending assembly line of shows, it’s increasingly apparent that not enough is being done to safeguard the health and safety of those participating. These shows have always been guilty pleasures for most of us. But what happens when the guilt starts to outweigh the pleasure?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If the networks expect us to keep tuning in, they need to do far more to protect the people that appear on them. Frankly, that should have started decades ago.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been two weeks since AfroTech has come and gone in Oakland, and I’m still hearing things about it—some good, and some not so good.\u003c/p>\n\u003cp>In fact, on \u003ca href=\"https://www.facebook.com/events/571621730266616/\">Thursday, Nov. 21\u003c/a>, The Town Experience hosts an open forum from 5:30pm–7:30pm at the Uptown in Oakland for people to share their experiences. Charlese Banks of The Town Experience is the lead organizer of the upcoming forum, which AfroTech management says they’ll use to inform next year’s conference.\u003c/p>\n\u003cp>“The demand for something like this was high,” says Banks. “So we’re going to have a constructive feedback session.”\u003c/p>\n\u003cp>That’s good, because for the past few days, the conversation has been living rent-free inside of my head.\u003c/p>\n\u003cp>The conference, which aims to connect the black community with the tech industry, was a beautiful gathering with thousands of people in attendance. \u003ca href=\"https://www.sfchronicle.com/bayarea/otisrtaylorjr/article/He-s-working-to-diversify-the-tech-industry-14833097.php\" target=\"_blank\" rel=\"noopener noreferrer\">Students from local schools\u003c/a> were represented, Congresswoman Barbara Lee was honored for her work and \u003ca href=\"https://www.kqed.org/forum/2010101874437/bernard-tyson-ceo-of-kaiser-permanente-dies-at-60\" target=\"_blank\" rel=\"noopener noreferrer\">Bernard J. Tyson\u003c/a>, the first African American chief executive officer of Kaiser Permanente, spoke just hours before he passed in his sleep.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the streets just outside of the conference, brown-skinned women in yellow blazers with long curly locs walked past dark-skinned men in collard shirts with deep waves. I hadn’t seen that many black folks concentrated at one spot in Oakland since \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\">BBQ’n While Black\u003c/a>. Walking around at night, I saw groups of black folks trickling into a private event at Plank in Jack London Square, packed house-party-style inside of Miss Ollies in Old Oakland and circled-up at the bar inside of 7th West.\u003c/p>\n\u003cfigure id=\"attachment_13870003\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870003\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-800x600.jpg\" alt=\"At the West Oakland Youth Center, young people making video games with assistance from the Hidden Genius Project and The David Glover Digital Technology Center.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the West Oakland Youth Center, young people making video games with assistance from the The Hidden Genius Project and The David Glover Digital Technology Center. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Thursday, before the official start of the conference, I stopped by the West Oakland Youth Center, where folks from the \u003ca href=\"https://www.degetc.org/\">David Glover Emerging Technology Center\u003c/a> and \u003ca href=\"http://www.hiddengeniusproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Hidden Genius Project\u003c/a> had teamed up with the\u003ca href=\"https://www.fam1stfamilyfoundation.org/\"> Fam1st Family Foundation\u003c/a> to hold a coding workshop for a bouncy group of preteen boys and girls, all of them African American.\u003c/p>\n\u003cp>“We’re here doing this all the time,” said Akeem Brown, Program Director with The Hidden Genius Project. They meet there regularly, every Tuesday and Thursday, AfroTech or not.\u003c/p>\n\u003cp>It was like a sitcom the way he finished his sentence and not even a minute later, a guy named Tony walked in the youth center—black luggage bag on wheels in tow—fresh off the airplane from Los Angeles. He said he was in town for the conference, and wanted to apply for a job with The Hidden Genius Project.\u003c/p>\n\u003cp>And so the conference was a job fair, technical workshop and family reunion all in one. As The Hidden Genius Project’s Executive Director Brandon Nicholson told me, “It’s just like Howard Homecoming.”\u003c/p>\n\u003cp>I could see that.\u003c/p>\n\u003cp>The black working class and middle class, coming together to strive for further upward mobility and simultaneously celebrate black excellence… all while some disenfranchised locals feel overlooked. That’s how it was when I was at Howard University. That’s how some felt about AfroTech.\u003c/p>\n\u003cp>Despite the free community stage and open workshops, it was the closed sessions, private clubs and $450 conference ticket price that left a number of people feeling like it wasn’t for them.\u003c/p>\n\u003cp>A few people told me in person, while others left comments on chat boards. And then there was this thread attached to\u003ca href=\"https://twitter.com/OGpenn/status/1192926822771478528?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> a tweet\u003c/a> I posted during the conference.\u003c/p>\n\u003cp>Right before I left AfroTech in Old Oakland on Friday, I talked to a guy named Ron, an unsheltered guy who lives on the corner of Eighth & Clay Streets with his partner. I simply asked him if he’d seen any changes in the way he’s been treated this weekend, given there was a conference celebrating black excellence in the extremely lucrative field of technology, right there in his backyard. “Na, they step over me just like everyone else,” Ron told me.\u003c/p>\n\u003cp>I tweeted the interaction out. It ruffled a few feathers, for better or worse.\u003c/p>\n\u003cfigure id=\"attachment_13870017\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870017\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-800x570.png\" alt=\"A sound response. \" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-800x570.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-768x547.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-1020x726.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM.png 1194w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sound response.\u003c/figcaption>\u003c/figure>\n\u003cp>It wasn’t a shot at AfroTech, or even a commentary on the attendees. It was just an observation; a note about the conflicting juxtaposition I’d just witnessed.\u003c/p>\n\u003cp>I mean, on one hand, you’ve got people talking about how \u003ca href=\"https://twitter.com/awholecatfish/status/1192915445801635840?s=20\">AfroTech had downtown Oakland looking like Wakanda\u003c/a>.\u003c/p>\n\u003cp>And on the other hand, here’s Ron, a homeless African American man. In a place where \u003ca href=\"https://www.oaklandhomelessresponse.com/the-problem\" target=\"_blank\" rel=\"noopener noreferrer\">70% of the unsheltered people are African American\u003c/a>. A place that’s currently going through a homeless crisis that the \u003ca href=\"https://www.kqed.org/news/11700750/after-scathing-un-report-on-homelessness-advocates-demand-oakland-stop-sidewalk-sweeps\">United Nations\u003c/a> has called “cruel and inhuman.”\u003c/p>\n\u003cp>A place where, literally as AfroTech was going on, a group of unsheltered people were \u003ca href=\"https://www.sfchronicle.com/bayarea/otisrtaylorjr/article/Longtime-Oakland-residents-now-homeless-14815555.php\">evicted from an encampment\u003c/a>—many of them African American Oakland natives.\u003c/p>\n\u003cp>And days later, as I type this, Dominique Walker and Sameerah Karim, two African American mothers associated with the group \u003ca href=\"https://twitter.com/moms4housing\" target=\"_blank\" rel=\"noopener noreferrer\">Moms 4 Housing\u003c/a>, have commandeered a vacant house in West Oakland that was foreclosed on and then purchased by \u003ca href=\"https://protect-us.mimecast.com/s/qw-mCADmygF91V0nh8YBoy?domain=wedgewood-inc.com\" target=\"_blank\" rel=\"noopener noreferrer\">Wedgewood Properties.\u003c/a>\u003c/p>\n\u003cp>It’s drastic times in the town right now when it comes to black folks and housing. And I can’t stop thinking about it. Reading about it. Researching.\u003c/p>\n\u003cp>A further illustration of the point about race and class: between 2008-2017, the median annual household income of black residents moving into the Bay Area was approximately 42% higher than that of black residents moving out of the Bay Area, according to Issi Romem, founder and director of \u003ca href=\"https://www.metrosight.com/\" target=\"_blank\" rel=\"noopener noreferrer\">MetroSight\u003c/a>, a consulting firm which provides research and analysis into city data.\u003c/p>\n\u003cp>Meanwhile, over that same 10-year period, the Bay Area had more black residents leave (about 149,000) than arrive (about 109,000).\u003c/p>\n\u003cp>In other words, there’s more black folks going than coming. And those who are coming to the Bay Area have deeper pockets.\u003c/p>\n\u003cp>What can be done?\u003c/p>\n\u003cp>I in no way think homelessness is a byproduct of AfroTech. Nor is it the immediate responsibility of the attendees. But there’s a clear opportunity for something to be done, something that bridges the overwhelming amount of unsheltered black folks on the streets of the Bay Area and African Americans in tech—an industry that’s exacerbated the cost of living in the Bay Area, and one of the many driving forces, along with lack of government oversight and greedy developers, pushing gentrification in this region.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>People in the Bay Area are working every day to solve this problem. Hopefully before next year’s AfroTech, something significant can be done. Because bruh, I don’t recall seeing any unsheltered folks being stepped over in Wakanda.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been two weeks since AfroTech has come and gone in Oakland, and I’m still hearing things about it—some good, and some not so good.\u003c/p>\n\u003cp>In fact, on \u003ca href=\"https://www.facebook.com/events/571621730266616/\">Thursday, Nov. 21\u003c/a>, The Town Experience hosts an open forum from 5:30pm–7:30pm at the Uptown in Oakland for people to share their experiences. Charlese Banks of The Town Experience is the lead organizer of the upcoming forum, which AfroTech management says they’ll use to inform next year’s conference.\u003c/p>\n\u003cp>“The demand for something like this was high,” says Banks. “So we’re going to have a constructive feedback session.”\u003c/p>\n\u003cp>That’s good, because for the past few days, the conversation has been living rent-free inside of my head.\u003c/p>\n\u003cp>The conference, which aims to connect the black community with the tech industry, was a beautiful gathering with thousands of people in attendance. \u003ca href=\"https://www.sfchronicle.com/bayarea/otisrtaylorjr/article/He-s-working-to-diversify-the-tech-industry-14833097.php\" target=\"_blank\" rel=\"noopener noreferrer\">Students from local schools\u003c/a> were represented, Congresswoman Barbara Lee was honored for her work and \u003ca href=\"https://www.kqed.org/forum/2010101874437/bernard-tyson-ceo-of-kaiser-permanente-dies-at-60\" target=\"_blank\" rel=\"noopener noreferrer\">Bernard J. Tyson\u003c/a>, the first African American chief executive officer of Kaiser Permanente, spoke just hours before he passed in his sleep.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the streets just outside of the conference, brown-skinned women in yellow blazers with long curly locs walked past dark-skinned men in collard shirts with deep waves. I hadn’t seen that many black folks concentrated at one spot in Oakland since \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\">BBQ’n While Black\u003c/a>. Walking around at night, I saw groups of black folks trickling into a private event at Plank in Jack London Square, packed house-party-style inside of Miss Ollies in Old Oakland and circled-up at the bar inside of 7th West.\u003c/p>\n\u003cfigure id=\"attachment_13870003\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870003\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-800x600.jpg\" alt=\"At the West Oakland Youth Center, young people making video games with assistance from the Hidden Genius Project and The David Glover Digital Technology Center.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the West Oakland Youth Center, young people making video games with assistance from the The Hidden Genius Project and The David Glover Digital Technology Center. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Thursday, before the official start of the conference, I stopped by the West Oakland Youth Center, where folks from the \u003ca href=\"https://www.degetc.org/\">David Glover Emerging Technology Center\u003c/a> and \u003ca href=\"http://www.hiddengeniusproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Hidden Genius Project\u003c/a> had teamed up with the\u003ca href=\"https://www.fam1stfamilyfoundation.org/\"> Fam1st Family Foundation\u003c/a> to hold a coding workshop for a bouncy group of preteen boys and girls, all of them African American.\u003c/p>\n\u003cp>“We’re here doing this all the time,” said Akeem Brown, Program Director with The Hidden Genius Project. They meet there regularly, every Tuesday and Thursday, AfroTech or not.\u003c/p>\n\u003cp>It was like a sitcom the way he finished his sentence and not even a minute later, a guy named Tony walked in the youth center—black luggage bag on wheels in tow—fresh off the airplane from Los Angeles. He said he was in town for the conference, and wanted to apply for a job with The Hidden Genius Project.\u003c/p>\n\u003cp>And so the conference was a job fair, technical workshop and family reunion all in one. As The Hidden Genius Project’s Executive Director Brandon Nicholson told me, “It’s just like Howard Homecoming.”\u003c/p>\n\u003cp>I could see that.\u003c/p>\n\u003cp>The black working class and middle class, coming together to strive for further upward mobility and simultaneously celebrate black excellence… all while some disenfranchised locals feel overlooked. That’s how it was when I was at Howard University. That’s how some felt about AfroTech.\u003c/p>\n\u003cp>Despite the free community stage and open workshops, it was the closed sessions, private clubs and $450 conference ticket price that left a number of people feeling like it wasn’t for them.\u003c/p>\n\u003cp>A few people told me in person, while others left comments on chat boards. And then there was this thread attached to\u003ca href=\"https://twitter.com/OGpenn/status/1192926822771478528?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> a tweet\u003c/a> I posted during the conference.\u003c/p>\n\u003cp>Right before I left AfroTech in Old Oakland on Friday, I talked to a guy named Ron, an unsheltered guy who lives on the corner of Eighth & Clay Streets with his partner. I simply asked him if he’d seen any changes in the way he’s been treated this weekend, given there was a conference celebrating black excellence in the extremely lucrative field of technology, right there in his backyard. “Na, they step over me just like everyone else,” Ron told me.\u003c/p>\n\u003cp>I tweeted the interaction out. It ruffled a few feathers, for better or worse.\u003c/p>\n\u003cfigure id=\"attachment_13870017\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870017\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-800x570.png\" alt=\"A sound response. \" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-800x570.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-768x547.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-1020x726.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM.png 1194w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sound response.\u003c/figcaption>\u003c/figure>\n\u003cp>It wasn’t a shot at AfroTech, or even a commentary on the attendees. It was just an observation; a note about the conflicting juxtaposition I’d just witnessed.\u003c/p>\n\u003cp>I mean, on one hand, you’ve got people talking about how \u003ca href=\"https://twitter.com/awholecatfish/status/1192915445801635840?s=20\">AfroTech had downtown Oakland looking like Wakanda\u003c/a>.\u003c/p>\n\u003cp>And on the other hand, here’s Ron, a homeless African American man. In a place where \u003ca href=\"https://www.oaklandhomelessresponse.com/the-problem\" target=\"_blank\" rel=\"noopener noreferrer\">70% of the unsheltered people are African American\u003c/a>. A place that’s currently going through a homeless crisis that the \u003ca href=\"https://www.kqed.org/news/11700750/after-scathing-un-report-on-homelessness-advocates-demand-oakland-stop-sidewalk-sweeps\">United Nations\u003c/a> has called “cruel and inhuman.”\u003c/p>\n\u003cp>A place where, literally as AfroTech was going on, a group of unsheltered people were \u003ca href=\"https://www.sfchronicle.com/bayarea/otisrtaylorjr/article/Longtime-Oakland-residents-now-homeless-14815555.php\">evicted from an encampment\u003c/a>—many of them African American Oakland natives.\u003c/p>\n\u003cp>And days later, as I type this, Dominique Walker and Sameerah Karim, two African American mothers associated with the group \u003ca href=\"https://twitter.com/moms4housing\" target=\"_blank\" rel=\"noopener noreferrer\">Moms 4 Housing\u003c/a>, have commandeered a vacant house in West Oakland that was foreclosed on and then purchased by \u003ca href=\"https://protect-us.mimecast.com/s/qw-mCADmygF91V0nh8YBoy?domain=wedgewood-inc.com\" target=\"_blank\" rel=\"noopener noreferrer\">Wedgewood Properties.\u003c/a>\u003c/p>\n\u003cp>It’s drastic times in the town right now when it comes to black folks and housing. And I can’t stop thinking about it. Reading about it. Researching.\u003c/p>\n\u003cp>A further illustration of the point about race and class: between 2008-2017, the median annual household income of black residents moving into the Bay Area was approximately 42% higher than that of black residents moving out of the Bay Area, according to Issi Romem, founder and director of \u003ca href=\"https://www.metrosight.com/\" target=\"_blank\" rel=\"noopener noreferrer\">MetroSight\u003c/a>, a consulting firm which provides research and analysis into city data.\u003c/p>\n\u003cp>Meanwhile, over that same 10-year period, the Bay Area had more black residents leave (about 149,000) than arrive (about 109,000).\u003c/p>\n\u003cp>In other words, there’s more black folks going than coming. And those who are coming to the Bay Area have deeper pockets.\u003c/p>\n\u003cp>What can be done?\u003c/p>\n\u003cp>I in no way think homelessness is a byproduct of AfroTech. Nor is it the immediate responsibility of the attendees. But there’s a clear opportunity for something to be done, something that bridges the overwhelming amount of unsheltered black folks on the streets of the Bay Area and African Americans in tech—an industry that’s exacerbated the cost of living in the Bay Area, and one of the many driving forces, along with lack of government oversight and greedy developers, pushing gentrification in this region.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>People in the Bay Area are working every day to solve this problem. Hopefully before next year’s AfroTech, something significant can be done. Because bruh, I don’t recall seeing any unsheltered folks being stepped over in Wakanda.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "6-podcasts-to-get-you-through-holiday-travel-this-year",
"title": "7 Podcasts to Get You Through Holiday Travel This Year",
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"content": "\u003cp>Wondering about the best podcasts for trips, long drives or (let’s face it) airport delays?\u003c/p>\n\u003cp>With the holidays fast approaching, chances are you’ll find yourself hitting the road or sky, and in need of binge-worthy audio to entertain you. Never fear: below, we’ve collected seven of the most immersive, compelling and (sorry) \u003cem>transporting\u003c/em> podcast episodes to recently come out of KQED.\u003c/p>\n\u003cp>Cue up these picks on your podcast platform of choice—or scroll to the end to download the Spotify playlist—and you’ll never be bored while stuck in traffic or delayed at the airport.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11782405/tunnels-under-san-francisco-inside-the-dark-dangerous-world-of-the-sewers\">Secret Tunnels Under San Francisco? \u003c/a>\u003cbr>\nFrom \u003cem>Bay Curious\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869970\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Every episode of \u003cem>Bay Curious\u003c/em> is sparked by audience curiosity about local conundrums–and they’ve received a \u003cem>lot\u003c/em> of questions about whether there’s a network of mystery tunnels under San Francisco. This dark-and-dirty episode takes listeners to a place it’s likely they will never actually visit; a very real labyrinth that sprawls deep underground—AKA the city’s vast sewer system.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Listen to the episode to explore this underworld with the \u003cem>Bay Curious\u003c/em> team. Between lethal gases, fast-flowing rivers of sewage and the risk of getting lost in the darkness, you’ll probably be glad to take this tour \u003cem>virtually\u003c/em> via your headphones, rather than IRL.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11782405/tunnels-under-san-francisco-inside-the-dark-dangerous-world-of-the-sewers\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/secret-tunnels-under-san-francisco/id1172473406?i=1000455577910\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11777723/blind-beekeeper-relies-on-the-sound-of-the-swarm-to-keep-her-hives-happy\">Blind Beekeeper Relies on Sound to Keep Her Hives Happy\u003c/a>\u003cbr>\nFrom \u003cem>The California Report Magazine\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-13869926 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679.jpg\" alt=\"\" width=\"1020\" height=\"679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-768x511.jpg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003c/p>\n\u003cp>“I didn’t think I could be a good beekeeper without being able to see.” This special episode from \u003cem>The California Report Magazine\u003c/em>’s weekly podcast immerses the listener in the world of Aerial: a Bay area nurse who lost her sight after using tampered eyedrops. Navigating her new reality, she found purpose and meaning in the hobby she’d enjoyed since she was a teen: beekeeping.\u003c/p>\n\u003cp>Listen as Aerial explains how she knows whether her swarm—she calls them “her girls”—are happy, and how to hear their “waggle dance” (the movement bees make to tell others where to find pollen). After experiencing this episode, you’ll never hear bees again the same way.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11777723/blind-beekeeper-relies-on-the-sound-of-the-swarm-to-keep-her-hives-happy\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/blind-beekeeper-relies-on-sound-to-keep-her-hives-happy/id1314750545?i=1000452376183\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/pop/102783/queer-eyes-jonathan-van-ness-on-turning-red-states-pink-one-makeover-at-a-time\">\u003cem>Queer Eye\u003c/em>‘s Jonathan Van Ness on Turning Red States Pink\u003c/a>\u003cbr>\nFrom \u003cem>The Cooler\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869925\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Jonathan-Van-Ness.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The most engrossing podcast interviews are the ones where you feel you’ve been teleported into the room with the people in question—and this 2018 interview with the infamously personable \u003cem>Queer Eye\u003c/em> star Jonathan Van Ness on KQED’s pop culture podcast \u003cem>The Cooler\u003c/em> is no exception.\u003c/p>\n\u003cp>In a conversation that ranges from raucous to heartfelt and intimate, Van Ness talks to hosts Emmanuel Hapsis, Jamedra Brown-Fleischman and Carly Severn about growing up gay in a small town, dealing with online trolls, the healing power of figure skating and a particularly controversial moment from \u003cem>Queer Eye\u003c/em>’s second season.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/pop/102783/queer-eyes-jonathan-van-ness-on-turning-red-states-pink-one-makeover-at-a-time\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/queer-eyes-jonathan-van-ness-on-turning-red-states-pink/id1041117499?i=1000407027183\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/podcasts/42/joy-may-16th\">Joy\u003c/a>\u003cbr>\nfrom \u003cem>Truth Be Told \u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960.jpg\" alt=\"\" width=\"1920\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-1200x600.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Is it OK to feel joy when it feels like the world is burning? In the first episode of KQED’s advice show made by people of color for people of color, host Tonya Mosley brings us to her hometown of Detroit, Michigan—the “epicenter of pleasure in the midst of turmoil,” as she calls it. Mosley sits down with her grandmother Ernestine Mosley and \u003cem>New York Times\u003c/em> bestselling author Adrienne Maree Brown for some hard questions, deep laughs, and much-needed affirmations about why it’s not only OK to feel joy, but it’s absolutely necessary.\u003c/p>\n\u003cp>And stay tuned: \u003cem>Truth Be Told\u003c/em> returns for a second season in early 2020!\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/podcasts/42/joy-may-16th\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/joy-episode-1/id1462216572?i=1000438248776\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11780279/native-american-occupation-at-alcatraz-50-years\">‘We’re Still Here’\u003c/a>\u003cbr>\nFrom\u003cem> The Bay\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/IMG_2671-1-1020x765.jpg\" alt=\"\" width=\"1020\" height=\"765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-768x576.jpg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003c/p>\n\u003cp>In this episode of\u003cem> The Bay\u003c/em>, KQED reporter Alice Woelfle follows along with Native people from across the West Coast in a ceremonial canoe journey around Alcatraz Island. First, we hear the building of a tule boat, then the sound of paddle hitting the water as members of different tribes, territories, communities and families embark on their paddle around the island before returning to shore to be greeted by Ohlone elders.\u003c/p>\n\u003cp>The paddle commemorated the 50-year anniversary of the occupation of Alcatraz, a movement which lasted 19 months and brought widespread visibility for American Indian civil rights.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11780279/native-american-occupation-at-alcatraz-50-years\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/were-still-here-canoe-journey-to-alcatraz-to-remember/id1350043452?i=1000453734022\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/arts/13859970/rightnowish-miko-marks-and-the-oakland-rollers\">Oakland’s Rollerskating Country Singer\u003c/a>\u003cbr>\nFrom \u003cem>Rightnowish\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/oakland-rollers-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Where do country singing and roller skating collide? On a small cul-de-sac on the southern side of Lake Merritt in Oakland, according to musician Miko Marks.\u003c/p>\n\u003cp>“As soon as I put these skates on, I feel like I’m a kid again,” Marks says in this episode of \u003cem>Rightnowish\u003c/em>, KQED’s new arts and culture podcast hosted by Pendarvis Harshaw. After nearly a decade of touring the nation as a country singer, Marks’s love for roller skating completely transformed her sense of play—and her music. Put on your skates (and your headphones!) and listen to the full episode to hear more about Marks’s new sound and new take on life with wheels.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/13859970/rightnowish-miko-marks-and-the-oakland-rollers\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/oaklands-rollerskating-country-singer/id1482187648?i=1000455674283\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/mindshift/54326/childhood-as-resume-building-why-play-needs-a-comeback\">Childhood as ‘Resume-Building’: Why Play Needs A Comeback\u003c/a>\u003cbr>\nFrom \u003cem>MindShift\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869973\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/DSC5859-1.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-1200x801.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Remember when you were a kid and there was a designated time just for playing? Free play—the kind of play where kids independently choose the activities and the rules—may be a thing of the past, according to this \u003cem>MindShift\u003c/em> episode. “We’re just seeing an out-of-balance life for kids,” says Scott Bedley, a fourth grade teacher, about the pressure for students to succeed academically from a very young age. “There is a learning value behind play if you just allow it to happen.”\u003c/p>\n\u003cp>Head back to the classroom with the \u003cem>MindShift\u003c/em> team to explore what play looks like today, and why it’s in need of a major comeback.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/mindshift/54326/childhood-as-resume-building-why-play-needs-a-comeback\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/childhood-as-resume-building-why-play-needs-a-comeback/id1078765985?i=1000448438239\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/6qS3AzC3Gv7nrON2PrezAS\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "Dreading Thanksgiving travel? Here are six essential listening recommendations to while away the hours.",
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"title": "7 Podcasts to Get You Through Holiday Travel This Year | KQED",
"description": "Dreading Thanksgiving travel? Here are six essential listening recommendations to while away the hours.",
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"headline": "7 Podcasts to Get You Through Holiday Travel This Year",
"datePublished": "2019-11-15T11:57:43-08:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wondering about the best podcasts for trips, long drives or (let’s face it) airport delays?\u003c/p>\n\u003cp>With the holidays fast approaching, chances are you’ll find yourself hitting the road or sky, and in need of binge-worthy audio to entertain you. Never fear: below, we’ve collected seven of the most immersive, compelling and (sorry) \u003cem>transporting\u003c/em> podcast episodes to recently come out of KQED.\u003c/p>\n\u003cp>Cue up these picks on your podcast platform of choice—or scroll to the end to download the Spotify playlist—and you’ll never be bored while stuck in traffic or delayed at the airport.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11782405/tunnels-under-san-francisco-inside-the-dark-dangerous-world-of-the-sewers\">Secret Tunnels Under San Francisco? \u003c/a>\u003cbr>\nFrom \u003cem>Bay Curious\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869970\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Every episode of \u003cem>Bay Curious\u003c/em> is sparked by audience curiosity about local conundrums–and they’ve received a \u003cem>lot\u003c/em> of questions about whether there’s a network of mystery tunnels under San Francisco. This dark-and-dirty episode takes listeners to a place it’s likely they will never actually visit; a very real labyrinth that sprawls deep underground—AKA the city’s vast sewer system.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Listen to the episode to explore this underworld with the \u003cem>Bay Curious\u003c/em> team. Between lethal gases, fast-flowing rivers of sewage and the risk of getting lost in the darkness, you’ll probably be glad to take this tour \u003cem>virtually\u003c/em> via your headphones, rather than IRL.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11782405/tunnels-under-san-francisco-inside-the-dark-dangerous-world-of-the-sewers\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/secret-tunnels-under-san-francisco/id1172473406?i=1000455577910\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11777723/blind-beekeeper-relies-on-the-sound-of-the-swarm-to-keep-her-hives-happy\">Blind Beekeeper Relies on Sound to Keep Her Hives Happy\u003c/a>\u003cbr>\nFrom \u003cem>The California Report Magazine\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-13869926 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679.jpg\" alt=\"\" width=\"1020\" height=\"679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-768x511.jpg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003c/p>\n\u003cp>“I didn’t think I could be a good beekeeper without being able to see.” This special episode from \u003cem>The California Report Magazine\u003c/em>’s weekly podcast immerses the listener in the world of Aerial: a Bay area nurse who lost her sight after using tampered eyedrops. Navigating her new reality, she found purpose and meaning in the hobby she’d enjoyed since she was a teen: beekeeping.\u003c/p>\n\u003cp>Listen as Aerial explains how she knows whether her swarm—she calls them “her girls”—are happy, and how to hear their “waggle dance” (the movement bees make to tell others where to find pollen). After experiencing this episode, you’ll never hear bees again the same way.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11777723/blind-beekeeper-relies-on-the-sound-of-the-swarm-to-keep-her-hives-happy\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/blind-beekeeper-relies-on-sound-to-keep-her-hives-happy/id1314750545?i=1000452376183\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/pop/102783/queer-eyes-jonathan-van-ness-on-turning-red-states-pink-one-makeover-at-a-time\">\u003cem>Queer Eye\u003c/em>‘s Jonathan Van Ness on Turning Red States Pink\u003c/a>\u003cbr>\nFrom \u003cem>The Cooler\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869925\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Jonathan-Van-Ness.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The most engrossing podcast interviews are the ones where you feel you’ve been teleported into the room with the people in question—and this 2018 interview with the infamously personable \u003cem>Queer Eye\u003c/em> star Jonathan Van Ness on KQED’s pop culture podcast \u003cem>The Cooler\u003c/em> is no exception.\u003c/p>\n\u003cp>In a conversation that ranges from raucous to heartfelt and intimate, Van Ness talks to hosts Emmanuel Hapsis, Jamedra Brown-Fleischman and Carly Severn about growing up gay in a small town, dealing with online trolls, the healing power of figure skating and a particularly controversial moment from \u003cem>Queer Eye\u003c/em>’s second season.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/pop/102783/queer-eyes-jonathan-van-ness-on-turning-red-states-pink-one-makeover-at-a-time\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/queer-eyes-jonathan-van-ness-on-turning-red-states-pink/id1041117499?i=1000407027183\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/podcasts/42/joy-may-16th\">Joy\u003c/a>\u003cbr>\nfrom \u003cem>Truth Be Told \u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960.jpg\" alt=\"\" width=\"1920\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-1200x600.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Is it OK to feel joy when it feels like the world is burning? In the first episode of KQED’s advice show made by people of color for people of color, host Tonya Mosley brings us to her hometown of Detroit, Michigan—the “epicenter of pleasure in the midst of turmoil,” as she calls it. Mosley sits down with her grandmother Ernestine Mosley and \u003cem>New York Times\u003c/em> bestselling author Adrienne Maree Brown for some hard questions, deep laughs, and much-needed affirmations about why it’s not only OK to feel joy, but it’s absolutely necessary.\u003c/p>\n\u003cp>And stay tuned: \u003cem>Truth Be Told\u003c/em> returns for a second season in early 2020!\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/podcasts/42/joy-may-16th\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/joy-episode-1/id1462216572?i=1000438248776\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11780279/native-american-occupation-at-alcatraz-50-years\">‘We’re Still Here’\u003c/a>\u003cbr>\nFrom\u003cem> The Bay\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/IMG_2671-1-1020x765.jpg\" alt=\"\" width=\"1020\" height=\"765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-768x576.jpg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003c/p>\n\u003cp>In this episode of\u003cem> The Bay\u003c/em>, KQED reporter Alice Woelfle follows along with Native people from across the West Coast in a ceremonial canoe journey around Alcatraz Island. First, we hear the building of a tule boat, then the sound of paddle hitting the water as members of different tribes, territories, communities and families embark on their paddle around the island before returning to shore to be greeted by Ohlone elders.\u003c/p>\n\u003cp>The paddle commemorated the 50-year anniversary of the occupation of Alcatraz, a movement which lasted 19 months and brought widespread visibility for American Indian civil rights.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11780279/native-american-occupation-at-alcatraz-50-years\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/were-still-here-canoe-journey-to-alcatraz-to-remember/id1350043452?i=1000453734022\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/arts/13859970/rightnowish-miko-marks-and-the-oakland-rollers\">Oakland’s Rollerskating Country Singer\u003c/a>\u003cbr>\nFrom \u003cem>Rightnowish\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/oakland-rollers-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Where do country singing and roller skating collide? On a small cul-de-sac on the southern side of Lake Merritt in Oakland, according to musician Miko Marks.\u003c/p>\n\u003cp>“As soon as I put these skates on, I feel like I’m a kid again,” Marks says in this episode of \u003cem>Rightnowish\u003c/em>, KQED’s new arts and culture podcast hosted by Pendarvis Harshaw. After nearly a decade of touring the nation as a country singer, Marks’s love for roller skating completely transformed her sense of play—and her music. Put on your skates (and your headphones!) and listen to the full episode to hear more about Marks’s new sound and new take on life with wheels.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/13859970/rightnowish-miko-marks-and-the-oakland-rollers\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/oaklands-rollerskating-country-singer/id1482187648?i=1000455674283\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/mindshift/54326/childhood-as-resume-building-why-play-needs-a-comeback\">Childhood as ‘Resume-Building’: Why Play Needs A Comeback\u003c/a>\u003cbr>\nFrom \u003cem>MindShift\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869973\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/DSC5859-1.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-1200x801.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Remember when you were a kid and there was a designated time just for playing? Free play—the kind of play where kids independently choose the activities and the rules—may be a thing of the past, according to this \u003cem>MindShift\u003c/em> episode. “We’re just seeing an out-of-balance life for kids,” says Scott Bedley, a fourth grade teacher, about the pressure for students to succeed academically from a very young age. “There is a learning value behind play if you just allow it to happen.”\u003c/p>\n\u003cp>Head back to the classroom with the \u003cem>MindShift\u003c/em> team to explore what play looks like today, and why it’s in need of a major comeback.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/mindshift/54326/childhood-as-resume-building-why-play-needs-a-comeback\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/childhood-as-resume-building-why-play-needs-a-comeback/id1078765985?i=1000448438239\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "with-afrotech-coming-to-oakland-how-to-handle-tourism-responsibly",
"title": "With AfroTech Coming to Oakland, How to Handle Tourism Responsibly?",
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"content": "\u003cp>Tourism in Oakland isn’t new. Hell, even in the 1800s, when colonizers settled in the Bay and built San Francisco into a world-class city, Oakland was the other coast—or “contra costa”—where wealthy folks would buy summer vacation homes to get away from the big city.\u003c/p>\n\u003cp>Nearly 200 years later, tourism in Oakland is still a thing. According to \u003ca href=\"https://assets.simpleviewinc.com/simpleview/image/upload/v1/clients/oakland/vo_annual_report_v14web_8c3853f1-5a7f-47d4-af9c-dce272897864.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Visit Oakland’s 2018 Annual Report\u003c/a>, an estimated 3.8 million people visited Oakland in 2017, bringing $668 million along with them (a 6.5% increase from the previous year). Oakland has been mentioned as a top tourism destination in the \u003cem>New York Times\u003c/em>, \u003cem>Essence\u003c/em> and, most recently, \u003ca href=\"https://travelnoire.com/48-hours-black-owned-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">this Travel Noire piece\u003c/a> about spending 48 hours in black-owned Oakland.\u003c/p>\n\u003cp>This Thursday through Saturday, when Oakland hosts this year’s AfroTech conference, thousands of new people will become part of that history of tourism in Oakland.\u003c/p>\n\u003cp>The conference is one of the biggest tech happenings in the United States. You might’ve heard of it—if for nothing else, its mention by Jay-Z in the song “Legacy”:\u003c/p>\n\u003cblockquote>\u003cp>We gon’ start a society within a society\u003cbr>\nThat’s major, just like the Negro League\u003cbr>\nThere was a time America wouldn’t let us ball\u003cbr>\nThose times are now back, just now called AfroTech\u003c/p>\u003c/blockquote>\n\u003cp>This event or, um, “society within a society,” started in 2014. This year will be the first of two scheduled years for it to take place in Oakland. And in 2019, it’s set to be one of the largest conferences to happen in the town.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Oakland is a natural choice—in the heart of Silicon Valley, but often overlooked,” says Morgan DeBaun, founder of Blavity Inc., which produces AfroTech.\u003c/p>\n\u003cp>The aim of the conference is twofold: one, to create opportunities for black folks in the tech industry. Secondly, DeBaun adds, to “create spaces for the tech industry to get access to black talent.”\u003c/p>\n\u003cp>The conversation about diversity and the tech pipeline isn’t new. Just last month \u003ca href=\"https://www.wired.com/story/five-years-tech-diversity-reports-little-progress/\" target=\"_blank\" rel=\"noopener noreferrer\">Wired\u003c/a> noted that while a few big-name tech companies—Facebook, Apple, Google, Amazon and Microsoft—have been transparent about their diversity numbers for the past five years, still, virtually nothing has changed.\u003c/p>\n\u003cp>But folks like DeBaun believe that the narrative about a lack of access is inaccurate. “People aren’t looking in the right places,” she says. “AfroTech is breaking down those barriers.”\u003c/p>\n\u003cp>Over the three-day span, events will take place all around Oakland’s downtown area, from the Marriott Convention Center to Jack London Square, and what some folks refer to as the Uptown neighborhood; \u003ca href=\"https://experience.afrotech.com/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">here’s a full list of happenings\u003c/a>.\u003c/p>\n\u003cp>One event this weekend that’s not on that list is \u003ca href=\"https://thetownexperience.com/product/game-fest-19/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Gameday ’19\u003c/a>, at the Esports Arena on Saturday night. It features a who’s-who of local stars—E-40, Mistah FAB, Ryan Nicole and more—not only speaking on panels, but squaring off against a bunch of young folks in a video game battle royale.\u003c/p>\n\u003cp>Gameday ’19 isn’t an official AfroTech event, although it’s happening during AfroTech. Instead, it’s put on by \u003ca href=\"https://thetownexperience.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Town Experience\u003c/a>, a slate of events that include happy hours, speaker panels and more.\u003c/p>\n\u003cfigure id=\"attachment_13869422\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869422\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/0-800x1080.jpg\" alt=\"Charlese Banks\" width=\"800\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-768x1036.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-889x1200.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0.jpg 987w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlese Banks (Photo: Jeff “Silence” Arthur) \u003ccite>(Jeff \"Silence\" Arthur )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Town Experience is founded and run by Charlese Banks, who wants to add some flavor to Oakland’s growing tourism industry.\u003c/p>\n\u003cp>“The idea was to give the conference-goers and travelers an authentic Oakland experience while they’re in town,” says Banks. (She was mindful to “do this in a way that’s not competing with each other,” scheduling events on the frontend and backend of AfroTech.)\u003c/p>\n\u003cp>In theory, Banks’ idea is a way of combating the gentrifying force that’s inherently intertwined with the tourism industry. People want to visit Oakland? Ok, well, they can spend their dollars in businesses owned and operated by folks actually from the community, and who are invested in the future of the town. Part of that means putting special decals in the windows of businesses like Spice Monkey and Dope Era to give shine to locally owned and operated shops.\u003c/p>\n\u003cp>“I was inspired by the fact that [AfroTech] announced they were coming to Oakland, and figured that as a community, we should have some say on what that looks like,” says Banks. “AfroTech is a predominantly black event, and they’re coming to a city that is in line with that.”\u003c/p>\n\u003cp>Banks, a San Jose native who’s called Oakland home for over six years, tells me this is a model for things to come. “The idea was inspired by this weekend, but I spoke to the tourism department and realized it’s something bigger. Seems like the time is right,” Banks says.\u003c/p>\n\u003cp>The time \u003cem>is\u003c/em> right: last year in the United States, \u003ca href=\"https://www.globenewswire.com/news-release/2018/12/20/1670310/0/en/African-American-Travel-Represents-63-Billion-Opportunity.html\" target=\"_blank\" rel=\"noopener noreferrer\">African Americans reportedly spent $63 billion on tourism\u003c/a>. And in Oakland, where black businesses are going the way of its rapidly depleting black population, it’s now or never when it comes to putting the black dollar where it’s needed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re an event space and tourism guide for black and brown folks in Oakland,” says Banks. “Think: how would people use \u003ca href=\"https://www.smithsonianmag.com/arts-culture/true-story-green-book-movie-180970728/\" target=\"_blank\" rel=\"noopener noreferrer\">the Green Book\u003c/a> as a tool in Oakland?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tourism in Oakland isn’t new. Hell, even in the 1800s, when colonizers settled in the Bay and built San Francisco into a world-class city, Oakland was the other coast—or “contra costa”—where wealthy folks would buy summer vacation homes to get away from the big city.\u003c/p>\n\u003cp>Nearly 200 years later, tourism in Oakland is still a thing. According to \u003ca href=\"https://assets.simpleviewinc.com/simpleview/image/upload/v1/clients/oakland/vo_annual_report_v14web_8c3853f1-5a7f-47d4-af9c-dce272897864.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Visit Oakland’s 2018 Annual Report\u003c/a>, an estimated 3.8 million people visited Oakland in 2017, bringing $668 million along with them (a 6.5% increase from the previous year). Oakland has been mentioned as a top tourism destination in the \u003cem>New York Times\u003c/em>, \u003cem>Essence\u003c/em> and, most recently, \u003ca href=\"https://travelnoire.com/48-hours-black-owned-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">this Travel Noire piece\u003c/a> about spending 48 hours in black-owned Oakland.\u003c/p>\n\u003cp>This Thursday through Saturday, when Oakland hosts this year’s AfroTech conference, thousands of new people will become part of that history of tourism in Oakland.\u003c/p>\n\u003cp>The conference is one of the biggest tech happenings in the United States. You might’ve heard of it—if for nothing else, its mention by Jay-Z in the song “Legacy”:\u003c/p>\n\u003cblockquote>\u003cp>We gon’ start a society within a society\u003cbr>\nThat’s major, just like the Negro League\u003cbr>\nThere was a time America wouldn’t let us ball\u003cbr>\nThose times are now back, just now called AfroTech\u003c/p>\u003c/blockquote>\n\u003cp>This event or, um, “society within a society,” started in 2014. This year will be the first of two scheduled years for it to take place in Oakland. And in 2019, it’s set to be one of the largest conferences to happen in the town.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Oakland is a natural choice—in the heart of Silicon Valley, but often overlooked,” says Morgan DeBaun, founder of Blavity Inc., which produces AfroTech.\u003c/p>\n\u003cp>The aim of the conference is twofold: one, to create opportunities for black folks in the tech industry. Secondly, DeBaun adds, to “create spaces for the tech industry to get access to black talent.”\u003c/p>\n\u003cp>The conversation about diversity and the tech pipeline isn’t new. Just last month \u003ca href=\"https://www.wired.com/story/five-years-tech-diversity-reports-little-progress/\" target=\"_blank\" rel=\"noopener noreferrer\">Wired\u003c/a> noted that while a few big-name tech companies—Facebook, Apple, Google, Amazon and Microsoft—have been transparent about their diversity numbers for the past five years, still, virtually nothing has changed.\u003c/p>\n\u003cp>But folks like DeBaun believe that the narrative about a lack of access is inaccurate. “People aren’t looking in the right places,” she says. “AfroTech is breaking down those barriers.”\u003c/p>\n\u003cp>Over the three-day span, events will take place all around Oakland’s downtown area, from the Marriott Convention Center to Jack London Square, and what some folks refer to as the Uptown neighborhood; \u003ca href=\"https://experience.afrotech.com/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">here’s a full list of happenings\u003c/a>.\u003c/p>\n\u003cp>One event this weekend that’s not on that list is \u003ca href=\"https://thetownexperience.com/product/game-fest-19/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Gameday ’19\u003c/a>, at the Esports Arena on Saturday night. It features a who’s-who of local stars—E-40, Mistah FAB, Ryan Nicole and more—not only speaking on panels, but squaring off against a bunch of young folks in a video game battle royale.\u003c/p>\n\u003cp>Gameday ’19 isn’t an official AfroTech event, although it’s happening during AfroTech. Instead, it’s put on by \u003ca href=\"https://thetownexperience.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Town Experience\u003c/a>, a slate of events that include happy hours, speaker panels and more.\u003c/p>\n\u003cfigure id=\"attachment_13869422\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869422\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/0-800x1080.jpg\" alt=\"Charlese Banks\" width=\"800\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-768x1036.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-889x1200.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0.jpg 987w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlese Banks (Photo: Jeff “Silence” Arthur) \u003ccite>(Jeff \"Silence\" Arthur )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Town Experience is founded and run by Charlese Banks, who wants to add some flavor to Oakland’s growing tourism industry.\u003c/p>\n\u003cp>“The idea was to give the conference-goers and travelers an authentic Oakland experience while they’re in town,” says Banks. (She was mindful to “do this in a way that’s not competing with each other,” scheduling events on the frontend and backend of AfroTech.)\u003c/p>\n\u003cp>In theory, Banks’ idea is a way of combating the gentrifying force that’s inherently intertwined with the tourism industry. People want to visit Oakland? Ok, well, they can spend their dollars in businesses owned and operated by folks actually from the community, and who are invested in the future of the town. Part of that means putting special decals in the windows of businesses like Spice Monkey and Dope Era to give shine to locally owned and operated shops.\u003c/p>\n\u003cp>“I was inspired by the fact that [AfroTech] announced they were coming to Oakland, and figured that as a community, we should have some say on what that looks like,” says Banks. “AfroTech is a predominantly black event, and they’re coming to a city that is in line with that.”\u003c/p>\n\u003cp>Banks, a San Jose native who’s called Oakland home for over six years, tells me this is a model for things to come. “The idea was inspired by this weekend, but I spoke to the tourism department and realized it’s something bigger. Seems like the time is right,” Banks says.\u003c/p>\n\u003cp>The time \u003cem>is\u003c/em> right: last year in the United States, \u003ca href=\"https://www.globenewswire.com/news-release/2018/12/20/1670310/0/en/African-American-Travel-Represents-63-Billion-Opportunity.html\" target=\"_blank\" rel=\"noopener noreferrer\">African Americans reportedly spent $63 billion on tourism\u003c/a>. And in Oakland, where black businesses are going the way of its rapidly depleting black population, it’s now or never when it comes to putting the black dollar where it’s needed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re an event space and tourism guide for black and brown folks in Oakland,” says Banks. “Think: how would people use \u003ca href=\"https://www.smithsonianmag.com/arts-culture/true-story-green-book-movie-180970728/\" target=\"_blank\" rel=\"noopener noreferrer\">the Green Book\u003c/a> as a tool in Oakland?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Keanu Reeves, Dennis Quaid and Our National Obsession With Women’s Age",
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"content": "\u003cp>[dropcap]K[/dropcap]eanu Reeves stepped out over the weekend holding hands with artist and longtime friend, \u003ca href=\"https://alexandragrant.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Alexandra Grant\u003c/a>. The new couple’s debut at the LACMA Art and Film Gala prompted an immediate, enthusiastic response on social media that was centered around two things: The public desire to see Keanu Reeves happy after a litany of \u003ca href=\"https://www.mirror.co.uk/3am/celebrity-news/how-unbearable-grief-saw-keanu-20814493\" target=\"_blank\" rel=\"noopener noreferrer\">personal tragedies\u003c/a>, and the fact that Grant is in her forties.\u003c/p>\n\u003cp>https://twitter.com/Travon/status/1191543326706561025\u003c/p>\n\u003cp>https://twitter.com/AngryBlackLady/status/1191526193121513472\u003c/p>\n\u003cp>https://twitter.com/MissBrittHayes/status/1191515987566383104\u003c/p>\n\u003cp>The 55-year-old actor’s decision to date a 46-year-old woman with grey hair was seen by a majority of commenters as a badge of honor, and further confirmation that Reeves is one of the good ones. This reaction was in direct contrast to how the world simultaneously greeted the news that Dennis Quaid, age 65, is engaged to 26-year-old Laura Savoie.\u003c/p>\n\u003cp>https://twitter.com/megweiss13/status/1189280467264196609\u003c/p>\n\u003cp>https://twitter.com/theflans/status/1191190014115364865\u003c/p>\n\u003cp>https://twitter.com/OliviaJRowe/status/1191574822930788352\u003c/p>\n\u003cp>Our obsession with \u003ca href=\"https://www.thetalko.com/the-20-biggest-age-difference-couples-in-hollywood/\" target=\"_blank\" rel=\"noopener noreferrer\">Hollywood age gaps\u003c/a> is nothing new. And though Sarah Paulson has received her \u003ca href=\"https://www.oprahmag.com/entertainment/a27043410/sarah-paulson-holland-taylor-relationship/\" target=\"_blank\" rel=\"noopener noreferrer\">fair share of scrutiny\u003c/a> for her relationship with Holland Taylor, 32 years her senior, and Demi Moore raised some eyebrows when she married Ashton Kutcher, this is a conversation that almost always focuses on famous men and their girlfriends.\u003c/p>\n\u003cp>The problem is, while these discussions are usually dressed up as either critiques or endorsements of the male celebrities in question, judging them on the ages of the women they date reinforces ideas about female partners as trophies; accessories that serve only to reflect the men they’re attached to. [aside postid='pop_104230']\u003c/p>\n\u003cp>To make matters worse, basing our judgements on the ages of these women in relation to their partners suggests that even in 2019, a woman is defined first by her relationship, then by her age, then by her actual accomplishments. When Dennis Quaid and his current girlfriend are discussed, it comes up only in the footnotes that Savoie is a PhD student who already has a bachelor’s degree in accounting. No one seems all that interested in the fact that she clearly has ambitions beyond her famous boyfriend.\u003c/p>\n\u003cp>The cultural tendency to correlate a woman’s value with her age leaves women at the mercy of inconstant ideas around youth and beauty, versus maturity and experience—and that dichotomy invites insecurities for all. Regardless of which end of the scale women fall on, they can’t win. If you’re young, you’re hot but you don’t know enough yet; if you’re older, you’re smart but less physically desirable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A further reflection of this arrived over the weekend, when even \u003ca href=\"https://www.kqed.org/pop/68229/why-does-emma-watsons-feminism-irritate-so-many-people\" target=\"_blank\" rel=\"noopener noreferrer\">outspoken feminist\u003c/a> Emma Watson admitted to feeling crappy about her age as it pertains to her relationship status. “Cut to 29,” she told \u003ca href=\"https://www.vogue.co.uk/news/article/emma-watson-on-fame-activism-little-women\" target=\"_blank\" rel=\"noopener noreferrer\">British \u003cem>Vogue\u003c/em>\u003c/a>, “and I’m like, ‘Oh my God, I feel so stressed and anxious.’ And I realize it’s because there is suddenly this bloody influx of subliminal messaging around. If you have not built a home, if you do not have a husband, if you do not have a baby, and you are turning 30 … There’s just this incredible amount of anxiety.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/pop/104230/how-pop-culture-gave-generations-of-women-a-fear-of-40\" target=\"_blank\" rel=\"noopener noreferrer\">Single women over 40\u003c/a> may scoff at how Watson feels about 30, but her decision to identify as “self-partnered” instead of “single,” in order to feel more empowered about her own status is a move that has been warmly welcomed by thousands of women online.\u003c/p>\n\u003cp>https://twitter.com/h_tucks/status/1191670750438133761\u003c/p>\n\u003cp>https://twitter.com/_sophiedarling/status/1191788480319365120\u003c/p>\n\u003cp>Women being defined by their relationship statuses is an old problem that stretches beyond age. As Kate Bolick pointed out in 2015’s \u003ca href=\"https://www.amazon.com/Spinster-Making-Life-Ones-Own/dp/0385347154\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spinster\u003c/em>\u003c/a>, “Whom to marry and when will it happen—these two questions define every woman’s existence, regardless of where she was raised or what religion she does or doesn’t practice. She may grow up to love women instead of men, or to decide she simply doesn’t believe in marriage. No matter.”\u003c/p>\n\u003cp>This, despite the fact that women have been pushing back against these confinements for at least a century. All the way back in 1889, for example, when \u003ca href=\"https://twitter.com/digivictorian/status/964842367508516864?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tit-Bits\u003c/em> magazine\u003c/a> asked women why they were spinsters, the responses were sharp, bordering on acerbic. One wrote: “Because I have other professions open to me in which the hours are shorter, the work more agreeable, and the pay possibly better.” Another replied: “I find the animal man less docile than a dog, less affectionate than a cat, and less amusing than a monkey.”\u003c/p>\n\u003cp>Even when it’s well-intentioned, when we continue to judge famous men for the relationships they’re in, what we’re also doing is reminding women that much of their value continues to be assessed through the lens of both their romantic lives and their ages. What’s more, assuming men have all the onus over these relationships strips their wives and girlfriends of agency, as if these women had no hand in their own relationship status, or choice of partner.\u003c/p>\n\u003cp>In the end, passing judgement over partnerships between anyone, regardless of profession, or age, or sexuality, or race is utterly pointless. People will love who they want to love. Griping about it helps nobody.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">K\u003c/span>\u003c/p>\u003cp>eanu Reeves stepped out over the weekend holding hands with artist and longtime friend, \u003ca href=\"https://alexandragrant.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Alexandra Grant\u003c/a>. The new couple’s debut at the LACMA Art and Film Gala prompted an immediate, enthusiastic response on social media that was centered around two things: The public desire to see Keanu Reeves happy after a litany of \u003ca href=\"https://www.mirror.co.uk/3am/celebrity-news/how-unbearable-grief-saw-keanu-20814493\" target=\"_blank\" rel=\"noopener noreferrer\">personal tragedies\u003c/a>, and the fact that Grant is in her forties.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Our obsession with \u003ca href=\"https://www.thetalko.com/the-20-biggest-age-difference-couples-in-hollywood/\" target=\"_blank\" rel=\"noopener noreferrer\">Hollywood age gaps\u003c/a> is nothing new. And though Sarah Paulson has received her \u003ca href=\"https://www.oprahmag.com/entertainment/a27043410/sarah-paulson-holland-taylor-relationship/\" target=\"_blank\" rel=\"noopener noreferrer\">fair share of scrutiny\u003c/a> for her relationship with Holland Taylor, 32 years her senior, and Demi Moore raised some eyebrows when she married Ashton Kutcher, this is a conversation that almost always focuses on famous men and their girlfriends.\u003c/p>\n\u003cp>The problem is, while these discussions are usually dressed up as either critiques or endorsements of the male celebrities in question, judging them on the ages of the women they date reinforces ideas about female partners as trophies; accessories that serve only to reflect the men they’re attached to. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To make matters worse, basing our judgements on the ages of these women in relation to their partners suggests that even in 2019, a woman is defined first by her relationship, then by her age, then by her actual accomplishments. When Dennis Quaid and his current girlfriend are discussed, it comes up only in the footnotes that Savoie is a PhD student who already has a bachelor’s degree in accounting. No one seems all that interested in the fact that she clearly has ambitions beyond her famous boyfriend.\u003c/p>\n\u003cp>The cultural tendency to correlate a woman’s value with her age leaves women at the mercy of inconstant ideas around youth and beauty, versus maturity and experience—and that dichotomy invites insecurities for all. Regardless of which end of the scale women fall on, they can’t win. If you’re young, you’re hot but you don’t know enough yet; if you’re older, you’re smart but less physically desirable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A further reflection of this arrived over the weekend, when even \u003ca href=\"https://www.kqed.org/pop/68229/why-does-emma-watsons-feminism-irritate-so-many-people\" target=\"_blank\" rel=\"noopener noreferrer\">outspoken feminist\u003c/a> Emma Watson admitted to feeling crappy about her age as it pertains to her relationship status. “Cut to 29,” she told \u003ca href=\"https://www.vogue.co.uk/news/article/emma-watson-on-fame-activism-little-women\" target=\"_blank\" rel=\"noopener noreferrer\">British \u003cem>Vogue\u003c/em>\u003c/a>, “and I’m like, ‘Oh my God, I feel so stressed and anxious.’ And I realize it’s because there is suddenly this bloody influx of subliminal messaging around. If you have not built a home, if you do not have a husband, if you do not have a baby, and you are turning 30 … There’s just this incredible amount of anxiety.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/pop/104230/how-pop-culture-gave-generations-of-women-a-fear-of-40\" target=\"_blank\" rel=\"noopener noreferrer\">Single women over 40\u003c/a> may scoff at how Watson feels about 30, but her decision to identify as “self-partnered” instead of “single,” in order to feel more empowered about her own status is a move that has been warmly welcomed by thousands of women online.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Women being defined by their relationship statuses is an old problem that stretches beyond age. As Kate Bolick pointed out in 2015’s \u003ca href=\"https://www.amazon.com/Spinster-Making-Life-Ones-Own/dp/0385347154\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spinster\u003c/em>\u003c/a>, “Whom to marry and when will it happen—these two questions define every woman’s existence, regardless of where she was raised or what religion she does or doesn’t practice. She may grow up to love women instead of men, or to decide she simply doesn’t believe in marriage. No matter.”\u003c/p>\n\u003cp>This, despite the fact that women have been pushing back against these confinements for at least a century. All the way back in 1889, for example, when \u003ca href=\"https://twitter.com/digivictorian/status/964842367508516864?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tit-Bits\u003c/em> magazine\u003c/a> asked women why they were spinsters, the responses were sharp, bordering on acerbic. One wrote: “Because I have other professions open to me in which the hours are shorter, the work more agreeable, and the pay possibly better.” Another replied: “I find the animal man less docile than a dog, less affectionate than a cat, and less amusing than a monkey.”\u003c/p>\n\u003cp>Even when it’s well-intentioned, when we continue to judge famous men for the relationships they’re in, what we’re also doing is reminding women that much of their value continues to be assessed through the lens of both their romantic lives and their ages. What’s more, assuming men have all the onus over these relationships strips their wives and girlfriends of agency, as if these women had no hand in their own relationship status, or choice of partner.\u003c/p>\n\u003cp>In the end, passing judgement over partnerships between anyone, regardless of profession, or age, or sexuality, or race is utterly pointless. People will love who they want to love. Griping about it helps nobody.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over the weekend, both Lorde and Sia expressed themselves with heartfelt candor after losing their beloved dogs. Sia said goodbye to her 16-year-old “best friend” Pantera, and Lorde lost Pearl, a chronically sick pup she adopted last year. Neither held back about the depth of grief they were experiencing—something a lot of people mourning pets struggle to do for fear of being dismissed or mocked.\u003c/p>\n\u003cp>Sia thanked her fans for keeping her “sober and alive” as she mourned Pantera’s death.\u003c/p>\n\u003cp>https://twitter.com/Sia/status/1190017856072646656\u003c/p>\n\u003cp>https://twitter.com/PauliFurler/status/1190037426993061898?s=20\u003c/p>\n\u003cp>https://twitter.com/Sia/status/1190787737583927296\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And Lorde explained that she was feeling the loss of her pup so intensely, it was going to delay the release of her next album.\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/LordeDaily/status/1190705703415103488\" target=\"_blank\" rel=\"noopener noreferrer\">tear-jerking email\u003c/a> to her fans, the singer wrote:\u003c/p>\n\u003cblockquote>\u003cp>This loss has been indescribably painful, and a light that was turned on for me has gone out… The bright energy I was trying to communicate to you has gone, for now. [Pearl] was instrumental to the discovery that was taking place. I felt he led me toward the ideas. And it’s going to take some time and recalibration now that there’s no shepherd ahead of me, to see what the work is going to be. So I’m asking for your patience. I have lost my boy, and I need some time to see the good again, to finish making this for you. It won’t be the same work—as anyone who has felt loss can understand, there’s a door that opens that you step through, and everything is different on the other side.\u003c/p>\u003c/blockquote>\n\u003cp>As \u003cem>The\u003c/em> \u003cem>Washington Post\u003c/em>‘s Joe Yonan wrote in 2012, “\u003ca href=\"https://www.washingtonpost.com/national/health-science/the-death-of-pet-can-hurt-as-much-as-the-loss-of-a-relative/2012/02/21/gIQALXTXcS_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">the death of a pet can hurt as much as the loss of a relative\u003c/a>.” That remains a rarely recognized fact thanks to the persistent idea that, in the grand scheme of things, much worse things happen every day than the death of Fido or Felix.\u003c/p>\n\u003cp>Given the fact that Americans spend an estimated \u003ca href=\"https://www.valuepenguin.com/news/americans-spending-more-on-pets\" target=\"_blank\" rel=\"noopener noreferrer\">$72.56 billion\u003c/a> a year on their pets, there is a vast gulf between how much we love our animals and the amount of time we consider socially acceptable for coping with their loss. Pet grief remains woefully under-acknowledged. Even when we do bother, it’s frequently treated in the most glib of ways—greeting cards about rainbow bridges, or too-soon suggestions about replacement animals.\u003c/p>\n\u003cp>With all that considered, the fact that Sia admitted that her dog’s death put both her sobriety and her life in danger is extraordinary, as is Lorde’s unapologetic request for time away from her work while she heals. (Let’s not forget that bereavement leave for animal death is still \u003ca href=\"https://www.shrm.org/resourcesandtools/hr-topics/employee-relations/pages/grieving-a-pets-death-should-workers-get-time-off.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">extremely rare\u003c/a> and sometimes even frowned upon.)\u003c/p>\n\u003cp>In an article last year, \u003ca href=\"https://www.scientificamerican.com/article/why-we-need-to-take-pet-loss-seriously/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scientific American\u003c/em>\u003c/a> suggested we need to shift our attitudes toward pet loss significantly for essential mental health-related reasons. “We may feel embarrassed and even ashamed about the severity of the heartbreak we feel and, consequently, hesitate to disclose our feelings to our loved ones,” Guy Winch wrote. “That additional shame complicates the process of recovery by making it more lengthy and complex than it should be… It is time we gave grieving pet owners the recognition, support and consideration they need.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lorde and Sia just gave us rare and powerful examples of how to ask for those.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And Lorde explained that she was feeling the loss of her pup so intensely, it was going to delay the release of her next album.\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/LordeDaily/status/1190705703415103488\" target=\"_blank\" rel=\"noopener noreferrer\">tear-jerking email\u003c/a> to her fans, the singer wrote:\u003c/p>\n\u003cblockquote>\u003cp>This loss has been indescribably painful, and a light that was turned on for me has gone out… The bright energy I was trying to communicate to you has gone, for now. [Pearl] was instrumental to the discovery that was taking place. I felt he led me toward the ideas. And it’s going to take some time and recalibration now that there’s no shepherd ahead of me, to see what the work is going to be. So I’m asking for your patience. I have lost my boy, and I need some time to see the good again, to finish making this for you. It won’t be the same work—as anyone who has felt loss can understand, there’s a door that opens that you step through, and everything is different on the other side.\u003c/p>\u003c/blockquote>\n\u003cp>As \u003cem>The\u003c/em> \u003cem>Washington Post\u003c/em>‘s Joe Yonan wrote in 2012, “\u003ca href=\"https://www.washingtonpost.com/national/health-science/the-death-of-pet-can-hurt-as-much-as-the-loss-of-a-relative/2012/02/21/gIQALXTXcS_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">the death of a pet can hurt as much as the loss of a relative\u003c/a>.” That remains a rarely recognized fact thanks to the persistent idea that, in the grand scheme of things, much worse things happen every day than the death of Fido or Felix.\u003c/p>\n\u003cp>Given the fact that Americans spend an estimated \u003ca href=\"https://www.valuepenguin.com/news/americans-spending-more-on-pets\" target=\"_blank\" rel=\"noopener noreferrer\">$72.56 billion\u003c/a> a year on their pets, there is a vast gulf between how much we love our animals and the amount of time we consider socially acceptable for coping with their loss. Pet grief remains woefully under-acknowledged. Even when we do bother, it’s frequently treated in the most glib of ways—greeting cards about rainbow bridges, or too-soon suggestions about replacement animals.\u003c/p>\n\u003cp>With all that considered, the fact that Sia admitted that her dog’s death put both her sobriety and her life in danger is extraordinary, as is Lorde’s unapologetic request for time away from her work while she heals. (Let’s not forget that bereavement leave for animal death is still \u003ca href=\"https://www.shrm.org/resourcesandtools/hr-topics/employee-relations/pages/grieving-a-pets-death-should-workers-get-time-off.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">extremely rare\u003c/a> and sometimes even frowned upon.)\u003c/p>\n\u003cp>In an article last year, \u003ca href=\"https://www.scientificamerican.com/article/why-we-need-to-take-pet-loss-seriously/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scientific American\u003c/em>\u003c/a> suggested we need to shift our attitudes toward pet loss significantly for essential mental health-related reasons. “We may feel embarrassed and even ashamed about the severity of the heartbreak we feel and, consequently, hesitate to disclose our feelings to our loved ones,” Guy Winch wrote. “That additional shame complicates the process of recovery by making it more lengthy and complex than it should be… It is time we gave grieving pet owners the recognition, support and consideration they need.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lorde and Sia just gave us rare and powerful examples of how to ask for those.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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