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That’s because, well, there isn’t really anywhere that it formally happens.\u003c/p>\n\u003cp>Reetu Mody, a second-generation Indian American who grew up in Concord, hopes to change that. For Mody, who was raised around garba (a subregional Indian and Pakistani dance), the group-style folk tradition represents the East Bay’s inner vibrancy. And she’s determined to introduce it to a wider audience with “BomBay to the Bay,” \u003ca href=\"https://oacc.cc/event/bombaytothebay/\">Oakland’s inaugural Garba Dance Festival\u003c/a>.\u003c/p>\n\u003cp>The city’s first ever garba festival will be hosted at the \u003ca href=\"https://www.instagram.com/oaklandasiancc/?hl=en\">Oakland Asian Cultural Center\u003c/a> (OACC) in Oakland’s Chinatown on Saturday, Aug. 3.\u003c/p>\n\u003cp>“[Garba] is the spirit of Oakland,” says Mody, a community organizer and attorney who applied for a grant and assembled the festival in her spare time with massive support from the OACC.\u003c/p>\n\u003cp>“This isn’t about performance. It isn’t just something you watch,” she says. “It’s a living thing and you connect with others. It’s about the group. You all dance into transcendence together.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The folk dance is actively practiced around the world, and hails from South Asia. It unites all age groups, genders and skill levels through simultaneous dancing in concentric circles. Garba’s steps are relatively simple, and follow “teen tali,” a three-clap cadence that involves a step-cross-step pattern.\u003c/p>\n\u003cp>Mody asserts that the dance isn’t limited to any specific religious denomination, locale or cultural demographic. Instead, garba is a dance that is meant to be open and welcoming. She encourages attendees to dress in their own cultural attire.\u003c/p>\n\u003cp>Importantly, the Aug. 3 gathering centers on the liberation of all groups, as an anti-caste, \u003ca href=\"https://www.theguardian.com/world/2022/sep/20/what-is-hindu-nationalism-and-who-are-the-rss\">anti-Hindutva\u003c/a> event.\u003c/p>\n\u003cp>But garba isn’t just solely reserved for monumental occasions. Mody recalls her mother breaking into garba after eating a good meal just as often as guests might extemporaneously perform it at baby showers.\u003c/p>\n\u003cp>Mody points out that garba is more widely celebrated throughout the South Bay — citing Fremont, Union City, Milpitas, San Jose and Sunnyvale as hubs of Indian culture — but it’s not something she has noticed in Oakland, where she has intermittently lived for the past 13 years.\u003c/p>\n\u003cfigure id=\"attachment_13961624\" class=\"wp-caption alignright\" style=\"max-width: 1224px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961624\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba.jpg\" alt=\"a woman sits inside an elegant hallway while wearing festive attire\" width=\"1224\" height=\"1632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba.jpg 1224w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba-1152x1536.jpg 1152w\" sizes=\"(max-width: 1224px) 100vw, 1224px\">\u003cfigcaption class=\"wp-caption-text\">Reetu Mody sits at a garba while her hands dry with mehndi (body art). \u003ccite>(Dilip Mody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event is arriving at an opportune moment for Oaklanders, as \u003ca href=\"https://www.kqed.org/forum/2010101906166/oakland-mayor-sheng-thao-confronts-onslaught-of-troubles\">the city’s political failings\u003c/a> and \u003ca href=\"https://www.kqed.org/news/11982386/what-the-as-temporary-move-to-sacramento-means-for-fans\">exodus of professional sports franchises\u003c/a> continue to take the headlines. Still, Mody says Oakland’s cultural offerings are unparalleled, and garba is merely a reflection of what the city’s diverse residents can offer to one another.\u003c/p>\n\u003cp>“We need to bring parts of our cultures that are portals to possibility, not portals to oppression,” she says. “You can only reach [transcendence] when moving together and being joyful together.\u003c/p>\n\u003cp>The festival will feature Madhvi on vocals, Asim Mehta on keyboards and Parimal Zaveri on percussion, \u003ca href=\"http://kampmusic.com/bio.htm\">local legends of garba from the 80s\u003c/a>. A large dhol — the traditional drum used for garba — will serve as a musical centerpiece.\u003c/p>\n\u003cp>Dance classes will be offered at the start of the festival for those interested in learning the steps; participation is strongly encouraged. As a culminating addition, an “Oakland step” will be created and performed on-site.\u003c/p>\n\u003cp>“Each city has to have its own step for the dance,” Mody says. “It’s not exactly dancing though. It’s playing. It’s playful by nature. You don’t dance garba; you play it.”\u003c/p>\n\u003chr>\n\u003cp>\u003ci>\u003ca href=\"https://oacc.cc/event/bombaytothebay/\">Garba Dance Festival\u003c/a> will take place at the Oakland Asian Cultural Center (388 Ninth Street, Suite 290), on Aug. 3, 2024, 5–10 p.m. The event is free with \u003ca href=\"https://oacc.cc/event/bombaytothebay/\">registration\u003c/a>. \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Vendors, including \u003ca href=\"https://www.instagram.com/bandungbooks/?hl=en\">Bandung Books\u003c/a>, will be on site. \u003ca href=\"https://www.instagram.com/paisleyhennna/?hl=en\">Paisley Henna\u003c/a> will provide donation-based henna. All proceeds will go towards Palestine Legal and Middle Eastern Children’s Alliance to support their work in Gaza.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The Aug. 3 festival dedicated to the group folk dance welcomes all ages, genders and skill levels.","status":"publish","parent":0,"modified":1722037400,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":699},"headData":{"title":"Oakland’s First Garba Dance Festival Arrives in Chinatown | KQED","description":"The Aug. 3 festival dedicated to the group folk dance welcomes all ages, genders and skill levels.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Oakland’s First Garba Dance Festival Arrives in Chinatown","datePublished":"2024-07-26T15:16:26-07:00","dateModified":"2024-07-26T16:43:20-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13961580","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13961580/garba-dance-festival-oakland-chinatown","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Garba (pronounced gehr-buh) is probably something you haven’t publicly encountered in Oakland before. That’s because, well, there isn’t really anywhere that it formally happens.\u003c/p>\n\u003cp>Reetu Mody, a second-generation Indian American who grew up in Concord, hopes to change that. For Mody, who was raised around garba (a subregional Indian and Pakistani dance), the group-style folk tradition represents the East Bay’s inner vibrancy. And she’s determined to introduce it to a wider audience with “BomBay to the Bay,” \u003ca href=\"https://oacc.cc/event/bombaytothebay/\">Oakland’s inaugural Garba Dance Festival\u003c/a>.\u003c/p>\n\u003cp>The city’s first ever garba festival will be hosted at the \u003ca href=\"https://www.instagram.com/oaklandasiancc/?hl=en\">Oakland Asian Cultural Center\u003c/a> (OACC) in Oakland’s Chinatown on Saturday, Aug. 3.\u003c/p>\n\u003cp>“[Garba] is the spirit of Oakland,” says Mody, a community organizer and attorney who applied for a grant and assembled the festival in her spare time with massive support from the OACC.\u003c/p>\n\u003cp>“This isn’t about performance. It isn’t just something you watch,” she says. “It’s a living thing and you connect with others. It’s about the group. You all dance into transcendence together.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The folk dance is actively practiced around the world, and hails from South Asia. It unites all age groups, genders and skill levels through simultaneous dancing in concentric circles. Garba’s steps are relatively simple, and follow “teen tali,” a three-clap cadence that involves a step-cross-step pattern.\u003c/p>\n\u003cp>Mody asserts that the dance isn’t limited to any specific religious denomination, locale or cultural demographic. Instead, garba is a dance that is meant to be open and welcoming. She encourages attendees to dress in their own cultural attire.\u003c/p>\n\u003cp>Importantly, the Aug. 3 gathering centers on the liberation of all groups, as an anti-caste, \u003ca href=\"https://www.theguardian.com/world/2022/sep/20/what-is-hindu-nationalism-and-who-are-the-rss\">anti-Hindutva\u003c/a> event.\u003c/p>\n\u003cp>But garba isn’t just solely reserved for monumental occasions. Mody recalls her mother breaking into garba after eating a good meal just as often as guests might extemporaneously perform it at baby showers.\u003c/p>\n\u003cp>Mody points out that garba is more widely celebrated throughout the South Bay — citing Fremont, Union City, Milpitas, San Jose and Sunnyvale as hubs of Indian culture — but it’s not something she has noticed in Oakland, where she has intermittently lived for the past 13 years.\u003c/p>\n\u003cfigure id=\"attachment_13961624\" class=\"wp-caption alignright\" style=\"max-width: 1224px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961624\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba.jpg\" alt=\"a woman sits inside an elegant hallway while wearing festive attire\" width=\"1224\" height=\"1632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba.jpg 1224w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Garba-1152x1536.jpg 1152w\" sizes=\"(max-width: 1224px) 100vw, 1224px\">\u003cfigcaption class=\"wp-caption-text\">Reetu Mody sits at a garba while her hands dry with mehndi (body art). \u003ccite>(Dilip Mody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event is arriving at an opportune moment for Oaklanders, as \u003ca href=\"https://www.kqed.org/forum/2010101906166/oakland-mayor-sheng-thao-confronts-onslaught-of-troubles\">the city’s political failings\u003c/a> and \u003ca href=\"https://www.kqed.org/news/11982386/what-the-as-temporary-move-to-sacramento-means-for-fans\">exodus of professional sports franchises\u003c/a> continue to take the headlines. Still, Mody says Oakland’s cultural offerings are unparalleled, and garba is merely a reflection of what the city’s diverse residents can offer to one another.\u003c/p>\n\u003cp>“We need to bring parts of our cultures that are portals to possibility, not portals to oppression,” she says. “You can only reach [transcendence] when moving together and being joyful together.\u003c/p>\n\u003cp>The festival will feature Madhvi on vocals, Asim Mehta on keyboards and Parimal Zaveri on percussion, \u003ca href=\"http://kampmusic.com/bio.htm\">local legends of garba from the 80s\u003c/a>. A large dhol — the traditional drum used for garba — will serve as a musical centerpiece.\u003c/p>\n\u003cp>Dance classes will be offered at the start of the festival for those interested in learning the steps; participation is strongly encouraged. As a culminating addition, an “Oakland step” will be created and performed on-site.\u003c/p>\n\u003cp>“Each city has to have its own step for the dance,” Mody says. “It’s not exactly dancing though. It’s playing. It’s playful by nature. You don’t dance garba; you play it.”\u003c/p>\n\u003chr>\n\u003cp>\u003ci>\u003ca href=\"https://oacc.cc/event/bombaytothebay/\">Garba Dance Festival\u003c/a> will take place at the Oakland Asian Cultural Center (388 Ninth Street, Suite 290), on Aug. 3, 2024, 5–10 p.m. The event is free with \u003ca href=\"https://oacc.cc/event/bombaytothebay/\">registration\u003c/a>. \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Vendors, including \u003ca href=\"https://www.instagram.com/bandungbooks/?hl=en\">Bandung Books\u003c/a>, will be on site. \u003ca href=\"https://www.instagram.com/paisleyhennna/?hl=en\">Paisley Henna\u003c/a> will provide donation-based henna. All proceeds will go towards Palestine Legal and Middle Eastern Children’s Alliance to support their work in Gaza.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961580/garba-dance-festival-oakland-chinatown","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_966"],"tags":["arts_879","arts_1143","arts_16152","arts_585"],"featImg":"arts_13961652","label":"arts_140"},"arts_13961635":{"type":"posts","id":"arts_13961635","meta":{"index":"posts_1716263798","site":"arts","id":"13961635","score":null,"sort":[1722021829000]},"guestAuthors":[],"slug":"21st-century-dictators-are-different-autocracy-inc-explains-how","title":"21st Century Dictators Are Different — ‘Autocracy, Inc.’ Explains How","publishDate":1722021829,"format":"standard","headTitle":"21st Century Dictators Are Different — ‘Autocracy, Inc.’ Explains How | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The United States and other major democracies face the most challenging geopolitical landscape in decades. The crises include a bloody battle for land in Eastern Europe that challenges the principle of territorial sovereignty, the risk of a Chinese invasion of Taiwan in the coming years and a brutal war in Gaza that could still spread.\u003c/p>\n\u003cp>We are in a new era, but how do we define it, and what is the fundamental threat?\u003c/p>\n\u003cp>[aside postid='arts_13961565']Several recent books tackle this crucial question\u003cem>. New York Times\u003c/em> White House and National Security correspondent David Sanger calls this historical moment “New Cold Wars.” He sees the U.S. defending the West against a rising China and resurgent Russia. \u003cem>CNN\u003c/em> anchor and Chief National Security analyst Jim Sciutto calls it “The Return of Great Powers.”\u003c/p>\n\u003cp>In her new book, the \u003cem>Atlantic\u003c/em>’s Anne Applebaum takes a different, more sweeping view. We are not in Cold War 2.0, she argues, but a battle for the future world order against what she calls \u003cem>Autocracy, Inc., The Dictators Who Want to Rule the World.\u003c/em>\u003c/p>\n\u003cp>Autocracy, Inc., is not a club. There are no meetings like SPECTRE in a James Bond movie, where villains give progress reports on their kleptocratic gains and attacks on democracy. Instead, Applebaum writes, it is a very loosely knit mix of regimes, ranging from theocracies to monarchies, that operate more like companies. What unites these dictators isn’t an ideology, but something simpler and more prosaic: a laser-focus on preserving their wealth, repressing their people and maintaining power at all costs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These regimes can help each other in ways large and small, Applebaum writes.\u003c/p>\n\u003cp>Countries such as Zimbabwe, Belarus and Cuba voted in favor of Russia’s annexation of Crimea at the United Nations in 2014. Russia gave loans to Venezuela’s authoritarian President Nicolas Maduro, while Venezuelan police use Chinese-made water cannons, tear gas and surveillance equipment to attack and track street protesters.\u003c/p>\n\u003cp>Of course, U.S. companies have also supplied authoritarian regimes. When covering the crushing of the democracy movement in Bahrain during the Arab Spring, I rummaged through bins of empty rubber bullet canisters made by a company in Pennsylvania.\u003c/p>\n\u003cp>[aside postid='arts_13961341']More recently and more alarming, though, have been China’s tacit support for Russia’s invasion of Ukraine and President Vladimir Putin’s June visit to North Korea, which the U.S. accuses of supplying weapons to Russia.\u003c/p>\n\u003cp>But \u003cem>Autocracy Inc.\u003c/em>, uses more than conventional arms to attack democracies. In order to retain power and build more wealth, autocrats also undermine the idea of democracy as a viable choice for their own people. Fearful of its former Soviet republics drifting further West — see Ukraine — Russia and its three main TV channels broadcast negative news about Europe an average of 18 times a day during one three-year stretch.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1007x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F38%2Fbe%2Fbd0f3cb94471acaab464120f3edb%2Fautocracy.jpg\">\u003cfigcaption>\u003ccite> (Doubleday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>China extends its message through local media and helps other dictatorships. After satellite networks dropped Russia Today — RT — following the invasion of Ukraine, China’s StarTimes satellite picked up RT and put it back into African households, where it could spread Moscow’s anti-Western, anti-LGBTQ message, which resonates in many African nations.\u003c/p>\n\u003cp>[aside postid='arts_13960317']The goal is not to persuade people that autocracy is the answer, but to encourage cynicism about the alternative. Applebaum says the message is this: \u003cem>You may not like our society, but at least we are strong and the democratic world is weak, degenerate, divided and dying. \u003c/em>\u003c/p>\n\u003cp>How did the world end up here?\u003c/p>\n\u003cp>Applebaum is strong on how Western misjudgment and greed enabled and empowered autocrats over the decades. A working theory in Washington and Berlin was that greater economic integration and dependency between the West and China and Russia would serve as a glue and deterrent, making conflict too costly. But Europe’s dependence on Russian gas predictably backfired. Moscow used it as a source of blackmail following the invasion of Ukraine.\u003c/p>\n\u003cp>Meanwhile, corporate America’s heavy investment in China helped fuel the country’s extraordinary economic rise, but didn’t lead to the desired political results. Instead of becoming a more liberal, Western-friendly regime, the Communist Party became a more powerful rival. Among other things, Beijing used its new wealth to build islands in the South China Sea and a blue-water navy to challenge America’s.\u003c/p>\n\u003cp>At just over two hundred pages, Applebaum’s book is slender. She might have done more to detail the boomerang effect of globalization. When American companies exported jobs to China, they cut labor costs, boosted profits and lowered prices for consumers. Those business decisions devastated communities built on everything from auto plants to furniture factories.\u003c/p>\n\u003cp>That sowed the seeds for the populist backlash in 2016 that continues to roil the country to the benefit of America’s authoritarian opponents.\u003c/p>\n\u003cp>What is to be done? First, make life harder for dictators.\u003c/p>\n\u003cp>Applebaum says democratic nations have to make it more difficult for kleptocrats to stash their money overseas. She suggests an international coalition of treasury and finance ministry officials across Europe, Asia and North America work to strengthen transparency and tighten laws together.\u003c/p>\n\u003cp>[aside postid='arts_13959414']This will be tough. Kleptocrats make lucrative clients for lawyers, financiers and real estate agents. One of London’s unofficial industries is money-laundering. And, in a complex political landscape, it can be useful for democracies to work with corrupt regimes to achieve bigger goals.\u003c/p>\n\u003cp>Another way to combat dictatorship is for democracies to deliver at home, as Charles Dunst argues in \u003cem>Defeating the Dictators: How Democracy Can Prevail in the Age of the Strongman\u003c/em>. Political grid-lock, income inequality, stagnant wages and rising crime can provide fertile ground for populists.\u003c/p>\n\u003cp>Anti-incumbency and accountability have stood out as themes during this epic year of elections as voters punished long-serving parties, such as the Conservatives in the UK and the African National Congress in South Africa.\u003c/p>\n\u003cp>More broadly, Applebaum says, democratic countries need to reduce their economic dependence on authoritarian rivals. Europe’s reliance on Russian gas was an embarrassing and costly lesson. Minerals could prove another one for the United States.\u003c/p>\n\u003cp>Today, the U.S. only produces 4% of the world’s lithium and 13% of its cobalt, while China processes more than 80% of all critical minerals.\u003c/p>\n\u003cp>With the world’s next geopolitical fault-line perhaps lying in the waters around the Taiwan Strait or the South China Sea, this kind of math just doesn’t figure.\u003c/p>\n\u003cp>\u003cem>Frank Langfitt is NPR’s Global Democracy correspondent. Previously, he spent nearly two decades reporting overseas, based in Beijing, Nairobi, Shanghai and London. In February 2022, he covered Russia’s invasion of Ukraine. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Autocracy, Inc.’ is out now via Doubleday.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Anne Applebaum’s book explains how they operate like companies, preserve their wealth and repress their people.","status":"publish","parent":0,"modified":1722021916,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1158},"headData":{"title":"Book Review: ‘Autocracy, Inc.’ Explains Motives of New Dictators | KQED","description":"Anne Applebaum’s book explains how they operate like companies, preserve their wealth and repress their people.","ogTitle":"21st Century Dictators Are Different — ‘Autocracy, Inc.’ Explains How","ogDescription":"","ogImgId":"","twTitle":"21st Century Dictators Are Different — ‘Autocracy, Inc.’ Explains How","twDescription":"","twImgId":"","socialTitle":"Book Review: ‘Autocracy, Inc.’ Explains Motives of New Dictators %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"21st Century Dictators Are Different — ‘Autocracy, Inc.’ Explains How","datePublished":"2024-07-26T12:23:49-07:00","dateModified":"2024-07-26T12:25:16-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Frank Langfitt, NPR","nprStoryId":"nx-s1-5050572","nprHtmlLink":"https://www.npr.org/2024/07/24/nx-s1-5050572/autocracy-inc-review-anne-applebaum","nprRetrievedStory":"1","nprPubDate":"2024-07-24T15:00:00-04:00","nprStoryDate":"2024-07-24T15:00:00-04:00","nprLastModifiedDate":"2024-07-24T15:44:25.173-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13961635/21st-century-dictators-are-different-autocracy-inc-explains-how","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The United States and other major democracies face the most challenging geopolitical landscape in decades. The crises include a bloody battle for land in Eastern Europe that challenges the principle of territorial sovereignty, the risk of a Chinese invasion of Taiwan in the coming years and a brutal war in Gaza that could still spread.\u003c/p>\n\u003cp>We are in a new era, but how do we define it, and what is the fundamental threat?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13961565","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Several recent books tackle this crucial question\u003cem>. New York Times\u003c/em> White House and National Security correspondent David Sanger calls this historical moment “New Cold Wars.” He sees the U.S. defending the West against a rising China and resurgent Russia. \u003cem>CNN\u003c/em> anchor and Chief National Security analyst Jim Sciutto calls it “The Return of Great Powers.”\u003c/p>\n\u003cp>In her new book, the \u003cem>Atlantic\u003c/em>’s Anne Applebaum takes a different, more sweeping view. We are not in Cold War 2.0, she argues, but a battle for the future world order against what she calls \u003cem>Autocracy, Inc., The Dictators Who Want to Rule the World.\u003c/em>\u003c/p>\n\u003cp>Autocracy, Inc., is not a club. There are no meetings like SPECTRE in a James Bond movie, where villains give progress reports on their kleptocratic gains and attacks on democracy. Instead, Applebaum writes, it is a very loosely knit mix of regimes, ranging from theocracies to monarchies, that operate more like companies. What unites these dictators isn’t an ideology, but something simpler and more prosaic: a laser-focus on preserving their wealth, repressing their people and maintaining power at all costs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These regimes can help each other in ways large and small, Applebaum writes.\u003c/p>\n\u003cp>Countries such as Zimbabwe, Belarus and Cuba voted in favor of Russia’s annexation of Crimea at the United Nations in 2014. Russia gave loans to Venezuela’s authoritarian President Nicolas Maduro, while Venezuelan police use Chinese-made water cannons, tear gas and surveillance equipment to attack and track street protesters.\u003c/p>\n\u003cp>Of course, U.S. companies have also supplied authoritarian regimes. When covering the crushing of the democracy movement in Bahrain during the Arab Spring, I rummaged through bins of empty rubber bullet canisters made by a company in Pennsylvania.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13961341","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>More recently and more alarming, though, have been China’s tacit support for Russia’s invasion of Ukraine and President Vladimir Putin’s June visit to North Korea, which the U.S. accuses of supplying weapons to Russia.\u003c/p>\n\u003cp>But \u003cem>Autocracy Inc.\u003c/em>, uses more than conventional arms to attack democracies. In order to retain power and build more wealth, autocrats also undermine the idea of democracy as a viable choice for their own people. Fearful of its former Soviet republics drifting further West — see Ukraine — Russia and its three main TV channels broadcast negative news about Europe an average of 18 times a day during one three-year stretch.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1007x1500+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F38%2Fbe%2Fbd0f3cb94471acaab464120f3edb%2Fautocracy.jpg\">\u003cfigcaption>\u003ccite> (Doubleday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>China extends its message through local media and helps other dictatorships. After satellite networks dropped Russia Today — RT — following the invasion of Ukraine, China’s StarTimes satellite picked up RT and put it back into African households, where it could spread Moscow’s anti-Western, anti-LGBTQ message, which resonates in many African nations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13960317","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The goal is not to persuade people that autocracy is the answer, but to encourage cynicism about the alternative. Applebaum says the message is this: \u003cem>You may not like our society, but at least we are strong and the democratic world is weak, degenerate, divided and dying. \u003c/em>\u003c/p>\n\u003cp>How did the world end up here?\u003c/p>\n\u003cp>Applebaum is strong on how Western misjudgment and greed enabled and empowered autocrats over the decades. A working theory in Washington and Berlin was that greater economic integration and dependency between the West and China and Russia would serve as a glue and deterrent, making conflict too costly. But Europe’s dependence on Russian gas predictably backfired. Moscow used it as a source of blackmail following the invasion of Ukraine.\u003c/p>\n\u003cp>Meanwhile, corporate America’s heavy investment in China helped fuel the country’s extraordinary economic rise, but didn’t lead to the desired political results. Instead of becoming a more liberal, Western-friendly regime, the Communist Party became a more powerful rival. Among other things, Beijing used its new wealth to build islands in the South China Sea and a blue-water navy to challenge America’s.\u003c/p>\n\u003cp>At just over two hundred pages, Applebaum’s book is slender. She might have done more to detail the boomerang effect of globalization. When American companies exported jobs to China, they cut labor costs, boosted profits and lowered prices for consumers. Those business decisions devastated communities built on everything from auto plants to furniture factories.\u003c/p>\n\u003cp>That sowed the seeds for the populist backlash in 2016 that continues to roil the country to the benefit of America’s authoritarian opponents.\u003c/p>\n\u003cp>What is to be done? First, make life harder for dictators.\u003c/p>\n\u003cp>Applebaum says democratic nations have to make it more difficult for kleptocrats to stash their money overseas. She suggests an international coalition of treasury and finance ministry officials across Europe, Asia and North America work to strengthen transparency and tighten laws together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13959414","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This will be tough. Kleptocrats make lucrative clients for lawyers, financiers and real estate agents. One of London’s unofficial industries is money-laundering. And, in a complex political landscape, it can be useful for democracies to work with corrupt regimes to achieve bigger goals.\u003c/p>\n\u003cp>Another way to combat dictatorship is for democracies to deliver at home, as Charles Dunst argues in \u003cem>Defeating the Dictators: How Democracy Can Prevail in the Age of the Strongman\u003c/em>. Political grid-lock, income inequality, stagnant wages and rising crime can provide fertile ground for populists.\u003c/p>\n\u003cp>Anti-incumbency and accountability have stood out as themes during this epic year of elections as voters punished long-serving parties, such as the Conservatives in the UK and the African National Congress in South Africa.\u003c/p>\n\u003cp>More broadly, Applebaum says, democratic countries need to reduce their economic dependence on authoritarian rivals. Europe’s reliance on Russian gas was an embarrassing and costly lesson. Minerals could prove another one for the United States.\u003c/p>\n\u003cp>Today, the U.S. only produces 4% of the world’s lithium and 13% of its cobalt, while China processes more than 80% of all critical minerals.\u003c/p>\n\u003cp>With the world’s next geopolitical fault-line perhaps lying in the waters around the Taiwan Strait or the South China Sea, this kind of math just doesn’t figure.\u003c/p>\n\u003cp>\u003cem>Frank Langfitt is NPR’s Global Democracy correspondent. Previously, he spent nearly two decades reporting overseas, based in Beijing, Nairobi, Shanghai and London. In February 2022, he covered Russia’s invasion of Ukraine. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Autocracy, Inc.’ is out now via Doubleday.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961635/21st-century-dictators-are-different-autocracy-inc-explains-how","authors":["byline_arts_13961635"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835"],"tags":["arts_5826","arts_769","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13961637","label":"arts_140"},"arts_13961542":{"type":"posts","id":"arts_13961542","meta":{"index":"posts_1716263798","site":"arts","id":"13961542","score":null,"sort":[1721931967000]},"guestAuthors":[],"slug":"minna-stess-skateboarding-petaluma-paris-olympics","title":"For This 18-Year-Old Skater, the Paris Olympics Are Just the Beginning","publishDate":1721931967,"format":"standard","headTitle":"For This 18-Year-Old Skater, the Paris Olympics Are Just the Beginning | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>From the street, Minna Stess’ Petaluma home fits right in with the other houses on the block. Sitting in her backyard on a sunny Monday afternoon, dressed in a black T-shirt and shorts, purple socks and Vans, the 18-year-old looks like almost any other suburban skate kid.\u003c/p>\n\u003cp>There’s just one difference: Stess is about to fly to Paris to compete in \u003ca href=\"https://www.kqed.org/news/11993783/paris-2024-olympic-games-san-francisco-bay-area-athletes-competing\">the 2024 Olympics\u003c/a>.\u003c/p>\n\u003cp>In Paris, Stess will represent the United States in skateboarding, which became an Olympic sport just four years ago. To vie for the gold on the U.S. women’s team on a relatively new Olympic field, and on a global stage no less, the stakes couldn’t be higher.\u003c/p>\n\u003cfigure id=\"attachment_13961525\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961525\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">U.S Olympic Skateboarder Minna Stess, 18, skates in her Petaluma backyard on July 22, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet when I meet with her, 24 hours before she gets on an airplane for the biggest competition of her young career, Stess remains easygoing and calm. Nonchalant, even. After all, she says, no matter how hard she tries, she can’t remember a time when she didn’t skate.\u003c/p>\n\u003ch2>Turning Pro at 11\u003c/h2>\n\u003cp>Stess’ backyard is no ordinary backyard. The majority of it is taken up by a custom-built mini-skatepark, built in 2012. Back then, its three-foot transitions were plenty high for six-year-old Stess. Wanting to copy her older brother Finnley, she’d gotten into skating four years earlier, around age 2.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sitting on a bench seat on the backyard deck, Stess tells me her parents had a wooden ramp put in before the concrete park, but they got tired of throwing tarps over it every time it rained. The family celebrated the new concrete park’s completion by stepping their feet into the wet concrete before it dried. You can still see Stess’ tiny, classic Vans imprint.\u003c/p>\n\u003cfigure id=\"attachment_13961550\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961550\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">U.S Olympic Skateboarder Minna Stess’s shoe imprints (at left) at her home in Petaluma on July 22, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having her own backyard park was an asset in a city that didn’t have many skateparks while Stess was growing up. She skated the ramps at the \u003ca href=\"https://www.kqed.org/news/11954041/teens-helped-save-this-historic-bay-area-theater-by-making-it-their-own\">Phoenix Theater\u003c/a>, a downtown music venue and teen hangout, and got involved with skate contests put on by the California Amateur Skateboard League, even though they required long car rides.\u003c/p>\n\u003cp>An admirer of Brazilian-American skater Bob Burnquist and his skating style, Stess entered more amateur contests, winning her first by the time she turned eight. She turned pro around age 11, and soon started making appearances at some of the biggest contests around: the Dew Tour, the X Games and the USA National Championships. Along the way, she found herself drawn to park skating, a discipline which combines multiple styles like bowl, street and vert.\u003c/p>\n\u003cp>“I like airing out of things and flying high,” Stess says. “Park is definitely my favorite. I prefer it to literally everything.”\u003c/p>\n\u003cfigure id=\"attachment_13961546\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961546\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed.jpg\" alt=\"\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Minna Stess, 18, poses for a portrait at her home in Petaluma on July 22, 2024. Stess is headed to the 2024 Summer Olympics to represent the U.S in women’s skateboarding. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kickflipping Her Way to the Olympics\u003c/h2>\n\u003cp>Her career continued to take flight, too, as Stess was chosen for the USA Skateboarding Women’s Park National Team in 2019. In 2021, she won the USA National Championships’ Women’s Park competition, becoming its youngest champion at age 15. And though she didn’t get to compete, Stess was named as an alternate for Team USA in the 2021 Olympic games.\u003c/p>\n\u003cp>Stess’ path to the Olympics has been one filled with epic highs and lows. One of the lows came in May, when she entered an Olympic qualifier in Shanghai, China, and fell during all three of her runs. It was something she’d never done before, she tells me.\u003c/p>\n\u003cp>“I was like, ‘Okay, I can’t do that again,’” says Stess. “I kind of like, cracked under pressure, I guess.”\u003c/p>\n\u003cfigure id=\"attachment_13961527\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">U.S Olympic Skateboarder Minna Stess holds up her skateboard with slide marks in Petaluma on July 22, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her final Olympic Qualifier Series contest was held last month in Budapest, Hungary, and it quickly became just as nerve-wracking as her experience in Shanghai. She fell during her first two runs, and was feeling the pressure with just one run left. “I couldn’t watch anyone skate. I was like, pacing in circles,” reflecting back on her runs, she says. She had the support of the crowd and her competitors, though, who cheered loudly for her right before that fateful final run.\u003c/p>\n\u003cp>“Even the Brazilians were hyped,” she says. “And if the Brazilians are cheering for you, you know you did something right.”\u003c/p>\n\u003cp>She made it through her final run without falling, and even though her score wasn’t as high as she’d hoped, it was enough. Stess had punched her ticket to Paris.\u003c/p>\n\u003cfigure id=\"attachment_13961547\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961547\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed.jpg\" alt=\"\" width=\"2000\" height=\"1322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-1536x1015.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-1920x1269.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">U.S Olympic Skateboarder Minna Stess poses for a photo with her parents Andrew and Moniz at their home in Petaluma on July 22, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Family Affair\u003c/h2>\n\u003cp>For the duration of the Games, Stess will stay at the Olympic Village, sharing a room with a member of the street skating team. Her family will be close by in case she needs an escape; her parents, thinking ahead, booked a four-bedroom Paris home eight months ago for themselves, Stess’ brother, her uncle, her aunt and even her 87-year-old grandma.\u003c/p>\n\u003cp>“We never plan this far ahead for anything,” says her mother, Moniz Stess. Due to skateboarding’s very on-the-fly nature, she explains, it’s hard to plan lodging and plane tickets in advance. They waited to book their plane tickets until Stess knew whether or not she was Olympics-bound, but they still booked the house, just in case.\u003c/p>\n\u003cp>[aside postID='arts_13899344']It was a hunch that paid off, and Stess’ parents couldn’t be more proud.\u003c/p>\n\u003cp>“I drive Minna crazy using the word ‘journey,’ but it has been just that,” says her father, Andrew Stess. “It–” his voice breaks a little. “I can’t talk about it without getting teary-eyed. You see your kid loves something, and you want to–”\u003c/p>\n\u003cp>Just then, his face suddenly softens as he spots Stess, who’s been half-tuned in from the other side of the skatepark. “She’s laughing at me,” he smiles.\u003c/p>\n\u003cfigure id=\"attachment_13961545\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961545\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Minna Stess, 18, takes a break from skating at her home in Petaluma on July 22, 2024. Stess will compete in the 2024 Summer Olympics, representing the U.S in women’s skateboarding. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Staying ‘In the Moment’\u003c/h2>\n\u003cp>Stess’ family has always been extremely supportive of her career, and have managed to find routine amidst the hectic nature of pro contest skating. “People probably thought we were nuts with, you know, us hopping in the car on weekends and driving the kids wherever, to go to whatever contest,” says Moniz. “But skateboarding for us is just normal.”\u003c/p>\n\u003cp>Stess, too, has learned to balance staying competitive while also avoiding burnout. “I’m lucky, because I live in Petaluma, and most of the skating stuff is down in Southern California,” she says. “It’s kind of like going back and forth between two worlds.” Her friends, too, are a big source of support. Some are skaters like her, others don’t skate at all. “Being with them is kind of like a refresher,” she says.\u003c/p>\n\u003cp>[aside postID='arts_13931352']With the days counting down to her Olympic preliminary contest, the skater feels confident both mentally and physically. “I definitely feel better than I did when I got back from Budapest,” she says. “I’m excited to go.” As for how she processes all the emotions that come from being a pro athlete on the world stage, “I try not to think of the consequences of things and just like, be in the moment,” she tells me. “You want to land your run, but sometimes you gotta realize like, not everything’s going to go right.”\u003c/p>\n\u003cp>I ask if she’s prepared her runs yet, but she knows anything she plans on paper will likely have to be tweaked once she gets a feel for the park firsthand. For now, she’s looking forward to watching the street skaters practice and doing a bit of \u003ca href=\"https://olympics.com/en/news/paris-2024-olympics-i-traded-pins-with-simone-biles\">Olympic pin trading\u003c/a>.\u003c/p>\n\u003cp>She has one other hope, too. Her Olympic Village roommate had to buy blinds for their dorm, and they apparently keep falling down.\u003c/p>\n\u003cp>“So I hope they stay up,” Stess says, “so I can get a good night’s sleep.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Minna Stess competes in the \u003ca href=\"https://olympics.com/en/paris-2024/schedule/skateboarding/women-s-park?day=6-august\">Olympic Skateboarding Women’s Park Preliminaries on Tuesday, Aug. 6\u003c/a>. The event will be broadcast at 3:30 Pacific Time. The Women’s Final airs at 8:30 a.m. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Petaluma's Minna Stess has been skating since she was two. Now she's competing for the gold.","status":"publish","parent":0,"modified":1721940321,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1576},"headData":{"title":"Meet Minna Stess, the 18-Year-Old Skater Going to the Olympics | KQED","description":"Petaluma's Minna Stess has been skating since she was two. Now she's competing for the gold.","ogTitle":"Meet Minna Stess, the 18-Year-Old Petaluma Skater Going to the Olympics","ogDescription":"","ogImgId":"","twTitle":"Meet Minna Stess, the 18-Year-Old Skater Going to the Olympics","twDescription":"","twImgId":"","socialTitle":"Meet Minna Stess, the 18-Year-Old Skater Going to the Olympics %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"For This 18-Year-Old Skater, the Paris Olympics Are Just the Beginning","datePublished":"2024-07-25T11:26:07-07:00","dateModified":"2024-07-25T13:45:21-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13961542","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"Yes","articleAge":"0","path":"/arts/13961542/minna-stess-skateboarding-petaluma-paris-olympics","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the street, Minna Stess’ Petaluma home fits right in with the other houses on the block. Sitting in her backyard on a sunny Monday afternoon, dressed in a black T-shirt and shorts, purple socks and Vans, the 18-year-old looks like almost any other suburban skate kid.\u003c/p>\n\u003cp>There’s just one difference: Stess is about to fly to Paris to compete in \u003ca href=\"https://www.kqed.org/news/11993783/paris-2024-olympic-games-san-francisco-bay-area-athletes-competing\">the 2024 Olympics\u003c/a>.\u003c/p>\n\u003cp>In Paris, Stess will represent the United States in skateboarding, which became an Olympic sport just four years ago. To vie for the gold on the U.S. women’s team on a relatively new Olympic field, and on a global stage no less, the stakes couldn’t be higher.\u003c/p>\n\u003cfigure id=\"attachment_13961525\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961525\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-13-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">U.S Olympic Skateboarder Minna Stess, 18, skates in her Petaluma backyard on July 22, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet when I meet with her, 24 hours before she gets on an airplane for the biggest competition of her young career, Stess remains easygoing and calm. Nonchalant, even. After all, she says, no matter how hard she tries, she can’t remember a time when she didn’t skate.\u003c/p>\n\u003ch2>Turning Pro at 11\u003c/h2>\n\u003cp>Stess’ backyard is no ordinary backyard. The majority of it is taken up by a custom-built mini-skatepark, built in 2012. Back then, its three-foot transitions were plenty high for six-year-old Stess. Wanting to copy her older brother Finnley, she’d gotten into skating four years earlier, around age 2.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sitting on a bench seat on the backyard deck, Stess tells me her parents had a wooden ramp put in before the concrete park, but they got tired of throwing tarps over it every time it rained. The family celebrated the new concrete park’s completion by stepping their feet into the wet concrete before it dried. You can still see Stess’ tiny, classic Vans imprint.\u003c/p>\n\u003cfigure id=\"attachment_13961550\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961550\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-40_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">U.S Olympic Skateboarder Minna Stess’s shoe imprints (at left) at her home in Petaluma on July 22, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having her own backyard park was an asset in a city that didn’t have many skateparks while Stess was growing up. She skated the ramps at the \u003ca href=\"https://www.kqed.org/news/11954041/teens-helped-save-this-historic-bay-area-theater-by-making-it-their-own\">Phoenix Theater\u003c/a>, a downtown music venue and teen hangout, and got involved with skate contests put on by the California Amateur Skateboard League, even though they required long car rides.\u003c/p>\n\u003cp>An admirer of Brazilian-American skater Bob Burnquist and his skating style, Stess entered more amateur contests, winning her first by the time she turned eight. She turned pro around age 11, and soon started making appearances at some of the biggest contests around: the Dew Tour, the X Games and the USA National Championships. Along the way, she found herself drawn to park skating, a discipline which combines multiple styles like bowl, street and vert.\u003c/p>\n\u003cp>“I like airing out of things and flying high,” Stess says. “Park is definitely my favorite. I prefer it to literally everything.”\u003c/p>\n\u003cfigure id=\"attachment_13961546\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961546\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed.jpg\" alt=\"\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-7_qed-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Minna Stess, 18, poses for a portrait at her home in Petaluma on July 22, 2024. Stess is headed to the 2024 Summer Olympics to represent the U.S in women’s skateboarding. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kickflipping Her Way to the Olympics\u003c/h2>\n\u003cp>Her career continued to take flight, too, as Stess was chosen for the USA Skateboarding Women’s Park National Team in 2019. In 2021, she won the USA National Championships’ Women’s Park competition, becoming its youngest champion at age 15. And though she didn’t get to compete, Stess was named as an alternate for Team USA in the 2021 Olympic games.\u003c/p>\n\u003cp>Stess’ path to the Olympics has been one filled with epic highs and lows. One of the lows came in May, when she entered an Olympic qualifier in Shanghai, China, and fell during all three of her runs. It was something she’d never done before, she tells me.\u003c/p>\n\u003cp>“I was like, ‘Okay, I can’t do that again,’” says Stess. “I kind of like, cracked under pressure, I guess.”\u003c/p>\n\u003cfigure id=\"attachment_13961527\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MINNASTESS_GC-41-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">U.S Olympic Skateboarder Minna Stess holds up her skateboard with slide marks in Petaluma on July 22, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her final Olympic Qualifier Series contest was held last month in Budapest, Hungary, and it quickly became just as nerve-wracking as her experience in Shanghai. She fell during her first two runs, and was feeling the pressure with just one run left. “I couldn’t watch anyone skate. I was like, pacing in circles,” reflecting back on her runs, she says. She had the support of the crowd and her competitors, though, who cheered loudly for her right before that fateful final run.\u003c/p>\n\u003cp>“Even the Brazilians were hyped,” she says. “And if the Brazilians are cheering for you, you know you did something right.”\u003c/p>\n\u003cp>She made it through her final run without falling, and even though her score wasn’t as high as she’d hoped, it was enough. Stess had punched her ticket to Paris.\u003c/p>\n\u003cfigure id=\"attachment_13961547\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961547\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed.jpg\" alt=\"\" width=\"2000\" height=\"1322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-1536x1015.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-12_qed-1920x1269.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">U.S Olympic Skateboarder Minna Stess poses for a photo with her parents Andrew and Moniz at their home in Petaluma on July 22, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Family Affair\u003c/h2>\n\u003cp>For the duration of the Games, Stess will stay at the Olympic Village, sharing a room with a member of the street skating team. Her family will be close by in case she needs an escape; her parents, thinking ahead, booked a four-bedroom Paris home eight months ago for themselves, Stess’ brother, her uncle, her aunt and even her 87-year-old grandma.\u003c/p>\n\u003cp>“We never plan this far ahead for anything,” says her mother, Moniz Stess. Due to skateboarding’s very on-the-fly nature, she explains, it’s hard to plan lodging and plane tickets in advance. They waited to book their plane tickets until Stess knew whether or not she was Olympics-bound, but they still booked the house, just in case.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13899344","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It was a hunch that paid off, and Stess’ parents couldn’t be more proud.\u003c/p>\n\u003cp>“I drive Minna crazy using the word ‘journey,’ but it has been just that,” says her father, Andrew Stess. “It–” his voice breaks a little. “I can’t talk about it without getting teary-eyed. You see your kid loves something, and you want to–”\u003c/p>\n\u003cp>Just then, his face suddenly softens as he spots Stess, who’s been half-tuned in from the other side of the skatepark. “She’s laughing at me,” he smiles.\u003c/p>\n\u003cfigure id=\"attachment_13961545\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961545\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240722_MinnaStess_GC-2_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Minna Stess, 18, takes a break from skating at her home in Petaluma on July 22, 2024. Stess will compete in the 2024 Summer Olympics, representing the U.S in women’s skateboarding. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Staying ‘In the Moment’\u003c/h2>\n\u003cp>Stess’ family has always been extremely supportive of her career, and have managed to find routine amidst the hectic nature of pro contest skating. “People probably thought we were nuts with, you know, us hopping in the car on weekends and driving the kids wherever, to go to whatever contest,” says Moniz. “But skateboarding for us is just normal.”\u003c/p>\n\u003cp>Stess, too, has learned to balance staying competitive while also avoiding burnout. “I’m lucky, because I live in Petaluma, and most of the skating stuff is down in Southern California,” she says. “It’s kind of like going back and forth between two worlds.” Her friends, too, are a big source of support. Some are skaters like her, others don’t skate at all. “Being with them is kind of like a refresher,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13931352","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>With the days counting down to her Olympic preliminary contest, the skater feels confident both mentally and physically. “I definitely feel better than I did when I got back from Budapest,” she says. “I’m excited to go.” As for how she processes all the emotions that come from being a pro athlete on the world stage, “I try not to think of the consequences of things and just like, be in the moment,” she tells me. “You want to land your run, but sometimes you gotta realize like, not everything’s going to go right.”\u003c/p>\n\u003cp>I ask if she’s prepared her runs yet, but she knows anything she plans on paper will likely have to be tweaked once she gets a feel for the park firsthand. For now, she’s looking forward to watching the street skaters practice and doing a bit of \u003ca href=\"https://olympics.com/en/news/paris-2024-olympics-i-traded-pins-with-simone-biles\">Olympic pin trading\u003c/a>.\u003c/p>\n\u003cp>She has one other hope, too. Her Olympic Village roommate had to buy blinds for their dorm, and they apparently keep falling down.\u003c/p>\n\u003cp>“So I hope they stay up,” Stess says, “so I can get a good night’s sleep.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Minna Stess competes in the \u003ca href=\"https://olympics.com/en/paris-2024/schedule/skateboarding/women-s-park?day=6-august\">Olympic Skateboarding Women’s Park Preliminaries on Tuesday, Aug. 6\u003c/a>. The event will be broadcast at 3:30 Pacific Time. The Women’s Final airs at 8:30 a.m. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961542/minna-stess-skateboarding-petaluma-paris-olympics","authors":["11919"],"categories":["arts_1","arts_835","arts_235","arts_13238"],"tags":["arts_22228","arts_10278","arts_10422","arts_3920","arts_3231","arts_1442"],"featImg":"arts_13961524","label":"arts"},"arts_13961479":{"type":"posts","id":"arts_13961479","meta":{"index":"posts_1716263798","site":"arts","id":"13961479","score":null,"sort":[1721850802000]},"guestAuthors":[],"slug":"equipto-family-not-a-group-gaza-fundraiser-human-concern-international","title":"Equipto to Headline an SF Fundraiser for Humanitarian Aid in Gaza","publishDate":1721850802,"format":"standard","headTitle":"Equipto to Headline an SF Fundraiser for Humanitarian Aid in Gaza | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.instagram.com/everybodylovezmike/\">\u003cspan style=\"font-weight: 400\">Mike Evans Jr.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — a local comedian, actor and member of the San Francisco artist collective \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13910221/family-not-a-group-san-francisco-rap\">\u003cspan style=\"font-weight: 400\">Family Not A Group\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — was first introduced to Palestinian culture as an 11-year-old growing up in Vallejo. His neighbors, a Palestinian American family, would often invite him over to parties, and that’s where he began to appreciate their traditions and history.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For many Bay Area youth, that kind of exposure to diverse experiences can instill a certain openness towards others in the world: a sense of interconnected struggle which, as Evans Jr. puts it, often results in a “we’re not all free until we’re all free” ethos. [aside postid='news_11996920,news_11997141,news_11988170']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With \u003c/span>\u003ca href=\"https://abcnews.go.com/International/wireStory/latest-israeli-strikes-southern-gaza-palestinian-death-toll-112159613\">\u003cspan style=\"font-weight: 400\">a reported death toll of over 39,000 Palestinians\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in Gaza, Evans Jr. — along with many other \u003c/span>\u003ca href=\"https://www.kqed.org/news/11984203/pro-palestinian-protests-sweep-california-college-campuses-amid-israel-hamas-war\">\u003cspan style=\"font-weight: 400\">Bay Area artists, activists and students\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — has found ways to continue his advocacy.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Sunday, July 28, Mike and his longtime friend Maya Y. will be co-hosting a group of local rappers, DJs, comedians, poets and community members for a Free Palestine Fundraiser at \u003c/span>\u003ca href=\"https://www.instagram.com/heyneighborcafe/?hl=en\">\u003cspan style=\"font-weight: 400\">Hey Neighbor Cafe\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in San Francisco. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All proceeds from the event will go directly to Human Concern International, which provides food, resources, aid and education to families in Gaza. Performances will include poetry from \u003c/span>\u003ca href=\"https://www.instagram.com/atayqueen/\">\u003cspan style=\"font-weight: 400\">Sarah O’ Neal\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and music by Afterthought, \u003c/span>\u003ca href=\"https://www.instagram.com/_friscobaby/?hl=en\">\u003cspan style=\"font-weight: 400\">Frisco Baby\u003c/span>\u003c/a>, \u003cspan style=\"font-weight: 400\">Palestinian American MC \u003c/span>\u003ca href=\"https://www.instagram.com/ishaq.ie/?hl=en\">\u003cspan style=\"font-weight: 400\">Ishaq\u003c/span>\u003c/a> and \u003cspan style=\"font-weight: 400\">DJs Jenset and Baghead\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Perhaps most notably, \u003c/span>\u003ca href=\"https://www.instagram.com/equipto_415/?hl=en\">\u003cspan style=\"font-weight: 400\">Equipto\u003c/span>\u003c/a> \u003cspan style=\"font-weight: 400\">will headline the grassroots event. The Japanese Colombian San Francisco lyricist is known for \u003ca href=\"https://www.kqed.org/arts/11630270/how-equiptos-hip-hop-helped-reshape-bay-area-activism\">his political activism: In 2016, he was as a member of the Frisco 5\u003c/a>, which organized a 17-day hunger strike to protest the police killings of Alex Nieto, Mario Woods and other community members.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13950872\" class=\"wp-caption aligncenter\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/img_6475_720.png\" alt=\"Rapper and political activist Equipto sits in front of a mural dedicated to Mario Woods, who was killed by SFPD in 2015.\" width=\"576\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/img_6475_720.png 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/img_6475_720-160x200.png 160w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">Rapper and political activist Equipto sits in front of a mural dedicated to Mario Woods, who was killed by SFPD in 2015. \u003ccite>(Stephen Flynn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950855/underground-rap-playa-sht-political-joints-equipto-has-bars\">\u003cspan style=\"font-weight: 400\">Equipto’s legacy in Bay Area music and activism runs deep\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Evans Jr. credits the veteran MC with supporting him early in his comedic career, dating back to 2015. Like Equipto, Evans Jr. — whose political consciousness expanded at San Francisco State University — is cognizant of how art and media should offer more than simply entertainment. It should be impactful, and it should provoke discourse.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Until there’s not a genocide going on, people need to see it and hear about it. Business as usual is dangerous,” says Evans Jr.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13936838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936838\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED.jpg\" alt=\"A person wearing a baseball cap holds a basketball covered in signatures.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Evans Jr. and Afterthought in San Francisco on Oct. 19, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The event has been months in the making. Last November, after releasing the web series and album \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13937068/rent-check-mike-evans-jr-family-not-group-san-francisco\">\u003ci>\u003cspan style=\"font-weight: 400\">Rent Check\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, Evans Jr. was approached by Maya Y., whose family is from Lebanon near the Gaza border, to co-facilitate the artist-centered fundraiser for Palestinians. Evans Jr., who grew up in both Vallejo and SF, enthusiastically agreed and tapped into the vast panoply of artists and activists he has cultivated over a lifetime.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In true Bay Area fashion, the artists are all donating their time, and Hey Neighbor Cafe is donating its space. \u003c/span>\u003cspan style=\"font-weight: 400\">“The artist community in the Bay Area throws down for Palestine,” Evans Jr. says. “Richmond was the first city [in the country] to pass a resolution on the side of Palestine. I know a lot of Oakland people who are down, too. The Bay is a small pocket, but we’re very strong in the fight.”\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Free Palestine Fundraiser will take place July 28, 5\u003cspan style=\"font-weight: 400\">–\u003c/span>9 p.m., at Hey Neighbor Cafe (\u003cspan style=\"font-weight: 400\">2 Burrows St., San Francisco). \u003ca href=\"https://posh.vip/e/free-palestine-fundraiser-show\">Tickets available here\u003c/a>.\u003c/span>\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Artists from Family Not a Group will also perform at the July 28 benefit concert at Hey Neighbor Cafe. ","status":"publish","parent":0,"modified":1721929007,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":606},"headData":{"title":"Equipto to Headline an SF Fundraiser for Humanitarian Aid in Gaza | KQED","description":"Artists from Family Not a Group will also perform at the July 28 benefit concert at Hey Neighbor Cafe. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Equipto to Headline an SF Fundraiser for Humanitarian Aid in Gaza","datePublished":"2024-07-24T12:53:22-07:00","dateModified":"2024-07-25T10:36:47-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13961479","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13961479/equipto-family-not-a-group-gaza-fundraiser-human-concern-international","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/everybodylovezmike/\">\u003cspan style=\"font-weight: 400\">Mike Evans Jr.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — a local comedian, actor and member of the San Francisco artist collective \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13910221/family-not-a-group-san-francisco-rap\">\u003cspan style=\"font-weight: 400\">Family Not A Group\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — was first introduced to Palestinian culture as an 11-year-old growing up in Vallejo. His neighbors, a Palestinian American family, would often invite him over to parties, and that’s where he began to appreciate their traditions and history.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For many Bay Area youth, that kind of exposure to diverse experiences can instill a certain openness towards others in the world: a sense of interconnected struggle which, as Evans Jr. puts it, often results in a “we’re not all free until we’re all free” ethos. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11996920,news_11997141,news_11988170","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With \u003c/span>\u003ca href=\"https://abcnews.go.com/International/wireStory/latest-israeli-strikes-southern-gaza-palestinian-death-toll-112159613\">\u003cspan style=\"font-weight: 400\">a reported death toll of over 39,000 Palestinians\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in Gaza, Evans Jr. — along with many other \u003c/span>\u003ca href=\"https://www.kqed.org/news/11984203/pro-palestinian-protests-sweep-california-college-campuses-amid-israel-hamas-war\">\u003cspan style=\"font-weight: 400\">Bay Area artists, activists and students\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — has found ways to continue his advocacy.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Sunday, July 28, Mike and his longtime friend Maya Y. will be co-hosting a group of local rappers, DJs, comedians, poets and community members for a Free Palestine Fundraiser at \u003c/span>\u003ca href=\"https://www.instagram.com/heyneighborcafe/?hl=en\">\u003cspan style=\"font-weight: 400\">Hey Neighbor Cafe\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in San Francisco. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All proceeds from the event will go directly to Human Concern International, which provides food, resources, aid and education to families in Gaza. Performances will include poetry from \u003c/span>\u003ca href=\"https://www.instagram.com/atayqueen/\">\u003cspan style=\"font-weight: 400\">Sarah O’ Neal\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and music by Afterthought, \u003c/span>\u003ca href=\"https://www.instagram.com/_friscobaby/?hl=en\">\u003cspan style=\"font-weight: 400\">Frisco Baby\u003c/span>\u003c/a>, \u003cspan style=\"font-weight: 400\">Palestinian American MC \u003c/span>\u003ca href=\"https://www.instagram.com/ishaq.ie/?hl=en\">\u003cspan style=\"font-weight: 400\">Ishaq\u003c/span>\u003c/a> and \u003cspan style=\"font-weight: 400\">DJs Jenset and Baghead\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Perhaps most notably, \u003c/span>\u003ca href=\"https://www.instagram.com/equipto_415/?hl=en\">\u003cspan style=\"font-weight: 400\">Equipto\u003c/span>\u003c/a> \u003cspan style=\"font-weight: 400\">will headline the grassroots event. The Japanese Colombian San Francisco lyricist is known for \u003ca href=\"https://www.kqed.org/arts/11630270/how-equiptos-hip-hop-helped-reshape-bay-area-activism\">his political activism: In 2016, he was as a member of the Frisco 5\u003c/a>, which organized a 17-day hunger strike to protest the police killings of Alex Nieto, Mario Woods and other community members.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13950872\" class=\"wp-caption aligncenter\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/img_6475_720.png\" alt=\"Rapper and political activist Equipto sits in front of a mural dedicated to Mario Woods, who was killed by SFPD in 2015.\" width=\"576\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/img_6475_720.png 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/img_6475_720-160x200.png 160w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">Rapper and political activist Equipto sits in front of a mural dedicated to Mario Woods, who was killed by SFPD in 2015. \u003ccite>(Stephen Flynn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950855/underground-rap-playa-sht-political-joints-equipto-has-bars\">\u003cspan style=\"font-weight: 400\">Equipto’s legacy in Bay Area music and activism runs deep\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Evans Jr. credits the veteran MC with supporting him early in his comedic career, dating back to 2015. Like Equipto, Evans Jr. — whose political consciousness expanded at San Francisco State University — is cognizant of how art and media should offer more than simply entertainment. It should be impactful, and it should provoke discourse.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Until there’s not a genocide going on, people need to see it and hear about it. Business as usual is dangerous,” says Evans Jr.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13936838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936838\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED.jpg\" alt=\"A person wearing a baseball cap holds a basketball covered in signatures.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Evans Jr. and Afterthought in San Francisco on Oct. 19, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The event has been months in the making. Last November, after releasing the web series and album \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13937068/rent-check-mike-evans-jr-family-not-group-san-francisco\">\u003ci>\u003cspan style=\"font-weight: 400\">Rent Check\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, Evans Jr. was approached by Maya Y., whose family is from Lebanon near the Gaza border, to co-facilitate the artist-centered fundraiser for Palestinians. Evans Jr., who grew up in both Vallejo and SF, enthusiastically agreed and tapped into the vast panoply of artists and activists he has cultivated over a lifetime.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In true Bay Area fashion, the artists are all donating their time, and Hey Neighbor Cafe is donating its space. \u003c/span>\u003cspan style=\"font-weight: 400\">“The artist community in the Bay Area throws down for Palestine,” Evans Jr. says. “Richmond was the first city [in the country] to pass a resolution on the side of Palestine. I know a lot of Oakland people who are down, too. The Bay is a small pocket, but we’re very strong in the fight.”\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Free Palestine Fundraiser will take place July 28, 5\u003cspan style=\"font-weight: 400\">–\u003c/span>9 p.m., at Hey Neighbor Cafe (\u003cspan style=\"font-weight: 400\">2 Burrows St., San Francisco). \u003ca href=\"https://posh.vip/e/free-palestine-fundraiser-show\">Tickets available here\u003c/a>.\u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961479/equipto-family-not-a-group-gaza-fundraiser-human-concern-international","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_21889","arts_21930","arts_10278","arts_8838","arts_21682","arts_1146","arts_585"],"featImg":"arts_11641882","label":"arts_140"},"arts_13961446":{"type":"posts","id":"arts_13961446","meta":{"index":"posts_1716263798","site":"arts","id":"13961446","score":null,"sort":[1721751567000]},"guestAuthors":[],"slug":"bartmobile-bart-20th-birthday","title":"The Cutest, Most Lovable BART Train in Bay Area History Is Celebrating 20 Years","publishDate":1721751567,"format":"standard","headTitle":"The Cutest, Most Lovable BART Train in Bay Area History Is Celebrating 20 Years | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In all my decades of grungy Bay Area living, I’ve never once heard anyone refer to BART as “cute.”\u003c/p>\n\u003cp>Ugly? Sure. Smelly? Most certainly. But is riding BART cute? \u003ca href=\"https://www.youtube.com/watch?v=bRChz-OYi9o\">E-40 voice\u003c/a>: \u003cem>Nope\u003c/em>.\u003c/p>\n\u003cp>This lack of friendly charm is probably why, 20 years ago, BART introduced the BARTmobile: a 6-foot-tall, 704-pound train replica that tours around the region as a form of cheery brand promotion.\u003c/p>\n\u003cp>The most lovable BART train, the BARTmobile celebrates its “20th Birthday” on Saturday, July 27, at Orinda BART Station. Event-goers (birthday party guests?) will be able to ride the BARTmobile — a rare opportunity — while live music, vendors, carnival games, face painting, stickers, cupcakes and temporary tattoos will all be provided for free.\u003c/p>\n\u003cp>In case you’ve never seen it out in public or at a hometown parade, the BARTmobile is a bright-eyed, squeezable-cheeked character with \u003ca href=\"https://www.bart.gov/news/articles/2024/news20240712\">a zany backstory\u003c/a> that dates back to Halloween of 2001. Its \u003ca href=\"https://x.com/thebartmobile?lang=en\">now-inactive Twitter account\u003c/a> delivered the kind of energy you would expect from a sleepless, overenthusiastic camp counselor: “While my siblings are stuck on the rails, I get to travel on roads and trucks and entertain people at parades and other public events! I love my life!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The BARTmobile was the brainchild of Doug Bartlett, a former BART Principal Marketing Representative, who originally “\u003ca href=\"https://www.bart.gov/news/articles/2024/news20240712\">set out to make the most fantastical, most adorable, most kid-friendly BARTmobile possible\u003c/a>.”\u003c/p>\n\u003cp>With the collective help of a playwright, a carpenter, a designer and a George Lucas-founded, Marin-based visual effects company that contributed to the making of \u003ci>Star Wars\u003c/i>, BART’s “roving mascot” was born inside a Bay Area garage in 2004. \u003c/p>\n\u003cfigure id=\"attachment_13961457\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/D7giBbkUEAAVqkH.jpg\" alt=\"\" width=\"600\" height=\"800\" class=\"size-full wp-image-13961457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/D7giBbkUEAAVqkH.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/D7giBbkUEAAVqkH-160x213.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The BARTmobile in 2019, at San Francisco’s Carnaval parade. \u003ccite>(BARTmobile/X)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With an imaginative application of plywood, polyurethane, fiberglass, a golf cart and a steel chassis — and with inspiration derived from the 1958 Volkswagen bus — the BARTmobile even included a functional BART train horn.\u003c/p>\n\u003cp>Since, the ebullient little engine has appeared at Golden State Warriors championship celebrations, St. Patrick’s Day, the San Francisco Gay Pride Parade and more.\u003c/p>\n\u003cp>Beyond celebrating BART’s Thomas the Engine-esque mascot, Saturday’s event is meant to encourage the use of public transit in the Bay Area. With BART’s recent debut of \u003ca href=\"https://contracosta.news/2023/05/26/bart-announces-anime-mascots/\">five unique anime characters\u003c/a>, it’s made strides in appealing to a younger, more diverse crowd of riders.\u003c/p>\n\u003cp>Am I a fan? E-40 voice: \u003cem>Yup\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.bart.gov/news/articles/2024/news20240715-0\">The BARTmobile’s ‘20th Birthday’ \u003c/a>is celebrated on Saturday, July 27, at Orinda BART Station (11 Camino Pablo, Orinda). Free.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The 6-foot-tall, 704-pound train replica is a kid-friendly staple of Bay Area parades and events. ","status":"publish","parent":0,"modified":1721751640,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":453},"headData":{"title":"The Cutest, Most Lovable BART Train in Bay Area History Is Celebrating 20 Years | KQED","description":"The 6-foot-tall, 704-pound train replica is a kid-friendly staple of Bay Area parades and events. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Cutest, Most Lovable BART Train in Bay Area History Is Celebrating 20 Years","datePublished":"2024-07-23T09:19:27-07:00","dateModified":"2024-07-23T09:20:40-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"the-cutest-most-lovable-bart-train-in-bay-area-history-is-celebrating-20-years","nprStoryId":"kqed-13961446","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13961446/bartmobile-bart-20th-birthday","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In all my decades of grungy Bay Area living, I’ve never once heard anyone refer to BART as “cute.”\u003c/p>\n\u003cp>Ugly? Sure. Smelly? Most certainly. But is riding BART cute? \u003ca href=\"https://www.youtube.com/watch?v=bRChz-OYi9o\">E-40 voice\u003c/a>: \u003cem>Nope\u003c/em>.\u003c/p>\n\u003cp>This lack of friendly charm is probably why, 20 years ago, BART introduced the BARTmobile: a 6-foot-tall, 704-pound train replica that tours around the region as a form of cheery brand promotion.\u003c/p>\n\u003cp>The most lovable BART train, the BARTmobile celebrates its “20th Birthday” on Saturday, July 27, at Orinda BART Station. Event-goers (birthday party guests?) will be able to ride the BARTmobile — a rare opportunity — while live music, vendors, carnival games, face painting, stickers, cupcakes and temporary tattoos will all be provided for free.\u003c/p>\n\u003cp>In case you’ve never seen it out in public or at a hometown parade, the BARTmobile is a bright-eyed, squeezable-cheeked character with \u003ca href=\"https://www.bart.gov/news/articles/2024/news20240712\">a zany backstory\u003c/a> that dates back to Halloween of 2001. Its \u003ca href=\"https://x.com/thebartmobile?lang=en\">now-inactive Twitter account\u003c/a> delivered the kind of energy you would expect from a sleepless, overenthusiastic camp counselor: “While my siblings are stuck on the rails, I get to travel on roads and trucks and entertain people at parades and other public events! I love my life!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The BARTmobile was the brainchild of Doug Bartlett, a former BART Principal Marketing Representative, who originally “\u003ca href=\"https://www.bart.gov/news/articles/2024/news20240712\">set out to make the most fantastical, most adorable, most kid-friendly BARTmobile possible\u003c/a>.”\u003c/p>\n\u003cp>With the collective help of a playwright, a carpenter, a designer and a George Lucas-founded, Marin-based visual effects company that contributed to the making of \u003ci>Star Wars\u003c/i>, BART’s “roving mascot” was born inside a Bay Area garage in 2004. \u003c/p>\n\u003cfigure id=\"attachment_13961457\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/D7giBbkUEAAVqkH.jpg\" alt=\"\" width=\"600\" height=\"800\" class=\"size-full wp-image-13961457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/D7giBbkUEAAVqkH.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/D7giBbkUEAAVqkH-160x213.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The BARTmobile in 2019, at San Francisco’s Carnaval parade. \u003ccite>(BARTmobile/X)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With an imaginative application of plywood, polyurethane, fiberglass, a golf cart and a steel chassis — and with inspiration derived from the 1958 Volkswagen bus — the BARTmobile even included a functional BART train horn.\u003c/p>\n\u003cp>Since, the ebullient little engine has appeared at Golden State Warriors championship celebrations, St. Patrick’s Day, the San Francisco Gay Pride Parade and more.\u003c/p>\n\u003cp>Beyond celebrating BART’s Thomas the Engine-esque mascot, Saturday’s event is meant to encourage the use of public transit in the Bay Area. With BART’s recent debut of \u003ca href=\"https://contracosta.news/2023/05/26/bart-announces-anime-mascots/\">five unique anime characters\u003c/a>, it’s made strides in appealing to a younger, more diverse crowd of riders.\u003c/p>\n\u003cp>Am I a fan? E-40 voice: \u003cem>Yup\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.bart.gov/news/articles/2024/news20240715-0\">The BARTmobile’s ‘20th Birthday’ \u003c/a>is celebrated on Saturday, July 27, at Orinda BART Station (11 Camino Pablo, Orinda). Free.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961446/bartmobile-bart-20th-birthday","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_835"],"tags":["arts_5814","arts_21972","arts_22223","arts_585"],"featImg":"arts_13961450","label":"arts_140"},"arts_13961419":{"type":"posts","id":"arts_13961419","meta":{"index":"posts_1716263798","site":"arts","id":"13961419","score":null,"sort":[1721687962000]},"guestAuthors":[],"slug":"kenzie-smith-bbq-becky-oakland-activist-dies-at-43","title":"Kenzie Smith, Oakland Activist Involved In ‘BBQ Becky’ Incident, Dies at 43","publishDate":1721687962,"format":"standard","headTitle":"Kenzie Smith, Oakland Activist Involved In ‘BBQ Becky’ Incident, Dies at 43 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Kenzie Smith, an Oakland activist, community advocate and onetime city council candidate, unexpectedly died over the weekend at age 43. As of Monday, the circumstances of his death were unclear.\u003c/p>\n\u003cp>News of Smith’s passing began to circulate among friends and family members on Saturday morning. The news became public on Sunday, July 21, when Oakland rapper Stanley “Mistah F.A.B.” Cox posted a heartfelt message on Instagram.\u003c/p>\n\u003cp>“Saddened to wake up and share the news that my lil brother\u003ca href=\"https://www.instagram.com/kenzie4oakland/\"> @kenzie4oakland\u003c/a> ‘Carlos’\u003ca href=\"https://www.instagram.com/dopeeramagazine/\"> @dopeeramagazine\u003c/a> passed yesterday… I promise I will not let your work go down the drain… To Kenzie’s immediate family and friends, I send my love and deepest condolences, and to us, his extended family, let’s us remember his love and grace!”\u003c/p>\n\u003cp>Raised in Oakland, Smith had been involved in grassroots politics as the CEO of \u003ca href=\"https://communityrebirthone.org/\">Community Rebirth\u003c/a>, a nonprofit program designed to support those wrestling with mental health and homelessness. He stayed involved with organizations like the Oakland Roots and Oakland Ballers as a cultural ambassador, and helped organize backpack drives for Oakland students as well as food drives for the homeless.\u003c/p>\n\u003cp>Perhaps most notably, \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\">Smith was involved with “BBQ’n While Black”\u003c/a> — a yearly celebration of Black joy centered on food and positivity, hosted by \u003ca href=\"https://www.instagram.com/hmtwnhero/?hl=en\">Jhamel Robinson\u003c/a> and Logan McWilliams at Lake Merritt.\u003c/p>\n\u003cfigure id=\"attachment_13961434\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/kenziesmith_720.jpg\" alt=\"a man's portrait as he looks away from the camera on an Oakland street\" width=\"720\" height=\"412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/kenziesmith_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/kenziesmith_720-160x92.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Kenzie Smith, pictured during his campaign for Oakland City Council in 2018, left an impact on Oakland’s community. \u003ccite>(Kenzie Smith for City Council)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was always on the frontline for the people,” said Robinson, who met Smith in 2017, one year before their friend group co-organized the first “BBQn While Black.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He was truly about the community and helping people. A genuine soul. A protector. He always took care of his mom after his father passed away [10 years ago],” Robinson added.\u003c/p>\n\u003cp>In 2018, Smith inadvertently became a public figure when he and his friend Onsayo Abram were accosted by an angry white woman, \u003ca href=\"https://www.youtube.com/watch?v=LgaU1h0QiLo\">Jennifer Schulte, who called the police while Smith and Abram barbecued at Lake Merritt in Oakland\u003c/a>. The incident was recorded by Smith’s then-wife, Michelle Dione, and became virally known as “BBQ Becky.” The encounter transformed into a \u003ca href=\"https://www.bbc.com/news/newsbeat-44167760\">popular meme\u003c/a>, a \u003ca href=\"https://www.youtube.com/watch?v=CghM163-OwE\">reference in rap songs\u003c/a>, and even \u003ca href=\"https://www.inverse.com/article/45080-snl-takes-on-bbq-becky-meme-with-aidy-bryant-as-the-woman-on-the-phone\">a parody sketch in \u003ci>Saturday Night Live\u003c/i>\u003c/a>. (Smith and Abram were not charged with any wrongdoing).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4QUdgKECnmA\u003c/p>\n\u003cp>“[Smith] helped change things around the lake, pushing for things that happened to him not to happen [to others],” Robinson said. To Robinson, Smith personified hope for Oakland, even among the city’s most turbulent times. When Robinson first \u003ca href=\"https://www.instagram.com/hmtwnhero.jpg/?hl=en\">got into amateur photography, it was Smith who hooked him up with his first camera\u003c/a>.\u003c/p>\n\u003cp>Robinson’s praise of Smith was echoed by others.\u003c/p>\n\u003cp>“BBQ WHILE BLACK WILL BE BIGGER THEN EVER. You stood for OAKLAND, you stood for justice for Oakland, not just us but for all. I’m gone miss you like a mf,” the Oakland artist known as \u003ca href=\"https://www.instagram.com/business_splashgang/?hl=en\">Splashgang\u003c/a> shared on Instagram. “THE SUPPORT YOU GAVE TO THE BAY AREA CULTURE AND THE DEDICATION YOU GAVE TO @dopeeramagazine is epic.”\u003c/p>\n\u003cp>For years, Smith oversaw \u003ca href=\"https://www.instagram.com/dopeeramagazine/\">Dope Era Magazine\u003c/a>, an online media platform he co-founded with Mistah F.A.B to provide coverage about local issues and rising artists. In 2018, Smith ran for Oakland’s District 2 City Council, after being nominated for a position on Oakland’s Park and Recreation Advisory Committee. According to Robinson, Smith had plans to run again in 2026, and was already preparing campaign literature.\u003c/p>\n\u003cp>On \u003ca href=\"https://www.reddit.com/r/oakland/comments/1e8t09d/kenzie_smith_passed_away/\">a thread about Smith on Reddit\u003c/a>, various Oakland residents left messages of remembrance.\u003c/p>\n\u003cp>“He leaves a little hole in Oakland’s heart,” one user wrote. Another commented “No! We need more grassroots problem solving folks like him.” Other public figures like San Francisco rapper \u003ca href=\"https://www.instagram.com/p/C9smJ5kyXyF/?img_index=1\">Cellski\u003c/a> have also praised his work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Sunday, an impromptu remembrance from Smith was held in Oakland, where those who knew him shared memories, and condolences for his family. A formal candlelight memorial has not yet been announced.\u003c/p>\n\n","blocks":[],"excerpt":"The community advocate and onetime city council candidate was ‘always on the frontline for the people.’","status":"publish","parent":0,"modified":1721690303,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":714},"headData":{"title":"Kenzie Smith, Oakland Activist Involved In ‘BBQ Becky’ Incident, Dies at 43 | KQED","description":"The community advocate and onetime city council candidate was ‘always on the frontline for the people.’","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Kenzie Smith, Oakland Activist Involved In ‘BBQ Becky’ Incident, Dies at 43","datePublished":"2024-07-22T15:39:22-07:00","dateModified":"2024-07-22T16:18:23-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13961419","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13961419/kenzie-smith-bbq-becky-oakland-activist-dies-at-43","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kenzie Smith, an Oakland activist, community advocate and onetime city council candidate, unexpectedly died over the weekend at age 43. As of Monday, the circumstances of his death were unclear.\u003c/p>\n\u003cp>News of Smith’s passing began to circulate among friends and family members on Saturday morning. The news became public on Sunday, July 21, when Oakland rapper Stanley “Mistah F.A.B.” Cox posted a heartfelt message on Instagram.\u003c/p>\n\u003cp>“Saddened to wake up and share the news that my lil brother\u003ca href=\"https://www.instagram.com/kenzie4oakland/\"> @kenzie4oakland\u003c/a> ‘Carlos’\u003ca href=\"https://www.instagram.com/dopeeramagazine/\"> @dopeeramagazine\u003c/a> passed yesterday… I promise I will not let your work go down the drain… To Kenzie’s immediate family and friends, I send my love and deepest condolences, and to us, his extended family, let’s us remember his love and grace!”\u003c/p>\n\u003cp>Raised in Oakland, Smith had been involved in grassroots politics as the CEO of \u003ca href=\"https://communityrebirthone.org/\">Community Rebirth\u003c/a>, a nonprofit program designed to support those wrestling with mental health and homelessness. He stayed involved with organizations like the Oakland Roots and Oakland Ballers as a cultural ambassador, and helped organize backpack drives for Oakland students as well as food drives for the homeless.\u003c/p>\n\u003cp>Perhaps most notably, \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\">Smith was involved with “BBQ’n While Black”\u003c/a> — a yearly celebration of Black joy centered on food and positivity, hosted by \u003ca href=\"https://www.instagram.com/hmtwnhero/?hl=en\">Jhamel Robinson\u003c/a> and Logan McWilliams at Lake Merritt.\u003c/p>\n\u003cfigure id=\"attachment_13961434\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/kenziesmith_720.jpg\" alt=\"a man's portrait as he looks away from the camera on an Oakland street\" width=\"720\" height=\"412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/kenziesmith_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/kenziesmith_720-160x92.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Kenzie Smith, pictured during his campaign for Oakland City Council in 2018, left an impact on Oakland’s community. \u003ccite>(Kenzie Smith for City Council)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was always on the frontline for the people,” said Robinson, who met Smith in 2017, one year before their friend group co-organized the first “BBQn While Black.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He was truly about the community and helping people. A genuine soul. A protector. He always took care of his mom after his father passed away [10 years ago],” Robinson added.\u003c/p>\n\u003cp>In 2018, Smith inadvertently became a public figure when he and his friend Onsayo Abram were accosted by an angry white woman, \u003ca href=\"https://www.youtube.com/watch?v=LgaU1h0QiLo\">Jennifer Schulte, who called the police while Smith and Abram barbecued at Lake Merritt in Oakland\u003c/a>. The incident was recorded by Smith’s then-wife, Michelle Dione, and became virally known as “BBQ Becky.” The encounter transformed into a \u003ca href=\"https://www.bbc.com/news/newsbeat-44167760\">popular meme\u003c/a>, a \u003ca href=\"https://www.youtube.com/watch?v=CghM163-OwE\">reference in rap songs\u003c/a>, and even \u003ca href=\"https://www.inverse.com/article/45080-snl-takes-on-bbq-becky-meme-with-aidy-bryant-as-the-woman-on-the-phone\">a parody sketch in \u003ci>Saturday Night Live\u003c/i>\u003c/a>. (Smith and Abram were not charged with any wrongdoing).\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/4QUdgKECnmA'\n title='//www.youtube.com/embed/4QUdgKECnmA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“[Smith] helped change things around the lake, pushing for things that happened to him not to happen [to others],” Robinson said. To Robinson, Smith personified hope for Oakland, even among the city’s most turbulent times. When Robinson first \u003ca href=\"https://www.instagram.com/hmtwnhero.jpg/?hl=en\">got into amateur photography, it was Smith who hooked him up with his first camera\u003c/a>.\u003c/p>\n\u003cp>Robinson’s praise of Smith was echoed by others.\u003c/p>\n\u003cp>“BBQ WHILE BLACK WILL BE BIGGER THEN EVER. You stood for OAKLAND, you stood for justice for Oakland, not just us but for all. I’m gone miss you like a mf,” the Oakland artist known as \u003ca href=\"https://www.instagram.com/business_splashgang/?hl=en\">Splashgang\u003c/a> shared on Instagram. “THE SUPPORT YOU GAVE TO THE BAY AREA CULTURE AND THE DEDICATION YOU GAVE TO @dopeeramagazine is epic.”\u003c/p>\n\u003cp>For years, Smith oversaw \u003ca href=\"https://www.instagram.com/dopeeramagazine/\">Dope Era Magazine\u003c/a>, an online media platform he co-founded with Mistah F.A.B to provide coverage about local issues and rising artists. In 2018, Smith ran for Oakland’s District 2 City Council, after being nominated for a position on Oakland’s Park and Recreation Advisory Committee. According to Robinson, Smith had plans to run again in 2026, and was already preparing campaign literature.\u003c/p>\n\u003cp>On \u003ca href=\"https://www.reddit.com/r/oakland/comments/1e8t09d/kenzie_smith_passed_away/\">a thread about Smith on Reddit\u003c/a>, various Oakland residents left messages of remembrance.\u003c/p>\n\u003cp>“He leaves a little hole in Oakland’s heart,” one user wrote. Another commented “No! We need more grassroots problem solving folks like him.” Other public figures like San Francisco rapper \u003ca href=\"https://www.instagram.com/p/C9smJ5kyXyF/?img_index=1\">Cellski\u003c/a> have also praised his work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Sunday, an impromptu remembrance from Smith was held in Oakland, where those who knew him shared memories, and condolences for his family. A formal candlelight memorial has not yet been announced.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961419/kenzie-smith-bbq-becky-oakland-activist-dies-at-43","authors":["11748"],"categories":["arts_1","arts_835","arts_1564"],"tags":["arts_10278","arts_1785","arts_1768","arts_1143","arts_21789"],"featImg":"arts_13843026","label":"arts"},"arts_13961106":{"type":"posts","id":"arts_13961106","meta":{"index":"posts_1716263798","site":"arts","id":"13961106","score":null,"sort":[1720811944000]},"guestAuthors":[],"slug":"sing-sing-movie-review-colman-domingo-prison-theater-program","title":"‘Sing Sing’ Tenderly Probes the Joys – and Limits – of Art in Prison","publishDate":1720811944,"format":"standard","headTitle":"‘Sing Sing’ Tenderly Probes the Joys – and Limits – of Art in Prison | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It’s crucial, and foreboding, that \u003cem>Sing Sing\u003c/em> begins on a stage during a stirring performance of \u003cem>A Midsummer Night’s Dream\u003c/em>. John “Divine G” Whitfield (\u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a>) recites the play’s final lines to rapturous applause, in a production that’s been fully realized with lighting, costumes, and props. The cast is a group of lively and committed actors who also happen to be incarcerated at the notorious New York maximum-security prison. It quickly becomes clear this isn’t a dream or a flashback, it’s sometime in the 2000s — and Sing Sing’s Rehabilitation Through the Arts (RTA) program has already bore nurturing fruit for its participants for some time now. Before we see anything else, Divine G and his other incarcerated castmates are introduced as creative spirits.\u003c/p>\n\u003cp>[aside postid='arts_13960599']The easy way to tell a story of finding hope in even the bleakest of circumstances has been done many times over: Milk the despair; swoop in with a savior; heal the wayward souls through the power of arts, sports, etc. These narratives may mean well, but such a neatly curated dramatic arc is typically reductive and pathologizing of the very people it purports to humanize.\u003c/p>\n\u003cp>Director Greg Kwedar’s \u003cem>Sing Sing\u003c/em> is, mercifully and beautifully, different. Co-written with Clint Bentley but very much a collaborative effort with input from participants and alumni of the prison’s RTA program, the poignant drama avoids the well-trodden path at nearly every turn. It doesn’t ignore the despair, but it doesn’t wallow in it, either. And it understands that joining a character in the middle of their journey can be an even more compelling and truthful artistic exercise than mining the agonizing details of their origin story.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j3dXc6P3zH8\u003c/p>\n\u003cp>On screen, under the energetic direction of RTA volunteer Brent Buell (Paul Raci), the crew is close-knit, a refuge from the harsher realities of life within Sing Sing’s walls. In fact, the program has been so well-received that there’s a waiting list of would-be thespians eager to join the ensemble for its next production. Playwright and novelist Divine G, the group’s de facto heart and soul, decides to recruit Clarence “Divine Eye” Maclin, another incarcerated person he’s been observing around the block. Divine Eye is a tough and prickly loner who’s dealing drugs within the jail, but he’s also really into Shakespeare, and is receptive to — if a little wary of — getting in on the program. (The formerly incarcerated Maclin, an absorbing presence, plays a version of himself here, as do several other colorful \u003cem>Sing Sing \u003c/em>performers. The real-life inspiration for Domingo’s character has a small cameo early in the film.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13957481']By its own design, \u003cem>Sing Sing \u003c/em>presents multiple complex thematic threads and then unspools them with specificity and tenderness. A lighthearted “let’s put on a show” attitude courses throughout, as the cast rehearses an original comedic play, \u003cem>Breakin’ the Mummy’s Code\u003c/em>, sprung from their own vivid imaginations. (It’s a wacky time-traveling epic starring a hodge-podge of pop culture figures, including Captain Hook, Hamlet, and … Freddy Krueger.) Divine Eye’s arrival shakes up the group’s dynamic a bit, and a fascinating dilemma arises when Divine G, like any diligent artist who’s protective of their craft, finds himself having to check his ego for the good of the group.\u003c/p>\n\u003cfigure id=\"attachment_13961109\" class=\"wp-caption aligncenter\" style=\"max-width: 1784px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM.png\" alt=\"Five men gather at the back of the room, each watching something off-camera. Three of the men are laughing. \" width=\"1784\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM.png 1784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-800x483.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-1020x616.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-768x464.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-1536x928.png 1536w\" sizes=\"(max-width: 1784px) 100vw, 1784px\">\u003cfigcaption class=\"wp-caption-text\">Paul Raci, Sean San José, Colman Domingo, Sean ‘Dino’ Johnson, and Mosi Eagle. \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, minor frustrations behind the collaborative art process are complicated by unusually high stakes. RTA operates as a lifeline for these men — a way, as one of them puts it, for them to “become human again” within the confines of a place deliberately structured to strip them of their humanity. The film takes time to clearly communicate this often; it’s especially effectively rendered during an exercise where volunteer director Brent prompts each performer to imagine a favorite memory or place, and then describe it aloud.\u003c/p>\n\u003cp>But Kwedar and Bentley are careful to not give in to mawkish trappings, and just when it seems as though the movie might be veering close to “\u003ca href=\"https://www.youtube.com/watch?v=j64SctPKmqk\">O Captain, my Captain!\u003c/a>” territory, it reins itself back in. It helps that \u003cem>Sing Sing \u003c/em>is unafraid to acknowledge art’s limitations as a vessel for those who are incarcerated, even as it celebrates the joys art can produce — not everyone in the group is able to access their happy place during that exercise. It’s also buoyed by the collective strength of the performances which make each character, even those we learn just a few details about, distinctive and memorable. Domingo and Maclin in particular share a special kinetic energy that oscillates as any friendship can over time.\u003c/p>\n\u003cp>[aside postid='arts_13956038']For decades a movement opposed to the country’s mass incarceration epidemic has been gaining momentum, and \u003cem>Sing Sing \u003c/em>comes at an interesting time. In 2024, two of the summer’s biggest movies — \u003cem>Bad Boys: Ride or Die \u003c/em>and \u003cem>Beverly Hills Cop: Axel F —\u003c/em> continue the grand Hollywood tradition of dramatizing the pursuit and capture of “bad guys” by law enforcement. Dick Wolf’s \u003cem>Law & Order \u003c/em>franchise is still going strong, too. Kwedar’s film, on the other hand, isn’t especially interested in designating “bad” or “good” guys, and the offenses the characters have been accused and convicted of aren’t all that important to the story. The main exception is Divine G, seeking clemency for a wrongful murder conviction based on evidence that clearly exonerates him — and perhaps some audiences will find this to be a little too convenient as a narrative conceit.\u003c/p>\n\u003cp>But Divine G’s story is true-to-life. And to borrow from a different play entirely: It’s all-too \u003ca href=\"https://www.youtube.com/watch?v=U45CzgrLE9s\">easy to be hard\u003c/a>. \u003cem>Sing Sing\u003c/em>, and its characters, gamely seek out the more challenging work of excavating authentic compassion and empathy for those who rarely receive it.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Sing Sing’ opens in New York and Los Angeles on July 12 and is released nationwide on Aug. 2, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Colman Domingo leads a dynamic ensemble in a stirring dramatization of Sing Sing prison's arts rehabilitation program.","status":"publish","parent":0,"modified":1720811944,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":1094},"headData":{"title":"‘Sing Sing’ Movie Review: An Authentic, Compassionate True Story | KQED","description":"Colman Domingo leads a dynamic ensemble in a stirring dramatization of Sing Sing prison's arts rehabilitation program.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"‘Sing Sing’ Movie Review: An Authentic, Compassionate True Story %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Sing Sing’ Tenderly Probes the Joys – and Limits – of Art in Prison","datePublished":"2024-07-12T12:19:04-07:00","dateModified":"2024-07-12T12:19:04-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Aisha Harris, NPR","nprStoryId":"nx-s1-5029356","nprHtmlLink":"https://www.npr.org/2024/07/11/nx-s1-5029356/sing-sing-review-colman-domingo","nprRetrievedStory":"1","nprPubDate":"2024-07-12T07:00:00-04:00","nprStoryDate":"2024-07-12T07:00:00-04:00","nprLastModifiedDate":"2024-07-12T07:01:02.625-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13961106/sing-sing-movie-review-colman-domingo-prison-theater-program","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s crucial, and foreboding, that \u003cem>Sing Sing\u003c/em> begins on a stage during a stirring performance of \u003cem>A Midsummer Night’s Dream\u003c/em>. John “Divine G” Whitfield (\u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a>) recites the play’s final lines to rapturous applause, in a production that’s been fully realized with lighting, costumes, and props. The cast is a group of lively and committed actors who also happen to be incarcerated at the notorious New York maximum-security prison. It quickly becomes clear this isn’t a dream or a flashback, it’s sometime in the 2000s — and Sing Sing’s Rehabilitation Through the Arts (RTA) program has already bore nurturing fruit for its participants for some time now. Before we see anything else, Divine G and his other incarcerated castmates are introduced as creative spirits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13960599","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The easy way to tell a story of finding hope in even the bleakest of circumstances has been done many times over: Milk the despair; swoop in with a savior; heal the wayward souls through the power of arts, sports, etc. These narratives may mean well, but such a neatly curated dramatic arc is typically reductive and pathologizing of the very people it purports to humanize.\u003c/p>\n\u003cp>Director Greg Kwedar’s \u003cem>Sing Sing\u003c/em> is, mercifully and beautifully, different. Co-written with Clint Bentley but very much a collaborative effort with input from participants and alumni of the prison’s RTA program, the poignant drama avoids the well-trodden path at nearly every turn. It doesn’t ignore the despair, but it doesn’t wallow in it, either. And it understands that joining a character in the middle of their journey can be an even more compelling and truthful artistic exercise than mining the agonizing details of their origin story.\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/j3dXc6P3zH8'\n title='//www.youtube.com/embed/j3dXc6P3zH8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On screen, under the energetic direction of RTA volunteer Brent Buell (Paul Raci), the crew is close-knit, a refuge from the harsher realities of life within Sing Sing’s walls. In fact, the program has been so well-received that there’s a waiting list of would-be thespians eager to join the ensemble for its next production. Playwright and novelist Divine G, the group’s de facto heart and soul, decides to recruit Clarence “Divine Eye” Maclin, another incarcerated person he’s been observing around the block. Divine Eye is a tough and prickly loner who’s dealing drugs within the jail, but he’s also really into Shakespeare, and is receptive to — if a little wary of — getting in on the program. (The formerly incarcerated Maclin, an absorbing presence, plays a version of himself here, as do several other colorful \u003cem>Sing Sing \u003c/em>performers. The real-life inspiration for Domingo’s character has a small cameo early in the film.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957481","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>By its own design, \u003cem>Sing Sing \u003c/em>presents multiple complex thematic threads and then unspools them with specificity and tenderness. A lighthearted “let’s put on a show” attitude courses throughout, as the cast rehearses an original comedic play, \u003cem>Breakin’ the Mummy’s Code\u003c/em>, sprung from their own vivid imaginations. (It’s a wacky time-traveling epic starring a hodge-podge of pop culture figures, including Captain Hook, Hamlet, and … Freddy Krueger.) Divine Eye’s arrival shakes up the group’s dynamic a bit, and a fascinating dilemma arises when Divine G, like any diligent artist who’s protective of their craft, finds himself having to check his ego for the good of the group.\u003c/p>\n\u003cfigure id=\"attachment_13961109\" class=\"wp-caption aligncenter\" style=\"max-width: 1784px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM.png\" alt=\"Five men gather at the back of the room, each watching something off-camera. Three of the men are laughing. \" width=\"1784\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM.png 1784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-800x483.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-1020x616.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-768x464.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-1536x928.png 1536w\" sizes=\"(max-width: 1784px) 100vw, 1784px\">\u003cfigcaption class=\"wp-caption-text\">Paul Raci, Sean San José, Colman Domingo, Sean ‘Dino’ Johnson, and Mosi Eagle. \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, minor frustrations behind the collaborative art process are complicated by unusually high stakes. RTA operates as a lifeline for these men — a way, as one of them puts it, for them to “become human again” within the confines of a place deliberately structured to strip them of their humanity. The film takes time to clearly communicate this often; it’s especially effectively rendered during an exercise where volunteer director Brent prompts each performer to imagine a favorite memory or place, and then describe it aloud.\u003c/p>\n\u003cp>But Kwedar and Bentley are careful to not give in to mawkish trappings, and just when it seems as though the movie might be veering close to “\u003ca href=\"https://www.youtube.com/watch?v=j64SctPKmqk\">O Captain, my Captain!\u003c/a>” territory, it reins itself back in. It helps that \u003cem>Sing Sing \u003c/em>is unafraid to acknowledge art’s limitations as a vessel for those who are incarcerated, even as it celebrates the joys art can produce — not everyone in the group is able to access their happy place during that exercise. It’s also buoyed by the collective strength of the performances which make each character, even those we learn just a few details about, distinctive and memorable. Domingo and Maclin in particular share a special kinetic energy that oscillates as any friendship can over time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956038","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>For decades a movement opposed to the country’s mass incarceration epidemic has been gaining momentum, and \u003cem>Sing Sing \u003c/em>comes at an interesting time. In 2024, two of the summer’s biggest movies — \u003cem>Bad Boys: Ride or Die \u003c/em>and \u003cem>Beverly Hills Cop: Axel F —\u003c/em> continue the grand Hollywood tradition of dramatizing the pursuit and capture of “bad guys” by law enforcement. Dick Wolf’s \u003cem>Law & Order \u003c/em>franchise is still going strong, too. Kwedar’s film, on the other hand, isn’t especially interested in designating “bad” or “good” guys, and the offenses the characters have been accused and convicted of aren’t all that important to the story. The main exception is Divine G, seeking clemency for a wrongful murder conviction based on evidence that clearly exonerates him — and perhaps some audiences will find this to be a little too convenient as a narrative conceit.\u003c/p>\n\u003cp>But Divine G’s story is true-to-life. And to borrow from a different play entirely: It’s all-too \u003ca href=\"https://www.youtube.com/watch?v=U45CzgrLE9s\">easy to be hard\u003c/a>. \u003cem>Sing Sing\u003c/em>, and its characters, gamely seek out the more challenging work of excavating authentic compassion and empathy for those who rarely receive it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sing Sing’ opens in New York and Los Angeles on July 12 and is released nationwide on Aug. 2, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961106/sing-sing-movie-review-colman-domingo-prison-theater-program","authors":["byline_arts_13961106"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_74","arts_75","arts_967"],"tags":["arts_22214","arts_22085","arts_769","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13961107","label":"arts_140"},"arts_13960990":{"type":"posts","id":"arts_13960990","meta":{"index":"posts_1716263798","site":"arts","id":"13960990","score":null,"sort":[1720721254000]},"guestAuthors":[],"slug":"san-francisco-chinatown-artist-registry-sfac-chinese-culture-center","title":"SF Launches Chinatown Artist Registry With $2.26 Million for Public Art","publishDate":1720721254,"format":"standard","headTitle":"SF Launches Chinatown Artist Registry With $2.26 Million for Public Art | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The \u003ca href=\"https://www.sfartscommission.org/\">San Francisco Arts Commission\u003c/a> (SFAC) and the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a> (CCC) announced today the creation of the \u003ca href=\"https://sfartscommission.org/find-opportunities/calls-for-artists/chinatown-artist-registry\">Chinatown Artist Registry\u003c/a>, launching a call for artists with meaningful connections to the neighborhood.\u003c/p>\n\u003cp>Artists accepted into the registry will be eligible for public art opportunities that total $993,000 in artist fees, including a sculpture commission in Portsmouth Square, two-dimensional artwork purchases for the Chinatown Public Health Center, and a wall work integrated into five arched niches at the Chinatown Him Mark Lai branch library. The registry will be used for other upcoming projects through 2027.\u003c/p>\n\u003cp>Jenny Leung, director of the CCC, marks this as a major milestone in the story of Chinatown’s city-funded public art. “I just really commend the city for listening to the community,” she told KQED. “Chinatown really does care about its public presentation, and our community has been really deeply underrepresented in our public spaces in public art.”\u003c/p>\n\u003cfigure id=\"attachment_13960996\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960996\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg\" alt=\"Birds fly above a pedestrian bridge connecting a Hilton to Portsmouth Square in San Francisco's Chinatown neighborhood on Jan. 22, 2024.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Commission worked closely with Chinese Culture Center to create the Chinatown Artist Registry. The CCC will hold workshops and provide language support to help artists apply to the registry. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13938291,news_11973503' label=\"Public Art in Chinatown\"]In November 2023, the CCC, along with six other Chinatown organizations, successfully advocated for the \u003ca href=\"https://www.kqed.org/arts/13938291/sfac-remove-dragon-relief-broadway-tunnel-chinatown\">removal of Patti Bowler’s \u003ci>Dragon Relief\u003c/i>\u003c/a> from the Chinatown Public Health Center. The SFAC had proposed to reposition the artwork on the building’s façade or roof, but ultimately decided that the 56-foot-wide bronze and brass sculpture, installed 1970, no longer met the city’s standards for a community artwork.\u003c/p>\n\u003cp>Similarly, Portsmouth Square’s existing public art has been part of an evaluation process set forth in 2023 by the city’s \u003ca href=\"https://www.sfartscommission.org/content/monuments-and-memorials-advisory-committee\">Monuments and Memorials Advisory Committee\u003c/a>. As CCC Deputy Director Hoi Leung \u003ca href=\"https://www.kqed.org/news/11973503/sf-chinatown-weighs-in-on-controversial-monuments-in-portsmouth-square\">told KQED earlier this year\u003c/a>, the square currently contains no artwork that commemorates Asian American history or artwork made by artists of Asian descent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfartscommission.org/experience-art/projects/portsmouth-square-improvement-project-public-art-project-plan\">Portsmouth Square\u003c/a>, the \u003ca href=\"https://www.sfartscommission.org/experience-art/projects/chinatown-public-health-center-renovation-public-art-project-plan\">Chinatown Public Health Center\u003c/a> and the \u003ca href=\"https://www.sfartscommission.org/experience-art/projects/chinatown-him-mark-lai-branch-library-renovation-project\">Chinatown library\u003c/a> are all undergoing multi-million dollar renovations in the coming years. The funding for public art in these projects comes from a combination of San Francisco’s Art Enrichment Ordinance (or 2%-for-Art-Program) and other state and city sources.\u003c/p>\n\u003cfigure id=\"attachment_13938308\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938308\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg\" alt=\"Architectural rendering of glass-fronted building with red wrapping shape and Chinese characters on column\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of the planned upgrades to the Chinatown Public Health Center, as seen from Mason Street. \u003ccite>(San Francisco Public Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are no small commissions. The artist fee for a new, human-sized Portsmouth Square sculpture (inclusive of fabrication and transportation costs) is $340,000. At the Chinatown Public Health Center, the budget for a new exterior artwork near the clinic entrance is $107,000.\u003c/p>\n\u003cp>Integral to SFAC’s partnership with the CCC is a robust outreach plan, which involves virtual and in-person workshops and language support. A large percentage of Chinatown’s residents are monolingual seniors.\u003c/p>\n\u003cp>“We’ll also have one-on-one hours for artists that want support and help navigating the process,” said Leung.\u003c/p>\n\u003cp>[aside postID='arts_13920940']The registry builds on the model of the \u003ca href=\"https://www.sfartscommission.org/find-opportunities/calls-for-artists/bayview-artist-registry\">Bayview Artist Registry\u003c/a>, a similar neighborhood-specific call that led to artwork commissions and purchases for the \u003ca href=\"https://www.kqed.org/arts/13920940/new-southeast-community-center-bayview-art-sfac-sfpuc\">Southeast Community Center\u003c/a>, Southeast Family Health Center, Southeast Wastewater Treatment Plant and India Basin Shoreline Park projects.\u003c/p>\n\u003cp>“We are excited about the new artists that will be applying for this opportunity, and undiscovered artists that maybe have not had their work showcased or uplifted,” Leung said. “We want to make sure that everyone has the ability to apply.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Applications to the Chinatown Artist Registry are due by Sept. 11, 2024. The Chinese Culture Center will hold a virtual workshop on Aug. 6, 5–6:30 p.m. and an in-person workshop on Aug. 13, 5:30–7 p.m. \u003ca href=\"https://sfartscommission.org/find-opportunities/calls-for-artists/chinatown-artist-registry\">Click here for more information\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Artists will be eligible for public art opportunities in Portsmouth Square and other renovation projects.","status":"publish","parent":0,"modified":1720747244,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":655},"headData":{"title":"SF Launches Chinatown Artist Registry With $2.26 Million for Public Art | KQED","description":"Artists will be eligible for public art opportunities in Portsmouth Square and other renovation projects.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"%%title%% %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"SF Launches Chinatown Artist Registry With $2.26 Million for Public Art","datePublished":"2024-07-11T11:07:34-07:00","dateModified":"2024-07-11T18:20:44-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13960990","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13960990/san-francisco-chinatown-artist-registry-sfac-chinese-culture-center","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.sfartscommission.org/\">San Francisco Arts Commission\u003c/a> (SFAC) and the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a> (CCC) announced today the creation of the \u003ca href=\"https://sfartscommission.org/find-opportunities/calls-for-artists/chinatown-artist-registry\">Chinatown Artist Registry\u003c/a>, launching a call for artists with meaningful connections to the neighborhood.\u003c/p>\n\u003cp>Artists accepted into the registry will be eligible for public art opportunities that total $993,000 in artist fees, including a sculpture commission in Portsmouth Square, two-dimensional artwork purchases for the Chinatown Public Health Center, and a wall work integrated into five arched niches at the Chinatown Him Mark Lai branch library. The registry will be used for other upcoming projects through 2027.\u003c/p>\n\u003cp>Jenny Leung, director of the CCC, marks this as a major milestone in the story of Chinatown’s city-funded public art. “I just really commend the city for listening to the community,” she told KQED. “Chinatown really does care about its public presentation, and our community has been really deeply underrepresented in our public spaces in public art.”\u003c/p>\n\u003cfigure id=\"attachment_13960996\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960996\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg\" alt=\"Birds fly above a pedestrian bridge connecting a Hilton to Portsmouth Square in San Francisco's Chinatown neighborhood on Jan. 22, 2024.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Commission worked closely with Chinese Culture Center to create the Chinatown Artist Registry. The CCC will hold workshops and provide language support to help artists apply to the registry. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938291,news_11973503","label":"Public Art in Chinatown "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In November 2023, the CCC, along with six other Chinatown organizations, successfully advocated for the \u003ca href=\"https://www.kqed.org/arts/13938291/sfac-remove-dragon-relief-broadway-tunnel-chinatown\">removal of Patti Bowler’s \u003ci>Dragon Relief\u003c/i>\u003c/a> from the Chinatown Public Health Center. The SFAC had proposed to reposition the artwork on the building’s façade or roof, but ultimately decided that the 56-foot-wide bronze and brass sculpture, installed 1970, no longer met the city’s standards for a community artwork.\u003c/p>\n\u003cp>Similarly, Portsmouth Square’s existing public art has been part of an evaluation process set forth in 2023 by the city’s \u003ca href=\"https://www.sfartscommission.org/content/monuments-and-memorials-advisory-committee\">Monuments and Memorials Advisory Committee\u003c/a>. As CCC Deputy Director Hoi Leung \u003ca href=\"https://www.kqed.org/news/11973503/sf-chinatown-weighs-in-on-controversial-monuments-in-portsmouth-square\">told KQED earlier this year\u003c/a>, the square currently contains no artwork that commemorates Asian American history or artwork made by artists of Asian descent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfartscommission.org/experience-art/projects/portsmouth-square-improvement-project-public-art-project-plan\">Portsmouth Square\u003c/a>, the \u003ca href=\"https://www.sfartscommission.org/experience-art/projects/chinatown-public-health-center-renovation-public-art-project-plan\">Chinatown Public Health Center\u003c/a> and the \u003ca href=\"https://www.sfartscommission.org/experience-art/projects/chinatown-him-mark-lai-branch-library-renovation-project\">Chinatown library\u003c/a> are all undergoing multi-million dollar renovations in the coming years. The funding for public art in these projects comes from a combination of San Francisco’s Art Enrichment Ordinance (or 2%-for-Art-Program) and other state and city sources.\u003c/p>\n\u003cfigure id=\"attachment_13938308\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938308\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg\" alt=\"Architectural rendering of glass-fronted building with red wrapping shape and Chinese characters on column\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of the planned upgrades to the Chinatown Public Health Center, as seen from Mason Street. \u003ccite>(San Francisco Public Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are no small commissions. The artist fee for a new, human-sized Portsmouth Square sculpture (inclusive of fabrication and transportation costs) is $340,000. At the Chinatown Public Health Center, the budget for a new exterior artwork near the clinic entrance is $107,000.\u003c/p>\n\u003cp>Integral to SFAC’s partnership with the CCC is a robust outreach plan, which involves virtual and in-person workshops and language support. A large percentage of Chinatown’s residents are monolingual seniors.\u003c/p>\n\u003cp>“We’ll also have one-on-one hours for artists that want support and help navigating the process,” said Leung.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13920940","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The registry builds on the model of the \u003ca href=\"https://www.sfartscommission.org/find-opportunities/calls-for-artists/bayview-artist-registry\">Bayview Artist Registry\u003c/a>, a similar neighborhood-specific call that led to artwork commissions and purchases for the \u003ca href=\"https://www.kqed.org/arts/13920940/new-southeast-community-center-bayview-art-sfac-sfpuc\">Southeast Community Center\u003c/a>, Southeast Family Health Center, Southeast Wastewater Treatment Plant and India Basin Shoreline Park projects.\u003c/p>\n\u003cp>“We are excited about the new artists that will be applying for this opportunity, and undiscovered artists that maybe have not had their work showcased or uplifted,” Leung said. “We want to make sure that everyone has the ability to apply.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Applications to the Chinatown Artist Registry are due by Sept. 11, 2024. The Chinese Culture Center will hold a virtual workshop on Aug. 6, 5–6:30 p.m. and an in-person workshop on Aug. 13, 5:30–7 p.m. \u003ca href=\"https://sfartscommission.org/find-opportunities/calls-for-artists/chinatown-artist-registry\">Click here for more information\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13960990/san-francisco-chinatown-artist-registry-sfac-chinese-culture-center","authors":["61"],"categories":["arts_1","arts_835","arts_235","arts_70"],"tags":["arts_3835","arts_10278","arts_1879"],"featImg":"arts_13960997","label":"arts"},"arts_13960850":{"type":"posts","id":"arts_13960850","meta":{"index":"posts_1716263798","site":"arts","id":"13960850","score":null,"sort":[1720636979000]},"guestAuthors":[],"slug":"luke-gilford-takes-you-on-a-journey-to-the-queer-rodeo-in-national-anthem","title":"Luke Gilford Takes You on a Journey to the Queer Rodeo in ‘National Anthem’","publishDate":1720636979,"format":"standard","headTitle":"Luke Gilford Takes You on a Journey to the Queer Rodeo in ‘National Anthem’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>If \u003cem>Barbie\u003c/em> (and Cormac McCarthy) taught us anything, it’s that few symbols herald straight hypermasculinity quite like horses do.\u003c/p>\n\u003cp>Perhaps that’s why queer cowboy stories have endured in Hollywood — one way to make a love story interesting after all is by making it subversive or forbidden.\u003c/p>\n\u003cp>[aside postid='arts_13959918']Luke Gilford’s \u003cem>National Anthem\u003c/em> sits within that tradition of films. But it also doesn’t.\u003c/p>\n\u003cp>It’s true that 21-year-old Dylan (a phenomenal Charlie Plummer) has not been raised in an environment that celebrates or is even open to his sexuality. As a poor construction worker in the American Southwest and father figure to his younger brother, Dylan mostly stays quiet and keeps his head down when his mother (Robyn Lively) and co-workers scoff in disgust or make jokes about him being gay.\u003c/p>\n\u003cp>Although \u003cem>National Anthem\u003c/em> is indeed a story about star-crossed lovers, it is also, more importantly, a coming-of-age exploration of what it means for a person to find community and a place to belong. It also poignantly asks how much autonomy we have in that pursuit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In it, Dylan is pressured by his mom to take on more work in order to support their cash-strapped family. He happens to find it at a ranch unlike anything he’s ever seen — a queer community of rodeo performers living together in what seems like an idyllic oasis free from the repressive constraints of the outside world.\u003c/p>\n\u003cp>Almost nothing is said about each person’s sexuality or gender identity — it doesn’t need to be in a place like this, where fluidity and a rejection of norms is assumed.\u003c/p>\n\u003cp>Dylan, perhaps for the first time, begins to consider what his own gender performance could look like if he were not inhibited by society’s expectations.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oeGCjSOHfZ8&t=21s\u003c/p>\n\u003cp>The young construction worker is captivated by everyone’s strong sense of identity and the camaraderie that exists within the nameless group. He almost immediately sparks a romance with the enigmatic and free-spirited Sky (Eve Lindley), but their relationship is complicated by Sky’s existing open partnership with Pepe, the group’s leader.\u003c/p>\n\u003cp>[aside postid='arts_13960471']Cinematographer Katelin Arizmendi artfully cultivates a sense of wonder and awe at the landscape that’s almost its own character in the story. She also gives the film an inkling of surrealism, which heightens Dylan’s dreamlike stupor as he is swept up in this intoxicating romance.\u003c/p>\n\u003cp>When Dylan goes to his first rodeo with the group, a montage of majestic scenes that scream America — reminiscent of a Budweiser commercial — floods his gaze. But peppered in with the shots of bulls, horses and rugged landscapes are sights of queer romance, pride flags and drag queens touching up their makeup.\u003c/p>\n\u003cp>Although he finds a newfound freedom and acceptance here, the strain on his relationship with Sky forces Dylan to grapple with where he belongs — is it within the community or with his younger brother and struggling alcoholic mother?\u003c/p>\n\u003cp>Dylan’s family backstory is frustratingly under-developed, often relied on as a crutch to show that his life is difficult but never expounded upon or resolved in a satisfactory way. His absent father is referenced throughout, but it is unclear what impact, if any, this absence was meant to have had on him.\u003c/p>\n\u003cp>[aside postid='arts_13956604']Gilford, the son of a rodeo rider from Colorado, has a deep personal connection to his feature directorial debut. He had for much of his life an ambivalent relationship to his cowboy roots — until he found the International Gay Rodeo Association.\u003c/p>\n\u003cp>As both a participant and a researcher who conducted interviews and took photographs, Gilford observed that this was a way for members of the LGBTQ+ community to reclaim the idea of patriotism in a place where they traditionally are not welcome. \u003cem>National Anthem\u003c/em>, Gilford’s 2020 book of photography of the same name, documents scenes from these queer rodeos.\u003c/p>\n\u003cp>More than anything, Gilford’s film ought to be lauded for the way it continues telling a story about a subculture that few know exist.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘National Anthem’ is released nationwide on July 12, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Gilford, the son of a rodeo rider, has a deep personal connection to his thoughtful feature directorial debut.","status":"publish","parent":0,"modified":1720629945,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":726},"headData":{"title":"‘National Anthem’ Is a Poignant Journey to the Gay Rodeo | KQED","description":"Gilford, the son of a rodeo rider, has a deep personal connection to his thoughtful feature directorial debut.","ogTitle":"Luke Gilford Takes You on a Trip to the Queer Rodeo in ‘National Anthem’","ogDescription":"","ogImgId":"","twTitle":"Luke Gilford Takes You on a Trip to the Queer Rodeo in ‘National Anthem’","twDescription":"","twImgId":"","socialTitle":"‘National Anthem’ Is a Poignant Journey to the Gay Rodeo %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Luke Gilford Takes You on a Journey to the Queer Rodeo in ‘National Anthem’","datePublished":"2024-07-10T11:42:59-07:00","dateModified":"2024-07-10T09:45:45-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Krysta Fauria, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13960850/luke-gilford-takes-you-on-a-journey-to-the-queer-rodeo-in-national-anthem","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If \u003cem>Barbie\u003c/em> (and Cormac McCarthy) taught us anything, it’s that few symbols herald straight hypermasculinity quite like horses do.\u003c/p>\n\u003cp>Perhaps that’s why queer cowboy stories have endured in Hollywood — one way to make a love story interesting after all is by making it subversive or forbidden.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13959918","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Luke Gilford’s \u003cem>National Anthem\u003c/em> sits within that tradition of films. But it also doesn’t.\u003c/p>\n\u003cp>It’s true that 21-year-old Dylan (a phenomenal Charlie Plummer) has not been raised in an environment that celebrates or is even open to his sexuality. As a poor construction worker in the American Southwest and father figure to his younger brother, Dylan mostly stays quiet and keeps his head down when his mother (Robyn Lively) and co-workers scoff in disgust or make jokes about him being gay.\u003c/p>\n\u003cp>Although \u003cem>National Anthem\u003c/em> is indeed a story about star-crossed lovers, it is also, more importantly, a coming-of-age exploration of what it means for a person to find community and a place to belong. It also poignantly asks how much autonomy we have in that pursuit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In it, Dylan is pressured by his mom to take on more work in order to support their cash-strapped family. He happens to find it at a ranch unlike anything he’s ever seen — a queer community of rodeo performers living together in what seems like an idyllic oasis free from the repressive constraints of the outside world.\u003c/p>\n\u003cp>Almost nothing is said about each person’s sexuality or gender identity — it doesn’t need to be in a place like this, where fluidity and a rejection of norms is assumed.\u003c/p>\n\u003cp>Dylan, perhaps for the first time, begins to consider what his own gender performance could look like if he were not inhibited by society’s expectations.\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/oeGCjSOHfZ8'\n title='//www.youtube.com/embed/oeGCjSOHfZ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The young construction worker is captivated by everyone’s strong sense of identity and the camaraderie that exists within the nameless group. He almost immediately sparks a romance with the enigmatic and free-spirited Sky (Eve Lindley), but their relationship is complicated by Sky’s existing open partnership with Pepe, the group’s leader.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13960471","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Cinematographer Katelin Arizmendi artfully cultivates a sense of wonder and awe at the landscape that’s almost its own character in the story. She also gives the film an inkling of surrealism, which heightens Dylan’s dreamlike stupor as he is swept up in this intoxicating romance.\u003c/p>\n\u003cp>When Dylan goes to his first rodeo with the group, a montage of majestic scenes that scream America — reminiscent of a Budweiser commercial — floods his gaze. But peppered in with the shots of bulls, horses and rugged landscapes are sights of queer romance, pride flags and drag queens touching up their makeup.\u003c/p>\n\u003cp>Although he finds a newfound freedom and acceptance here, the strain on his relationship with Sky forces Dylan to grapple with where he belongs — is it within the community or with his younger brother and struggling alcoholic mother?\u003c/p>\n\u003cp>Dylan’s family backstory is frustratingly under-developed, often relied on as a crutch to show that his life is difficult but never expounded upon or resolved in a satisfactory way. His absent father is referenced throughout, but it is unclear what impact, if any, this absence was meant to have had on him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956604","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Gilford, the son of a rodeo rider from Colorado, has a deep personal connection to his feature directorial debut. He had for much of his life an ambivalent relationship to his cowboy roots — until he found the International Gay Rodeo Association.\u003c/p>\n\u003cp>As both a participant and a researcher who conducted interviews and took photographs, Gilford observed that this was a way for members of the LGBTQ+ community to reclaim the idea of patriotism in a place where they traditionally are not welcome. \u003cem>National Anthem\u003c/em>, Gilford’s 2020 book of photography of the same name, documents scenes from these queer rodeos.\u003c/p>\n\u003cp>More than anything, Gilford’s film ought to be lauded for the way it continues telling a story about a subculture that few know exist.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘National Anthem’ is released nationwide on July 12, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13960850/luke-gilford-takes-you-on-a-journey-to-the-queer-rodeo-in-national-anthem","authors":["byline_arts_13960850"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_74","arts_75"],"tags":["arts_3226","arts_769","arts_22111","arts_585"],"featImg":"arts_13960855","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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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":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","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. 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