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"content": "\u003cp>\u003ci data-stringify-type=\"italic\">This story first appeared in 2019 to mark the 50th anniversary of the occupation of Alcatraz.\u003cbr>\n\u003c/i>\u003cbr>\nAlcatraz is far more than a 22-acre island in San Francisco Bay, far more than the location of a former federal prison, and far more than a cursory tourist destination. Fifty years ago, it became a site of Native American activism that forever changed government policy and asserted the organizing power of a united Indigenous people.\u003c/p>\n\u003cp>[aside postID='arts_13869074' 'hero=https://ww2.kqed.org/app/uploads/sites/2/2019/11/GettyImages-515575596-1020x683_Resized-1020x644.jpg' label='More on Alcatraz']\u003c/p>\n\u003cp>On November 20, 1969, a group of Native American students landed on Alcatraz Island, launching a 19-month occupation based on an established legal principle of reclaiming abandoned federal lands for Native use. Their claim came after years of watching the U.S. government terminate the status of over 100 tribes and remove approximately \u003ca href=\"http://www.nativepartnership.org/site/PageServer?pagename=PWNA_Native_History_terminationpolicySW\" target=\"_blank\" rel=\"noopener noreferrer\">2,500,000 acres of trust land from protected status\u003c/a>.\u003c/p>\n\u003cp>The young leaders of the occupation, including LaNada Means and Richard Oakes, cannily turned the paternalistic language of the American government into pointed media moments. The activists proclaimed the cold and windy island “more than suitable as an Indian Reservation, as determined by the White Man’s own standards.”\u003c/p>\n\u003cp>[aside postID='news_11780279' 'hero=https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/IMG_2671-1-1020x765.jpg' label='Reflections on Alcatraz']\u003c/p>\n\u003cp>“It would be fitting and symbolic that ships from all over the world, entering the Golden Gate, would first see Indian land, and thus be reminded of the true history of this nation,” Oakes read for news cameras. “This tiny island would be a symbol of the great lands once ruled by free and noble Indians.”\u003c/p>\n\u003cp>Their goals were not just symbolic, but practical. The San Francisco Indian Center burned to the ground just a month prior to the occupation; the organizers proposed Alcatraz as a site for a new cultural center, a place to educate, preserve and reestablish Native American ways.\u003c/p>\n\u003cp>KQED’s archival footage, along with shots taken by Doris Purdy (then an employee of the Bureau of Indian Affairs), and a few clips from Sacramento’s KCRA News, tell a story of an idealistic group of young people, members of tribes spread across the continent, who gathered on Alcatraz to challenge not just the conditions of 1969, but centuries of cultural erasure. —\u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On November 20, 1969, a group of Native American students landed on Alcatraz Island, launching a 19-month occupation based on an established legal principle of reclaiming abandoned federal lands for Native use. Their claim came after years of watching the U.S. government terminate the status of over 100 tribes and remove approximately \u003ca href=\"http://www.nativepartnership.org/site/PageServer?pagename=PWNA_Native_History_terminationpolicySW\" target=\"_blank\" rel=\"noopener noreferrer\">2,500,000 acres of trust land from protected status\u003c/a>.\u003c/p>\n\u003cp>The young leaders of the occupation, including LaNada Means and Richard Oakes, cannily turned the paternalistic language of the American government into pointed media moments. The activists proclaimed the cold and windy island “more than suitable as an Indian Reservation, as determined by the White Man’s own standards.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It would be fitting and symbolic that ships from all over the world, entering the Golden Gate, would first see Indian land, and thus be reminded of the true history of this nation,” Oakes read for news cameras. “This tiny island would be a symbol of the great lands once ruled by free and noble Indians.”\u003c/p>\n\u003cp>Their goals were not just symbolic, but practical. The San Francisco Indian Center burned to the ground just a month prior to the occupation; the organizers proposed Alcatraz as a site for a new cultural center, a place to educate, preserve and reestablish Native American ways.\u003c/p>\n\u003cp>KQED’s archival footage, along with shots taken by Doris Purdy (then an employee of the Bureau of Indian Affairs), and a few clips from Sacramento’s KCRA News, tell a story of an idealistic group of young people, members of tribes spread across the continent, who gathered on Alcatraz to challenge not just the conditions of 1969, but centuries of cultural erasure. —\u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It was a moment that would become seared into American cultural history. Sacheen Littlefeather, an Apache and the President of the National Native American Affirmative Image Committee, stepped onto the 1973 Academy Awards stage, and very politely refused to take Marlon Brando’s Best Actor Oscar for \u003cem>The Godfather\u003c/em>, from a bemused-looking Roger Moore.\u003c/p>\n\u003cp>When Littlefeather calmly explained that Brando was unable to “accept this very generous award” because of “the treatment of American Indians today by the film industry and on television in movie re-runs,” boos immediately erupted in some corners of the room. Littlefeather stayed calm, offering a simple “Excuse me,” before audience cheers drowned out the objections.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2QUacU0I4yU\u003c/p>\n\u003cp>It had been two years since the “\u003ca href=\"https://www.history.com/news/native-american-activists-occupy-alcatraz-island-45-years-ago\" target=\"_blank\" rel=\"noopener noreferrer\">Indians of All Tribes\u003c/a>” had ceased their 19-month occupation of Alcatraz, but Brando had visited the island during that period and become so deeply concerned about the Native American cause, he remained outspoken on their behalf for the rest of his life.\u003c/p>\n\u003cp>[aside postid='arts_13889944']“I don’t think that people generally realize what the motion picture industry has done to the American Indian,” \u003ca href=\"https://www.youtube.com/watch?v=LAPDQ5MlLxE\" target=\"_blank\" rel=\"noopener noreferrer\">Brando told Dick Cavett\u003c/a> in 1973. “How deeply these people are injured… Children… seeing Indians represented as savage, vicious, ugly, nasty, treacherous, drunken. They grow up with only a negative image of themselves and it lasts a lifetime.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brando’s engagement was a perfect example of how support for Indigenous rights underwent a momentous and visible shift during one of the most socially turbulent times in recent American history. “For centuries, most Americans and their government believed Indians were an obstacle to national progress or, by the mid-twentieth century, anachronisms which had no place in the modern world,” writes Sherry L. Smith in \u003ca href=\"https://www.amazon.com/Hippies-Indians-Fight-Red-Power/dp/0199855595\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hippies, Indians and the Fight For Red Power\u003c/em>\u003c/a>. “Extinguishing all remnants of native life characterized federal policy by the 1950s. By the 1960s, they found support outside their communities.”\u003c/p>\n\u003cp>A major factor in garnering that support was the Alcatraz occupation and the celebrities who went out of their way to draw attention to it and offer financial support. Creedence Clearwater Revival, for example, donated $10,000 that, among other things, enabled activists to buy a boat (reportedly dubbed “\u003ca href=\"https://www.history.com/news/native-american-activists-occupy-alcatraz-island-45-years-ago\" target=\"_blank\" rel=\"noopener noreferrer\">The Clearwater\u003c/a>“) to get supplies to and from the island.\u003c/p>\n\u003cp>Jane Fonda also \u003ca href=\"https://books.google.com/books?id=vHHbsjThmKAC&pg=PA258&lpg=PA258&dq=jane+fonda+donated+generators+to+alcatraz&source=bl&ots=_LWUGlGHM8&sig=ACfU3U1cVED2zNFNKWvXfFauMLAX_i_kcA&hl=en&sa=X&ved=2ahUKEwjzwfrkpdnlAhXJGDQIHbuuBA8Q6AEwDnoECAoQAQ#v=onepage&q=jane%20fonda%20donated%20generators%20to%20alcatraz&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">spent a night on Alcatraz\u003c/a>, reportedly bringing her own sleeping bag, smoking weed with the occupiers, and donating a rototiller for gardening, as well as six generators—much needed at the time, after Alcatraz’s power was cut by the \u003ca href=\"https://www.gsa.gov/blog/2016/06/17/Celebrating-67-Years-of-American-Service\" target=\"_blank\" rel=\"noopener noreferrer\">General Services Administration\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13882943']“She got on the Indian bandwagon, but did not come to Alcatraz empty-handed like a lot of big shots,” a Blackfoot activist named \u003ca href=\"https://books.google.com/books?id=vHHbsjThmKAC&pg=PA258&lpg=PA258&dq=jane+fonda+donated+generators+to+alcatraz&source=bl&ots=_LWUGlGHM8&sig=ACfU3U1cVED2zNFNKWvXfFauMLAX_i_kcA&hl=en&sa=X&ved=2ahUKEwjzwfrkpdnlAhXJGDQIHbuuBA8Q6AEwDnoECAoQAQ#v=onepage&q=jane%20fonda%20donated%20generators%20to%20alcatraz&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">Morris later noted\u003c/a> of Fonda. “She was an answer to the Alcatraz Indian prayers, giving us some light and refrigeration.”\u003c/p>\n\u003cp>Fonda subsequently visited Sacramento’s State Assembly to support a resolution to turn Alcatraz into a Native American cultural center. The measure passed but was later defeated in the Senate.\u003c/p>\n\u003cp>Because of this kind of celebrity involvement, prominent talk shows got on board too. Dick Cavett talked about the occupation, and Grace Thorpe, the negotiator and PR person for the Alcatraz protesters was a guest on the \u003cem>Merv Griffin Show\u003c/em>. Griffin also filmed a short segment on the island.\u003c/p>\n\u003cp>While most of the occupation’s famous supporters made perfect sense—a visit from comedian and civil rights activist Dick Gregory shocked no-one, Gregory having previously gone to jail for supporting \u003ca href=\"https://newsmaven.io/indiancountrytoday/archive/dick-gregory-friend-of-indian-country-walks-on-cBcL_NPYfkWwoLtcs7wMOg/\" target=\"_blank\" rel=\"noopener noreferrer\">“fish-in” protests\u003c/a> by Pacific-Northwest tribes—others were more surprising.\u003c/p>\n\u003cfigure id=\"attachment_13869598\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13869598\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/MPW-92135.jpg\" alt=\"'Flap' starred Anthony Quinn and referenced the Alcatraz occupation in its promotional materials.\" width=\"300\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/MPW-92135.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/MPW-92135-160x314.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘Flap’ starred Anthony Quinn and referenced the Alcatraz occupation in its promotional materials.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0000063/?ref_=nv_sr_1?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Quinn \u003c/a>took a break from filming \u003cem>Flap \u003c/em>near Stockton, to make a high profile visit to the island. As an actor of Mexican-Irish descent who played Indigenous people throughout his movie career, Quinn’s position was, by 2019 standards, a problematic one. \u003cem>Flap\u003c/em> itself was based on a book titled \u003cem>Nobody Loves a Drunken Indian, \u003c/em>written by \u003ca href=\"https://www.fantasticfiction.com/h/clair-huffaker/\" target=\"_blank\" rel=\"noopener noreferrer\">Clair Huffaker\u003c/a>, a white man who traditionally wrote about the Old West.\u003c/p>\n\u003cp>But the movie took major steps to sympathize with the plight of marginalized Native people and set Quinn’s Flapping Eagle character up as a hero facing impossible odds. Promotion for the movie capitalized on the Alcatraz occupation, with posters that read: “A warning to the Mayor: \u003cem>Flap\u003c/em> is here! The Indians have already claimed Alcatraz. City Hall may be next. You have been warned.”\u003c/p>\n\u003cp>After his Alcatraz visit, Quinn, who financially contributed to Native American causes, \u003ca href=\"https://books.google.com/books?id=ovASzp51gmcC&pg=PA96&lpg=PA96&dq=Hippies,+Indians+and+the+Fight+For+Red+Power+anthony+quinn&source=bl&ots=3p9I_pi8uS&sig=ACfU3U065XJCFs0ntmTWH5gjCqcyHkN8tA&hl=en&sa=X&ved=2ahUKEwiDx8GhyOXlAhWVvJ4KHYuyD8gQ6AEwCXoECAkQAQ#v=onepage&q=Hippies%2C%20Indians%20and%20the%20Fight%20For%20Red%20Power%20anthony%20quinn&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">told a press conference\u003c/a> he was \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=DS19691215.2.39&e=-------en--20--1--txt-txIN--------1\" target=\"_blank\" rel=\"noopener noreferrer\">impressed\u003c/a> by the occupiers’ aims. “Alcatraz is a small price,” he said, “for all the sins we committed and indignities we forced on the Indians.”\u003c/p>\n\u003cp>Back on the mainland, the counterculture was rallying too. On December 12, 1969, a benefit for the occupiers took place at Stanford’s Memorial Chapel, headlined by \u003ca href=\"https://en.wikipedia.org/wiki/Buffy_Sainte-Marie\" target=\"_blank\" rel=\"noopener noreferrer\">Buffy Sainte-Marie\u003c/a>. (The singer went on to be the first Indigenous person to win an Academy Award, for writing 1982’s “\u003ca href=\"https://www.youtube.com/watch?v=rLCk066o9sU\" target=\"_blank\" rel=\"noopener noreferrer\">Up Where We Belong\u003c/a>.”)\u003c/p>\n\u003cp>In addition, Berkeley’s Malvina Reynolds (most famous for writing the hit “\u003ca href=\"https://www.youtube.com/watch?v=XUwUp-D_VV0\" target=\"_blank\" rel=\"noopener noreferrer\">Little Boxes\u003c/a>“) donated $1,000 in royalties from her song “Alcatraz (Pelican Island)” towards the San Francisco American Indian Center, which had \u003ca href=\"https://news.sfsu.edu/news-story/professor-lead-re-establishment-american-indian-cultural-center\" target=\"_blank\" rel=\"noopener noreferrer\">burned down\u003c/a> shortly before the occupation began. “Alcatraz isn’t good enough for them,” Reynolds noted at the time, “but it certainly is a first step.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1FPjQbXvazY\u003c/p>\n\u003cp>As noted in \u003cem>Hippies, Indians and the Fight For Red Power, \u003c/em>much of the progress made for Native visibility in the ’70s may not have occurred without the protesters’ time on the island, and the high profile support it prompted. “In terms of capturing national and even international attention,” the book states. “Alcatraz stands out as a critical turning point for Indian reform. It provided the opportunity and the focus for non-Indian supporters to find a place and a purpose to which they could contribute.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For both activists and progressively-minded celebrities, it stands as a rousing and inspiring example to this day.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a moment that would become seared into American cultural history. Sacheen Littlefeather, an Apache and the President of the National Native American Affirmative Image Committee, stepped onto the 1973 Academy Awards stage, and very politely refused to take Marlon Brando’s Best Actor Oscar for \u003cem>The Godfather\u003c/em>, from a bemused-looking Roger Moore.\u003c/p>\n\u003cp>When Littlefeather calmly explained that Brando was unable to “accept this very generous award” because of “the treatment of American Indians today by the film industry and on television in movie re-runs,” boos immediately erupted in some corners of the room. Littlefeather stayed calm, offering a simple “Excuse me,” before audience cheers drowned out the objections.\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/2QUacU0I4yU'\n title='//www.youtube.com/embed/2QUacU0I4yU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It had been two years since the “\u003ca href=\"https://www.history.com/news/native-american-activists-occupy-alcatraz-island-45-years-ago\" target=\"_blank\" rel=\"noopener noreferrer\">Indians of All Tribes\u003c/a>” had ceased their 19-month occupation of Alcatraz, but Brando had visited the island during that period and become so deeply concerned about the Native American cause, he remained outspoken on their behalf for the rest of his life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brando’s engagement was a perfect example of how support for Indigenous rights underwent a momentous and visible shift during one of the most socially turbulent times in recent American history. “For centuries, most Americans and their government believed Indians were an obstacle to national progress or, by the mid-twentieth century, anachronisms which had no place in the modern world,” writes Sherry L. Smith in \u003ca href=\"https://www.amazon.com/Hippies-Indians-Fight-Red-Power/dp/0199855595\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hippies, Indians and the Fight For Red Power\u003c/em>\u003c/a>. “Extinguishing all remnants of native life characterized federal policy by the 1950s. By the 1960s, they found support outside their communities.”\u003c/p>\n\u003cp>A major factor in garnering that support was the Alcatraz occupation and the celebrities who went out of their way to draw attention to it and offer financial support. Creedence Clearwater Revival, for example, donated $10,000 that, among other things, enabled activists to buy a boat (reportedly dubbed “\u003ca href=\"https://www.history.com/news/native-american-activists-occupy-alcatraz-island-45-years-ago\" target=\"_blank\" rel=\"noopener noreferrer\">The Clearwater\u003c/a>“) to get supplies to and from the island.\u003c/p>\n\u003cp>Jane Fonda also \u003ca href=\"https://books.google.com/books?id=vHHbsjThmKAC&pg=PA258&lpg=PA258&dq=jane+fonda+donated+generators+to+alcatraz&source=bl&ots=_LWUGlGHM8&sig=ACfU3U1cVED2zNFNKWvXfFauMLAX_i_kcA&hl=en&sa=X&ved=2ahUKEwjzwfrkpdnlAhXJGDQIHbuuBA8Q6AEwDnoECAoQAQ#v=onepage&q=jane%20fonda%20donated%20generators%20to%20alcatraz&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">spent a night on Alcatraz\u003c/a>, reportedly bringing her own sleeping bag, smoking weed with the occupiers, and donating a rototiller for gardening, as well as six generators—much needed at the time, after Alcatraz’s power was cut by the \u003ca href=\"https://www.gsa.gov/blog/2016/06/17/Celebrating-67-Years-of-American-Service\" target=\"_blank\" rel=\"noopener noreferrer\">General Services Administration\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“She got on the Indian bandwagon, but did not come to Alcatraz empty-handed like a lot of big shots,” a Blackfoot activist named \u003ca href=\"https://books.google.com/books?id=vHHbsjThmKAC&pg=PA258&lpg=PA258&dq=jane+fonda+donated+generators+to+alcatraz&source=bl&ots=_LWUGlGHM8&sig=ACfU3U1cVED2zNFNKWvXfFauMLAX_i_kcA&hl=en&sa=X&ved=2ahUKEwjzwfrkpdnlAhXJGDQIHbuuBA8Q6AEwDnoECAoQAQ#v=onepage&q=jane%20fonda%20donated%20generators%20to%20alcatraz&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">Morris later noted\u003c/a> of Fonda. “She was an answer to the Alcatraz Indian prayers, giving us some light and refrigeration.”\u003c/p>\n\u003cp>Fonda subsequently visited Sacramento’s State Assembly to support a resolution to turn Alcatraz into a Native American cultural center. The measure passed but was later defeated in the Senate.\u003c/p>\n\u003cp>Because of this kind of celebrity involvement, prominent talk shows got on board too. Dick Cavett talked about the occupation, and Grace Thorpe, the negotiator and PR person for the Alcatraz protesters was a guest on the \u003cem>Merv Griffin Show\u003c/em>. Griffin also filmed a short segment on the island.\u003c/p>\n\u003cp>While most of the occupation’s famous supporters made perfect sense—a visit from comedian and civil rights activist Dick Gregory shocked no-one, Gregory having previously gone to jail for supporting \u003ca href=\"https://newsmaven.io/indiancountrytoday/archive/dick-gregory-friend-of-indian-country-walks-on-cBcL_NPYfkWwoLtcs7wMOg/\" target=\"_blank\" rel=\"noopener noreferrer\">“fish-in” protests\u003c/a> by Pacific-Northwest tribes—others were more surprising.\u003c/p>\n\u003cfigure id=\"attachment_13869598\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13869598\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/MPW-92135.jpg\" alt=\"'Flap' starred Anthony Quinn and referenced the Alcatraz occupation in its promotional materials.\" width=\"300\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/MPW-92135.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/MPW-92135-160x314.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘Flap’ starred Anthony Quinn and referenced the Alcatraz occupation in its promotional materials.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0000063/?ref_=nv_sr_1?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Quinn \u003c/a>took a break from filming \u003cem>Flap \u003c/em>near Stockton, to make a high profile visit to the island. As an actor of Mexican-Irish descent who played Indigenous people throughout his movie career, Quinn’s position was, by 2019 standards, a problematic one. \u003cem>Flap\u003c/em> itself was based on a book titled \u003cem>Nobody Loves a Drunken Indian, \u003c/em>written by \u003ca href=\"https://www.fantasticfiction.com/h/clair-huffaker/\" target=\"_blank\" rel=\"noopener noreferrer\">Clair Huffaker\u003c/a>, a white man who traditionally wrote about the Old West.\u003c/p>\n\u003cp>But the movie took major steps to sympathize with the plight of marginalized Native people and set Quinn’s Flapping Eagle character up as a hero facing impossible odds. Promotion for the movie capitalized on the Alcatraz occupation, with posters that read: “A warning to the Mayor: \u003cem>Flap\u003c/em> is here! The Indians have already claimed Alcatraz. City Hall may be next. You have been warned.”\u003c/p>\n\u003cp>After his Alcatraz visit, Quinn, who financially contributed to Native American causes, \u003ca href=\"https://books.google.com/books?id=ovASzp51gmcC&pg=PA96&lpg=PA96&dq=Hippies,+Indians+and+the+Fight+For+Red+Power+anthony+quinn&source=bl&ots=3p9I_pi8uS&sig=ACfU3U065XJCFs0ntmTWH5gjCqcyHkN8tA&hl=en&sa=X&ved=2ahUKEwiDx8GhyOXlAhWVvJ4KHYuyD8gQ6AEwCXoECAkQAQ#v=onepage&q=Hippies%2C%20Indians%20and%20the%20Fight%20For%20Red%20Power%20anthony%20quinn&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">told a press conference\u003c/a> he was \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=DS19691215.2.39&e=-------en--20--1--txt-txIN--------1\" target=\"_blank\" rel=\"noopener noreferrer\">impressed\u003c/a> by the occupiers’ aims. “Alcatraz is a small price,” he said, “for all the sins we committed and indignities we forced on the Indians.”\u003c/p>\n\u003cp>Back on the mainland, the counterculture was rallying too. On December 12, 1969, a benefit for the occupiers took place at Stanford’s Memorial Chapel, headlined by \u003ca href=\"https://en.wikipedia.org/wiki/Buffy_Sainte-Marie\" target=\"_blank\" rel=\"noopener noreferrer\">Buffy Sainte-Marie\u003c/a>. (The singer went on to be the first Indigenous person to win an Academy Award, for writing 1982’s “\u003ca href=\"https://www.youtube.com/watch?v=rLCk066o9sU\" target=\"_blank\" rel=\"noopener noreferrer\">Up Where We Belong\u003c/a>.”)\u003c/p>\n\u003cp>In addition, Berkeley’s Malvina Reynolds (most famous for writing the hit “\u003ca href=\"https://www.youtube.com/watch?v=XUwUp-D_VV0\" target=\"_blank\" rel=\"noopener noreferrer\">Little Boxes\u003c/a>“) donated $1,000 in royalties from her song “Alcatraz (Pelican Island)” towards the San Francisco American Indian Center, which had \u003ca href=\"https://news.sfsu.edu/news-story/professor-lead-re-establishment-american-indian-cultural-center\" target=\"_blank\" rel=\"noopener noreferrer\">burned down\u003c/a> shortly before the occupation began. “Alcatraz isn’t good enough for them,” Reynolds noted at the time, “but it certainly is a first step.”\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/1FPjQbXvazY'\n title='//www.youtube.com/embed/1FPjQbXvazY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As noted in \u003cem>Hippies, Indians and the Fight For Red Power, \u003c/em>much of the progress made for Native visibility in the ’70s may not have occurred without the protesters’ time on the island, and the high profile support it prompted. “In terms of capturing national and even international attention,” the book states. “Alcatraz stands out as a critical turning point for Indian reform. It provided the opportunity and the focus for non-Indian supporters to find a place and a purpose to which they could contribute.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For both activists and progressively-minded celebrities, it stands as a rousing and inspiring example to this day.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "6-podcasts-to-get-you-through-holiday-travel-this-year",
"title": "7 Podcasts to Get You Through Holiday Travel This Year",
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"headTitle": "7 Podcasts to Get You Through Holiday Travel This Year | KQED",
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"content": "\u003cp>Wondering about the best podcasts for trips, long drives or (let’s face it) airport delays?\u003c/p>\n\u003cp>With the holidays fast approaching, chances are you’ll find yourself hitting the road or sky, and in need of binge-worthy audio to entertain you. Never fear: below, we’ve collected seven of the most immersive, compelling and (sorry) \u003cem>transporting\u003c/em> podcast episodes to recently come out of KQED.\u003c/p>\n\u003cp>Cue up these picks on your podcast platform of choice—or scroll to the end to download the Spotify playlist—and you’ll never be bored while stuck in traffic or delayed at the airport.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11782405/tunnels-under-san-francisco-inside-the-dark-dangerous-world-of-the-sewers\">Secret Tunnels Under San Francisco? \u003c/a>\u003cbr>\nFrom \u003cem>Bay Curious\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869970\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Every episode of \u003cem>Bay Curious\u003c/em> is sparked by audience curiosity about local conundrums–and they’ve received a \u003cem>lot\u003c/em> of questions about whether there’s a network of mystery tunnels under San Francisco. This dark-and-dirty episode takes listeners to a place it’s likely they will never actually visit; a very real labyrinth that sprawls deep underground—AKA the city’s vast sewer system.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Listen to the episode to explore this underworld with the \u003cem>Bay Curious\u003c/em> team. Between lethal gases, fast-flowing rivers of sewage and the risk of getting lost in the darkness, you’ll probably be glad to take this tour \u003cem>virtually\u003c/em> via your headphones, rather than IRL.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11782405/tunnels-under-san-francisco-inside-the-dark-dangerous-world-of-the-sewers\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/secret-tunnels-under-san-francisco/id1172473406?i=1000455577910\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11777723/blind-beekeeper-relies-on-the-sound-of-the-swarm-to-keep-her-hives-happy\">Blind Beekeeper Relies on Sound to Keep Her Hives Happy\u003c/a>\u003cbr>\nFrom \u003cem>The California Report Magazine\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-13869926 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679.jpg\" alt=\"\" width=\"1020\" height=\"679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-768x511.jpg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003c/p>\n\u003cp>“I didn’t think I could be a good beekeeper without being able to see.” This special episode from \u003cem>The California Report Magazine\u003c/em>’s weekly podcast immerses the listener in the world of Aerial: a Bay area nurse who lost her sight after using tampered eyedrops. Navigating her new reality, she found purpose and meaning in the hobby she’d enjoyed since she was a teen: beekeeping.\u003c/p>\n\u003cp>Listen as Aerial explains how she knows whether her swarm—she calls them “her girls”—are happy, and how to hear their “waggle dance” (the movement bees make to tell others where to find pollen). After experiencing this episode, you’ll never hear bees again the same way.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11777723/blind-beekeeper-relies-on-the-sound-of-the-swarm-to-keep-her-hives-happy\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/blind-beekeeper-relies-on-sound-to-keep-her-hives-happy/id1314750545?i=1000452376183\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/pop/102783/queer-eyes-jonathan-van-ness-on-turning-red-states-pink-one-makeover-at-a-time\">\u003cem>Queer Eye\u003c/em>‘s Jonathan Van Ness on Turning Red States Pink\u003c/a>\u003cbr>\nFrom \u003cem>The Cooler\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869925\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Jonathan-Van-Ness.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The most engrossing podcast interviews are the ones where you feel you’ve been teleported into the room with the people in question—and this 2018 interview with the infamously personable \u003cem>Queer Eye\u003c/em> star Jonathan Van Ness on KQED’s pop culture podcast \u003cem>The Cooler\u003c/em> is no exception.\u003c/p>\n\u003cp>In a conversation that ranges from raucous to heartfelt and intimate, Van Ness talks to hosts Emmanuel Hapsis, Jamedra Brown-Fleischman and Carly Severn about growing up gay in a small town, dealing with online trolls, the healing power of figure skating and a particularly controversial moment from \u003cem>Queer Eye\u003c/em>’s second season.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/pop/102783/queer-eyes-jonathan-van-ness-on-turning-red-states-pink-one-makeover-at-a-time\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/queer-eyes-jonathan-van-ness-on-turning-red-states-pink/id1041117499?i=1000407027183\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/podcasts/42/joy-may-16th\">Joy\u003c/a>\u003cbr>\nfrom \u003cem>Truth Be Told \u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960.jpg\" alt=\"\" width=\"1920\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-1200x600.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Is it OK to feel joy when it feels like the world is burning? In the first episode of KQED’s advice show made by people of color for people of color, host Tonya Mosley brings us to her hometown of Detroit, Michigan—the “epicenter of pleasure in the midst of turmoil,” as she calls it. Mosley sits down with her grandmother Ernestine Mosley and \u003cem>New York Times\u003c/em> bestselling author Adrienne Maree Brown for some hard questions, deep laughs, and much-needed affirmations about why it’s not only OK to feel joy, but it’s absolutely necessary.\u003c/p>\n\u003cp>And stay tuned: \u003cem>Truth Be Told\u003c/em> returns for a second season in early 2020!\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/podcasts/42/joy-may-16th\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/joy-episode-1/id1462216572?i=1000438248776\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11780279/native-american-occupation-at-alcatraz-50-years\">‘We’re Still Here’\u003c/a>\u003cbr>\nFrom\u003cem> The Bay\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/IMG_2671-1-1020x765.jpg\" alt=\"\" width=\"1020\" height=\"765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-768x576.jpg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003c/p>\n\u003cp>In this episode of\u003cem> The Bay\u003c/em>, KQED reporter Alice Woelfle follows along with Native people from across the West Coast in a ceremonial canoe journey around Alcatraz Island. First, we hear the building of a tule boat, then the sound of paddle hitting the water as members of different tribes, territories, communities and families embark on their paddle around the island before returning to shore to be greeted by Ohlone elders.\u003c/p>\n\u003cp>The paddle commemorated the 50-year anniversary of the occupation of Alcatraz, a movement which lasted 19 months and brought widespread visibility for American Indian civil rights.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11780279/native-american-occupation-at-alcatraz-50-years\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/were-still-here-canoe-journey-to-alcatraz-to-remember/id1350043452?i=1000453734022\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/arts/13859970/rightnowish-miko-marks-and-the-oakland-rollers\">Oakland’s Rollerskating Country Singer\u003c/a>\u003cbr>\nFrom \u003cem>Rightnowish\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/oakland-rollers-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Where do country singing and roller skating collide? On a small cul-de-sac on the southern side of Lake Merritt in Oakland, according to musician Miko Marks.\u003c/p>\n\u003cp>“As soon as I put these skates on, I feel like I’m a kid again,” Marks says in this episode of \u003cem>Rightnowish\u003c/em>, KQED’s new arts and culture podcast hosted by Pendarvis Harshaw. After nearly a decade of touring the nation as a country singer, Marks’s love for roller skating completely transformed her sense of play—and her music. Put on your skates (and your headphones!) and listen to the full episode to hear more about Marks’s new sound and new take on life with wheels.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/13859970/rightnowish-miko-marks-and-the-oakland-rollers\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/oaklands-rollerskating-country-singer/id1482187648?i=1000455674283\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/mindshift/54326/childhood-as-resume-building-why-play-needs-a-comeback\">Childhood as ‘Resume-Building’: Why Play Needs A Comeback\u003c/a>\u003cbr>\nFrom \u003cem>MindShift\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869973\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/DSC5859-1.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-1200x801.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Remember when you were a kid and there was a designated time just for playing? Free play—the kind of play where kids independently choose the activities and the rules—may be a thing of the past, according to this \u003cem>MindShift\u003c/em> episode. “We’re just seeing an out-of-balance life for kids,” says Scott Bedley, a fourth grade teacher, about the pressure for students to succeed academically from a very young age. “There is a learning value behind play if you just allow it to happen.”\u003c/p>\n\u003cp>Head back to the classroom with the \u003cem>MindShift\u003c/em> team to explore what play looks like today, and why it’s in need of a major comeback.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/mindshift/54326/childhood-as-resume-building-why-play-needs-a-comeback\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/childhood-as-resume-building-why-play-needs-a-comeback/id1078765985?i=1000448438239\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/6qS3AzC3Gv7nrON2PrezAS\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "Dreading Thanksgiving travel? Here are six essential listening recommendations to while away the hours.",
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"title": "7 Podcasts to Get You Through Holiday Travel This Year | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wondering about the best podcasts for trips, long drives or (let’s face it) airport delays?\u003c/p>\n\u003cp>With the holidays fast approaching, chances are you’ll find yourself hitting the road or sky, and in need of binge-worthy audio to entertain you. Never fear: below, we’ve collected seven of the most immersive, compelling and (sorry) \u003cem>transporting\u003c/em> podcast episodes to recently come out of KQED.\u003c/p>\n\u003cp>Cue up these picks on your podcast platform of choice—or scroll to the end to download the Spotify playlist—and you’ll never be bored while stuck in traffic or delayed at the airport.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11782405/tunnels-under-san-francisco-inside-the-dark-dangerous-world-of-the-sewers\">Secret Tunnels Under San Francisco? \u003c/a>\u003cbr>\nFrom \u003cem>Bay Curious\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869970\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Every episode of \u003cem>Bay Curious\u003c/em> is sparked by audience curiosity about local conundrums–and they’ve received a \u003cem>lot\u003c/em> of questions about whether there’s a network of mystery tunnels under San Francisco. This dark-and-dirty episode takes listeners to a place it’s likely they will never actually visit; a very real labyrinth that sprawls deep underground—AKA the city’s vast sewer system.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Listen to the episode to explore this underworld with the \u003cem>Bay Curious\u003c/em> team. Between lethal gases, fast-flowing rivers of sewage and the risk of getting lost in the darkness, you’ll probably be glad to take this tour \u003cem>virtually\u003c/em> via your headphones, rather than IRL.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11782405/tunnels-under-san-francisco-inside-the-dark-dangerous-world-of-the-sewers\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/secret-tunnels-under-san-francisco/id1172473406?i=1000455577910\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11777723/blind-beekeeper-relies-on-the-sound-of-the-swarm-to-keep-her-hives-happy\">Blind Beekeeper Relies on Sound to Keep Her Hives Happy\u003c/a>\u003cbr>\nFrom \u003cem>The California Report Magazine\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-13869926 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679.jpg\" alt=\"\" width=\"1020\" height=\"679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-768x511.jpg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003c/p>\n\u003cp>“I didn’t think I could be a good beekeeper without being able to see.” This special episode from \u003cem>The California Report Magazine\u003c/em>’s weekly podcast immerses the listener in the world of Aerial: a Bay area nurse who lost her sight after using tampered eyedrops. Navigating her new reality, she found purpose and meaning in the hobby she’d enjoyed since she was a teen: beekeeping.\u003c/p>\n\u003cp>Listen as Aerial explains how she knows whether her swarm—she calls them “her girls”—are happy, and how to hear their “waggle dance” (the movement bees make to tell others where to find pollen). After experiencing this episode, you’ll never hear bees again the same way.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11777723/blind-beekeeper-relies-on-the-sound-of-the-swarm-to-keep-her-hives-happy\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/blind-beekeeper-relies-on-sound-to-keep-her-hives-happy/id1314750545?i=1000452376183\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/pop/102783/queer-eyes-jonathan-van-ness-on-turning-red-states-pink-one-makeover-at-a-time\">\u003cem>Queer Eye\u003c/em>‘s Jonathan Van Ness on Turning Red States Pink\u003c/a>\u003cbr>\nFrom \u003cem>The Cooler\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869925\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Jonathan-Van-Ness.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The most engrossing podcast interviews are the ones where you feel you’ve been teleported into the room with the people in question—and this 2018 interview with the infamously personable \u003cem>Queer Eye\u003c/em> star Jonathan Van Ness on KQED’s pop culture podcast \u003cem>The Cooler\u003c/em> is no exception.\u003c/p>\n\u003cp>In a conversation that ranges from raucous to heartfelt and intimate, Van Ness talks to hosts Emmanuel Hapsis, Jamedra Brown-Fleischman and Carly Severn about growing up gay in a small town, dealing with online trolls, the healing power of figure skating and a particularly controversial moment from \u003cem>Queer Eye\u003c/em>’s second season.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/pop/102783/queer-eyes-jonathan-van-ness-on-turning-red-states-pink-one-makeover-at-a-time\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/queer-eyes-jonathan-van-ness-on-turning-red-states-pink/id1041117499?i=1000407027183\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/podcasts/42/joy-may-16th\">Joy\u003c/a>\u003cbr>\nfrom \u003cem>Truth Be Told \u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960.jpg\" alt=\"\" width=\"1920\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-1200x600.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Is it OK to feel joy when it feels like the world is burning? In the first episode of KQED’s advice show made by people of color for people of color, host Tonya Mosley brings us to her hometown of Detroit, Michigan—the “epicenter of pleasure in the midst of turmoil,” as she calls it. Mosley sits down with her grandmother Ernestine Mosley and \u003cem>New York Times\u003c/em> bestselling author Adrienne Maree Brown for some hard questions, deep laughs, and much-needed affirmations about why it’s not only OK to feel joy, but it’s absolutely necessary.\u003c/p>\n\u003cp>And stay tuned: \u003cem>Truth Be Told\u003c/em> returns for a second season in early 2020!\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/podcasts/42/joy-may-16th\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/joy-episode-1/id1462216572?i=1000438248776\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11780279/native-american-occupation-at-alcatraz-50-years\">‘We’re Still Here’\u003c/a>\u003cbr>\nFrom\u003cem> The Bay\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/IMG_2671-1-1020x765.jpg\" alt=\"\" width=\"1020\" height=\"765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-768x576.jpg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003c/p>\n\u003cp>In this episode of\u003cem> The Bay\u003c/em>, KQED reporter Alice Woelfle follows along with Native people from across the West Coast in a ceremonial canoe journey around Alcatraz Island. First, we hear the building of a tule boat, then the sound of paddle hitting the water as members of different tribes, territories, communities and families embark on their paddle around the island before returning to shore to be greeted by Ohlone elders.\u003c/p>\n\u003cp>The paddle commemorated the 50-year anniversary of the occupation of Alcatraz, a movement which lasted 19 months and brought widespread visibility for American Indian civil rights.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11780279/native-american-occupation-at-alcatraz-50-years\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/were-still-here-canoe-journey-to-alcatraz-to-remember/id1350043452?i=1000453734022\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/arts/13859970/rightnowish-miko-marks-and-the-oakland-rollers\">Oakland’s Rollerskating Country Singer\u003c/a>\u003cbr>\nFrom \u003cem>Rightnowish\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/oakland-rollers-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Where do country singing and roller skating collide? On a small cul-de-sac on the southern side of Lake Merritt in Oakland, according to musician Miko Marks.\u003c/p>\n\u003cp>“As soon as I put these skates on, I feel like I’m a kid again,” Marks says in this episode of \u003cem>Rightnowish\u003c/em>, KQED’s new arts and culture podcast hosted by Pendarvis Harshaw. After nearly a decade of touring the nation as a country singer, Marks’s love for roller skating completely transformed her sense of play—and her music. Put on your skates (and your headphones!) and listen to the full episode to hear more about Marks’s new sound and new take on life with wheels.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/13859970/rightnowish-miko-marks-and-the-oakland-rollers\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/oaklands-rollerskating-country-singer/id1482187648?i=1000455674283\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/mindshift/54326/childhood-as-resume-building-why-play-needs-a-comeback\">Childhood as ‘Resume-Building’: Why Play Needs A Comeback\u003c/a>\u003cbr>\nFrom \u003cem>MindShift\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869973\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/DSC5859-1.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-1200x801.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Remember when you were a kid and there was a designated time just for playing? Free play—the kind of play where kids independently choose the activities and the rules—may be a thing of the past, according to this \u003cem>MindShift\u003c/em> episode. “We’re just seeing an out-of-balance life for kids,” says Scott Bedley, a fourth grade teacher, about the pressure for students to succeed academically from a very young age. “There is a learning value behind play if you just allow it to happen.”\u003c/p>\n\u003cp>Head back to the classroom with the \u003cem>MindShift\u003c/em> team to explore what play looks like today, and why it’s in need of a major comeback.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/mindshift/54326/childhood-as-resume-building-why-play-needs-a-comeback\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/childhood-as-resume-building-why-play-needs-a-comeback/id1078765985?i=1000448438239\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Do List: Rebirth Brass Band, Holiday Train Ride and More for Nov. 14–21",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Grace Cheung and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>The Rebirth Brass Band\u003c/strong>: You might have seen the Rebirth Brass Band in the TV show \u003cem>Tremé\u003c/em>—they’re one of the best brass bands in New Orleans, and definitely one of the longest-running. But its not like they’re a dusty, old-fashioned ensemble upholding a bygone tradition. Some of their younger family members have been \u003ca href=\"https://en.wikipedia.org/wiki/Soulja_Slim\" rel=\"noopener noreferrer\" target=\"_blank\">well-known rappers\u003c/a> in New Orleans, so they incorporate hip-hop into their music, and their club appearances are full-on sweaty dance parties. The Rebirth Brass Band play Thursday and Friday, Nov. 14 and 15, at the Starline Social Club in Oakland (\u003ca href=\"https://starlinesocialclub.com/calendar\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>) and on Saturday, Nov. 16, at the Mezzanine in San Francisco (\u003ca href=\"https://mezzaninesf.com/events/rebirth-brass-band/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>). \u003c/p>\n\u003cp>\u003cstrong>Rexx Life Raj\u003c/strong>: There’s something about Rexx Life Raj’s new album, \u003cem>Father Figure 3: Somewhere Out There\u003c/em>, that makes you want to break out your journal and reflect on where you’ve been and where you’re going. He’s a truly gifted lyricist who writes with such a relatable openness and vulnerability. Rexx Life Raj is from Berkeley, and he’s been on the come-up in recent years, building up his cult following through lyrical honesty rather than going viral through some gimmick. He plays Wednesday, Nov. 20, at the Independent in San Francisco. \u003ca href=\"https://www.theindependentsf.com/event/9945715/rexx-life-raj/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Holiday Train Ride\u003c/strong>: It’s one of the best times of the year: repeat \u003cem>Polar Express\u003c/em> viewing season! And if you’re already feeling the holiday spirit creep up on you, the Napa Valley Wine Train is doing a special holiday-themed ride that sounds like a real-life Polar Express experience. Under their new ownership, the wine train has been doing a bunch of these themed rides, like murder mystery dinners and beer tasting trips. This Christmas-themed one includes hot chocolate, cookies, and a Santa on board. It runs from Nov. 19 through the end of the year. \u003ca href=\"https://www.winetrain.com/events/santa-train/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>50th Anniversary of the Occupation of Alcatraz\u003c/strong>: It’s the anniversary of an important event in Bay Area history this month: the Native American occupation of Alcatraz in 1969. For 19 months, 89 American Indians and supporters took up residence on Alcatraz to protest the treatment of indigenous peoples by the U.S. government. Many of the original occupants are still alive, and next week, some of them will get together to tell their stories of organizing and living on the island. That includes adults from three different tribes, as well as two participants who were children on the island in 1969. That’s on Tuesday, Nov. 19, at the main branch of the public library in San Francisco. \u003ca href=\"https://sfpl.org/?pg=1038012501\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Grace Cheung and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>The Rebirth Brass Band\u003c/strong>: You might have seen the Rebirth Brass Band in the TV show \u003cem>Tremé\u003c/em>—they’re one of the best brass bands in New Orleans, and definitely one of the longest-running. But its not like they’re a dusty, old-fashioned ensemble upholding a bygone tradition. Some of their younger family members have been \u003ca href=\"https://en.wikipedia.org/wiki/Soulja_Slim\" rel=\"noopener noreferrer\" target=\"_blank\">well-known rappers\u003c/a> in New Orleans, so they incorporate hip-hop into their music, and their club appearances are full-on sweaty dance parties. The Rebirth Brass Band play Thursday and Friday, Nov. 14 and 15, at the Starline Social Club in Oakland (\u003ca href=\"https://starlinesocialclub.com/calendar\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>) and on Saturday, Nov. 16, at the Mezzanine in San Francisco (\u003ca href=\"https://mezzaninesf.com/events/rebirth-brass-band/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>). \u003c/p>\n\u003cp>\u003cstrong>Rexx Life Raj\u003c/strong>: There’s something about Rexx Life Raj’s new album, \u003cem>Father Figure 3: Somewhere Out There\u003c/em>, that makes you want to break out your journal and reflect on where you’ve been and where you’re going. He’s a truly gifted lyricist who writes with such a relatable openness and vulnerability. Rexx Life Raj is from Berkeley, and he’s been on the come-up in recent years, building up his cult following through lyrical honesty rather than going viral through some gimmick. He plays Wednesday, Nov. 20, at the Independent in San Francisco. \u003ca href=\"https://www.theindependentsf.com/event/9945715/rexx-life-raj/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Holiday Train Ride\u003c/strong>: It’s one of the best times of the year: repeat \u003cem>Polar Express\u003c/em> viewing season! And if you’re already feeling the holiday spirit creep up on you, the Napa Valley Wine Train is doing a special holiday-themed ride that sounds like a real-life Polar Express experience. Under their new ownership, the wine train has been doing a bunch of these themed rides, like murder mystery dinners and beer tasting trips. This Christmas-themed one includes hot chocolate, cookies, and a Santa on board. It runs from Nov. 19 through the end of the year. \u003ca href=\"https://www.winetrain.com/events/santa-train/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>50th Anniversary of the Occupation of Alcatraz\u003c/strong>: It’s the anniversary of an important event in Bay Area history this month: the Native American occupation of Alcatraz in 1969. For 19 months, 89 American Indians and supporters took up residence on Alcatraz to protest the treatment of indigenous peoples by the U.S. government. Many of the original occupants are still alive, and next week, some of them will get together to tell their stories of organizing and living on the island. That includes adults from three different tribes, as well as two participants who were children on the island in 1969. That’s on Tuesday, Nov. 19, at the main branch of the public library in San Francisco. \u003ca href=\"https://sfpl.org/?pg=1038012501\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-look-back-on-shirley-chisholms-historic-1968-house-victory",
"title": "A Look Back On Shirley Chisholm's Historic 1968 House Victory",
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"content": "\u003cp>\u003cem>Editor’s Note: This story \u003ca href=\"https://www.npr.org/2018/11/06/664617076/a-look-back-on-shirley-chisholm-s-historic-1968-house-victory\" target=\"_blank\" rel=\"noopener\">originally appeared\u003c/a> on November 6, 2018. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Shirley Chisholm’s celebrated win on election night, Nov. 5, 1968, still resonates with today’s election cycle, 50 years later. She became the first black woman ever elected to the U.S. House of Representatives. Over the years, her victory is often cited as inspiration for women running for public office.\u003c/p>\n\u003cp>This election season has been nicknamed “The Year of the Woman” because a record number of women have run and won seats in national and statewide races.\u003c/p>\n\u003cp>\u003cstrong>Campaign gets little attention\u003c/strong>\u003c/p>\n\u003cp>In 1968, Chisholm defeated James Farmer for New York’s 14th Congressional District. She was a New York State assemblywoman, elected in 1964 after leaving behind a career in education, first as a nursery school teacher and later a consultant to New York City’s Division of Day Care. Farmer, a black man and civil rights leader, ran as a Republican.\u003c/p>\n\u003cp>The reapportioned 12th Congressional District was largely made up of Brooklyn’s Bedford-Stuyvesant community and a few other parts of the borough. Bed-Stuy’s residents were mostly African-American and Puerto Rican. It was also Chisholm’s home.\u003c/p>\n\u003cp>Chisholm labeled Farmer “an outsider” during the campaign, because he lived in Manhattan. Among her tactics, she spoke in Spanish to Spanish speakers, a language she had developed fluency in as a schoolteacher. She took her campaign to the streets, literally, riding on a truck with a loudspeaker. Making multiple stops, she regularly kicked off her remarks by saying, “This is Fighting Shirley Chisholm.”\u003c/p>\n\u003cp>The contest between two black candidates garnered little media attention outside Brooklyn. In Susan Brownmiller’s 1970 biography of Chisholm, she described the candidate as distraught over the lack of coverage. Chisholm was concerned that only \u003cem>The Amsterdam News,\u003c/em> a black newspaper, seemed interested in covering her near the end of the campaign.\u003c/p>\n\u003cp>But when the final votes were tallied, voters chose Chisholm by better than a 2-to-1 margin over Farmer.\u003c/p>\n\u003cp>Still, media attention remained scant about Chisholm’s surprising win. Richard Nixon’s narrow win over Vice President Hubert Humphrey dominated headlines and airwaves. Television, radio and newspapers mentioned Chisholm’s news in one line on air, or in only a paragraph in print.\u003c/p>\n\u003cp>Her victory remarks from the evening are hard to come by. But NPR recently found a recording held by the New York Public Library.\u003c/p>\n\u003cp>“My dear friends, tonight is a very important night,” she told her supporters, “not so much for me, but for you, the people of this community.\u003c/p>\n\u003cp>“After many years of struggle and sacrifices on the part of several of you here this evening, we have at long last been able to elect today a voice that shall be your voice in the halls of the United States Congress.”\u003c/p>\n\u003cp>Within a couple weeks of the election, a national black weekly, \u003cem>Jet\u003c/em> magazine, put Chisholm on the cover. It wasn’t until several months later, when she was a sworn-in member of Congress, that the country began to pay closer attention. In February 1969, \u003cem>Ebony\u003c/em> magazine did a cover story. Later still, she was filmed on the steps of the U.S. Capitol by an NBC News camera crew, answering questions from visiting Brooklyn students from her district.\u003c/p>\n\u003cp>In the NBC documentary \u003cem>The Irrepressible Shirley Chisholm,\u003c/em> a black teenager asks her, “How do you feel being the first black woman in the House of Representatives?”\u003c/p>\n\u003cp>“I have mixed feelings,” Chisholm begins, as she looks at the girl along with her classmates.\u003c/p>\n\u003cp>“First of all, I’m very glad to make history in this country being the first black woman, [but] I don’t get terribly excited about it.”\u003c/p>\n\u003cp>In 2003, some 20 years after Chisholm left Congress, Tavis Smiley asked her which had been a bigger obstacle during her career, being black or being a woman?\u003c/p>\n\u003cp>“I met far more discrimination being a woman than being black when I moved out into the political arena,” she said. “All kinds of meetings and all kinds of groups got together in order to stop me from moving out [into politics]. Because I was very outspoken and very articulate and didn’t take guff off anybody.”\u003c/p>\n\u003cp>\u003cstrong>From assemblywoman to congresswoman\u003c/strong>\u003c/p>\n\u003cp>When Chisholm entered the New York State Assembly in 1964, she helped pass unemployment insurance for domestic workers.\u003c/p>\n\u003cfigure id=\"attachment_13869439\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869439\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800-800x540.jpg\" alt=\"Rep. Shirley Chisholm was a co-founder of the Congressional Black Caucus. She's shown here in 1971 with caucus members Bill Clay (from left), Charles Diggs, Ron Dellums and Augustus F. Hawkins.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800-768x518.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rep. Shirley Chisholm was a co-founder of the Congressional Black Caucus. She’s shown here in 1971 with caucus members Bill Clay (from left), Charles Diggs, Ron Dellums and Augustus F. Hawkins. \u003ccite>(PhotoQuest/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once in Congress, she refused to be sidelined. She fought for Head Start, an early education program begun under President Lyndon Johnson. During her seven terms in office, she co-founded the Congressional Black Caucus, advocated for the Equal Rights Amendment and supported the 1972 Title IX amendment aimed at ending discrimination against women in federally funded education and sports programs.\u003c/p>\n\u003cp>She demanded to be put into positions more relevant to the needs of her constituents back home. She became part of the Veterans Affairs committee. Within three years, she would move on to the Education and Labor Committee.\u003c/p>\n\u003cp>In 2015, President Barack Obama posthumously awarded Chisholm the Presidential Medal of Freedom.\u003c/p>\n\u003cp>“There are people in our country’s history who don’t look left or right, they just look straight ahead,” Obama said. “And Shirley Chisholm is one of those people.”\u003c/p>\n\u003cp>At the ceremony, Obama told the story of Chisholm’s early battles to be taken seriously in Congress.\u003c/p>\n\u003cp>“When Shirley was assigned to the House Agriculture Committee despite the fact that her district was from New York City, she said, ‘Apparently all they know in Washington about Brooklyn was a tree grew there.’ ”\u003c/p>\n\u003cp>Retelling her story drew laughs, in part because it encapsulated Chisholm’s sharp sense of humor and clarity.\u003c/p>\n\u003cp>In 1972, Chisholm made another history-making move.\u003c/p>\n\u003cfigure id=\"attachment_13869438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869438\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800-800x644.jpg\" alt=\"In 1972, in a history-making move, Shirley Chisholm ran for the Democratic Party's nomination for president.\" width=\"800\" height=\"644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800-768x618.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In 1972, in a history-making move, Shirley Chisholm ran for the Democratic Party’s nomination for president. \u003ccite>(Charles Ruppmann/New York Daily News Archive/NY Daily News via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She ran for the Democratic Party’s nomination for president. Her dynamic run proved a qualified woman and person of color should and could be taken seriously for the high office.\u003c/p>\n\u003cp>In the 2004 documentary \u003cem>Chisholm ’72: Unbought and Unbossed,\u003c/em> filmmaker Shola Lynch chronicles Chisholm’s presidential campaign and includes interviews with Chisholm reflecting on her life in public office.\u003c/p>\n\u003cp>During the film, Chisholm talks frankly about her legacy.\u003c/p>\n\u003cp>“I’d like them to say that Shirley Chisholm had guts,” she said.\u003c/p>\n\u003cp>\u003cstrong>The 2018 midterms and Chisholm’s legacy\u003c/strong>\u003c/p>\n\u003cp>Fifty years and one day after Chisholm’s historic 1968 win, Lauren Underwood, from Naperville, Ill., became the first African-American woman to represent her district in Congress. Underwood, like Ayanna Pressley, the first black woman elected to Congress from Massachusetts, cites Chisholm as an inspiration. Likewise, Stacey Abrams, the black candidate who ran for governor of Georgia this year, says she is proud to be part of Chisholm’s legacy.\u003c/p>\n\u003cp>When Chisholm wrapped up her remarks in 1968, she took a moment to share a new reality with her supporters and the Brooklyn residents she was poised to serve.\u003c/p>\n\u003cfigure id=\"attachment_13869437\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13869437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/ap_18248458254214.jpg\" alt=\"Democrat Ayanna Pressley just became the first African-American woman to represent Massachusetts in Congress.\" width=\"300\" height=\"224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/ap_18248458254214.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/ap_18248458254214-160x119.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Democrat Ayanna Pressley just became the first African-American woman to represent Massachusetts in Congress. \u003ccite>(Steven Senne/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“To black and white Americans, although I’m making history this evening, I love to believe that my victory tonight is a symbol of hope for many of us who never dreamt or never believed that we would have had the opportunity to move out [into politics],” she said.\u003c/p>\n\u003cp>“And I want to say, to all of the marvelous people in the 12th Congressional District, black, Puerto Rican and white, that without your support and without your faith in me, and without your going to the polls today and telling the world that we have our voice, I would not have made it.”\u003c/p>\n\u003cp>“God bless you,” she said, engulfed by the sound of applause around her.\u003c/p>\n\u003cp>Ayanna Pressley of Massachusetts recently paraphrased the words of Brooklyn’s fiery congresswoman.\u003c/p>\n\u003cp>“Shirley Chisholm said she simply wanted to be remembered as a black woman being herself. When more of us do that, we win,” she said.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>. \u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Fifty years ago, Shirley Chisholm became the first African-American woman elected to Congress. As part of our series on significant events from 1968, we examine Chisholm's life and work.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: This story \u003ca href=\"https://www.npr.org/2018/11/06/664617076/a-look-back-on-shirley-chisholm-s-historic-1968-house-victory\" target=\"_blank\" rel=\"noopener\">originally appeared\u003c/a> on November 6, 2018. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Shirley Chisholm’s celebrated win on election night, Nov. 5, 1968, still resonates with today’s election cycle, 50 years later. She became the first black woman ever elected to the U.S. House of Representatives. Over the years, her victory is often cited as inspiration for women running for public office.\u003c/p>\n\u003cp>This election season has been nicknamed “The Year of the Woman” because a record number of women have run and won seats in national and statewide races.\u003c/p>\n\u003cp>\u003cstrong>Campaign gets little attention\u003c/strong>\u003c/p>\n\u003cp>In 1968, Chisholm defeated James Farmer for New York’s 14th Congressional District. She was a New York State assemblywoman, elected in 1964 after leaving behind a career in education, first as a nursery school teacher and later a consultant to New York City’s Division of Day Care. Farmer, a black man and civil rights leader, ran as a Republican.\u003c/p>\n\u003cp>The reapportioned 12th Congressional District was largely made up of Brooklyn’s Bedford-Stuyvesant community and a few other parts of the borough. Bed-Stuy’s residents were mostly African-American and Puerto Rican. It was also Chisholm’s home.\u003c/p>\n\u003cp>Chisholm labeled Farmer “an outsider” during the campaign, because he lived in Manhattan. Among her tactics, she spoke in Spanish to Spanish speakers, a language she had developed fluency in as a schoolteacher. She took her campaign to the streets, literally, riding on a truck with a loudspeaker. Making multiple stops, she regularly kicked off her remarks by saying, “This is Fighting Shirley Chisholm.”\u003c/p>\n\u003cp>The contest between two black candidates garnered little media attention outside Brooklyn. In Susan Brownmiller’s 1970 biography of Chisholm, she described the candidate as distraught over the lack of coverage. Chisholm was concerned that only \u003cem>The Amsterdam News,\u003c/em> a black newspaper, seemed interested in covering her near the end of the campaign.\u003c/p>\n\u003cp>But when the final votes were tallied, voters chose Chisholm by better than a 2-to-1 margin over Farmer.\u003c/p>\n\u003cp>Still, media attention remained scant about Chisholm’s surprising win. Richard Nixon’s narrow win over Vice President Hubert Humphrey dominated headlines and airwaves. Television, radio and newspapers mentioned Chisholm’s news in one line on air, or in only a paragraph in print.\u003c/p>\n\u003cp>Her victory remarks from the evening are hard to come by. But NPR recently found a recording held by the New York Public Library.\u003c/p>\n\u003cp>“My dear friends, tonight is a very important night,” she told her supporters, “not so much for me, but for you, the people of this community.\u003c/p>\n\u003cp>“After many years of struggle and sacrifices on the part of several of you here this evening, we have at long last been able to elect today a voice that shall be your voice in the halls of the United States Congress.”\u003c/p>\n\u003cp>Within a couple weeks of the election, a national black weekly, \u003cem>Jet\u003c/em> magazine, put Chisholm on the cover. It wasn’t until several months later, when she was a sworn-in member of Congress, that the country began to pay closer attention. In February 1969, \u003cem>Ebony\u003c/em> magazine did a cover story. Later still, she was filmed on the steps of the U.S. Capitol by an NBC News camera crew, answering questions from visiting Brooklyn students from her district.\u003c/p>\n\u003cp>In the NBC documentary \u003cem>The Irrepressible Shirley Chisholm,\u003c/em> a black teenager asks her, “How do you feel being the first black woman in the House of Representatives?”\u003c/p>\n\u003cp>“I have mixed feelings,” Chisholm begins, as she looks at the girl along with her classmates.\u003c/p>\n\u003cp>“First of all, I’m very glad to make history in this country being the first black woman, [but] I don’t get terribly excited about it.”\u003c/p>\n\u003cp>In 2003, some 20 years after Chisholm left Congress, Tavis Smiley asked her which had been a bigger obstacle during her career, being black or being a woman?\u003c/p>\n\u003cp>“I met far more discrimination being a woman than being black when I moved out into the political arena,” she said. “All kinds of meetings and all kinds of groups got together in order to stop me from moving out [into politics]. Because I was very outspoken and very articulate and didn’t take guff off anybody.”\u003c/p>\n\u003cp>\u003cstrong>From assemblywoman to congresswoman\u003c/strong>\u003c/p>\n\u003cp>When Chisholm entered the New York State Assembly in 1964, she helped pass unemployment insurance for domestic workers.\u003c/p>\n\u003cfigure id=\"attachment_13869439\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869439\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800-800x540.jpg\" alt=\"Rep. Shirley Chisholm was a co-founder of the Congressional Black Caucus. She's shown here in 1971 with caucus members Bill Clay (from left), Charles Diggs, Ron Dellums and Augustus F. Hawkins.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800-768x518.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rep. Shirley Chisholm was a co-founder of the Congressional Black Caucus. She’s shown here in 1971 with caucus members Bill Clay (from left), Charles Diggs, Ron Dellums and Augustus F. Hawkins. \u003ccite>(PhotoQuest/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once in Congress, she refused to be sidelined. She fought for Head Start, an early education program begun under President Lyndon Johnson. During her seven terms in office, she co-founded the Congressional Black Caucus, advocated for the Equal Rights Amendment and supported the 1972 Title IX amendment aimed at ending discrimination against women in federally funded education and sports programs.\u003c/p>\n\u003cp>She demanded to be put into positions more relevant to the needs of her constituents back home. She became part of the Veterans Affairs committee. Within three years, she would move on to the Education and Labor Committee.\u003c/p>\n\u003cp>In 2015, President Barack Obama posthumously awarded Chisholm the Presidential Medal of Freedom.\u003c/p>\n\u003cp>“There are people in our country’s history who don’t look left or right, they just look straight ahead,” Obama said. “And Shirley Chisholm is one of those people.”\u003c/p>\n\u003cp>At the ceremony, Obama told the story of Chisholm’s early battles to be taken seriously in Congress.\u003c/p>\n\u003cp>“When Shirley was assigned to the House Agriculture Committee despite the fact that her district was from New York City, she said, ‘Apparently all they know in Washington about Brooklyn was a tree grew there.’ ”\u003c/p>\n\u003cp>Retelling her story drew laughs, in part because it encapsulated Chisholm’s sharp sense of humor and clarity.\u003c/p>\n\u003cp>In 1972, Chisholm made another history-making move.\u003c/p>\n\u003cfigure id=\"attachment_13869438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869438\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800-800x644.jpg\" alt=\"In 1972, in a history-making move, Shirley Chisholm ran for the Democratic Party's nomination for president.\" width=\"800\" height=\"644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800-768x618.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In 1972, in a history-making move, Shirley Chisholm ran for the Democratic Party’s nomination for president. \u003ccite>(Charles Ruppmann/New York Daily News Archive/NY Daily News via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She ran for the Democratic Party’s nomination for president. Her dynamic run proved a qualified woman and person of color should and could be taken seriously for the high office.\u003c/p>\n\u003cp>In the 2004 documentary \u003cem>Chisholm ’72: Unbought and Unbossed,\u003c/em> filmmaker Shola Lynch chronicles Chisholm’s presidential campaign and includes interviews with Chisholm reflecting on her life in public office.\u003c/p>\n\u003cp>During the film, Chisholm talks frankly about her legacy.\u003c/p>\n\u003cp>“I’d like them to say that Shirley Chisholm had guts,” she said.\u003c/p>\n\u003cp>\u003cstrong>The 2018 midterms and Chisholm’s legacy\u003c/strong>\u003c/p>\n\u003cp>Fifty years and one day after Chisholm’s historic 1968 win, Lauren Underwood, from Naperville, Ill., became the first African-American woman to represent her district in Congress. Underwood, like Ayanna Pressley, the first black woman elected to Congress from Massachusetts, cites Chisholm as an inspiration. Likewise, Stacey Abrams, the black candidate who ran for governor of Georgia this year, says she is proud to be part of Chisholm’s legacy.\u003c/p>\n\u003cp>When Chisholm wrapped up her remarks in 1968, she took a moment to share a new reality with her supporters and the Brooklyn residents she was poised to serve.\u003c/p>\n\u003cfigure id=\"attachment_13869437\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13869437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/ap_18248458254214.jpg\" alt=\"Democrat Ayanna Pressley just became the first African-American woman to represent Massachusetts in Congress.\" width=\"300\" height=\"224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/ap_18248458254214.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/ap_18248458254214-160x119.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Democrat Ayanna Pressley just became the first African-American woman to represent Massachusetts in Congress. \u003ccite>(Steven Senne/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“To black and white Americans, although I’m making history this evening, I love to believe that my victory tonight is a symbol of hope for many of us who never dreamt or never believed that we would have had the opportunity to move out [into politics],” she said.\u003c/p>\n\u003cp>“And I want to say, to all of the marvelous people in the 12th Congressional District, black, Puerto Rican and white, that without your support and without your faith in me, and without your going to the polls today and telling the world that we have our voice, I would not have made it.”\u003c/p>\n\u003cp>“God bless you,” she said, engulfed by the sound of applause around her.\u003c/p>\n\u003cp>Ayanna Pressley of Massachusetts recently paraphrased the words of Brooklyn’s fiery congresswoman.\u003c/p>\n\u003cp>“Shirley Chisholm said she simply wanted to be remembered as a black woman being herself. When more of us do that, we win,” she said.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>. \u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Massive anti-government protests in Chile over the past few weeks have united demonstrators in song. Last week, up to a million people protesting in Santiago were joined by a cavalry of guitarists. They played a song called “El Derecho de Vivir en Paz,” which once stood as an anthem for resistance against the brutal regime of Augusto Pinochet that began in 1973.\u003c/p>\n\u003cp>Written by Chilean composer and singer-songwriter Víctor Jara, “El Derecho de Vivir en Paz” — translated as “The Right to Live in Peace” — was originally a tribute to Vietnamese communist leader Ho Chi Minh. Jara, an outspoken political activist, was imprisoned by the Chilean military during Pinochet’s dictatorship, and his song quickly became a protest anthem after Jara was assassinated on Pinochet’s orders. Pop star \u003ca href=\"https://www.npr.org/artists/757561005/francisca-valenzuela\">Francisca Valenzuela\u003c/a> says Jara is an icon who put his voice to the service of his fellow Chileans, calling him “a beacon of hope and resistance.”\u003c/p>\n\u003cp>Valenzuela is among 30 Chilean artists — including singers \u003ca href=\"https://www.npr.org/artists/605840833/mon-laferte\">Mon Laferte\u003c/a>, \u003ca href=\"https://www.npr.org/sections/world-cafe/2016/05/19/478693062/latin-roots-gepe\">Gepe\u003c/a>, Camila Moreno, rapper Pedropiedra, and rocker Fernando Milagros — who collaborated on a new recording of “El Derecho de Vivir en Paz” that was released earlier this week.\u003c/p>\n\u003cp>https://youtu.be/wlfAf2AibA8\u003c/p>\n\u003cp>Part of this new rendition references “el Nuevo Pacto Social,” or the new social agreement, adding lyrics that correspond to the specific requests of protesters: “Dignidad y educación / Que no haya desigualdad.” (“Dignity and education / So that there is no inequality.”)\u003c/p>\n\u003cp>“I really feel very proud of my cultural community,” Valenzuela says. “Everyone’s been very active and really putting their voice and their music at the service of this movement.” One might call it a Chilean tradition.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Amidst the enormous protests against inequality, Chileans turn to song. Music once used to protest the brutal dictator Augusto Pinochet in the '70s has been revamped for the demonstrations.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Massive anti-government protests in Chile over the past few weeks have united demonstrators in song. Last week, up to a million people protesting in Santiago were joined by a cavalry of guitarists. They played a song called “El Derecho de Vivir en Paz,” which once stood as an anthem for resistance against the brutal regime of Augusto Pinochet that began in 1973.\u003c/p>\n\u003cp>Written by Chilean composer and singer-songwriter Víctor Jara, “El Derecho de Vivir en Paz” — translated as “The Right to Live in Peace” — was originally a tribute to Vietnamese communist leader Ho Chi Minh. Jara, an outspoken political activist, was imprisoned by the Chilean military during Pinochet’s dictatorship, and his song quickly became a protest anthem after Jara was assassinated on Pinochet’s orders. Pop star \u003ca href=\"https://www.npr.org/artists/757561005/francisca-valenzuela\">Francisca Valenzuela\u003c/a> says Jara is an icon who put his voice to the service of his fellow Chileans, calling him “a beacon of hope and resistance.”\u003c/p>\n\u003cp>Valenzuela is among 30 Chilean artists — including singers \u003ca href=\"https://www.npr.org/artists/605840833/mon-laferte\">Mon Laferte\u003c/a>, \u003ca href=\"https://www.npr.org/sections/world-cafe/2016/05/19/478693062/latin-roots-gepe\">Gepe\u003c/a>, Camila Moreno, rapper Pedropiedra, and rocker Fernando Milagros — who collaborated on a new recording of “El Derecho de Vivir en Paz” that was released earlier this week.\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/wlfAf2AibA8'\n title='//www.youtube.com/embed/wlfAf2AibA8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Part of this new rendition references “el Nuevo Pacto Social,” or the new social agreement, adding lyrics that correspond to the specific requests of protesters: “Dignidad y educación / Que no haya desigualdad.” (“Dignity and education / So that there is no inequality.”)\u003c/p>\n\u003cp>“I really feel very proud of my cultural community,” Valenzuela says. “Everyone’s been very active and really putting their voice and their music at the service of this movement.” One might call it a Chilean tradition.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I’m a longtime Prince fan. I would listen to his raunchy songs with the sound turned down low so my parents couldn’t hear, because even before I understood a lot of the double entendre in his lyrics, I sensed they—and he—were naughty. And, of course, my parents confirmed.\u003c/p>\n\u003cp>Once while driving in the car with my mom, \u003cem>Erotic City\u003c/em> started playing on the radio. She reached over, snapped the radio off and said, “That Prince is just nasty.” And he \u003cem>was\u003c/em> nasty. In a good way.\u003c/p>\n\u003cp>[aside tag='prince' label='More on Prince']\u003c/p>\n\u003cp>Prince was also perspicacious and artistically brilliant and mischievous and shrewd and all the many other superlatives that have been bestowed on him over the years.\u003c/p>\n\u003cp>Still, I wasn’t sure what to expect from \u003cem>The Beautiful Ones. \u003c/em>Before I had the book in hand, I read \u003ca href=\"https://www.newyorker.com/magazine/2019/09/09/the-book-of-prince\">an excerpt of its introduction\u003c/a> in \u003cem>The New Yorker, \u003c/em>which detailed the origin of the book. I wondered how anyone could publish a book Prince wanted to write about himself if Prince, himself, was no longer with us to write the book? How Sway?!\u003c/p>\n\u003cfigure id=\"attachment_13868958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868958\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg\" alt=\"Prince plays a guitar in bed at his new home on France Avenue, April 1978.\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1200x860.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1920x1376.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince plays a guitar in bed at his new home on France Avenue, April 1978. \u003ccite>(Joseph Giannetti/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Prince died in 2016 without a will (this still shocks me) and, since he didn’t write down explicitly what he wanted done with his estate, others had to make their best guess. One of those decisions included finishing this memoir.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The introduction sets the stage, as it were, by explaining how writer Dan Piepenbring—an editor for \u003cem>The Paris Review \u003c/em>who was not yet 30 or a published author at the time—got pulled into the project. As I read his words I jealously thought “this lucky so-and-so, imagine your first published book is a collaboration with Prince Rogers Nelson?!”\u003c/p>\n\u003cp>Everything Piepenbring shares about being a fan chosen to work with one of his idols resonates with me: Be cool. Cool, cool, cool, cool. I mean, this is Prince we’re talking about, dude oozed cool, so you needed to be cool, too. But not \u003cem>too\u003c/em> cool. Try not to say or do the wrong, stupid thing, but also try to prove you have the talent for the gig, and gah! somehow you still say and do the wrong, stupid thing. When Piepenbring sweeps his phone off a conference room table because Prince glanced at it and wondered if he was recording their conversation, I laughed. That’s right, just throw the whole phone away.\u003c/p>\n\u003cfigure id=\"attachment_13868959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868959\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe\" alt=\"Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu's idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-160x107.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-768x516.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1020x685.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1200x806.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1920x1289.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu’s idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Piepenbring doesn’t just want to write this memoir with Prince, he wants to do it right (whatever “right” is, Prince always colored way outside of the purple lines). Once Prince dies and the book project lives on, Piepenbring also wants to do right by his idol.\u003c/p>\n\u003cp>Prince’s mandate(s) for the book was that it “be a handbook for the brilliant community,” “a radical call for collective ownership, for black creativity,” a book about freedom.\u003c/p>\n\u003cp>“Try to create,” he told Piepenbring. “I want to tell people to create. Just start by creating your day. Then create your life.”\u003c/p>\n\u003cp>That’s a whole lot of things. But then, so was Prince.\u003c/p>\n\u003cp>This means we get a memoir that is written by Prince, literally. Handwritten pages he had shared with Piepenbring make up Part 1, taking us from his first memory—his mother’s eyes—through the early days of his career. We learn about his epileptic seizures, his first kiss, his relationship with his parents, their relationship with each other, his adolescent years, and how Prince saw himself and his place in the world. Some of it’s sad, some funny (there’s a story about him tap dancing with no music for 28 1/2 minutes at a school talent show) and all of it pierces through some of the mystery Prince purposely cultivated around and about himself. Of course, even he admitted that he still had to brush his own teeth, like the rest of us.\u003c/p>\n\u003cfigure id=\"attachment_13868960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868960\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe\" alt=\"Prince taking a phone call in bed, circa 1980-81.\" width=\"800\" height=\"115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-160x23.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-768x110.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1020x146.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1200x172.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1920x275.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince taking a phone call in bed, circa 1980-81. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We also get a memoir that is carefully curated by Piepenbring, who writes that he was able to go through Paisley Park, room-by-room, sorting through Prince’s life. He describes choosing items “that communicated some intimacy; that shed a new light on his family and his art; that demonstrated his creative process, and, as he desired, would make his readers want to create, too.”\u003c/p>\n\u003cp>Part of what he found anchors the next section of the memoir: a scrapbook Prince kept while making his first album, \u003cem>For You. \u003c/em>It’s like a 1977 version of Instagram. Photos of him, of his friends, his notes, drawings, song lyrics. The whimsy and playfulness in the pages made me realize that Prince maybe wasn’t a tortured artist in those early days, as I had imagined. It looked like he had a ball.\u003c/p>\n\u003cp>The last section’s handwritten synopsis of what later became \u003cem>Purple Rain\u003c/em> required a couple of readings. I’ve seen the movie so many times I had to shake free of what ended up on the screen in order to really take in what Prince had initially envisioned.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Beautiful Ones \u003c/em>doesn’t paint a perfect picture. It’s not definitive. It can’t be, it shouldn’t be and, thankfully, it doesn’t try to be. We’ll never know what it might have been if Prince had lived. But it’s a good start. Now, it’s up to us to take what’s there and make something out of it for ourselves, creating, just as Prince wanted. That’s what I’m doing, anyway. It’s time we all reach out for something new.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m a longtime Prince fan. I would listen to his raunchy songs with the sound turned down low so my parents couldn’t hear, because even before I understood a lot of the double entendre in his lyrics, I sensed they—and he—were naughty. And, of course, my parents confirmed.\u003c/p>\n\u003cp>Once while driving in the car with my mom, \u003cem>Erotic City\u003c/em> started playing on the radio. She reached over, snapped the radio off and said, “That Prince is just nasty.” And he \u003cem>was\u003c/em> nasty. In a good way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prince was also perspicacious and artistically brilliant and mischievous and shrewd and all the many other superlatives that have been bestowed on him over the years.\u003c/p>\n\u003cp>Still, I wasn’t sure what to expect from \u003cem>The Beautiful Ones. \u003c/em>Before I had the book in hand, I read \u003ca href=\"https://www.newyorker.com/magazine/2019/09/09/the-book-of-prince\">an excerpt of its introduction\u003c/a> in \u003cem>The New Yorker, \u003c/em>which detailed the origin of the book. I wondered how anyone could publish a book Prince wanted to write about himself if Prince, himself, was no longer with us to write the book? How Sway?!\u003c/p>\n\u003cfigure id=\"attachment_13868958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868958\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg\" alt=\"Prince plays a guitar in bed at his new home on France Avenue, April 1978.\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1200x860.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1920x1376.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince plays a guitar in bed at his new home on France Avenue, April 1978. \u003ccite>(Joseph Giannetti/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Prince died in 2016 without a will (this still shocks me) and, since he didn’t write down explicitly what he wanted done with his estate, others had to make their best guess. One of those decisions included finishing this memoir.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The introduction sets the stage, as it were, by explaining how writer Dan Piepenbring—an editor for \u003cem>The Paris Review \u003c/em>who was not yet 30 or a published author at the time—got pulled into the project. As I read his words I jealously thought “this lucky so-and-so, imagine your first published book is a collaboration with Prince Rogers Nelson?!”\u003c/p>\n\u003cp>Everything Piepenbring shares about being a fan chosen to work with one of his idols resonates with me: Be cool. Cool, cool, cool, cool. I mean, this is Prince we’re talking about, dude oozed cool, so you needed to be cool, too. But not \u003cem>too\u003c/em> cool. Try not to say or do the wrong, stupid thing, but also try to prove you have the talent for the gig, and gah! somehow you still say and do the wrong, stupid thing. When Piepenbring sweeps his phone off a conference room table because Prince glanced at it and wondered if he was recording their conversation, I laughed. That’s right, just throw the whole phone away.\u003c/p>\n\u003cfigure id=\"attachment_13868959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868959\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe\" alt=\"Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu's idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-160x107.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-768x516.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1020x685.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1200x806.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1920x1289.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu’s idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Piepenbring doesn’t just want to write this memoir with Prince, he wants to do it right (whatever “right” is, Prince always colored way outside of the purple lines). Once Prince dies and the book project lives on, Piepenbring also wants to do right by his idol.\u003c/p>\n\u003cp>Prince’s mandate(s) for the book was that it “be a handbook for the brilliant community,” “a radical call for collective ownership, for black creativity,” a book about freedom.\u003c/p>\n\u003cp>“Try to create,” he told Piepenbring. “I want to tell people to create. Just start by creating your day. Then create your life.”\u003c/p>\n\u003cp>That’s a whole lot of things. But then, so was Prince.\u003c/p>\n\u003cp>This means we get a memoir that is written by Prince, literally. Handwritten pages he had shared with Piepenbring make up Part 1, taking us from his first memory—his mother’s eyes—through the early days of his career. We learn about his epileptic seizures, his first kiss, his relationship with his parents, their relationship with each other, his adolescent years, and how Prince saw himself and his place in the world. Some of it’s sad, some funny (there’s a story about him tap dancing with no music for 28 1/2 minutes at a school talent show) and all of it pierces through some of the mystery Prince purposely cultivated around and about himself. Of course, even he admitted that he still had to brush his own teeth, like the rest of us.\u003c/p>\n\u003cfigure id=\"attachment_13868960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868960\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe\" alt=\"Prince taking a phone call in bed, circa 1980-81.\" width=\"800\" height=\"115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-160x23.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-768x110.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1020x146.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1200x172.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1920x275.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince taking a phone call in bed, circa 1980-81. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We also get a memoir that is carefully curated by Piepenbring, who writes that he was able to go through Paisley Park, room-by-room, sorting through Prince’s life. He describes choosing items “that communicated some intimacy; that shed a new light on his family and his art; that demonstrated his creative process, and, as he desired, would make his readers want to create, too.”\u003c/p>\n\u003cp>Part of what he found anchors the next section of the memoir: a scrapbook Prince kept while making his first album, \u003cem>For You. \u003c/em>It’s like a 1977 version of Instagram. Photos of him, of his friends, his notes, drawings, song lyrics. The whimsy and playfulness in the pages made me realize that Prince maybe wasn’t a tortured artist in those early days, as I had imagined. It looked like he had a ball.\u003c/p>\n\u003cp>The last section’s handwritten synopsis of what later became \u003cem>Purple Rain\u003c/em> required a couple of readings. I’ve seen the movie so many times I had to shake free of what ended up on the screen in order to really take in what Prince had initially envisioned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Beautiful Ones \u003c/em>doesn’t paint a perfect picture. It’s not definitive. It can’t be, it shouldn’t be and, thankfully, it doesn’t try to be. We’ll never know what it might have been if Prince had lived. But it’s a good start. Now, it’s up to us to take what’s there and make something out of it for ourselves, creating, just as Prince wanted. That’s what I’m doing, anyway. It’s time we all reach out for something new.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland native Timothy B. has been putting paint where it ain’t for some time now—and the center of his work is family.\u003c/p>\n\u003cp>He was born in 1992, the same year his father, Timothy Bluitt Sr., was sent to prison. A former high-ranking member of the East Oakland street organization the \u003ca href=\"https://en.wikipedia.org/wiki/Felix_Mitchell\" target=\"_blank\" rel=\"noopener noreferrer\">69 Mob\u003c/a>, the elder Timothy served nearly a quarter century behind bars. During that time, Oakland changed a lot, and so did the Bluitt family: Timothy’s mom, Dana Bluitt, worked her ass off to make sure the family wasn’t broken, and instead, made uniquely strong.\u003c/p>\n\u003cp>Meanwhile, Timothy B. grew into an incredible artist.\u003c/p>\n\u003cfigure id=\"attachment_13868877\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/TimothyB.Family.jpg\" alt=\"Timothy Bluitt Sr., Dana Bluitt and Timothy Bluitt Jr. \" width=\"640\" height=\"849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TimothyB.Family.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TimothyB.Family-160x212.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Timothy Bluitt Sr., Dana Bluitt and Timothy Bluitt Jr. \u003ccite>(Courtesy the Bluitt Family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In April of this year, when Timothy B. and Natty Rebel of the \u003ca href=\"https://www.thebamp.org/\">Bay Area Mural Program\u003c/a> co-created a mural dedicated to the late rapper and entrepreneur \u003ca href=\"https://www.kqed.org/arts/13854043/when-nipsey-hussle-brought-his-marathon-mindset-to-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Nipsey Hussle\u003c/a>, the community came together in a way that’s rarely seen in the arts scene. On top of your usual artsy types, middle-aged folks broke stride in their jog to look at the piece, nonprofit workers in slacks got in glimpses as they went home from their jobs and former d-boys parked candy-coated muscle cars nearby to take flicks in front of the fresh paint.\u003c/p>\n\u003cfigure id=\"attachment_13868505\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/IMG_4611-800x600.jpg\" alt=\"Timothy B. and Natty Rebel of the Bay Area Mural Project\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timothy B. and Natty Rebel of the Bay Area Mural Project. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For this week’s episode of \u003cem>Rightnowish\u003c/em>, I sat down with Timothy to talk about how Oakland is diverse, but it’s also very divided. How’d Timothy manage to bring out the different flavors of the community? What do his parents think about Timothy’s growth? What does the family’s story say about what’s going on right now … ish?\u003c/p>\n\u003cp>Listen to this week’s episode to hear all about it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland native Timothy B. has been putting paint where it ain’t for some time now—and the center of his work is family.\u003c/p>\n\u003cp>He was born in 1992, the same year his father, Timothy Bluitt Sr., was sent to prison. A former high-ranking member of the East Oakland street organization the \u003ca href=\"https://en.wikipedia.org/wiki/Felix_Mitchell\" target=\"_blank\" rel=\"noopener noreferrer\">69 Mob\u003c/a>, the elder Timothy served nearly a quarter century behind bars. During that time, Oakland changed a lot, and so did the Bluitt family: Timothy’s mom, Dana Bluitt, worked her ass off to make sure the family wasn’t broken, and instead, made uniquely strong.\u003c/p>\n\u003cp>Meanwhile, Timothy B. grew into an incredible artist.\u003c/p>\n\u003cfigure id=\"attachment_13868877\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/TimothyB.Family.jpg\" alt=\"Timothy Bluitt Sr., Dana Bluitt and Timothy Bluitt Jr. \" width=\"640\" height=\"849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TimothyB.Family.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TimothyB.Family-160x212.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Timothy Bluitt Sr., Dana Bluitt and Timothy Bluitt Jr. \u003ccite>(Courtesy the Bluitt Family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In April of this year, when Timothy B. and Natty Rebel of the \u003ca href=\"https://www.thebamp.org/\">Bay Area Mural Program\u003c/a> co-created a mural dedicated to the late rapper and entrepreneur \u003ca href=\"https://www.kqed.org/arts/13854043/when-nipsey-hussle-brought-his-marathon-mindset-to-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Nipsey Hussle\u003c/a>, the community came together in a way that’s rarely seen in the arts scene. On top of your usual artsy types, middle-aged folks broke stride in their jog to look at the piece, nonprofit workers in slacks got in glimpses as they went home from their jobs and former d-boys parked candy-coated muscle cars nearby to take flicks in front of the fresh paint.\u003c/p>\n\u003cfigure id=\"attachment_13868505\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/IMG_4611-800x600.jpg\" alt=\"Timothy B. and Natty Rebel of the Bay Area Mural Project\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timothy B. and Natty Rebel of the Bay Area Mural Project. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For this week’s episode of \u003cem>Rightnowish\u003c/em>, I sat down with Timothy to talk about how Oakland is diverse, but it’s also very divided. How’d Timothy manage to bring out the different flavors of the community? What do his parents think about Timothy’s growth? What does the family’s story say about what’s going on right now … ish?\u003c/p>\n\u003cp>Listen to this week’s episode to hear all about it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When Ruth Bader Ginsberg attended Harvard Law School in 1956, she and the eight other women in attendance were asked by the dean to justify why they were taking places in class away from men. The women were \u003ca href=\"https://www.thecrimson.com/article/1993/7/23/ginsburg-blasts-harvard-law-pin-testimony/\" target=\"_blank\" rel=\"noopener noreferrer\">refused entry\u003c/a> to the law school dormitories, the Lamont library and even the Harvard Law Review banquet. So just imagine the indignities that must have befallen Clara Shortridge Foltz, who became the West Coast’s \u003ca href=\"https://www.lapl.org/collections-resources/blogs/lapl/who-heck-clara-shortridge-foltz\" target=\"_blank\" rel=\"noopener noreferrer\">first female lawyer\u003c/a> in 1878. [aside postid='pop_102326']\u003c/p>\n\u003cp>“Genius, talent and hard labor know no sex,” \u003ca href=\"https://www.youtube.com/watch?v=yyi37vmIZ2Q\" target=\"_blank\" rel=\"noopener noreferrer\">Foltz once said\u003c/a>, sharing a life-long mantra that enabled her to achieve a mind-blowing number of firsts. In her lifetime, she spearheaded legislation to allow women to become law school students, notaries public and administrators of estates. In 1890, she led a campaign for nationwide public defenders’ offices—over two decades before California got its first. In 1910, Foltz became America’s first female deputy district attorney. In 1930, at the age of 81, she was the first woman to run for governor of California.\u003c/p>\n\u003cp>So where did this tireless innovator come from? Foltz spent her childhood and early teens in Illinois and Iowa, but found herself in San Jose after eloping at the age of 15 with a Union soldier named Jeremiah Foltz.\u003c/p>\n\u003cp>Raised with a reverence for the law by her attorney father, Elias, Foltz often overheard him telling her mother: “I’m sorry that girl was not born a boy, for then she would have become a great lawyer.” Only after Foltz’s husband left her for another woman, abandoning her with five children under the age of 11, would she conjure the chutzpah to try.\u003c/p>\n\u003cp>It was then, in 1876, at the age of 29, that Foltz finally began to take steps towards a law career, arguing to all who would listen that moving into a male profession was the only means she had to support her family and keep her children together. Though she divorced Jeremiah in 1879, the story she told the world was that he died suddenly. Disguising her career ambitions as something purely spurred by the love of her children, she was able to earn the sympathy of enough men in the legal profession to advance into it herself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though there were 50 other female lawyers in the United States at the time, California’s Code of Civil Procedure prohibited women from joining the profession, expressly stating that only a “white male citizen” could apply to the bar. But with the help of several male allies, suffragist campaigners, a supportive local press and her mother’s assistance with child care, Foltz successfully lobbied for a new bill, the Woman Lawyer’s Act, that allowed women to take the bar.\u003c/p>\n\u003cp>Thanks to Foltz’s commitment to her studies, legal training from her father and his partner C.C. Stephens and a local legal club where aspiring attorneys practiced arguing cases, Foltz passed the bar in 1878, just four months after the Woman Lawyer’s Act was passed. She began practicing in San Francisco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863218 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/images.jpg\" alt=\"\" width=\"184\" height=\"275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/images.jpg 184w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/images-160x239.jpg 160w\" sizes=\"auto, (max-width: 184px) 100vw, 184px\">\u003c/p>\n\u003cp>Though Foltz described this victory as “bliss,” it only spurred her determination to make life better for women all over the world. She traveled the United States and Europe, campaigning for women’s suffrage, and used her position as editor and publisher of the \u003cem>San Diego Bee\u003c/em> and \u003cem>The New American Woman \u003c/em>to advance the suffragist agenda. In one public lecture, she put her position in no uncertain terms:\u003c/p>\n\u003cblockquote>\u003cp>“Woman must be either man’s equal or his slave. There is no middle ground. The flag of our Union floats not over one free woman in all this broad land. Every inch gained by her in the last half century has been contested and every inch gained has only subjected her to fresh demands.”\u003c/p>\u003c/blockquote>\n\u003cp>Along with her career and activism, San Francisco proved to be Foltz’s other great love. When moving to New York in October 1895, she confessed to the \u003cem>San Francisco Examiner\u003c/em>: “For a long time I have had my eye on [New York] as a larger field, and only my pleasant business and social associations in San Francisco have prevented an earlier removal.”\u003c/p>\n\u003cp>After finally moving east, initially because she wanted to earn more money and eventually open a women’s law school in San Francisco, Foltz lasted only four years in New York before coming back. Her later move to Los Angeles is said to have been prompted by the 1906 earthquake. She left an indelible mark on the southern part of the state too—today, the county courthouse in downtown Los Angeles is named after her.\u003c/p>\n\u003cfigure id=\"attachment_13865151\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865151\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/20190828_140450-800x657.jpg\" alt=\"From 'Woman Lawyer: The Trials of Clara Foltz' by Barbara Babcock.\" width=\"800\" height=\"657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/20190828_140450-800x657.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/20190828_140450-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/20190828_140450-768x630.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/20190828_140450-1020x837.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/20190828_140450-1200x985.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/20190828_140450-1920x1576.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/20190828_140450.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From ‘Woman Lawyer: The Trials of Clara Foltz’ by Barbara Babcock.\u003c/figcaption>\u003c/figure>\n\u003cp>Through her barrier-busting life, Foltz found that combining an inner toughness with an outer femininity was the best way to get things done. “They call me a lady lawyer, a pretty sobriquet,” \u003ca href=\"https://www.facebook.com/CloseTheGapCa/posts/clara-shortridge-foltz-july-16-1849-september-2-1934-americas-first-practicing-w/2561066703964825/\" target=\"_blank\" rel=\"noopener noreferrer\">she once said\u003c/a>. “For of course to be worthy of so dainty a title, I was bound to maintain a dainty manner as I browbeat my way through the marshes of ignorance and prejudice.” [aside postid='pop_102774']\u003c/p>\n\u003cp>Foltz died of heart failure on Sept. 2, 1934, at the age of 85. She was at home in Los Angeles at the time. Though all of her impressive achievements stand as testament to her extraordinariness, a quote from her in the \u003ca href=\"https://homesteadmuseum.wordpress.com/2019/04/03/read-all-about-it-with-clara-shortridge-foltz-and-the-new-american-woman-april-1916/\" target=\"_blank\" rel=\"noopener noreferrer\">April 1916 edition of \u003cem>The New American Woman\u003c/em>\u003c/a> best sums up her life. “For as I look back over the hard journey,” she said, “and recall the difficulties which seemed insurmountable, and the obstacles that would have awed the heart of the stoutest man, I am amazed at my own temerity!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though there were 50 other female lawyers in the United States at the time, California’s Code of Civil Procedure prohibited women from joining the profession, expressly stating that only a “white male citizen” could apply to the bar. But with the help of several male allies, suffragist campaigners, a supportive local press and her mother’s assistance with child care, Foltz successfully lobbied for a new bill, the Woman Lawyer’s Act, that allowed women to take the bar.\u003c/p>\n\u003cp>Thanks to Foltz’s commitment to her studies, legal training from her father and his partner C.C. Stephens and a local legal club where aspiring attorneys practiced arguing cases, Foltz passed the bar in 1878, just four months after the Woman Lawyer’s Act was passed. She began practicing in San Francisco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863218 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/images.jpg\" alt=\"\" width=\"184\" height=\"275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/images.jpg 184w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/images-160x239.jpg 160w\" sizes=\"auto, (max-width: 184px) 100vw, 184px\">\u003c/p>\n\u003cp>Though Foltz described this victory as “bliss,” it only spurred her determination to make life better for women all over the world. She traveled the United States and Europe, campaigning for women’s suffrage, and used her position as editor and publisher of the \u003cem>San Diego Bee\u003c/em> and \u003cem>The New American Woman \u003c/em>to advance the suffragist agenda. In one public lecture, she put her position in no uncertain terms:\u003c/p>\n\u003cblockquote>\u003cp>“Woman must be either man’s equal or his slave. There is no middle ground. The flag of our Union floats not over one free woman in all this broad land. Every inch gained by her in the last half century has been contested and every inch gained has only subjected her to fresh demands.”\u003c/p>\u003c/blockquote>\n\u003cp>Along with her career and activism, San Francisco proved to be Foltz’s other great love. When moving to New York in October 1895, she confessed to the \u003cem>San Francisco Examiner\u003c/em>: “For a long time I have had my eye on [New York] as a larger field, and only my pleasant business and social associations in San Francisco have prevented an earlier removal.”\u003c/p>\n\u003cp>After finally moving east, initially because she wanted to earn more money and eventually open a women’s law school in San Francisco, Foltz lasted only four years in New York before coming back. Her later move to Los Angeles is said to have been prompted by the 1906 earthquake. She left an indelible mark on the southern part of the state too—today, the county courthouse in downtown Los Angeles is named after her.\u003c/p>\n\u003cfigure id=\"attachment_13865151\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865151\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/20190828_140450-800x657.jpg\" alt=\"From 'Woman Lawyer: The Trials of Clara Foltz' by Barbara Babcock.\" width=\"800\" height=\"657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/20190828_140450-800x657.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/20190828_140450-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/20190828_140450-768x630.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/20190828_140450-1020x837.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/20190828_140450-1200x985.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/20190828_140450-1920x1576.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/20190828_140450.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From ‘Woman Lawyer: The Trials of Clara Foltz’ by Barbara Babcock.\u003c/figcaption>\u003c/figure>\n\u003cp>Through her barrier-busting life, Foltz found that combining an inner toughness with an outer femininity was the best way to get things done. “They call me a lady lawyer, a pretty sobriquet,” \u003ca href=\"https://www.facebook.com/CloseTheGapCa/posts/clara-shortridge-foltz-july-16-1849-september-2-1934-americas-first-practicing-w/2561066703964825/\" target=\"_blank\" rel=\"noopener noreferrer\">she once said\u003c/a>. “For of course to be worthy of so dainty a title, I was bound to maintain a dainty manner as I browbeat my way through the marshes of ignorance and prejudice.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Foltz died of heart failure on Sept. 2, 1934, at the age of 85. She was at home in Los Angeles at the time. Though all of her impressive achievements stand as testament to her extraordinariness, a quote from her in the \u003ca href=\"https://homesteadmuseum.wordpress.com/2019/04/03/read-all-about-it-with-clara-shortridge-foltz-and-the-new-american-woman-april-1916/\" target=\"_blank\" rel=\"noopener noreferrer\">April 1916 edition of \u003cem>The New American Woman\u003c/em>\u003c/a> best sums up her life. “For as I look back over the hard journey,” she said, “and recall the difficulties which seemed insurmountable, and the obstacles that would have awed the heart of the stoutest man, I am amazed at my own temerity!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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