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"content": "\u003cp>Homa Dashtaki didn’t really think about her relationship to food until shortly after she was laid off from a career in law, and was living at home in California. She and her father would make yogurt together from scratch, just the way her Zoroastrian-Iranian ancestors had done for many generations. The comfort in taking up ancient traditions was enough to inspire her to completely pivot and start her own business selling yogurt at a local farmers’ market.\u003c/p>\n\u003cp>From the reaction of customers, she says, she realized they were onto something.\u003c/p>\n\u003cp>[aside postid='arts_13894263']After many hurdles — including an attempt, she says, at being shut down by the California Department of Food and Agriculture and a subsequent move to New York — \u003ca href=\"https://whitemoustache.com/\">The White Moustache\u003c/a> was born. Named in honor of her father’s bushy whiskers, the yogurt has become a cult item for the kind of New Yorker who shops in stores such as Whole Foods, Eataly and the Park Slope Food Coop.\u003c/p>\n\u003cp>In her new cookbook, \u003cem>Yogurt and Whey: Recipes of an Iranian Immigrant Life,\u003c/em> Dashtaki weaves her personal journey through nearly 100 recipes, old and new. One key ingredient is whey, the liquid byproduct of the yogurt-making process. With recipes such as whey cocktails and popsicles, the book demonstrates a central value of both her culture and business: nothing goes to waste.\u003c/p>\n\u003cp>“Every scrap is not thought of as trash,” Dashtaki says. “It’s thought of as an opportunity to celebrate that food.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Think about butchering an animal — “from head to toe, you are using every single piece of it,” Dashtaki says. “And in a celebratory way … I think that very intense feeling has sort of informed everything I do.”\u003c/p>\n\u003cp>\u003cem>Yogurt and Whey\u003c/em> arrives just in time for this year’s Persian New Year (or \u003cem>Nowruz\u003c/em> in Persian), and the start of spring.\u003c/p>\n\u003cp>Below, find Dashtaki’s recipe for pancakes featuring whey.\u003c/p>\n\u003cfigure id=\"attachment_13926603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926603\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-800x1067.jpg\" alt=\"A woman stands in a bright, white kitchen, dressed in crisp white chef's uniform. She is standing over a white mixing bowl smiling.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1.jpg 1363w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Homa Dashtaki. \u003ccite>(Nicole Franzen/ The White Moustache)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>Whey-to-Start-the-Weekend Pancakes\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Ingredients\u003c/strong>\u003c/p>\n\u003cp>1 1/3 cups all-purpose flour\u003cbr>\n2 tablespoons sugar\u003cbr>\n1 teaspoon baking powder\u003cbr>\n1 teaspoon baking soda\u003cbr>\n1 teaspoon kosher salt\u003cbr>\n2 large eggs\u003cbr>\n1 cup yogurt whey\u003cbr>\n4 tablespoons (1/2 stick) unsalted butter, melted, plus more for the skillet\u003cbr>\nNeutral oil (such as sunflower, canola, or grapeseed) or coconut oil for the skillet\u003c/p>\n\u003cp>\u003cem>Makes about 8 (4-inch) pancakes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Recipe\u003c/strong>\u003c/p>\n\u003cp>In a large bowl, whisk together the flour, sugar, baking powder, baking soda, and salt.\u003c/p>\n\u003cp>In a medium bowl, whisk the eggs, whey, and melted butter until thoroughly combined. Pour the wet ingredients into the dry and gently whisk just until incorporated. (A few lumps are okay and preferable to an overmixed batter, which will lead to denser pancakes). Set the batter aside for 15 minutes at room temperature, until the surface is dotted with bubbles.\u003c/p>\n\u003cp>[aside postid='bayareabites_94115']Heat a large nonstick skillet or griddle over medium light. Plop in approximately 1 teaspoon butter and 1 teaspoon oil (you get the flavor and browning properties of butter, while the oil tempers burning), and swirl the pan to coat well.\u003c/p>\n\u003cp>Pour about 1/3 cup batter per pancake into the hot pan. Bubbles will form on the tops of the pancakes; wait to flip them until most of the bubbles have popped and the surface begins to lose its wet, shiny look, 2 to 3 minutes. If you like, use a spatula to peek underneath when you think the pancakes are getting close — the bottom should be golden brown. Flip and cook for another 1 to 2 minutes, just until golden. Transfer to a plate and repeat to cook the remaining pancakes, adding more butter and oil as needed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Serve with maple syrup, jam, yogurt, fresh fruit, or lemon juice and sugar… or all of the above. Or just stand at the stove and eat them with your hands. Hey, it’s the weekend.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=If+you+want+to+up+your+yogurt+game%2C+this+Iranian+cookbook+will+show+you+the+whey&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Think about butchering an animal — “from head to toe, you are using every single piece of it,” Dashtaki says. “And in a celebratory way … I think that very intense feeling has sort of informed everything I do.”\u003c/p>\n\u003cp>\u003cem>Yogurt and Whey\u003c/em> arrives just in time for this year’s Persian New Year (or \u003cem>Nowruz\u003c/em> in Persian), and the start of spring.\u003c/p>\n\u003cp>Below, find Dashtaki’s recipe for pancakes featuring whey.\u003c/p>\n\u003cfigure id=\"attachment_13926603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926603\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-800x1067.jpg\" alt=\"A woman stands in a bright, white kitchen, dressed in crisp white chef's uniform. She is standing over a white mixing bowl smiling.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1.jpg 1363w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Homa Dashtaki. \u003ccite>(Nicole Franzen/ The White Moustache)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>Whey-to-Start-the-Weekend Pancakes\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Ingredients\u003c/strong>\u003c/p>\n\u003cp>1 1/3 cups all-purpose flour\u003cbr>\n2 tablespoons sugar\u003cbr>\n1 teaspoon baking powder\u003cbr>\n1 teaspoon baking soda\u003cbr>\n1 teaspoon kosher salt\u003cbr>\n2 large eggs\u003cbr>\n1 cup yogurt whey\u003cbr>\n4 tablespoons (1/2 stick) unsalted butter, melted, plus more for the skillet\u003cbr>\nNeutral oil (such as sunflower, canola, or grapeseed) or coconut oil for the skillet\u003c/p>\n\u003cp>\u003cem>Makes about 8 (4-inch) pancakes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Recipe\u003c/strong>\u003c/p>\n\u003cp>In a large bowl, whisk together the flour, sugar, baking powder, baking soda, and salt.\u003c/p>\n\u003cp>In a medium bowl, whisk the eggs, whey, and melted butter until thoroughly combined. Pour the wet ingredients into the dry and gently whisk just until incorporated. (A few lumps are okay and preferable to an overmixed batter, which will lead to denser pancakes). Set the batter aside for 15 minutes at room temperature, until the surface is dotted with bubbles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Heat a large nonstick skillet or griddle over medium light. Plop in approximately 1 teaspoon butter and 1 teaspoon oil (you get the flavor and browning properties of butter, while the oil tempers burning), and swirl the pan to coat well.\u003c/p>\n\u003cp>Pour about 1/3 cup batter per pancake into the hot pan. Bubbles will form on the tops of the pancakes; wait to flip them until most of the bubbles have popped and the surface begins to lose its wet, shiny look, 2 to 3 minutes. If you like, use a spatula to peek underneath when you think the pancakes are getting close — the bottom should be golden brown. Flip and cook for another 1 to 2 minutes, just until golden. Transfer to a plate and repeat to cook the remaining pancakes, adding more butter and oil as needed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Serve with maple syrup, jam, yogurt, fresh fruit, or lemon juice and sugar… or all of the above. Or just stand at the stove and eat them with your hands. Hey, it’s the weekend.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=If+you+want+to+up+your+yogurt+game%2C+this+Iranian+cookbook+will+show+you+the+whey&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "poignant-graphic-novel-ephemera-explores-an-oakland-artists-lonely-childhood",
"title": "Poignant Graphic Novel ‘Ephemera’ Explores an Oakland Artist’s Lonely Childhood",
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"content": "\u003cp>There is a profound yearning in Briana Loewinsohn’s new graphic novel \u003cem>Ephemera \u003c/em>that diligently creeps throughout, like so many vines in search of daylight. It’s a yearning that’s unspoken, lurking in empty corners and open fields. It’s present in small, desperate acts and silent scenes of isolation. That yearning provides a depth to the Oakland artist’s debut memoir that takes surface beauty and transforms it into something devastating.\u003c/p>\n\u003cp>\u003ca href=\"https://www.fantagraphics.com/products/ephemera\">\u003cem>Ephemera\u003c/em>\u003c/a> (Fantagraphics; $24.99) is the story of Loewinsohn’s childhood, of growing up with a mentally ill, neglectful mother who would disappear for extended periods, leaving Loewinsohn and her brother unattended. The author turned to nature for comfort, embracing tree branches, grass blades and potted plants when there was nothing to hold onto at home.\u003c/p>\n\u003cfigure id=\"attachment_13926139\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926139\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-800x470.png\" alt=\"An illustration depicts a small girl lying on a tree branch. A caption above her reads 'Feeling your absence.'\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-800x470.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-1020x599.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-768x451.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-1536x902.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM.png 1794w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nature and trees appear as a source of comfort in ‘Ephemera.’ \u003ccite>(Fantagraphics Books Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Told from the perspective of the adult Loewinsohn as she returns to her childhood home in Berkeley to tend to the gardens there, the story distinguishes between the artist’s past and present using subdued but distinct color palettes. Her past is brought to life in blues and grays, emphasizing the coldness of the family home and the haze inherent to memories. Her present is tinged with reds, oranges and browns, like a new dawn, albeit one still contained in half-light.\u003c/p>\n\u003cp>[aside postid='arts_13923268']The vegetation around Loewinsohn is a reflection of her past, her present and her desire to heal. (“Sometimes,” Loewinsohn notes at one point, “I worry about the plants that grow alone.”) In tending to her childhood gardens in the present day, Loewinsohn is repaying the living things that nurtured her as a child. But she’s also honoring her absent mother, who took better care of the plants in her care than the children.\u003c/p>\n\u003cp>Loewinsohn shares restrained but sometimes agonizing realizations about how little love can sustain living things. “A little water can go a long way,” she notes after reviving one potted plant that appeared close to death.\u003c/p>\n\u003cfigure id=\"attachment_13926138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926138\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-800x527.png\" alt=\"An illustration showing a small girl curled up alone in a large bed, surrounded on all side by giant flowers and vines. \" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-800x527.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-1020x672.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-768x506.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-1536x1012.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM.png 1724w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The young Loewinsohn curled up in her mother’s bed, seeking comfort. \u003ccite>(Fantagraphics Books Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What makes \u003cem>Ephemera\u003c/em> extra-special is that it’s an almost wordless meditation. That quietude emphasizes the loneliness of Loewinsohn’s childhood in a manner that is frequently heart-wrenching. (I don’t remember a graphic novel that has ever made me cry as much as this one did.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Helpfully, there is much grace and optimism here too — particularly in the understanding that beautiful things may still grow out of shadows. For that, and many other reasons, \u003cem>Ephemera\u003c/em> is an unusual and profoundly moving work.\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>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.fantagraphics.com/collections/new-this-month/products/ephemera\">‘Ephemera’ publishes March 21\u003c/a> via Fantagraphics Books. Loewinsohn will read and appear in conversation with graphic novelist Thien Pham at 7 p.m. on March 21 at Mrs. Dalloway’s Literary and Garden Arts in Berkeley. \u003ca href=\"https://www.eventbrite.com/e/briana-loewinsohn-in-store-launch-for-her-new-graphic-novel-ephemera-tickets-541707962097\">Details here\u003c/a>. Loewinsohn will also be in conversation with Gene Luen Yang and doing a book signing at Green Apple Books in San Francisco at 7 p.m. on March 27. \u003ca href=\"https://www.greenapplebooks.com/event/9th-ave-briana-loewinsohn-gene-luen-yang\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a profound yearning in Briana Loewinsohn’s new graphic novel \u003cem>Ephemera \u003c/em>that diligently creeps throughout, like so many vines in search of daylight. It’s a yearning that’s unspoken, lurking in empty corners and open fields. It’s present in small, desperate acts and silent scenes of isolation. That yearning provides a depth to the Oakland artist’s debut memoir that takes surface beauty and transforms it into something devastating.\u003c/p>\n\u003cp>\u003ca href=\"https://www.fantagraphics.com/products/ephemera\">\u003cem>Ephemera\u003c/em>\u003c/a> (Fantagraphics; $24.99) is the story of Loewinsohn’s childhood, of growing up with a mentally ill, neglectful mother who would disappear for extended periods, leaving Loewinsohn and her brother unattended. The author turned to nature for comfort, embracing tree branches, grass blades and potted plants when there was nothing to hold onto at home.\u003c/p>\n\u003cfigure id=\"attachment_13926139\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926139\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-800x470.png\" alt=\"An illustration depicts a small girl lying on a tree branch. A caption above her reads 'Feeling your absence.'\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-800x470.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-1020x599.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-768x451.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-1536x902.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM.png 1794w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nature and trees appear as a source of comfort in ‘Ephemera.’ \u003ccite>(Fantagraphics Books Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Told from the perspective of the adult Loewinsohn as she returns to her childhood home in Berkeley to tend to the gardens there, the story distinguishes between the artist’s past and present using subdued but distinct color palettes. Her past is brought to life in blues and grays, emphasizing the coldness of the family home and the haze inherent to memories. Her present is tinged with reds, oranges and browns, like a new dawn, albeit one still contained in half-light.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The vegetation around Loewinsohn is a reflection of her past, her present and her desire to heal. (“Sometimes,” Loewinsohn notes at one point, “I worry about the plants that grow alone.”) In tending to her childhood gardens in the present day, Loewinsohn is repaying the living things that nurtured her as a child. But she’s also honoring her absent mother, who took better care of the plants in her care than the children.\u003c/p>\n\u003cp>Loewinsohn shares restrained but sometimes agonizing realizations about how little love can sustain living things. “A little water can go a long way,” she notes after reviving one potted plant that appeared close to death.\u003c/p>\n\u003cfigure id=\"attachment_13926138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926138\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-800x527.png\" alt=\"An illustration showing a small girl curled up alone in a large bed, surrounded on all side by giant flowers and vines. \" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-800x527.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-1020x672.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-768x506.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-1536x1012.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM.png 1724w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The young Loewinsohn curled up in her mother’s bed, seeking comfort. \u003ccite>(Fantagraphics Books Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What makes \u003cem>Ephemera\u003c/em> extra-special is that it’s an almost wordless meditation. That quietude emphasizes the loneliness of Loewinsohn’s childhood in a manner that is frequently heart-wrenching. (I don’t remember a graphic novel that has ever made me cry as much as this one did.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Helpfully, there is much grace and optimism here too — particularly in the understanding that beautiful things may still grow out of shadows. For that, and many other reasons, \u003cem>Ephemera\u003c/em> is an unusual and profoundly moving work.\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>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.fantagraphics.com/collections/new-this-month/products/ephemera\">‘Ephemera’ publishes March 21\u003c/a> via Fantagraphics Books. Loewinsohn will read and appear in conversation with graphic novelist Thien Pham at 7 p.m. on March 21 at Mrs. Dalloway’s Literary and Garden Arts in Berkeley. \u003ca href=\"https://www.eventbrite.com/e/briana-loewinsohn-in-store-launch-for-her-new-graphic-novel-ephemera-tickets-541707962097\">Details here\u003c/a>. Loewinsohn will also be in conversation with Gene Luen Yang and doing a book signing at Green Apple Books in San Francisco at 7 p.m. on March 27. \u003ca href=\"https://www.greenapplebooks.com/event/9th-ave-briana-loewinsohn-gene-luen-yang\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Margaret Atwood’s ‘Old Babes in the Wood’ Tackles What It Means to Be Human",
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"content": "\u003cp>Margaret Atwood, without a doubt one of the greatest living writers, is best known for her incredibly successful and award-winning novels \u003cem>The Handmaid’s Tale\u003c/em> and, more recently, \u003cem>The Testaments\u003c/em>.\u003c/p>\n\u003cp>However, she is also an extraordinary short story writer — and \u003cem>Old Babes in the Wood\u003c/em>, her first collection in almost a decade, is a dazzling mixture of stories that explore what it means to be human while also showcasing Atwood’s gifted imagination and great sense of humor.\u003c/p>\n\u003cp>[aside postid='arts_13865676']\u003cem>Old Babes in the Wood\u003c/em> contains 15 stories, some of which have previously appeared in \u003cem>The New Yorker\u003c/em> and \u003cem>The New York Times Magazine\u003c/em>. The collection is divided into three parts. The first and last, titled “Tig & Nell” and “Nell & Tig,” revolve around a married couple and look, more or less, at their entire lives — what they’ve done and felt, the people that left a mark on them, their thoughts. These stories, which taken together feel like a mosaic novella more than literary bookends for a collection, offer a deep, heartfelt, engrossing look at the minutiae of life. The middle part, titled “My Evil Mother,” is perhaps the crowning jewel in this collection and brings together eight unique tales that vary wildly in terms of tone, voice, theme, and format. From imagined interviews and stories told by aliens to the circle of life and a snail trapped in the body of a woman, these tales show Atwood’s characteristic insight and intellect while also putting on full display her ability to make us laugh, her chronicler’s eye for detail, and her unparalleled imagination.\u003c/p>\n\u003cp>There are no throwaway stories in this collection, but several demand their time in the spotlight. “Morte de Smudgie,” about the death of a cat, is a perfect portrait of the unique kind of grief that follows the loss of a beloved pet. “My Evil Mother” follows a mother-daughter relationship through the years and shows how, and why, many people eventually become just like their parents. In “The Dead Interview,” Atwood “interviews” author George Orwell through a medium in a trance. Part tribute and part celebratory deconstruction of Orwell’s oeuvre and persona, this one becomes unexpectedly funny and shows just how on top of everything Atwood is as she tries to explain things like the internet, getting “cancelled,” anti-vaxxers, and even the January 6 coup attempt to Orwell. “Impatient Griselda” explores, through the translated voice of an alien that looks like an octopus and doesn’t have all the words it needs to communicate perfectly, estrangement and miscommunication. “Bad Teeth” is a fun vignette about friendship that follows two old friends as one of them insists on asking why the other had an affair with a man with bad teeth, but the affair never happened.\u003c/p>\n\u003cfigure id=\"attachment_13926191\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926191\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-800x1207.jpg\" alt=\"The cover of ‘Old Babes in the Wood’ by Margaret Atwood shows a simple illustration of a cat’s face in close-up.\" width=\"800\" height=\"1207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7.jpg 1693w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Old Babes in the Wood’ by Margaret Atwood. \u003ccite>(Doubleday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In “Death by Clamshell,” Hypatia of Alexandria narrates her own murder and offers her thoughts on how she’s morphed into different things to different groups of people in the centuries since her death. And she does so with great energy and a good sense of humor about it: “I try to look on the bright side: I did not have to endure the indignities of extreme old age.” In “Metempsychosis: or, The Journey of the Soul,” the narrator is a snail whose soul “jumped directly from snail to human” after it got sprayed with a homemade, environmentally friendly pesticide. The snail’s desire to return to its previous form, and its understandable shock at human behavior and practices, quickly morph into a truly eye-opening, heartfelt read about yearning and feeling out of place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Old Babes in the Wood\u003c/em> is touching, smart, funny, and unique in equal measure. Atwood, who’s always had her finger on the pulse of modern society, tackles everything from love and the afterlife to the importance of language and the pandemic (fans of \u003cem>The Handmaid’s Tale\u003c/em> will love “Freeforall,” which is a return to themes of motherhood with a political angle and plenty of social commentary). Throughout all these stories, Atwood’s usual wit is always present, and she offers plenty of memorable characters and lines. “That is what it is to be human, I suppose: to question the terms of existence,” says the snail trapped inside a woman in “Metempsychosis.” That line echoes throughout the collection.\u003c/p>\n\u003cp>[aside postid='arts_10990325']It’s been almost a decade since Atwood’s previous short story collection, \u003cem>Stone Mattress\u003c/em>, was published. Not surprisingly, the wait was worth it. \u003cem>Old Babes in the Wood\u003c/em> showcases Atwood’s imagination and her perennial obsession with getting to the core of what makes us human while dishing out plenty of entertainment and eye-opening revelations along the way. At this point, Atwood has nothing left to prove. But she writes like she wants the world to notice her work — and that fire makes it easy to react every time she publishes something: We know we must sit down, read, and be in awe of her talent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on Twitter at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Margaret+Atwood%27s+%27Old+Babes+in+the+Wood%27+tackles+what+it+means+to+be+human&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Margaret Atwood, without a doubt one of the greatest living writers, is best known for her incredibly successful and award-winning novels \u003cem>The Handmaid’s Tale\u003c/em> and, more recently, \u003cem>The Testaments\u003c/em>.\u003c/p>\n\u003cp>However, she is also an extraordinary short story writer — and \u003cem>Old Babes in the Wood\u003c/em>, her first collection in almost a decade, is a dazzling mixture of stories that explore what it means to be human while also showcasing Atwood’s gifted imagination and great sense of humor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Old Babes in the Wood\u003c/em> contains 15 stories, some of which have previously appeared in \u003cem>The New Yorker\u003c/em> and \u003cem>The New York Times Magazine\u003c/em>. The collection is divided into three parts. The first and last, titled “Tig & Nell” and “Nell & Tig,” revolve around a married couple and look, more or less, at their entire lives — what they’ve done and felt, the people that left a mark on them, their thoughts. These stories, which taken together feel like a mosaic novella more than literary bookends for a collection, offer a deep, heartfelt, engrossing look at the minutiae of life. The middle part, titled “My Evil Mother,” is perhaps the crowning jewel in this collection and brings together eight unique tales that vary wildly in terms of tone, voice, theme, and format. From imagined interviews and stories told by aliens to the circle of life and a snail trapped in the body of a woman, these tales show Atwood’s characteristic insight and intellect while also putting on full display her ability to make us laugh, her chronicler’s eye for detail, and her unparalleled imagination.\u003c/p>\n\u003cp>There are no throwaway stories in this collection, but several demand their time in the spotlight. “Morte de Smudgie,” about the death of a cat, is a perfect portrait of the unique kind of grief that follows the loss of a beloved pet. “My Evil Mother” follows a mother-daughter relationship through the years and shows how, and why, many people eventually become just like their parents. In “The Dead Interview,” Atwood “interviews” author George Orwell through a medium in a trance. Part tribute and part celebratory deconstruction of Orwell’s oeuvre and persona, this one becomes unexpectedly funny and shows just how on top of everything Atwood is as she tries to explain things like the internet, getting “cancelled,” anti-vaxxers, and even the January 6 coup attempt to Orwell. “Impatient Griselda” explores, through the translated voice of an alien that looks like an octopus and doesn’t have all the words it needs to communicate perfectly, estrangement and miscommunication. “Bad Teeth” is a fun vignette about friendship that follows two old friends as one of them insists on asking why the other had an affair with a man with bad teeth, but the affair never happened.\u003c/p>\n\u003cfigure id=\"attachment_13926191\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926191\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-800x1207.jpg\" alt=\"The cover of ‘Old Babes in the Wood’ by Margaret Atwood shows a simple illustration of a cat’s face in close-up.\" width=\"800\" height=\"1207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/atwood_custom-a75ef77733840206d3f50df508697628504c97d7.jpg 1693w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Old Babes in the Wood’ by Margaret Atwood. \u003ccite>(Doubleday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In “Death by Clamshell,” Hypatia of Alexandria narrates her own murder and offers her thoughts on how she’s morphed into different things to different groups of people in the centuries since her death. And she does so with great energy and a good sense of humor about it: “I try to look on the bright side: I did not have to endure the indignities of extreme old age.” In “Metempsychosis: or, The Journey of the Soul,” the narrator is a snail whose soul “jumped directly from snail to human” after it got sprayed with a homemade, environmentally friendly pesticide. The snail’s desire to return to its previous form, and its understandable shock at human behavior and practices, quickly morph into a truly eye-opening, heartfelt read about yearning and feeling out of place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s been almost a decade since Atwood’s previous short story collection, \u003cem>Stone Mattress\u003c/em>, was published. Not surprisingly, the wait was worth it. \u003cem>Old Babes in the Wood\u003c/em> showcases Atwood’s imagination and her perennial obsession with getting to the core of what makes us human while dishing out plenty of entertainment and eye-opening revelations along the way. At this point, Atwood has nothing left to prove. But she writes like she wants the world to notice her work — and that fire makes it easy to react every time she publishes something: We know we must sit down, read, and be in awe of her talent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on Twitter at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Margaret+Atwood%27s+%27Old+Babes+in+the+Wood%27+tackles+what+it+means+to+be+human&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Colin Kaepernick Describes How He Embraced His Blackness as a Teenager",
"headTitle": "Colin Kaepernick Describes How He Embraced His Blackness as a Teenager | KQED",
"content": "\u003cp>Before Colin Kaepernick was the face and catalyst of a protest movement — across sports and society — and before he was the San Francisco 49ers’ starting quarterback in the Super Bowl XLVII, he was just a teenager trying to figure out who he was and where he was going.\u003c/p>\n\u003cp>[aside postid='arts_13908958']Navigating everything from family to school can be especially overwhelming as a teenager. When it came to sports, Kaepernick often grappled with whether he was taking the right athletic route to the pros. He ruminated on pursuing baseball — where he had a lot of offers from colleges and received house visits from Major League Baseball personnel — or following his heart and patiently wait for a football scholarship. From anywhere.\u003c/p>\n\u003cp>Outside of sports, Kaepernick wrestled with his identity within his blended adoptive family. Culturally speaking, he felt misunderstood. His adoptive parents were white, and while Kaepernick is biracial, he identified as a Black man and the world around him treated him as such.\u003c/p>\n\u003cp>His upbringing and teen crucibles are the source of his new graphic novel, titled \u003cem>Change the Game\u003c/em>, which is written with Eve Ewing and illustrated by Orlando Caicedo.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926032 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-800x1202.jpg\" alt=\"\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-scaled.jpg 1704w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In an interview with NPR’s Juana Summers, Kaepernick evinces what allowed him to fully soak in and embrace his Blackness. Kaepernick says he got his identity footing looking up to Allen Iverson — AKA ‘The Answer.’ This cultural icon’s bravado, braids and ability to make anyone — even ‘His Airness’ Michael Jordan — look foolish on the basketball court, gave Kaepernick a new prototype of Blackness to build and contribute toward.\u003c/p>\n\u003cp>\u003cem>This interview has been lightly edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On the struggles Kaepernick dealt with as a teen\u003c/strong>\u003c/p>\n\u003cp>It was navigating the difficulties of family, community, school, and major life decisions. Like, while I am biracial, I identify as a young Black man. So I was trying to navigate that while having a white family and being in a predominantly white community, and trying to find ways to make sure that my identity and Blackness wasn’t stripped from me along that journey.\u003c/p>\n\u003cp>\u003cstrong>On his decision and inspiration to get cornrows \u003c/strong>\u003c/p>\n\u003cp>This was the era of Allen Iverson, a cultural phenom. He was someone that I looked up to, and I saw him be so unapologetically Black and unapologetically himself. It was something I aspired to, and I looked at that as an opportunity for me to be able to really take hold of my Blackness and do it in a way that I was proud of and I was excited about. And the difficulty with that is being in white culture with Eurocentric beauty standards, navigating what their response to that was at 15 years old and not knowing how to fight back against that, really outside of saying, ‘No, this is just what I want to do.’ And that became a very difficult conversation and situation, navigating that both with my family, with my community, with coaches.\u003c/p>\n\u003cfigure id=\"attachment_13926035\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926035\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-800x1201.jpg\" alt=\"Five comic book panels depict a young man going to get his hair braided for the first time. \" width=\"800\" height=\"1201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-scaled.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaepernick describes how NBA champion Allen Iverson was an inspiration. \u003ccite>(Kaepernick Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It took me, I think, about 14 years before I grew my hair back out. So it’s really to show the impact those moments … can have on a young man, on a young woman, and how that carries with them through life.\u003c/p>\n\u003cp>\u003cstrong>On his motivation for creating a graphic novel\u003c/strong>\u003c/p>\n\u003cp>There were a few reasons. One of the reasons, growing up I wasn’t an avid reader was because I didn’t have stories, or I wasn’t introduced to books that had characters that I related to. It wasn’t until I read \u003cem>We’ll Never Forget You, Roberto Clemente\u003c/em>, that I saw another Black person as the lead of a book. It was game changing for me.\u003c/p>\n\u003cp>I knew there were other books out there and other opportunities to be able to find stories, to find narratives that I identified with and that were relatable to me. So what we’re looking to do now is, for younger audiences, give them hopefully characters and stories that they relate to, but also give them pieces of knowledge and situations and try to help them navigate those in ways that I didn’t have access to growing up. And based upon conversations that I’ve had, a lot of other people didn’t as well.\u003c/p>\n\u003cfigure id=\"attachment_13926041\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926041\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-800x595.png\" alt=\"A double page spread in a comic book depicts a young Black man feeling uncomfortable at a sports game as his white father conducts a conversation with another white man wearing a confederate flag cap.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-1020x759.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-768x571.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-1536x1143.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM.png 1538w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaepernick doesn’t shy away from how he navigated living in a white family and being in a predominantly white community. \u003ccite>(Kaepernick Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why the book ends with him heading off to the University of Nevada, Reno\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13905474']We end the story there for a few reasons. One, to make sure that we don’t have a never-ending book, because there’s a lot of story to tell. But the other part of it is we wanted to create a defining moment that younger kids and high school kids could identify with, which is that transition and decision of what to do after high school.\u003c/p>\n\u003cp>And for me, at that point in time, baseball was the obvious decision for everyone around me. I have multiple offers. I had the MLB come and sit down in my living room and tell me they wanted to draft me. There was an obvious career path there. And I had not a single offer for football at this point, but it was what I loved and what I wanted to do. I made the decision that that’s what I was going to chase, in spite of everyone else telling me I should go a different direction.\u003c/p>\n\u003cp>\u003cstrong>On whether the NFL has changed for the better over the past six years\u003c/strong>\u003c/p>\n\u003cp>I haven’t seen any substantial change. I think there is a lot of work to do on that front. Obviously, not playing and being out of the NFL for six years is an indictment on where they are currently at. So I wouldn’t put them at the forefront of goodwill and best of intentions in how they operate.\u003c/p>\n\u003cp>\u003cstrong>On whether Kaepernick still thinks losing his career was worth the start of a movement\u003c/strong>\u003c/p>\n\u003cp>I think there’s this idea out there that those are mutually exclusive, and I don’t subscribe to that. So I think people are multifaceted and multi-talented and ultimately, that’s something that we want to make sure that message is being sent as well.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>My focus is always on what I can do moving forward. What can I do to change my present and my future? So training at 4:30am to be able to have the opportunity to make a (NFL) comeback? Absolutely. That’s something I do five days a week still. But as far as looking back, that’s not something I do. I’m looking forward to where can I have an impact? What are my passions? And a great example of that is \u003cem>Change The Game\u003c/em>, and this book being able to come out, us being able to share this message with the youth, and it becomes a great opportunity for us to be able to create a future that looks different\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Colin+Kaepernick+describes+how+he+embraced+his+blackness+as+a+teenager&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Navigating everything from family to school can be especially overwhelming as a teenager. When it came to sports, Kaepernick often grappled with whether he was taking the right athletic route to the pros. He ruminated on pursuing baseball — where he had a lot of offers from colleges and received house visits from Major League Baseball personnel — or following his heart and patiently wait for a football scholarship. From anywhere.\u003c/p>\n\u003cp>Outside of sports, Kaepernick wrestled with his identity within his blended adoptive family. Culturally speaking, he felt misunderstood. His adoptive parents were white, and while Kaepernick is biracial, he identified as a Black man and the world around him treated him as such.\u003c/p>\n\u003cp>His upbringing and teen crucibles are the source of his new graphic novel, titled \u003cem>Change the Game\u003c/em>, which is written with Eve Ewing and illustrated by Orlando Caicedo.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926032 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-800x1202.jpg\" alt=\"\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/colin-kaepernick_change-the-game_cover_credit-kaepernick-publishing-_-scholastic_custom-5f978dd3324e937a9894a8a15dc6908809c0d35e-scaled.jpg 1704w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In an interview with NPR’s Juana Summers, Kaepernick evinces what allowed him to fully soak in and embrace his Blackness. Kaepernick says he got his identity footing looking up to Allen Iverson — AKA ‘The Answer.’ This cultural icon’s bravado, braids and ability to make anyone — even ‘His Airness’ Michael Jordan — look foolish on the basketball court, gave Kaepernick a new prototype of Blackness to build and contribute toward.\u003c/p>\n\u003cp>\u003cem>This interview has been lightly edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On the struggles Kaepernick dealt with as a teen\u003c/strong>\u003c/p>\n\u003cp>It was navigating the difficulties of family, community, school, and major life decisions. Like, while I am biracial, I identify as a young Black man. So I was trying to navigate that while having a white family and being in a predominantly white community, and trying to find ways to make sure that my identity and Blackness wasn’t stripped from me along that journey.\u003c/p>\n\u003cp>\u003cstrong>On his decision and inspiration to get cornrows \u003c/strong>\u003c/p>\n\u003cp>This was the era of Allen Iverson, a cultural phenom. He was someone that I looked up to, and I saw him be so unapologetically Black and unapologetically himself. It was something I aspired to, and I looked at that as an opportunity for me to be able to really take hold of my Blackness and do it in a way that I was proud of and I was excited about. And the difficulty with that is being in white culture with Eurocentric beauty standards, navigating what their response to that was at 15 years old and not knowing how to fight back against that, really outside of saying, ‘No, this is just what I want to do.’ And that became a very difficult conversation and situation, navigating that both with my family, with my community, with coaches.\u003c/p>\n\u003cfigure id=\"attachment_13926035\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926035\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-800x1201.jpg\" alt=\"Five comic book panels depict a young man going to get his hair braided for the first time. \" width=\"800\" height=\"1201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/change-the-game_14_custom-d454f2cca4f4e4d000a493dc79d18d786e9cecef-scaled.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaepernick describes how NBA champion Allen Iverson was an inspiration. \u003ccite>(Kaepernick Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It took me, I think, about 14 years before I grew my hair back out. So it’s really to show the impact those moments … can have on a young man, on a young woman, and how that carries with them through life.\u003c/p>\n\u003cp>\u003cstrong>On his motivation for creating a graphic novel\u003c/strong>\u003c/p>\n\u003cp>There were a few reasons. One of the reasons, growing up I wasn’t an avid reader was because I didn’t have stories, or I wasn’t introduced to books that had characters that I related to. It wasn’t until I read \u003cem>We’ll Never Forget You, Roberto Clemente\u003c/em>, that I saw another Black person as the lead of a book. It was game changing for me.\u003c/p>\n\u003cp>I knew there were other books out there and other opportunities to be able to find stories, to find narratives that I identified with and that were relatable to me. So what we’re looking to do now is, for younger audiences, give them hopefully characters and stories that they relate to, but also give them pieces of knowledge and situations and try to help them navigate those in ways that I didn’t have access to growing up. And based upon conversations that I’ve had, a lot of other people didn’t as well.\u003c/p>\n\u003cfigure id=\"attachment_13926041\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926041\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-800x595.png\" alt=\"A double page spread in a comic book depicts a young Black man feeling uncomfortable at a sports game as his white father conducts a conversation with another white man wearing a confederate flag cap.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-1020x759.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-768x571.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM-1536x1143.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-09-at-11.20.33-AM.png 1538w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaepernick doesn’t shy away from how he navigated living in a white family and being in a predominantly white community. \u003ccite>(Kaepernick Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why the book ends with him heading off to the University of Nevada, Reno\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We end the story there for a few reasons. One, to make sure that we don’t have a never-ending book, because there’s a lot of story to tell. But the other part of it is we wanted to create a defining moment that younger kids and high school kids could identify with, which is that transition and decision of what to do after high school.\u003c/p>\n\u003cp>And for me, at that point in time, baseball was the obvious decision for everyone around me. I have multiple offers. I had the MLB come and sit down in my living room and tell me they wanted to draft me. There was an obvious career path there. And I had not a single offer for football at this point, but it was what I loved and what I wanted to do. I made the decision that that’s what I was going to chase, in spite of everyone else telling me I should go a different direction.\u003c/p>\n\u003cp>\u003cstrong>On whether the NFL has changed for the better over the past six years\u003c/strong>\u003c/p>\n\u003cp>I haven’t seen any substantial change. I think there is a lot of work to do on that front. Obviously, not playing and being out of the NFL for six years is an indictment on where they are currently at. So I wouldn’t put them at the forefront of goodwill and best of intentions in how they operate.\u003c/p>\n\u003cp>\u003cstrong>On whether Kaepernick still thinks losing his career was worth the start of a movement\u003c/strong>\u003c/p>\n\u003cp>I think there’s this idea out there that those are mutually exclusive, and I don’t subscribe to that. So I think people are multifaceted and multi-talented and ultimately, that’s something that we want to make sure that message is being sent as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My focus is always on what I can do moving forward. What can I do to change my present and my future? So training at 4:30am to be able to have the opportunity to make a (NFL) comeback? Absolutely. That’s something I do five days a week still. But as far as looking back, that’s not something I do. I’m looking forward to where can I have an impact? What are my passions? And a great example of that is \u003cem>Change The Game\u003c/em>, and this book being able to come out, us being able to share this message with the youth, and it becomes a great opportunity for us to be able to create a future that looks different\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Colin+Kaepernick+describes+how+he+embraced+his+blackness+as+a+teenager&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Cartoonist MariNaomi Goes Digging for Closure in ‘I Thought You Loved Me’",
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"content": "\u003cp>For much of 2016, \u003ca href=\"https://www.instagram.com/marinaomiart/?hl=en\">MariNaomi\u003c/a> sat in front of a corkboard, trying to piece together a friendship that had ended 15 years before. Their memories of this friend, Jodie, had mostly disappeared, with only a few ghostly details remaining via old journal entries. The two bonded during their formative adolescent years: exchanging notes and letters, partying, hooking up with boys and figuring out what they’d do with their lives as young high school dropouts in Mill Valley.\u003c/p>\n\u003cp>So why couldn’t MariNaomi remember any of it? What was left was a deep, lingering chasm of resentment and confusion.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"arts_13923915,arts_13923606,arts_11908825\"]The corkboard was filled with Post-It notes and no answers. “Goddamn Jodie!” the artist exclaimed.\u003c/p>\n\u003cp>In their latest memoir, \u003ca href=\"https://marinaomi.com/print-books/i-thought-you-loved-me/\">\u003cem>I Thought You Loved Me \u003c/em>\u003c/a>(Fieldmouse; $30), the cartoonist documents this process of excavating buried memories as they attempt to figure out why exactly Jodie ended things over a curt phone call in 2001. The book uses colorful mixed media collages — like drawings overlaid onto email threads and postcards — to walk readers through the emotional disarray of an author “re-forming” their memories. MariNaomi acts as writer, illustrator and personal historian, at one point rifling through calendars and diaries to quantify how many times they’d mentioned or spent time with Jodie in their 14-year relationship (316 times).\u003c/p>\n\u003cp>But these numbers ultimately don’t fill in the blank spaces of MariNaomi’s memory — they only create more questions.\u003c/p>\n\u003cfigure id=\"attachment_13925735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/MariNaomi.MAIN_-800x450.jpg\" alt='a corkboard with a drawing on it and words that read \"I spent so much time with her. How do I not remember any of this? Who are these people?' width=\"800\" height=\"450\" class=\"size-medium wp-image-13925735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/MariNaomi.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/MariNaomi.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/MariNaomi.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/MariNaomi.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/MariNaomi.MAIN_.jpg 1218w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A page from MariNaomi’s book, ‘I Thought You Loved Me.’ \u003ccite>(Courtesy MariNaomi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was a period of time where I was just like, ‘I’m sick and tired of thinking about this!,’” says MariNaomi, who now lives in Alameda, in an interview at a Berkeley cafe. “I’m sick of not forgiving her. How do I let go of this?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a week before they head out to Iowa to kick off their tour for \u003cem>I Thought You Loved Me\u003c/em>, which includes Berkeley and San Francisco events in March. (The book’s publication, initially scheduled for February, was pushed back to May 3 due to an international shipping issue; copies will be for sale exclusively at their events before that.) As they mull over potential questions for their first upcoming event, MariNaomi wonders how the memoir will be received and whether or not it’s too dark.\u003c/p>\n\u003cfigure id=\"attachment_13925685\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC06130-Edit-crop-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925685\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC06130-Edit-crop-800x1200.jpg\" alt=\"a portrait of an Asian person with short black hair wearing a black shirt with a rainbow across it. They are smiling and looking off to the side while wearing red lipstick\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">MariNaomi, who grew up in Mill Valley, has built a career out of raw, emotional graphic memoirs that push the boundaries of the form. \u003ccite>(Geoff Cordner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not a brand-new question, exactly: MariNaomi has been making comics since 1997, and they’ve grown accustomed to using the art form to process complicated life experiences. In their first graphic memoir, \u003cem>Kiss and Tell\u003c/em>, they documented their romantic and intimate relationships from ages zero to 22. In their follow-up book, \u003cem>Dragon’s Breath and Other True Stories\u003c/em>, they brought readers into moments of their tumultuous upbringing and other pivotal relationships that shaped their youth. And in \u003cem>Turning Japanese\u003c/em>, they chronicled three months spent in Japan in their early twenties, working in hostess bars and learning the language to connect with their mother’s side of the family.\u003c/p>\n\u003cp>But for the artist, \u003cem>I Thought You Loved Me\u003c/em> immediately felt different: While previous memoirs included personal, complicated ponderings around identity, race, sexuality and attachment, they were all written years after the events had occurred. There had been time to pause — to look at the past with more objective eyes.\u003c/p>\n\u003cp>“I’m not a fan of using art as catharsis if you’re going to show it to other people,” says MariNaomi. “I think that’s not bad to do, but I don’t think it makes for very good art a lot of the time because you’re not out of it. A lot of that stuff tends to demonize people, which is fine from a personal perspective. But from an artistic perspective, it’s really boring to read someone who’s just angry or putting someone on a pedestal.”\u003c/p>\n\u003cp>Still, they decided to try the project that ultimately became \u003cem>I Thought You Loved Me\u003c/em>, even though they couldn’t clearly map things out from start to finish — and quickly found the process frustrating and unsettling.\u003c/p>\n\u003cfigure id=\"attachment_13925716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/itylm-page4.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/itylm-page4-800x1217.jpeg\" alt=\"green grass with a collage over it, a line drawing with a blank notebook and the word 'nothing'\" width=\"800\" height=\"1217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4-800x1217.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4-1020x1552.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4-160x243.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4-768x1168.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4-1010x1536.jpeg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4.jpeg 1170w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A page from ‘I Thought You Loved Me.’ \u003ccite>(Courtesy MariNaomi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It also produced highly visceral art and writing: By beginning to work in the midst of their grief, the hurt they had bottled up became present in each page. Rather than edit out the pain and unknowing of how they would write the book, they allowed the doubt to breathe and set its tone. As a result, the reader is able to journey alongside the writer through an emotional whirlwind that doesn’t minimize the disorienting and unpleasant parts of healing.\u003c/p>\n\u003cp>The memoir begins with photos of Post-It notes. In one, a hand holds a pen to a blank page with the word “nothing” scrawled beneath it. In another, a doodled MariNaomi asks “Why won’t it come?” as blood leaks from their eyes and mouth. In the next, a blue note simply states “Think, Mari, think.” Looking back, they laugh at how stuck they were in the beginning.\u003c/p>\n\u003cfigure id=\"attachment_13925691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13925691 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996-800x917.png\" alt=\"a pink collage made of a postcard and handwritten notes\" width=\"800\" height=\"917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996-800x917.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996-160x183.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996-768x881.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996.png 872w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A page from ‘I Thought You Loved Me’ by MariNaomi, out May 3 from Fieldmouse Press. \u003ccite>(Courtesy of the artist/Fieldmouse Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was like, ‘OK, I’m gonna write about it…any day now. Alright. Here it goes. Here’s me looking at a piece of paper. I’m gonna write about it…now! Now. Any second now,’” recounts MariNaomi. “It took a while before I was like, ‘OK, this isn’t going as planned.’”\u003c/p>\n\u003cp>For the reader, the memoir is a bit like reaching under a bed and discovering someone’s secret box of memories: bit by bit, you uncover the puzzle pieces of moments frozen in time. You wander through photos of dead leaves juxtaposed with silhouetted figures, slightly crumpled memo pad pages with musings from the past, old letters written in pink, purple and blue ink, torn journal excerpts, pictures and drawings that mean nothing to you and everything to someone else.\u003c/p>\n\u003cp>Stylistically, \u003cem>I Thought You Loved Me\u003c/em> also departs from MariNaomi’s previous work. In their earlier memoirs, visual structure is fairly cohesive and uniform; each story is told through a series of black-and-white comics, with panels that are inked with neat clarity. This isn’t to say their artwork is simple — even as they adhered to a more traditional comics format, their use of perspective and humor created dynamic and immersive worlds filled with angst, lust, love and rebellion.\u003c/p>\n\u003cfigure id=\"attachment_13925692\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925692\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-800x737.png\" alt=\"a black and white comic panel \" width=\"800\" height=\"737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-800x737.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-1020x939.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-160x147.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-768x707.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-1536x1414.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM.png 1894w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A panel from ‘Kiss and Tell,’ one of MariNaomi’s earlier graphic memoirs. \u003ccite>(Courtesy MariNaomi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This new memoir, by contrast, takes a more experimental form, discarding panels in favor of one long, unfurling journey. But the artist’s emotional depth remains. At times, the aesthetic lack of boundaries seems to mirror MariNaomi’s unresolved exploration of the past, a mental and artistic voyage that begins nebulously and only expands as dormant memories come back into focus.\u003c/p>\n\u003cp>As memories returned, MariNaomi began to wonder if the Jodie they remembered was ever real or a figment sculpted through yearning.\u003c/p>\n\u003cp>“We’ve been estranged for so long, whoever she was, she could be a completely different person now. I’m probably very different than I was back then. This person ceases to exist at a certain point,” says MariNaomi. “Were they ever three-dimensional to begin with? Or was I idealizing them? How much of that was me projecting my thoughts onto them or things that they would show me or what did I not show them?”\u003c/p>\n\u003cfigure id=\"attachment_13925712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925712\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1-800x677.png\" alt=\"a line drawing of a smiling woman and another figure in a mask outlined in red\" width=\"800\" height=\"677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1-800x677.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1-1020x863.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1-160x135.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1-768x650.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1.png 1310w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A page from ‘I Thought You Loved Me.’ \u003ccite>(Courtesy MariNaomi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, over six years since they first stared down the corkboard in their dining room — trying and failing to will their memories back — MariNaomi is finally ready to put their book out into the world. At its core, \u003cem>I Thought You Loved Me\u003c/em> is a heartfelt reflection on the past, the fallible nature of memory and the ways betrayal can impact a person’s sense of self and the world around them. While the memoir began as an attempt to rationalize a persisting, gnawing grief and upset, it ultimately became an opportunity to move on.\u003c/p>\n\u003cp>As MariNaomi enters the thick of a book tour and kicks off their next project, they are constantly drawing and writing, chewing on old stories with retroactive wisdom. “That’s kind of the fun thing [about comics and memoir]: you could write about it today. And then you could write about it again tomorrow. And then you could write about it again 50 years from now, and it’s completely different viewpoints.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘I Thought You Loved Me’ is expected to be \u003ca href=\"https://www.fieldmouse.press/shop/p/i-thought-you-loved-me\">published May 3, 2023\u003c/a>. MariNaomi will appear with copies at San Francisco comics shop \u003ca href=\"https://www.silversprocket.net/\">Silver Sprocket\u003c/a> on March 4 and at Berkeley’s Pegasus Books on \u003ca href=\"https://www.pegasusbookstore.com/pegasus-downtown\">March 23\u003c/a>. More information here. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For much of 2016, \u003ca href=\"https://www.instagram.com/marinaomiart/?hl=en\">MariNaomi\u003c/a> sat in front of a corkboard, trying to piece together a friendship that had ended 15 years before. Their memories of this friend, Jodie, had mostly disappeared, with only a few ghostly details remaining via old journal entries. The two bonded during their formative adolescent years: exchanging notes and letters, partying, hooking up with boys and figuring out what they’d do with their lives as young high school dropouts in Mill Valley.\u003c/p>\n\u003cp>So why couldn’t MariNaomi remember any of it? What was left was a deep, lingering chasm of resentment and confusion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The corkboard was filled with Post-It notes and no answers. “Goddamn Jodie!” the artist exclaimed.\u003c/p>\n\u003cp>In their latest memoir, \u003ca href=\"https://marinaomi.com/print-books/i-thought-you-loved-me/\">\u003cem>I Thought You Loved Me \u003c/em>\u003c/a>(Fieldmouse; $30), the cartoonist documents this process of excavating buried memories as they attempt to figure out why exactly Jodie ended things over a curt phone call in 2001. The book uses colorful mixed media collages — like drawings overlaid onto email threads and postcards — to walk readers through the emotional disarray of an author “re-forming” their memories. MariNaomi acts as writer, illustrator and personal historian, at one point rifling through calendars and diaries to quantify how many times they’d mentioned or spent time with Jodie in their 14-year relationship (316 times).\u003c/p>\n\u003cp>But these numbers ultimately don’t fill in the blank spaces of MariNaomi’s memory — they only create more questions.\u003c/p>\n\u003cfigure id=\"attachment_13925735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/MariNaomi.MAIN_-800x450.jpg\" alt='a corkboard with a drawing on it and words that read \"I spent so much time with her. How do I not remember any of this? Who are these people?' width=\"800\" height=\"450\" class=\"size-medium wp-image-13925735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/MariNaomi.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/MariNaomi.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/MariNaomi.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/MariNaomi.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/MariNaomi.MAIN_.jpg 1218w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A page from MariNaomi’s book, ‘I Thought You Loved Me.’ \u003ccite>(Courtesy MariNaomi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was a period of time where I was just like, ‘I’m sick and tired of thinking about this!,’” says MariNaomi, who now lives in Alameda, in an interview at a Berkeley cafe. “I’m sick of not forgiving her. How do I let go of this?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a week before they head out to Iowa to kick off their tour for \u003cem>I Thought You Loved Me\u003c/em>, which includes Berkeley and San Francisco events in March. (The book’s publication, initially scheduled for February, was pushed back to May 3 due to an international shipping issue; copies will be for sale exclusively at their events before that.) As they mull over potential questions for their first upcoming event, MariNaomi wonders how the memoir will be received and whether or not it’s too dark.\u003c/p>\n\u003cfigure id=\"attachment_13925685\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC06130-Edit-crop-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925685\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC06130-Edit-crop-800x1200.jpg\" alt=\"a portrait of an Asian person with short black hair wearing a black shirt with a rainbow across it. They are smiling and looking off to the side while wearing red lipstick\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC06130-Edit-crop-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">MariNaomi, who grew up in Mill Valley, has built a career out of raw, emotional graphic memoirs that push the boundaries of the form. \u003ccite>(Geoff Cordner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not a brand-new question, exactly: MariNaomi has been making comics since 1997, and they’ve grown accustomed to using the art form to process complicated life experiences. In their first graphic memoir, \u003cem>Kiss and Tell\u003c/em>, they documented their romantic and intimate relationships from ages zero to 22. In their follow-up book, \u003cem>Dragon’s Breath and Other True Stories\u003c/em>, they brought readers into moments of their tumultuous upbringing and other pivotal relationships that shaped their youth. And in \u003cem>Turning Japanese\u003c/em>, they chronicled three months spent in Japan in their early twenties, working in hostess bars and learning the language to connect with their mother’s side of the family.\u003c/p>\n\u003cp>But for the artist, \u003cem>I Thought You Loved Me\u003c/em> immediately felt different: While previous memoirs included personal, complicated ponderings around identity, race, sexuality and attachment, they were all written years after the events had occurred. There had been time to pause — to look at the past with more objective eyes.\u003c/p>\n\u003cp>“I’m not a fan of using art as catharsis if you’re going to show it to other people,” says MariNaomi. “I think that’s not bad to do, but I don’t think it makes for very good art a lot of the time because you’re not out of it. A lot of that stuff tends to demonize people, which is fine from a personal perspective. But from an artistic perspective, it’s really boring to read someone who’s just angry or putting someone on a pedestal.”\u003c/p>\n\u003cp>Still, they decided to try the project that ultimately became \u003cem>I Thought You Loved Me\u003c/em>, even though they couldn’t clearly map things out from start to finish — and quickly found the process frustrating and unsettling.\u003c/p>\n\u003cfigure id=\"attachment_13925716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/itylm-page4.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/itylm-page4-800x1217.jpeg\" alt=\"green grass with a collage over it, a line drawing with a blank notebook and the word 'nothing'\" width=\"800\" height=\"1217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4-800x1217.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4-1020x1552.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4-160x243.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4-768x1168.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4-1010x1536.jpeg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/itylm-page4.jpeg 1170w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A page from ‘I Thought You Loved Me.’ \u003ccite>(Courtesy MariNaomi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It also produced highly visceral art and writing: By beginning to work in the midst of their grief, the hurt they had bottled up became present in each page. Rather than edit out the pain and unknowing of how they would write the book, they allowed the doubt to breathe and set its tone. As a result, the reader is able to journey alongside the writer through an emotional whirlwind that doesn’t minimize the disorienting and unpleasant parts of healing.\u003c/p>\n\u003cp>The memoir begins with photos of Post-It notes. In one, a hand holds a pen to a blank page with the word “nothing” scrawled beneath it. In another, a doodled MariNaomi asks “Why won’t it come?” as blood leaks from their eyes and mouth. In the next, a blue note simply states “Think, Mari, think.” Looking back, they laugh at how stuck they were in the beginning.\u003c/p>\n\u003cfigure id=\"attachment_13925691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13925691 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996-800x917.png\" alt=\"a pink collage made of a postcard and handwritten notes\" width=\"800\" height=\"917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996-800x917.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996-160x183.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996-768x881.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-1996.png 872w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A page from ‘I Thought You Loved Me’ by MariNaomi, out May 3 from Fieldmouse Press. \u003ccite>(Courtesy of the artist/Fieldmouse Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was like, ‘OK, I’m gonna write about it…any day now. Alright. Here it goes. Here’s me looking at a piece of paper. I’m gonna write about it…now! Now. Any second now,’” recounts MariNaomi. “It took a while before I was like, ‘OK, this isn’t going as planned.’”\u003c/p>\n\u003cp>For the reader, the memoir is a bit like reaching under a bed and discovering someone’s secret box of memories: bit by bit, you uncover the puzzle pieces of moments frozen in time. You wander through photos of dead leaves juxtaposed with silhouetted figures, slightly crumpled memo pad pages with musings from the past, old letters written in pink, purple and blue ink, torn journal excerpts, pictures and drawings that mean nothing to you and everything to someone else.\u003c/p>\n\u003cp>Stylistically, \u003cem>I Thought You Loved Me\u003c/em> also departs from MariNaomi’s previous work. In their earlier memoirs, visual structure is fairly cohesive and uniform; each story is told through a series of black-and-white comics, with panels that are inked with neat clarity. This isn’t to say their artwork is simple — even as they adhered to a more traditional comics format, their use of perspective and humor created dynamic and immersive worlds filled with angst, lust, love and rebellion.\u003c/p>\n\u003cfigure id=\"attachment_13925692\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925692\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-800x737.png\" alt=\"a black and white comic panel \" width=\"800\" height=\"737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-800x737.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-1020x939.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-160x147.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-768x707.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM-1536x1414.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-22-at-2.28.03-PM.png 1894w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A panel from ‘Kiss and Tell,’ one of MariNaomi’s earlier graphic memoirs. \u003ccite>(Courtesy MariNaomi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This new memoir, by contrast, takes a more experimental form, discarding panels in favor of one long, unfurling journey. But the artist’s emotional depth remains. At times, the aesthetic lack of boundaries seems to mirror MariNaomi’s unresolved exploration of the past, a mental and artistic voyage that begins nebulously and only expands as dormant memories come back into focus.\u003c/p>\n\u003cp>As memories returned, MariNaomi began to wonder if the Jodie they remembered was ever real or a figment sculpted through yearning.\u003c/p>\n\u003cp>“We’ve been estranged for so long, whoever she was, she could be a completely different person now. I’m probably very different than I was back then. This person ceases to exist at a certain point,” says MariNaomi. “Were they ever three-dimensional to begin with? Or was I idealizing them? How much of that was me projecting my thoughts onto them or things that they would show me or what did I not show them?”\u003c/p>\n\u003cfigure id=\"attachment_13925712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925712\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1-800x677.png\" alt=\"a line drawing of a smiling woman and another figure in a mask outlined in red\" width=\"800\" height=\"677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1-800x677.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1-1020x863.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1-160x135.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1-768x650.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/I-Thought-You-Loved-Me-Drawing-1.png 1310w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A page from ‘I Thought You Loved Me.’ \u003ccite>(Courtesy MariNaomi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, over six years since they first stared down the corkboard in their dining room — trying and failing to will their memories back — MariNaomi is finally ready to put their book out into the world. At its core, \u003cem>I Thought You Loved Me\u003c/em> is a heartfelt reflection on the past, the fallible nature of memory and the ways betrayal can impact a person’s sense of self and the world around them. While the memoir began as an attempt to rationalize a persisting, gnawing grief and upset, it ultimately became an opportunity to move on.\u003c/p>\n\u003cp>As MariNaomi enters the thick of a book tour and kicks off their next project, they are constantly drawing and writing, chewing on old stories with retroactive wisdom. “That’s kind of the fun thing [about comics and memoir]: you could write about it today. And then you could write about it again tomorrow. And then you could write about it again 50 years from now, and it’s completely different viewpoints.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘I Thought You Loved Me’ is expected to be \u003ca href=\"https://www.fieldmouse.press/shop/p/i-thought-you-loved-me\">published May 3, 2023\u003c/a>. MariNaomi will appear with copies at San Francisco comics shop \u003ca href=\"https://www.silversprocket.net/\">Silver Sprocket\u003c/a> on March 4 and at Berkeley’s Pegasus Books on \u003ca href=\"https://www.pegasusbookstore.com/pegasus-downtown\">March 23\u003c/a>. More information here. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Emily’ Imagines Brontë Before ‘Wuthering Heights’",
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"content": "\u003cp>Given that there are few activities less inherently cinematic than writing, I’m surprised and heartened by how many good movies I’ve seen in recent years that have convincingly entered the lives and minds of authors. I’m thinking of \u003ca href=\"https://www.npr.org/2017/04/13/523799211/new-film-celebrates-emily-dickinsons-poetry-and-quiet-passion\">\u003cem>A Quiet Passion\u003c/em>\u003c/a>, the Emily Dickinson biopic, and \u003ca href=\"https://www.npr.org/2020/06/05/869474413/elisabeth-moss-shines-as-writer-shirley-jackson-in-this-smart-surprising-film\">\u003cem>Shirley\u003c/em>\u003c/a>, about \u003cem>The Haunting of Hill House\u003c/em> author Shirley Jackson. You don’t spend a lot of time watching these women scribbling with their quills or banging away at their typewriters, but you do get a rich sense of how their artistic sensibilities came into being.\u003c/p>\n\u003cp>The latest fine addition to this group is \u003cem>Emily\u003c/em>, which freely speculates about the life of the 19th-century English writer Emily Jane Brontë in the years before she would write her one and only novel, \u003cem>Wuthering Heights\u003c/em>. The movie takes significant liberties with what is known about Emily and her famous sisters, Charlotte and Anne, but as a non-stickler for biopic accuracy, I didn’t mind. True or false or somewhere in between, this is an engagingly detailed and emotionally truthful portrait of a family of artists. Every character and actor leaves a vivid impression.\u003c/p>\n\u003cp>[aside postid='arts_13883118']Emily is strikingly played by Emma Mackey, the French-British actor known for her work on the series \u003cem>Sex Education\u003c/em>; she was also the best thing in the recent remake of \u003cem>Death on the Nile\u003c/em>. Mackey has the kind of searing gaze that cuts right through any period-piece decorum, and that makes her perfect for the sardonic, self-amused Emily. She’s neither as sweet as her younger sister, Anne, nor as well behaved as her older sister, Charlotte, who’s memorably played by Alexandra Dowling. Charlotte is studying to be a teacher and wants Emily to do the same, mainly to please their strict clergyman father.\u003c/p>\n\u003cp>But Emily’s natural talent is for inventing stories and writing poetry, and also for speaking her mind with a boldness that leaves others unsettled. There’s a dark side to Emily, and it emerges whenever she mentions her mother’s long-ago death, something the others don’t like to talk about.\u003c/p>\n\u003cp>Of all her siblings, Emily is probably closest to her fellow-misfit brother, Branwell, an aspiring painter played by Fionn Whitehead. Their bond becomes even stronger after Branwell drops out of art school and sinks into alcoholism and opium addiction. One day, while they’re walking the Yorkshire moors, she notices three words inked on his arm: “Freedom in thought” — a creed that also becomes her own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xaL90sMAzbY\u003c/p>\n\u003cp>And so \u003cem>Emily\u003c/em> tells a familiar but compelling story of a woman rebelling against the expectations of her religious and image-conscious family. In her biggest breach of convention, she falls into a torrid romance with William Weightman, the handsome young curate who assists her father in his church duties.\u003c/p>\n\u003cp>Emily and William, played by Oliver Jackson-Cohen, initially loathe each other, which makes it all the more affecting when they surrender to their passion. Their affair is clearly laying the narrative framework for the forbidden love between Catherine and Heathcliff in \u003cem>Wuthering Heights\u003c/em>.\u003c/p>\n\u003cp>[aside postid='pop_32197']That idea might sound overly simplistic, especially if, like me, you chafe at the notion that great art can only emerge from direct autobiographical experience. But even if the movie plays hard and loose with the facts — some have speculated that there was a romantic connection between Anne Brontë and William Weightman — Mackey and Jackson-Cohen bring so much heat and conviction that their love story sweeps you up in its wake.\u003c/p>\n\u003cp>But as magnetic as Emily and William are together, their bond isn’t the only one of note here. I’ve rarely seen a movie this attuned to the emotional complexity of sibling relationships, especially between Charlotte and Emily, whose mutual exasperation never obscures the depths of their sisterly love.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Emily\u003c/em> marks an excellent writing and directing debut for the actor Frances O’Connor, who’s appeared in her own share of English literary adaptations like \u003cem>Mansfield Park\u003c/em> and \u003cem>The Importance of Being Earnest\u003c/em>. Her witty but unfussy script is rife with echoes of \u003cem>Wuthering Heights\u003c/em>, which means it often plays like a ghost story. Much of the movie is set in dim, candlelit interiors, including one terrifying scene in which an innocent game among the Brontë siblings becomes a disturbing kind of séance. O’Connor keeps her camera tightly fixed on Emily even at her most anguished moments, when she seems to be teetering on the brink of madness. Maybe she is. But maybe it takes a little madness to create a work of art, including a movie as good as this one.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Emily%27+imagines+Bront%C3%AB+before+%27Wuthering+Heights%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Given that there are few activities less inherently cinematic than writing, I’m surprised and heartened by how many good movies I’ve seen in recent years that have convincingly entered the lives and minds of authors. I’m thinking of \u003ca href=\"https://www.npr.org/2017/04/13/523799211/new-film-celebrates-emily-dickinsons-poetry-and-quiet-passion\">\u003cem>A Quiet Passion\u003c/em>\u003c/a>, the Emily Dickinson biopic, and \u003ca href=\"https://www.npr.org/2020/06/05/869474413/elisabeth-moss-shines-as-writer-shirley-jackson-in-this-smart-surprising-film\">\u003cem>Shirley\u003c/em>\u003c/a>, about \u003cem>The Haunting of Hill House\u003c/em> author Shirley Jackson. You don’t spend a lot of time watching these women scribbling with their quills or banging away at their typewriters, but you do get a rich sense of how their artistic sensibilities came into being.\u003c/p>\n\u003cp>The latest fine addition to this group is \u003cem>Emily\u003c/em>, which freely speculates about the life of the 19th-century English writer Emily Jane Brontë in the years before she would write her one and only novel, \u003cem>Wuthering Heights\u003c/em>. The movie takes significant liberties with what is known about Emily and her famous sisters, Charlotte and Anne, but as a non-stickler for biopic accuracy, I didn’t mind. True or false or somewhere in between, this is an engagingly detailed and emotionally truthful portrait of a family of artists. Every character and actor leaves a vivid impression.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Emily is strikingly played by Emma Mackey, the French-British actor known for her work on the series \u003cem>Sex Education\u003c/em>; she was also the best thing in the recent remake of \u003cem>Death on the Nile\u003c/em>. Mackey has the kind of searing gaze that cuts right through any period-piece decorum, and that makes her perfect for the sardonic, self-amused Emily. She’s neither as sweet as her younger sister, Anne, nor as well behaved as her older sister, Charlotte, who’s memorably played by Alexandra Dowling. Charlotte is studying to be a teacher and wants Emily to do the same, mainly to please their strict clergyman father.\u003c/p>\n\u003cp>But Emily’s natural talent is for inventing stories and writing poetry, and also for speaking her mind with a boldness that leaves others unsettled. There’s a dark side to Emily, and it emerges whenever she mentions her mother’s long-ago death, something the others don’t like to talk about.\u003c/p>\n\u003cp>Of all her siblings, Emily is probably closest to her fellow-misfit brother, Branwell, an aspiring painter played by Fionn Whitehead. Their bond becomes even stronger after Branwell drops out of art school and sinks into alcoholism and opium addiction. One day, while they’re walking the Yorkshire moors, she notices three words inked on his arm: “Freedom in thought” — a creed that also becomes her own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xaL90sMAzbY'\n title='//www.youtube.com/embed/xaL90sMAzbY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And so \u003cem>Emily\u003c/em> tells a familiar but compelling story of a woman rebelling against the expectations of her religious and image-conscious family. In her biggest breach of convention, she falls into a torrid romance with William Weightman, the handsome young curate who assists her father in his church duties.\u003c/p>\n\u003cp>Emily and William, played by Oliver Jackson-Cohen, initially loathe each other, which makes it all the more affecting when they surrender to their passion. Their affair is clearly laying the narrative framework for the forbidden love between Catherine and Heathcliff in \u003cem>Wuthering Heights\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That idea might sound overly simplistic, especially if, like me, you chafe at the notion that great art can only emerge from direct autobiographical experience. But even if the movie plays hard and loose with the facts — some have speculated that there was a romantic connection between Anne Brontë and William Weightman — Mackey and Jackson-Cohen bring so much heat and conviction that their love story sweeps you up in its wake.\u003c/p>\n\u003cp>But as magnetic as Emily and William are together, their bond isn’t the only one of note here. I’ve rarely seen a movie this attuned to the emotional complexity of sibling relationships, especially between Charlotte and Emily, whose mutual exasperation never obscures the depths of their sisterly love.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Emily\u003c/em> marks an excellent writing and directing debut for the actor Frances O’Connor, who’s appeared in her own share of English literary adaptations like \u003cem>Mansfield Park\u003c/em> and \u003cem>The Importance of Being Earnest\u003c/em>. Her witty but unfussy script is rife with echoes of \u003cem>Wuthering Heights\u003c/em>, which means it often plays like a ghost story. Much of the movie is set in dim, candlelit interiors, including one terrifying scene in which an innocent game among the Brontë siblings becomes a disturbing kind of séance. O’Connor keeps her camera tightly fixed on Emily even at her most anguished moments, when she seems to be teetering on the brink of madness. Maybe she is. But maybe it takes a little madness to create a work of art, including a movie as good as this one.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Emily%27+imagines+Bront%C3%AB+before+%27Wuthering+Heights%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "palo-alto-book-malcolm-harris-marxist-social-history-capitalism-silicon-valley",
"title": "New Social History ‘Palo Alto’ Tells a Story of Laborers and Exploiters",
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"content": "\u003cp>We’ve all seen a version of the domino effect meme. In it, a man (\u003ca href=\"https://youtu.be/y97rBdSYbkg\">YouTuber Stephen Morris\u003c/a>) crouches low to demonstrate how a small domino can knock over a larger domino which can knock over an even larger domino and create a chain reaction. The meme has been used to explain how the assassination of Archduke Franz Ferdinand lead to WWI, or how an apple falling off a tree in the 1600s could be responsible for the tears of high schoolers in math class four centuries later.\u003c/p>\n\u003cp>In his new book, \u003cem>\u003ca href=\"https://www.littlebrown.com/titles/malcolm-harris/palo-alto/9780316592031/\">Palo Alto: A History of California, Capitalism, and The World\u003c/a>\u003c/em>, writer Malcolm Harris positions the foundation of Silicon Valley as a small domino that unleashes the true final domino, the destruction of the world. It’s a bold claim that, after reading the argument laid out over the book’s 700-plus pages, is not entirely unearned or unconvincing.\u003c/p>\n\u003cp>Harris is also the author of \u003cem>\u003ca href=\"https://www.littlebrown.com/titles/will-collyer/kids-these-days/9781478992332/\">Kids These Days: Human Capital and the Making of Millennials\u003c/a>\u003c/em>, a formal account of the birth, promise and maligning of the millennial generation which counts him as a member. Harris, who is based in Washington, D.C., began his writing and research for \u003cem>Palo Alto\u003c/em> in 2020 — although in many ways, the seeds of this story were planted in childhood, which he partly spent in Palo Alto.\u003c/p>\n\u003cp>The book opens with an unexpected data point: teen suicide rates from the early 2000s. Beginning in the 2000s and extending well into the 2010s, \u003ca href=\"https://www.inverse.com/article/11555-teen-suicides-investigated-as-an-epidemic-in-palo-alto\">a pattern of teen suicides\u003c/a> began to occur on Caltrain tracks, the railway line near Palo Alto High School where Stanford University’s founder, Leland Stanford, helped establish the nation’s \u003ca href=\"https://news.stanford.edu/2019/05/08/first-transcontinental-railroad-stanford-forever-linked/\">first transcontinental railroad\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13923795\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Mal-photo_credit-Julia-Burke_1200.jpg\" alt=\"Red haired white man in glasses smiles with arms crossed\" width=\"1200\" height=\"1594\" class=\"size-full wp-image-13923795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Mal-photo_credit-Julia-Burke_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Mal-photo_credit-Julia-Burke_1200-800x1063.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Mal-photo_credit-Julia-Burke_1200-1020x1355.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Mal-photo_credit-Julia-Burke_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Mal-photo_credit-Julia-Burke_1200-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Mal-photo_credit-Julia-Burke_1200-1156x1536.jpg 1156w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Author Malcolm Harris. \u003ccite>(Julia Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You have this historical confluence between this suicide wave that is coextensive with my own childhood,” Harris explains, “as well as the story of the railroad and so, the connection between those two is the foundational violence that led me into the subject.” Rather than use this data as an entry point to a memoir about surviving one of the world’s most famous bubbles, Harris uses it to open a line of investigation into the heart of a city that has achieved so much and at such a great cost.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Palo Alto\u003c/em> is divided into five sections that cover significant time periods of roughly 20–50 years, the last of which is 2000–2020. Both in subject and tone, Harris’ writing merits comparison to the work of anarchist archivist David Graeber, a man described by \u003cem>The New York Times\u003c/em> as a “caustic critic” in his \u003ca href=\"https://www.nytimes.com/2020/09/04/books/david-graeber-dead.html\">2020 obit\u003c/a>. Harris’ sentences are accessible but packed with information — the footnotes of this book could form another book — and very pointed. Some readers may be unprepared to hear him casually declare the state “a whiteness cartel” or the decidedly un-reverential way he speaks of key figures in Silicon Valley’s history (Noyce, Packard, Jobs, Wozniak, Gates) who are most often written about in hagiographic terms.\u003c/p>\n\u003cp>But, as Harris will openly admit, the book is written “from a Marxist lens.” He adds that as a Marxist, “the closest to an objective understanding of history as we can get [is] by plotting this history through the struggle of classes.” In his own words, his book strives to keep company with and follow in the mold of writers who took part in the histories they documented and “whose rigor I aspire to” like Cedric J. Robinson, Roxanne Dunbar-Ortiz, H. Bruce Franklin, Mae Ngai and the late Mike Davis — “a North Star” and fellow Marxist — whose books \u003cem>City of Quartz\u003c/em> and \u003cem>Prisoners of the American Dream\u003c/em> are considered among the definitive histories of power and class struggle in urban America.\u003c/p>\n\u003cp>The field of social history emerged as a response to the popularity and obliqueness of political history, which focused on elites and “great” (read: rich and white) men, and erased, through omission, the lives and experiences of the masses. “So much of our reception around history books and social history books and social commentary books is siloed sometimes and particularly by race,” Harris explains. “This book isn’t sold as an Asian American history book, but that doesn’t mean that Asian American history isn’t a central thread of the whole story.”\u003c/p>\n\u003cfigure id=\"attachment_13923796\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-1150980334-scaled.jpg\" alt=\"Black and white illustration of future Stanford campus\" width=\"2560\" height=\"1683\" class=\"size-full wp-image-13923796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1150980334-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1150980334-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1150980334-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1150980334-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1150980334-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1150980334-1536x1010.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1150980334-2048x1347.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1150980334-1920x1263.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">An illustration depicts an aerial view of ‘Senator Leland Stanford’s Farm at Palo Alto, California’ in 1888. \u003ccite>(Interim Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To tell the whole story, Palo Alto wrangles together seemingly disparate threads: railroad colonialism, the founding of the Bank of California in 1864 (the nation’s first commercial bank), Japanophobia, forgotten Black Beat poets, an interracial coalition of striking farm workers, the invention of the microchip, and the post-9/11 information arms race.\u003c/p>\n\u003cp>\u003cem>Palo Alto\u003c/em>, exceedingly deliberative and grand in scope, is a social history of a city via the people who built it — both the laborers and the people who exploited them. In this way, Harris lays out a clear corollary for how the history of one zip code is the story of California, which, “with its high profits and bifurcated labor force,” he writes, “modeled capitalist discipline for the nation.” The second concept in the book’s descriptive title is actually its main player, as Harris argues nearly everything that has happened has been propelled to happen by the perennial winds of capitalism.\u003c/p>\n\u003cp>Harris writes about capitalism like it’s an invading, occupying force that has only gotten hungrier and more territorial as time goes on: “Capital hit California like a meteor, alien tendrils surging from the crash site.” The book’s central framing device is the refrain, “forces, not men.” Repeated, the phrase reiterates the primacy of forces like capitalism over the capitalists that enact them.\u003c/p>\n\u003cp>If the great men associated with Palo Alto hadn’t been present, Harris writes, capitalism would have summoned other men to take their place. In his view, Palo Alto was inevitable.\u003c/p>\n\u003cp>Harris avoids a propagandic tone by working from historical points that are objectively true — Palo Alto has become the most consequential suburb in the world, we live in a capitalist world system — and connecting dots throughout history that not only create a picture of California, but also offer persuasive explanations for why California looks the way it does, wields the power it has and espouses the toxic achievement philosophies that have become its trademark and albatross.\u003c/p>\n\u003cp>Despite compiling a detailed litany of “the series of plagues visited upon California” throughout history, Harris eschews fatalism in favor of something approaching optimism. “To think about life this way is not to surrender to predetermination,” he writes in the book, “only by understanding how we’re made use of can we start to distinguish our selves from our situations.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Palo Alto\u003c/em> is not a prescriptive text; this isn’t a how-to book about fixing California. It’s a book determined to detail what’s wrong with it and how it all went so wrong. Ultimately, the success of \u003cem>Palo Alto\u003c/em> will not rest in the number of converts it produces but in whether it gets readers to think about the subject and their situations differently.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve all seen a version of the domino effect meme. In it, a man (\u003ca href=\"https://youtu.be/y97rBdSYbkg\">YouTuber Stephen Morris\u003c/a>) crouches low to demonstrate how a small domino can knock over a larger domino which can knock over an even larger domino and create a chain reaction. The meme has been used to explain how the assassination of Archduke Franz Ferdinand lead to WWI, or how an apple falling off a tree in the 1600s could be responsible for the tears of high schoolers in math class four centuries later.\u003c/p>\n\u003cp>In his new book, \u003cem>\u003ca href=\"https://www.littlebrown.com/titles/malcolm-harris/palo-alto/9780316592031/\">Palo Alto: A History of California, Capitalism, and The World\u003c/a>\u003c/em>, writer Malcolm Harris positions the foundation of Silicon Valley as a small domino that unleashes the true final domino, the destruction of the world. It’s a bold claim that, after reading the argument laid out over the book’s 700-plus pages, is not entirely unearned or unconvincing.\u003c/p>\n\u003cp>Harris is also the author of \u003cem>\u003ca href=\"https://www.littlebrown.com/titles/will-collyer/kids-these-days/9781478992332/\">Kids These Days: Human Capital and the Making of Millennials\u003c/a>\u003c/em>, a formal account of the birth, promise and maligning of the millennial generation which counts him as a member. Harris, who is based in Washington, D.C., began his writing and research for \u003cem>Palo Alto\u003c/em> in 2020 — although in many ways, the seeds of this story were planted in childhood, which he partly spent in Palo Alto.\u003c/p>\n\u003cp>The book opens with an unexpected data point: teen suicide rates from the early 2000s. Beginning in the 2000s and extending well into the 2010s, \u003ca href=\"https://www.inverse.com/article/11555-teen-suicides-investigated-as-an-epidemic-in-palo-alto\">a pattern of teen suicides\u003c/a> began to occur on Caltrain tracks, the railway line near Palo Alto High School where Stanford University’s founder, Leland Stanford, helped establish the nation’s \u003ca href=\"https://news.stanford.edu/2019/05/08/first-transcontinental-railroad-stanford-forever-linked/\">first transcontinental railroad\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13923795\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Mal-photo_credit-Julia-Burke_1200.jpg\" alt=\"Red haired white man in glasses smiles with arms crossed\" width=\"1200\" height=\"1594\" class=\"size-full wp-image-13923795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Mal-photo_credit-Julia-Burke_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Mal-photo_credit-Julia-Burke_1200-800x1063.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Mal-photo_credit-Julia-Burke_1200-1020x1355.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Mal-photo_credit-Julia-Burke_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Mal-photo_credit-Julia-Burke_1200-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Mal-photo_credit-Julia-Burke_1200-1156x1536.jpg 1156w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Author Malcolm Harris. \u003ccite>(Julia Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You have this historical confluence between this suicide wave that is coextensive with my own childhood,” Harris explains, “as well as the story of the railroad and so, the connection between those two is the foundational violence that led me into the subject.” Rather than use this data as an entry point to a memoir about surviving one of the world’s most famous bubbles, Harris uses it to open a line of investigation into the heart of a city that has achieved so much and at such a great cost.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Palo Alto\u003c/em> is divided into five sections that cover significant time periods of roughly 20–50 years, the last of which is 2000–2020. Both in subject and tone, Harris’ writing merits comparison to the work of anarchist archivist David Graeber, a man described by \u003cem>The New York Times\u003c/em> as a “caustic critic” in his \u003ca href=\"https://www.nytimes.com/2020/09/04/books/david-graeber-dead.html\">2020 obit\u003c/a>. Harris’ sentences are accessible but packed with information — the footnotes of this book could form another book — and very pointed. Some readers may be unprepared to hear him casually declare the state “a whiteness cartel” or the decidedly un-reverential way he speaks of key figures in Silicon Valley’s history (Noyce, Packard, Jobs, Wozniak, Gates) who are most often written about in hagiographic terms.\u003c/p>\n\u003cp>But, as Harris will openly admit, the book is written “from a Marxist lens.” He adds that as a Marxist, “the closest to an objective understanding of history as we can get [is] by plotting this history through the struggle of classes.” In his own words, his book strives to keep company with and follow in the mold of writers who took part in the histories they documented and “whose rigor I aspire to” like Cedric J. Robinson, Roxanne Dunbar-Ortiz, H. Bruce Franklin, Mae Ngai and the late Mike Davis — “a North Star” and fellow Marxist — whose books \u003cem>City of Quartz\u003c/em> and \u003cem>Prisoners of the American Dream\u003c/em> are considered among the definitive histories of power and class struggle in urban America.\u003c/p>\n\u003cp>The field of social history emerged as a response to the popularity and obliqueness of political history, which focused on elites and “great” (read: rich and white) men, and erased, through omission, the lives and experiences of the masses. “So much of our reception around history books and social history books and social commentary books is siloed sometimes and particularly by race,” Harris explains. “This book isn’t sold as an Asian American history book, but that doesn’t mean that Asian American history isn’t a central thread of the whole story.”\u003c/p>\n\u003cfigure id=\"attachment_13923796\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-1150980334-scaled.jpg\" alt=\"Black and white illustration of future Stanford campus\" width=\"2560\" height=\"1683\" class=\"size-full wp-image-13923796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1150980334-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1150980334-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1150980334-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1150980334-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1150980334-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1150980334-1536x1010.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1150980334-2048x1347.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1150980334-1920x1263.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">An illustration depicts an aerial view of ‘Senator Leland Stanford’s Farm at Palo Alto, California’ in 1888. \u003ccite>(Interim Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To tell the whole story, Palo Alto wrangles together seemingly disparate threads: railroad colonialism, the founding of the Bank of California in 1864 (the nation’s first commercial bank), Japanophobia, forgotten Black Beat poets, an interracial coalition of striking farm workers, the invention of the microchip, and the post-9/11 information arms race.\u003c/p>\n\u003cp>\u003cem>Palo Alto\u003c/em>, exceedingly deliberative and grand in scope, is a social history of a city via the people who built it — both the laborers and the people who exploited them. In this way, Harris lays out a clear corollary for how the history of one zip code is the story of California, which, “with its high profits and bifurcated labor force,” he writes, “modeled capitalist discipline for the nation.” The second concept in the book’s descriptive title is actually its main player, as Harris argues nearly everything that has happened has been propelled to happen by the perennial winds of capitalism.\u003c/p>\n\u003cp>Harris writes about capitalism like it’s an invading, occupying force that has only gotten hungrier and more territorial as time goes on: “Capital hit California like a meteor, alien tendrils surging from the crash site.” The book’s central framing device is the refrain, “forces, not men.” Repeated, the phrase reiterates the primacy of forces like capitalism over the capitalists that enact them.\u003c/p>\n\u003cp>If the great men associated with Palo Alto hadn’t been present, Harris writes, capitalism would have summoned other men to take their place. In his view, Palo Alto was inevitable.\u003c/p>\n\u003cp>Harris avoids a propagandic tone by working from historical points that are objectively true — Palo Alto has become the most consequential suburb in the world, we live in a capitalist world system — and connecting dots throughout history that not only create a picture of California, but also offer persuasive explanations for why California looks the way it does, wields the power it has and espouses the toxic achievement philosophies that have become its trademark and albatross.\u003c/p>\n\u003cp>Despite compiling a detailed litany of “the series of plagues visited upon California” throughout history, Harris eschews fatalism in favor of something approaching optimism. “To think about life this way is not to surrender to predetermination,” he writes in the book, “only by understanding how we’re made use of can we start to distinguish our selves from our situations.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Palo Alto\u003c/em> is not a prescriptive text; this isn’t a how-to book about fixing California. It’s a book determined to detail what’s wrong with it and how it all went so wrong. Ultimately, the success of \u003cem>Palo Alto\u003c/em> will not rest in the number of converts it produces but in whether it gets readers to think about the subject and their situations differently.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "greta-thunbergs-the-climate-book-urges-world-to-keep-climate-justice-out-front",
"title": "Greta Thunberg’s ‘The Climate Book’ Urges World to Keep Climate Justice Out Front",
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"content": "\u003cp>Climate activist Greta Thunberg who, at age 15, led school strikes every Friday in her home country of Sweden — a practice that \u003ca href=\"https://www.npr.org/2019/09/20/761916356/global-youth-climate-strike-expected-to-draw-large-crowds\">caught on globally\u003c/a> — has now, at 20, managed to bring together more than 100 scientists, environmental activists, journalists and writers to lay out exactly how and why it’s clear that the climate crisis is happening.\u003c/p>\n\u003cp>Impressively, in \u003cem>The Climate Book, \u003c/em>Thunberg and team — which includes well-known names like Margaret Atwood, George Monbiot, Bill McKibben and Robin Wall Kimmerer — explain and offer action items in 84 compelling, bite-size chapters.\u003c/p>\n\u003cp>[aside postid='arts_13921311']Most critically, they — and Thunberg herself in numerous brief essays of her own — explain what steps need to be taken without delay if the world is to have a reasonable chance of limiting global temperature rise as stated in the 2015 Paris Agreement. The document aims to keep the temperature rise to below 2 degrees Celsius (and better yet below 1.5 degrees Celsius).\u003c/p>\n\u003cp>The essays also explain why climate justice must be at the center of these efforts.\u003c/p>\n\u003cp>Reading\u003cem> The Climate Book\u003c/em> at a deliberate pace over some weeks (it’s a lot to absorb), the cumulative impact on my understanding of the crisis through its data, cross-cultural reflections, and paths for step-by-step change became mesmerizing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you think the rich nations of the world are making real progress towards achieving limits on global warming, think again. In one essay, Kevin Anderson, professor of energy and climate change at the Universities of Manchester, Uppsala and Bergen, puts it this way: “Wealthy nations must eliminate their use of fossils fuels by around 2030 for a likely chance of 1.5C, extending only around 2035 to 2040 for 2C … We are where we are precisely because for thirty years we’ve favored make-believe over real mitigation.”\u003c/p>\n\u003cp>What does Anderson mean by “make-believe”? In her own chapter, journalist Alexandra Urisman Otto describes her investigation into Swedish climate policy, specifically its net zero target for 2045. She discovered a discrepancy between the official number of greenhouse gases emitted each year — 50 million tons — and the real figure, 150 million tons. That lower, official figure leaves out “emissions from consumption and the burning of biomass,” which means the target is way off, she writes. If all countries were off by that much, the world would be heading straight for a catastrophic increase of 2.5 to 3C.\u003c/p>\n\u003cp>[aside postid='arts_13910883']What does that mean, emissions from consumption and the burning of biomass? John Barrett, professor of energy and climate policy at the University of Leeds, and Alice Garvey, sustainability researcher at the same university, explain that “emissions from consumption” means emissions are allocated to the country of the consumer, not the producer. Because industrial production is often outsourced to developing economies, in a world where climate justice were front and center, the consumer country (in this example, Sweden) would take the burden of lessening the emissions from consumption.\u003c/p>\n\u003cp>As for biomass, that refers to burning wood for energy, and sometimes other materials like kelp. Burning wood for energy causes more emissions per unit of energy than fossil fuels, explain Karl-Heinz Erb and Simone Gingrich, both social ecology professors at Vienna’s University of Natural Resources and Life Sciences.\u003c/p>\n\u003cfigure id=\"attachment_13924914\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924914\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/climate_custom-4c299e0360f86c2a4cf5648d23a69dfea2d47fc7-800x1220.jpg\" alt=\"The cover of a book. It's black with large multicolored letters on the front reading THE CLIMATE BOOK, GRETA THUNBERG.\" width=\"800\" height=\"1220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/climate_custom-4c299e0360f86c2a4cf5648d23a69dfea2d47fc7-800x1220.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/climate_custom-4c299e0360f86c2a4cf5648d23a69dfea2d47fc7-1020x1555.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/climate_custom-4c299e0360f86c2a4cf5648d23a69dfea2d47fc7-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/climate_custom-4c299e0360f86c2a4cf5648d23a69dfea2d47fc7-768x1171.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/climate_custom-4c299e0360f86c2a4cf5648d23a69dfea2d47fc7-1007x1536.jpg 1007w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/climate_custom-4c299e0360f86c2a4cf5648d23a69dfea2d47fc7-1343x2048.jpg 1343w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/climate_custom-4c299e0360f86c2a4cf5648d23a69dfea2d47fc7.jpg 1679w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Climate Book’ by Greta Thunberg. \u003ccite>(Penguin Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alice Larkin, professor of climate science and energy policy at the University of Manchester, adds “a highly significant complication” to this disturbing picture: international aviation and shipping aren’t typically accounted for in national emission targets, policies, and carbon budgets, either.\u003c/p>\n\u003cp>This under-reporting situation, I would wager, isn’t known even by many climate-literate citizens. It certainly wasn’t to me.\u003c/p>\n\u003cp>One urgent goal, then, is transparency in climate-emission figures. Beyond that, Thunberg says, distribution of climate budgets fairly across countries of the world must be a priority. Without climate justice, policies are unlikely to succeed. An especially effective subsection of the book, “We are not all in the same boat,” brings this point to life.\u003c/p>\n\u003cp>[aside postid='arts_13901163']Saleemul Huq, director of a Bangladeshi international center for climate change, puts the point squarely: The communities most devastated by climate change “are overwhelmingly poor people of colour.” But Bangladeshi citizens shouldn’t be thought of as passive victims, Huq emphasizes. Communities work together to prepare for the effects of climate disasters in ways not often seen in the global north. For example, “An elderly widow living alone will have two children from the high school assigned to go and pick her up” in case of hurricane or other emergency.\u003c/p>\n\u003cp>Globally, then, what to do? First, we can hold industrial and corporate interests accountable and push back on their messages placing the burden solely on the individual, a tactic that allows the worst of the status quo carbon-emissions activities to continue.\u003c/p>\n\u003cp>Beyond this, it’s not enough “to become vegetarian for one day a week, offset our holiday trips to Thailand or switch our diesel SUV for an electric car,” as Thunberg puts it. Participating in recycling may lead to feel-good moments, but in fact, in the words of Greenpeace activist Nina Schrank, it’s “perhaps the greatest example of greenwashing on the planet today.” Even the 9% of plastic that does get recycled ends up (after one or two cycles) dumped or burned.\u003c/p>\n\u003cp>Thunberg herself has given up flying. In the book she writes, “Frequent flying is by far the most climate-destructive individual activity you can engage in.” Though she writes that lowering her personal carbon footprint isn’t her specific goal in sailing (instead of flying) across the Atlantic — she hopes to convey the need for urgent, collective behavioral change. “If we do not see anyone else behaving as if we are in a crisis, then very few will understand that we actually are in a crisis,” she writes.\u003c/p>\n\u003cp>[aside postid='arts_13885195']We can join Thunberg in giving up — or at least reducing — a flying habit if we have one. Three further steps, out of many offered in the book, are these: Switch to plant-based diets. Support natural climate solutions, by protecting forests, salt marshes, mangroves, the oceans, and all the animal and plant life in these habitats. Pressure the media to go beyond the latest story on a heat wave or collapsing glacier to focus on root causes, time urgency, and solutions. Thunberg writes that “No entity other than the media has the opportunity to create the necessary transformation of our global society.”\u003c/p>\n\u003cp>Social norms can and do change, Thunberg emphasizes. That’s our greatest source of hope — but only if we keep climate justice front and center at every step.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Barbara J. King is a biological anthropologist emerita at William & Mary. ‘Animals’ Best Friends: Putting Compassion to Work for Animals in Captivity’ is her seventh book. Find her on Twitter \u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/bjkingape__;!!Iwwt!BAeIwfAGCiX__cFRtM8--3vc8UpSgpcexxGLIloDXMFDIMH1cw4OiwUJuWGhfQ%24\">@bjkingape\u003c/a>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Greta+Thunberg%27s+%27The+Climate+Book%27+urges+world+to+keep+climate+justice+out+front+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Activist Greta Thunberg has pulled together essays by 100 scholars on what the climate needs now.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Climate activist Greta Thunberg who, at age 15, led school strikes every Friday in her home country of Sweden — a practice that \u003ca href=\"https://www.npr.org/2019/09/20/761916356/global-youth-climate-strike-expected-to-draw-large-crowds\">caught on globally\u003c/a> — has now, at 20, managed to bring together more than 100 scientists, environmental activists, journalists and writers to lay out exactly how and why it’s clear that the climate crisis is happening.\u003c/p>\n\u003cp>Impressively, in \u003cem>The Climate Book, \u003c/em>Thunberg and team — which includes well-known names like Margaret Atwood, George Monbiot, Bill McKibben and Robin Wall Kimmerer — explain and offer action items in 84 compelling, bite-size chapters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Most critically, they — and Thunberg herself in numerous brief essays of her own — explain what steps need to be taken without delay if the world is to have a reasonable chance of limiting global temperature rise as stated in the 2015 Paris Agreement. The document aims to keep the temperature rise to below 2 degrees Celsius (and better yet below 1.5 degrees Celsius).\u003c/p>\n\u003cp>The essays also explain why climate justice must be at the center of these efforts.\u003c/p>\n\u003cp>Reading\u003cem> The Climate Book\u003c/em> at a deliberate pace over some weeks (it’s a lot to absorb), the cumulative impact on my understanding of the crisis through its data, cross-cultural reflections, and paths for step-by-step change became mesmerizing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you think the rich nations of the world are making real progress towards achieving limits on global warming, think again. In one essay, Kevin Anderson, professor of energy and climate change at the Universities of Manchester, Uppsala and Bergen, puts it this way: “Wealthy nations must eliminate their use of fossils fuels by around 2030 for a likely chance of 1.5C, extending only around 2035 to 2040 for 2C … We are where we are precisely because for thirty years we’ve favored make-believe over real mitigation.”\u003c/p>\n\u003cp>What does Anderson mean by “make-believe”? In her own chapter, journalist Alexandra Urisman Otto describes her investigation into Swedish climate policy, specifically its net zero target for 2045. She discovered a discrepancy between the official number of greenhouse gases emitted each year — 50 million tons — and the real figure, 150 million tons. That lower, official figure leaves out “emissions from consumption and the burning of biomass,” which means the target is way off, she writes. If all countries were off by that much, the world would be heading straight for a catastrophic increase of 2.5 to 3C.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What does that mean, emissions from consumption and the burning of biomass? John Barrett, professor of energy and climate policy at the University of Leeds, and Alice Garvey, sustainability researcher at the same university, explain that “emissions from consumption” means emissions are allocated to the country of the consumer, not the producer. Because industrial production is often outsourced to developing economies, in a world where climate justice were front and center, the consumer country (in this example, Sweden) would take the burden of lessening the emissions from consumption.\u003c/p>\n\u003cp>As for biomass, that refers to burning wood for energy, and sometimes other materials like kelp. Burning wood for energy causes more emissions per unit of energy than fossil fuels, explain Karl-Heinz Erb and Simone Gingrich, both social ecology professors at Vienna’s University of Natural Resources and Life Sciences.\u003c/p>\n\u003cfigure id=\"attachment_13924914\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924914\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/climate_custom-4c299e0360f86c2a4cf5648d23a69dfea2d47fc7-800x1220.jpg\" alt=\"The cover of a book. It's black with large multicolored letters on the front reading THE CLIMATE BOOK, GRETA THUNBERG.\" width=\"800\" height=\"1220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/climate_custom-4c299e0360f86c2a4cf5648d23a69dfea2d47fc7-800x1220.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/climate_custom-4c299e0360f86c2a4cf5648d23a69dfea2d47fc7-1020x1555.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/climate_custom-4c299e0360f86c2a4cf5648d23a69dfea2d47fc7-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/climate_custom-4c299e0360f86c2a4cf5648d23a69dfea2d47fc7-768x1171.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/climate_custom-4c299e0360f86c2a4cf5648d23a69dfea2d47fc7-1007x1536.jpg 1007w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/climate_custom-4c299e0360f86c2a4cf5648d23a69dfea2d47fc7-1343x2048.jpg 1343w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/climate_custom-4c299e0360f86c2a4cf5648d23a69dfea2d47fc7.jpg 1679w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Climate Book’ by Greta Thunberg. \u003ccite>(Penguin Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alice Larkin, professor of climate science and energy policy at the University of Manchester, adds “a highly significant complication” to this disturbing picture: international aviation and shipping aren’t typically accounted for in national emission targets, policies, and carbon budgets, either.\u003c/p>\n\u003cp>This under-reporting situation, I would wager, isn’t known even by many climate-literate citizens. It certainly wasn’t to me.\u003c/p>\n\u003cp>One urgent goal, then, is transparency in climate-emission figures. Beyond that, Thunberg says, distribution of climate budgets fairly across countries of the world must be a priority. Without climate justice, policies are unlikely to succeed. An especially effective subsection of the book, “We are not all in the same boat,” brings this point to life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Saleemul Huq, director of a Bangladeshi international center for climate change, puts the point squarely: The communities most devastated by climate change “are overwhelmingly poor people of colour.” But Bangladeshi citizens shouldn’t be thought of as passive victims, Huq emphasizes. Communities work together to prepare for the effects of climate disasters in ways not often seen in the global north. For example, “An elderly widow living alone will have two children from the high school assigned to go and pick her up” in case of hurricane or other emergency.\u003c/p>\n\u003cp>Globally, then, what to do? First, we can hold industrial and corporate interests accountable and push back on their messages placing the burden solely on the individual, a tactic that allows the worst of the status quo carbon-emissions activities to continue.\u003c/p>\n\u003cp>Beyond this, it’s not enough “to become vegetarian for one day a week, offset our holiday trips to Thailand or switch our diesel SUV for an electric car,” as Thunberg puts it. Participating in recycling may lead to feel-good moments, but in fact, in the words of Greenpeace activist Nina Schrank, it’s “perhaps the greatest example of greenwashing on the planet today.” Even the 9% of plastic that does get recycled ends up (after one or two cycles) dumped or burned.\u003c/p>\n\u003cp>Thunberg herself has given up flying. In the book she writes, “Frequent flying is by far the most climate-destructive individual activity you can engage in.” Though she writes that lowering her personal carbon footprint isn’t her specific goal in sailing (instead of flying) across the Atlantic — she hopes to convey the need for urgent, collective behavioral change. “If we do not see anyone else behaving as if we are in a crisis, then very few will understand that we actually are in a crisis,” she writes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We can join Thunberg in giving up — or at least reducing — a flying habit if we have one. Three further steps, out of many offered in the book, are these: Switch to plant-based diets. Support natural climate solutions, by protecting forests, salt marshes, mangroves, the oceans, and all the animal and plant life in these habitats. Pressure the media to go beyond the latest story on a heat wave or collapsing glacier to focus on root causes, time urgency, and solutions. Thunberg writes that “No entity other than the media has the opportunity to create the necessary transformation of our global society.”\u003c/p>\n\u003cp>Social norms can and do change, Thunberg emphasizes. That’s our greatest source of hope — but only if we keep climate justice front and center at every step.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Barbara J. King is a biological anthropologist emerita at William & Mary. ‘Animals’ Best Friends: Putting Compassion to Work for Animals in Captivity’ is her seventh book. Find her on Twitter \u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/bjkingape__;!!Iwwt!BAeIwfAGCiX__cFRtM8--3vc8UpSgpcexxGLIloDXMFDIMH1cw4OiwUJuWGhfQ%24\">@bjkingape\u003c/a>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Greta+Thunberg%27s+%27The+Climate+Book%27+urges+world+to+keep+climate+justice+out+front+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "nomadic-press-a-chosen-family-for-queer-and-bipoc-writers-closes-up-shop",
"title": "Nomadic Press, a ‘Chosen Family’ For Queer and BIPOC Writers, Closes Up Shop",
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"headTitle": "Nomadic Press, a ‘Chosen Family’ For Queer and BIPOC Writers, Closes Up Shop | KQED",
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"content": "\u003cp>After 12 years of publishing marginalized BIPOC and queer writers, the nonprofit \u003ca href=\"https://www.nomadicpress.org/\">Nomadic Press\u003c/a> announced on Jan. 30 that it will be closing. \u003ca href=\"https://www.instagram.com/nomadicpress/\">In an Instagram post\u003c/a>, the Oakland-based independent publishing house cited a “big drop in sales” as well as a decrease in other sources of funding for the decision. There are a dozen new titles confirmed to be published in February, and all existing books on Nomadic Press’ website will be available to order until Feb. 28.\u003c/p>\n\u003cp>In its beginnings in 2011, Nomadic Press came about through trial and error. But while founder and executive director \u003ca href=\"https://www.publicplanter.org/\">J.K. Fowler\u003c/a> explained in an \u003ca href=\"https://www.clmp.org/news/award-spotlight-nomadic-press/\">interview with the Community of Literary Magazines and Presses\u003c/a> that the team “had no idea what we were doing,” their goals were clear.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"arts_13911977,arts_13911973,arts_13886553,arts_13918019\"]There was a “desire for integrated community, for chosen family,” said Fowler, in the same interview. “For a place to safely explore and be who we needed to be (as beautifully messy as that might be at times), and for spaces that reflected our many selves.”\u003c/p>\n\u003cp>Over the years, Nomadic Press gradually carved out space for underrepresented voices through gatherings and workshops where BIPOC and LGBTQ writers could discuss their work and build community. In 2020, the publisher created the Black Writers Fund, an initiative in which community donations and a portion of book sales were distributed to the press’ Black writers at the end of the year.\u003c/p>\n\u003cp>Those involved with the publisher say Nomadic Press’ emphasis on accessibility and local engagement — namely, its intentional and human approach to the submission process for writers — set it apart from traditional literary establishments.\u003c/p>\n\u003cp>For many, the task of getting their work out into the world can feel isolating and “disembodied,” says writer and Nomadic Press cohort member \u003ca href=\"https://www.instagram.com/antmenismagic/\">Antmen Pimentel Mendoza\u003c/a>. As part of the cohort, Pimentel Mendoza and \u003ca href=\"https://www.instagram.com/p/CoGPKeoS63Z/?hl=en\">nine other writers\u003c/a> were paired with editors to work on new chapbooks to be released on Feb. 4. Nomadic Press also supported the writers in navigating printing, sales and distribution.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pimentel Mendoza explained that the tiring process of sending out digital manuscripts to publication after publication — only to be ghosted or rejected with empty, vague responses — often drains and discourages emerging writers.\u003c/p>\n\u003cp>“With so much of literary and publishing culture, a lot of things feel big, far-off and anonymous,” says Pimentel Mendoza. “And I think Nomadic Press embodied the opposite of that: of being small, being immediate and intimate in the area and being very much collaborative and community-oriented.”\u003c/p>\n\u003cfigure id=\"attachment_13924738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/6B73AAEC-4E3B-4A2B-923C-CF64BB821CAC.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924738\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/6B73AAEC-4E3B-4A2B-923C-CF64BB821CAC-800x600.jpg\" alt=\"a young Latina presenting woman wears a purple shirt and smiles at the beach while holding her book\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6B73AAEC-4E3B-4A2B-923C-CF64BB821CAC-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6B73AAEC-4E3B-4A2B-923C-CF64BB821CAC-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6B73AAEC-4E3B-4A2B-923C-CF64BB821CAC-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6B73AAEC-4E3B-4A2B-923C-CF64BB821CAC.jpg 1008w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rachelle Escamilla holds the book she published through Nomadic Press. \u003ccite>(Courtesy Rachelle Escamilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The upcoming event for their new chapbooks is bittersweet: the writers — many of whom are being published for the first time — are in the midst of an exciting release and celebration, while also mourning the loss of the press that has sustained and supported their work.\u003c/p>\n\u003cp>“I think I’m still processing it,” says cohort member \u003ca href=\"https://www.instagram.com/poetitaaa/?hl=en\">Rachelle Escamilla\u003c/a>, a longtime poet. “I think what it means for a lot of poets is that this is going to cut off their ability to represent themselves in the world. And it’s even harder when you don’t have people who can advocate for your work.”\u003c/p>\n\u003cp>Escamilla credits Nomadic Press with preserving the voices of the writers it worked with — writers who often disrupted genre conventions in both craft and representation. “I think [larger poetry presses] want to see poems that appropriate whiteness,” says Escamilla. “And I have never seen that out of the books that Nomadic puts out. Nomadic allows their poets to be themselves.”\u003c/p>\n\u003cfigure id=\"attachment_13924727\" class=\"wp-caption alignright\" style=\"max-width: 374px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/IMG_6861.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13924727\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/IMG_6861-800x790.jpg\" alt=\"a young Black femme-presenting person sits in a kiosk filled with books, smiling\" width=\"374\" height=\"369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_6861-800x790.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_6861-1020x1008.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_6861-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_6861-768x759.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_6861.jpg 1170w\" sizes=\"(max-width: 374px) 100vw, 374px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Grace Jackson sits in the Nomadic Press mini-bookshop kiosk in San Francisco, which opened in 2022. \u003ccite>(Courtesy of Grace Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2022, Nomadic Press also began renting out a stand just outside of San Francisco’s Financial District, where bookseller \u003ca href=\"https://www.instagram.com/grac30fg0d/\">Grace Jackson\u003c/a> would discuss Nomadic titles with local pedestrians. When business was slow, Jackson would read from the inventory — sitting for hours immersed in stories they hadn’t encountered before. “I really didn’t realize that there was this whole world of literature that I hadn’t really been aware of,” says Jackson.\u003c/p>\n\u003cp>Jackson received a phone call from Fowler in mid-January with news of the closure. While the Nomadic Press team were dedicated to preserving the organization and its mission, the lack of funding ultimately made it impossible to keep the organization afloat. “Sometimes there are these blows that we just can’t come back from,” says Jackson.\u003c/p>\n\u003cp>But they and other Nomadic Press community members say the publisher’s impact will be deep and lasting — even after it officially shuts down. Nomadic Press’ belief in the local writing community — cultivated by writers who discuss Black and brown identity, queer relationships and navigating the world through a marginalized body — has nurtured a microcosm of writers, all strengthened by a deep sense of belief in themselves and one another.\u003c/p>\n\u003cp>“The way Nomadic Press animates their values by things like the Black Writers Fund, hosting events and anthologies and creating space for marginalized writers, I think is so important,” says Pimentel Mendoza. “I hope that folks will hear the call of the gap that might be left with Nomadic Press’ closure and be like, ‘What does it look like to invest in and be excited about folks who are writing right where we are?’”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Nomadic Press books can be ordered from \u003ca href=\"https://www.nomadicpress.org/\">the publisher’s website\u003c/a> until Feb. 28 and will then be available directly from authors and \u003ca href=\"https://www.spdbooks.org/\">Small Press Distribution\u003c/a> from March 1 through Dec. 31. After Dec. 31, 2023, Nomadic Press books will only be available directly from the authors.\u003c/em>\u003c/p>\n\u003cp>\u003cem> Nomadic Press will be hosting an \u003ca href=\"https://www.facebook.com/events/1093556801520418\">online book release and reading event for its final cohort on Saturday, Feb. 4 at 6 p.m. \u003c/a>There will also be a final virtual online open mic on Feb. 24 and a community gathering on Feb. 26. \u003ca href=\"https://www.instagram.com/p/CoDBcHHrCUx/?hl=en\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "The Oakland publisher has become an invaluable hub for marginalized authors over the last 12 years — but founders say it's no longer sustainable.",
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"title": "Nomadic Press, a ‘Chosen Family’ For Queer and BIPOC Writers, Closes Up Shop | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After 12 years of publishing marginalized BIPOC and queer writers, the nonprofit \u003ca href=\"https://www.nomadicpress.org/\">Nomadic Press\u003c/a> announced on Jan. 30 that it will be closing. \u003ca href=\"https://www.instagram.com/nomadicpress/\">In an Instagram post\u003c/a>, the Oakland-based independent publishing house cited a “big drop in sales” as well as a decrease in other sources of funding for the decision. There are a dozen new titles confirmed to be published in February, and all existing books on Nomadic Press’ website will be available to order until Feb. 28.\u003c/p>\n\u003cp>In its beginnings in 2011, Nomadic Press came about through trial and error. But while founder and executive director \u003ca href=\"https://www.publicplanter.org/\">J.K. Fowler\u003c/a> explained in an \u003ca href=\"https://www.clmp.org/news/award-spotlight-nomadic-press/\">interview with the Community of Literary Magazines and Presses\u003c/a> that the team “had no idea what we were doing,” their goals were clear.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There was a “desire for integrated community, for chosen family,” said Fowler, in the same interview. “For a place to safely explore and be who we needed to be (as beautifully messy as that might be at times), and for spaces that reflected our many selves.”\u003c/p>\n\u003cp>Over the years, Nomadic Press gradually carved out space for underrepresented voices through gatherings and workshops where BIPOC and LGBTQ writers could discuss their work and build community. In 2020, the publisher created the Black Writers Fund, an initiative in which community donations and a portion of book sales were distributed to the press’ Black writers at the end of the year.\u003c/p>\n\u003cp>Those involved with the publisher say Nomadic Press’ emphasis on accessibility and local engagement — namely, its intentional and human approach to the submission process for writers — set it apart from traditional literary establishments.\u003c/p>\n\u003cp>For many, the task of getting their work out into the world can feel isolating and “disembodied,” says writer and Nomadic Press cohort member \u003ca href=\"https://www.instagram.com/antmenismagic/\">Antmen Pimentel Mendoza\u003c/a>. As part of the cohort, Pimentel Mendoza and \u003ca href=\"https://www.instagram.com/p/CoGPKeoS63Z/?hl=en\">nine other writers\u003c/a> were paired with editors to work on new chapbooks to be released on Feb. 4. Nomadic Press also supported the writers in navigating printing, sales and distribution.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pimentel Mendoza explained that the tiring process of sending out digital manuscripts to publication after publication — only to be ghosted or rejected with empty, vague responses — often drains and discourages emerging writers.\u003c/p>\n\u003cp>“With so much of literary and publishing culture, a lot of things feel big, far-off and anonymous,” says Pimentel Mendoza. “And I think Nomadic Press embodied the opposite of that: of being small, being immediate and intimate in the area and being very much collaborative and community-oriented.”\u003c/p>\n\u003cfigure id=\"attachment_13924738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/6B73AAEC-4E3B-4A2B-923C-CF64BB821CAC.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924738\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/6B73AAEC-4E3B-4A2B-923C-CF64BB821CAC-800x600.jpg\" alt=\"a young Latina presenting woman wears a purple shirt and smiles at the beach while holding her book\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6B73AAEC-4E3B-4A2B-923C-CF64BB821CAC-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6B73AAEC-4E3B-4A2B-923C-CF64BB821CAC-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6B73AAEC-4E3B-4A2B-923C-CF64BB821CAC-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6B73AAEC-4E3B-4A2B-923C-CF64BB821CAC.jpg 1008w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rachelle Escamilla holds the book she published through Nomadic Press. \u003ccite>(Courtesy Rachelle Escamilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The upcoming event for their new chapbooks is bittersweet: the writers — many of whom are being published for the first time — are in the midst of an exciting release and celebration, while also mourning the loss of the press that has sustained and supported their work.\u003c/p>\n\u003cp>“I think I’m still processing it,” says cohort member \u003ca href=\"https://www.instagram.com/poetitaaa/?hl=en\">Rachelle Escamilla\u003c/a>, a longtime poet. “I think what it means for a lot of poets is that this is going to cut off their ability to represent themselves in the world. And it’s even harder when you don’t have people who can advocate for your work.”\u003c/p>\n\u003cp>Escamilla credits Nomadic Press with preserving the voices of the writers it worked with — writers who often disrupted genre conventions in both craft and representation. “I think [larger poetry presses] want to see poems that appropriate whiteness,” says Escamilla. “And I have never seen that out of the books that Nomadic puts out. Nomadic allows their poets to be themselves.”\u003c/p>\n\u003cfigure id=\"attachment_13924727\" class=\"wp-caption alignright\" style=\"max-width: 374px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/IMG_6861.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13924727\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/IMG_6861-800x790.jpg\" alt=\"a young Black femme-presenting person sits in a kiosk filled with books, smiling\" width=\"374\" height=\"369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_6861-800x790.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_6861-1020x1008.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_6861-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_6861-768x759.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_6861.jpg 1170w\" sizes=\"(max-width: 374px) 100vw, 374px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Grace Jackson sits in the Nomadic Press mini-bookshop kiosk in San Francisco, which opened in 2022. \u003ccite>(Courtesy of Grace Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2022, Nomadic Press also began renting out a stand just outside of San Francisco’s Financial District, where bookseller \u003ca href=\"https://www.instagram.com/grac30fg0d/\">Grace Jackson\u003c/a> would discuss Nomadic titles with local pedestrians. When business was slow, Jackson would read from the inventory — sitting for hours immersed in stories they hadn’t encountered before. “I really didn’t realize that there was this whole world of literature that I hadn’t really been aware of,” says Jackson.\u003c/p>\n\u003cp>Jackson received a phone call from Fowler in mid-January with news of the closure. While the Nomadic Press team were dedicated to preserving the organization and its mission, the lack of funding ultimately made it impossible to keep the organization afloat. “Sometimes there are these blows that we just can’t come back from,” says Jackson.\u003c/p>\n\u003cp>But they and other Nomadic Press community members say the publisher’s impact will be deep and lasting — even after it officially shuts down. Nomadic Press’ belief in the local writing community — cultivated by writers who discuss Black and brown identity, queer relationships and navigating the world through a marginalized body — has nurtured a microcosm of writers, all strengthened by a deep sense of belief in themselves and one another.\u003c/p>\n\u003cp>“The way Nomadic Press animates their values by things like the Black Writers Fund, hosting events and anthologies and creating space for marginalized writers, I think is so important,” says Pimentel Mendoza. “I hope that folks will hear the call of the gap that might be left with Nomadic Press’ closure and be like, ‘What does it look like to invest in and be excited about folks who are writing right where we are?’”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Nomadic Press books can be ordered from \u003ca href=\"https://www.nomadicpress.org/\">the publisher’s website\u003c/a> until Feb. 28 and will then be available directly from authors and \u003ca href=\"https://www.spdbooks.org/\">Small Press Distribution\u003c/a> from March 1 through Dec. 31. After Dec. 31, 2023, Nomadic Press books will only be available directly from the authors.\u003c/em>\u003c/p>\n\u003cp>\u003cem> Nomadic Press will be hosting an \u003ca href=\"https://www.facebook.com/events/1093556801520418\">online book release and reading event for its final cohort on Saturday, Feb. 4 at 6 p.m. \u003c/a>There will also be a final virtual online open mic on Feb. 24 and a community gathering on Feb. 26. \u003ca href=\"https://www.instagram.com/p/CoDBcHHrCUx/?hl=en\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "black-on-black-celebrates-black-culture-while-exploring-history-and-racial-tension",
"title": "‘Black on Black’ Celebrates Black Culture While Exploring History and Racial Tension",
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"headTitle": "‘Black on Black’ Celebrates Black Culture While Exploring History and Racial Tension | KQED",
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"content": "\u003cp>These lines appear on the first page of Daniel Black’s \u003cem>Black on Black: On Our Resilience and Brilliance in America:\u003c/em>\u003c/p>\n\u003cblockquote>\u003cp>I write because we hurt. I write because some pain can’t be described. It can only be felt in the marrow of a story or the lyrics of a song.\u003c/p>\u003c/blockquote>\n\u003cp>Black’s new collection of essays digs deep into Blackness, history and racial tension in this country, while simultaneously serving as a powerful call to action and a celebration of Black culture.\u003c/p>\n\u003cp>[aside postid='arts_13924580']\u003cem>Black on Black\u003c/em> is not an easy read. Black’s voice is strong, informed, angry, and relentless — and that infuses his essays with the power to affect readers. Whether Black is discussing racism, the crooked justice system that leads to things like the Central Park Five case (also known as the Central Park jogger case), the public education system and its impact on HBCUS (Historically Black Colleges and Universities), or how different generations of gay Black men learned to navigate AIDS, Black’s writing carries the kind of righteous anger — and more than enough facts — to elicit a response in most readers with a pulse. Hopefully, that response leads to change.\u003c/p>\n\u003cp>There are no throwaway essays here and they all fit together in ways that give the collection a great sense of cohesion, but there are some standouts that merit a moment in the spotlight. “When I Was a Boy” is a heartfelt essay about growing up feeling like a “freak” that eventually morphs into a narrative about acceptance and a critique of the way young Black men are expected to perform a special brand of masculinity. Black always knew he was different, and different wasn’t good. He thought he was worse than everyone else even when he became obsessed with words — with reading and writing — and people told him he was “too smart” for his own good. The emotional and psychological scars that came from Black’s youth permeate the collection, and this essay, the second one in the book, is a perfect introduction that helps to contextualize what follows.\u003c/p>\n\u003cp>[aside postid='arts_13899186']“The Trial and Massacre of the Black Body” is a brilliant essay about George Floyd that asks the same question we still have to ask regularly: “…not whether a black person is dead, but whether the police we see committing the act will be held responsible.” Black, a keen observer as well as a scholar, exposes, time and again, the shield of cultural protection that surrounds white male patriarchy and power and the way this often leads to the murder of Black individuals going unpunished. Perhaps the most painful essay to read, this one is packed with examples that show the perpetuation of racial abuse and unfettered discrimination against Black people despite the outcome of the Floyd case. From the bodies of those aboard the \u003cem>Amistad\u003c/em> to Emmett Till to Rodney King to Trayvon Martin to Breonna Taylor, Black leads readers on a painful tour of the deadly consequences of unfettered racism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And those aren’t the only essays I was thinking about long after finishing the book. “Black, But Not Beautiful: An Aesthetic Dilemma” shows how “whiteness is inherently supreme, and blackness is, by definition, unruly, undesirable, and unholy.” Black looks at popular culture to explore the idea that it’s hard for Black people to see themselves as attractive in a society in which beauty standards are “diametrically opposed” to their features. “When WE See Us,” which is a perfect companion piece to “The Trial and Massacre of the Black Body,” Black examines the justice system through the lens of Ava DuVernay’s documentary “When They See Us.” Lastly, “The Beauty and Struggles of HBCUS” explores how HBCUS and those who work and teach in them tackle the monumental, and incredibly necessary, task of convincing students of their intellectual prowess, which is something that, in most cases, no one has done up to that point.\u003c/p>\n\u003cp>[aside postid='arts_13883630']\u003cem>Black on Black\u003c/em> calls for an overhaul of the American criminal justice system, an overhaul of the Black church, an overhaul of the way Black people see themselves, and an overhaul of the country itself, and it does so with authority. From invitations to kiss God in the mouth to declarations about the need to “ignite conversation” about difficult topics, \u003cem>Black on Black\u003c/em> never waivers, never backs down, never pulls its hard punches full of painful truths.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In an essay that presents a celebration/critique of Black churches and they way they follow the same set of believes that enslavers followed, Black mentions outstanding contemporary African American writers Kiese Laymon, Jesmyn Ward, and Jericho Brown and then states: “The black pen never fails to produce spirit-filled work that, if black people read and heed, would set them free.” \u003cem>Black on Black\u003c/em> adds Black’s name to that list, and that makes it an important, relevant work of nonfiction that should be required reading in these troubled times.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Black+on+Black%27+celebrates+Black+culture+while+exploring+history+and+racial+tension&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These lines appear on the first page of Daniel Black’s \u003cem>Black on Black: On Our Resilience and Brilliance in America:\u003c/em>\u003c/p>\n\u003cblockquote>\u003cp>I write because we hurt. I write because some pain can’t be described. It can only be felt in the marrow of a story or the lyrics of a song.\u003c/p>\u003c/blockquote>\n\u003cp>Black’s new collection of essays digs deep into Blackness, history and racial tension in this country, while simultaneously serving as a powerful call to action and a celebration of Black culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Black on Black\u003c/em> is not an easy read. Black’s voice is strong, informed, angry, and relentless — and that infuses his essays with the power to affect readers. Whether Black is discussing racism, the crooked justice system that leads to things like the Central Park Five case (also known as the Central Park jogger case), the public education system and its impact on HBCUS (Historically Black Colleges and Universities), or how different generations of gay Black men learned to navigate AIDS, Black’s writing carries the kind of righteous anger — and more than enough facts — to elicit a response in most readers with a pulse. Hopefully, that response leads to change.\u003c/p>\n\u003cp>There are no throwaway essays here and they all fit together in ways that give the collection a great sense of cohesion, but there are some standouts that merit a moment in the spotlight. “When I Was a Boy” is a heartfelt essay about growing up feeling like a “freak” that eventually morphs into a narrative about acceptance and a critique of the way young Black men are expected to perform a special brand of masculinity. Black always knew he was different, and different wasn’t good. He thought he was worse than everyone else even when he became obsessed with words — with reading and writing — and people told him he was “too smart” for his own good. The emotional and psychological scars that came from Black’s youth permeate the collection, and this essay, the second one in the book, is a perfect introduction that helps to contextualize what follows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And those aren’t the only essays I was thinking about long after finishing the book. “Black, But Not Beautiful: An Aesthetic Dilemma” shows how “whiteness is inherently supreme, and blackness is, by definition, unruly, undesirable, and unholy.” Black looks at popular culture to explore the idea that it’s hard for Black people to see themselves as attractive in a society in which beauty standards are “diametrically opposed” to their features. “When WE See Us,” which is a perfect companion piece to “The Trial and Massacre of the Black Body,” Black examines the justice system through the lens of Ava DuVernay’s documentary “When They See Us.” Lastly, “The Beauty and Struggles of HBCUS” explores how HBCUS and those who work and teach in them tackle the monumental, and incredibly necessary, task of convincing students of their intellectual prowess, which is something that, in most cases, no one has done up to that point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Black on Black\u003c/em> calls for an overhaul of the American criminal justice system, an overhaul of the Black church, an overhaul of the way Black people see themselves, and an overhaul of the country itself, and it does so with authority. From invitations to kiss God in the mouth to declarations about the need to “ignite conversation” about difficult topics, \u003cem>Black on Black\u003c/em> never waivers, never backs down, never pulls its hard punches full of painful truths.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In an essay that presents a celebration/critique of Black churches and they way they follow the same set of believes that enslavers followed, Black mentions outstanding contemporary African American writers Kiese Laymon, Jesmyn Ward, and Jericho Brown and then states: “The black pen never fails to produce spirit-filled work that, if black people read and heed, would set them free.” \u003cem>Black on Black\u003c/em> adds Black’s name to that list, and that makes it an important, relevant work of nonfiction that should be required reading in these troubled times.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Black+on+Black%27+celebrates+Black+culture+while+exploring+history+and+racial+tension&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A New Exhibit Celebrates Xerox Art, Zines and DIY Culture in the Bay",
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"content": "\u003cp>There are some true treasures in the new exhibit \u003cem>Positively Charged: Copier Art in the Bay Area Since the 1960s\u003c/em>. Spread across two venues — \u003ca href=\"https://sfpl.org/locations/main-library\">San Francisco’s Main Library\u003c/a> and the \u003ca href=\"https://sfcb.org/\">San Francisco Center For the Book\u003c/a> — \u003cem>Positively Charged\u003c/em> traces how the advent of the photocopier inspired artists and bolstered a variety of activist communities.\u003c/p>\n\u003cp>At the Center For the Book, the exhibit celebrates photocopied collage art and zines that were brought into the world by Bay Area free thinkers, using the lowly photocopier and whatever materials they had to hand. Wry postcards, idiosyncratic fanzine creations, art projects turned into mailers and some gorgeous collage work are all on display.\u003c/p>\n\u003cp>Original works of collage by Bay Area artists \u003ca href=\"https://www.sascolby.com/xerox-art-1976-1978?lightbox=dataItem-j6kapmzx1\" rel=\"noopener\">Sas Colby\u003c/a> and \u003ca href=\"https://www.sallyw.com/tagged/collage\">Sally Wassink\u003c/a> sit tantalizingly alongside the copies that went out into the world as postcards and mailers.\u003c/p>\n\u003cfigure id=\"attachment_13924657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924657\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/20230202_135304-800x1107.jpg\" alt=\"Hands wearing white gloves hold up a framed image of the Golden Gate Bridge over a photograph of the Bay Bridge. The image is duplicated underneath.\" width=\"800\" height=\"1107\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-800x1107.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-1020x1411.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-768x1062.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-1110x1536.jpg 1110w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-1480x2048.jpg 1480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-1920x2656.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-scaled.jpg 1851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sally Wassink’s San Francisco postcard from the 1980s. (Top) Original collage, (Bottom) The photocopied postcard. \u003ccite>(Rae Alexandra/ San Francisco Center for the Book)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One mesmerizing piece that spans almost an entire wall features multiple works of collage by \u003ca href=\"https://art.stanford.edu/people/enrique-chagoya\" rel=\"noopener\">Enrique Chagoya\u003c/a>, photocopied and combined into a single fold-out booklet. In this piece — titled \u003cem>Tales From the Conquest/ Codex —\u003c/em> the Mexico-born, Berkeley-based artist juxtaposes images of traditional Mexican artwork with characters from American comic books. In one section, Wonder Woman sits between an Incan statue and Our Lady of Guadalupe. In another, Superman encourages a boy named Manuel who came “to the USA for a better life.”\u003c/p>\n\u003cfigure id=\"attachment_13924668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/EC-800x273.jpg\" alt=\"A folded out booklet inside a display case shows traditional Mexican artwork and American cartoons.\" width=\"800\" height=\"273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-800x273.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-1020x348.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-160x55.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-768x262.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-1536x523.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-2048x698.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-1920x654.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Enriaque Chagoya’s ‘Tales From the Conquest/Codex’ (1992) on display at the San Francisco Center for the Book. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the Center for the Book focuses on the visual creations of artists using photocopiers, the library portion of \u003cem>Positively Charged\u003c/em> provides some historical context. It explains the origins of the photocopier, how the technology developed over time and demonstrates how underground movements stayed connected and energized by handmade photocopied materials.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The library’s exhibit includes independent music presses and activist papers from the ‘60s and ‘70s. There’s the first-ever issue of the punk rock fanzine \u003cem>Search and Destroy\u003c/em> from 1977. There are feminist calls to arms from the ‘70s and ‘80s. You can even see one of the first-ever excerpted reprints of Valerie Solanas’ \u003cem>Scum Manifesto\u003c/em> from 1968, issued shortly after she shot Andy Warhol.\u003c/p>\n\u003cp>There’s some great art on this side of the exhibition as well. Works by \u003ca href=\"https://en.wikipedia.org/wiki/Min%C3%A9_Okubo#Citizen_13660\" rel=\"noopener\">Miné Okubu\u003c/a> show how the artist, author and internment camp survivor photocopied whimsical self-portraits, embellished them with flourishes of color and sent them out as Christmas cards in the very earliest days of copier technology.\u003c/p>\n\u003cfigure id=\"attachment_13924444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924444\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/20230130_133100-800x993.jpg\" alt=\"A freehand sketch shows a girl wearing a Christmas hat, in movement, with two small birds on her shoulders. She is looking over her shoulder at the sun which has dots for eyes. Stylish writing next to the girl says 'Greetings 1958. Miné Okubu.' \" width=\"800\" height=\"993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100-800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100-1020x1266.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100-768x953.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100-1238x1536.jpg 1238w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100.jpg 1362w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photocopied Christmas card from 1958 by Miné Okubu. \u003ccite>(Rae Alexandra/ San Francisco Main Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The joy of \u003cem>Positively Charged\u003c/em> —which was curated by Jennie Hinchcliff and \u003ca href=\"https://maymanahfarhat.com/\">Maymanah Farhat\u003c/a> — is the sheer inspiration it provides. It lovingly recalls a pre-internet time when tactile pleasures were prioritized. It also asserts the ongoing relevance of zines — the San Francisco Center of the Book has many local fanzines on hand to read at will. And, best of all, it reminds us that the act of getting messages, thoughts and things of beauty out into the world is still in our own hands.\u003c/p>\n\u003cp>\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=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003cem>‘Positively Charged: Copier Art in the Bay Area Since the 1960s’ is on view at the San Francisco Center for the Book (375 Rhode Island St.) and in the San Francisco Main Library’s Skylight Gallery (100 Larkin St.) through March 19, 2023. \u003ca href=\"https://sfcb.org/positivelycharged\">Exhibition details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are some true treasures in the new exhibit \u003cem>Positively Charged: Copier Art in the Bay Area Since the 1960s\u003c/em>. Spread across two venues — \u003ca href=\"https://sfpl.org/locations/main-library\">San Francisco’s Main Library\u003c/a> and the \u003ca href=\"https://sfcb.org/\">San Francisco Center For the Book\u003c/a> — \u003cem>Positively Charged\u003c/em> traces how the advent of the photocopier inspired artists and bolstered a variety of activist communities.\u003c/p>\n\u003cp>At the Center For the Book, the exhibit celebrates photocopied collage art and zines that were brought into the world by Bay Area free thinkers, using the lowly photocopier and whatever materials they had to hand. Wry postcards, idiosyncratic fanzine creations, art projects turned into mailers and some gorgeous collage work are all on display.\u003c/p>\n\u003cp>Original works of collage by Bay Area artists \u003ca href=\"https://www.sascolby.com/xerox-art-1976-1978?lightbox=dataItem-j6kapmzx1\" rel=\"noopener\">Sas Colby\u003c/a> and \u003ca href=\"https://www.sallyw.com/tagged/collage\">Sally Wassink\u003c/a> sit tantalizingly alongside the copies that went out into the world as postcards and mailers.\u003c/p>\n\u003cfigure id=\"attachment_13924657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924657\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/20230202_135304-800x1107.jpg\" alt=\"Hands wearing white gloves hold up a framed image of the Golden Gate Bridge over a photograph of the Bay Bridge. The image is duplicated underneath.\" width=\"800\" height=\"1107\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-800x1107.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-1020x1411.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-768x1062.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-1110x1536.jpg 1110w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-1480x2048.jpg 1480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-1920x2656.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/20230202_135304-scaled.jpg 1851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sally Wassink’s San Francisco postcard from the 1980s. (Top) Original collage, (Bottom) The photocopied postcard. \u003ccite>(Rae Alexandra/ San Francisco Center for the Book)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One mesmerizing piece that spans almost an entire wall features multiple works of collage by \u003ca href=\"https://art.stanford.edu/people/enrique-chagoya\" rel=\"noopener\">Enrique Chagoya\u003c/a>, photocopied and combined into a single fold-out booklet. In this piece — titled \u003cem>Tales From the Conquest/ Codex —\u003c/em> the Mexico-born, Berkeley-based artist juxtaposes images of traditional Mexican artwork with characters from American comic books. In one section, Wonder Woman sits between an Incan statue and Our Lady of Guadalupe. In another, Superman encourages a boy named Manuel who came “to the USA for a better life.”\u003c/p>\n\u003cfigure id=\"attachment_13924668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/EC-800x273.jpg\" alt=\"A folded out booklet inside a display case shows traditional Mexican artwork and American cartoons.\" width=\"800\" height=\"273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-800x273.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-1020x348.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-160x55.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-768x262.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-1536x523.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-2048x698.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/EC-1920x654.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Enriaque Chagoya’s ‘Tales From the Conquest/Codex’ (1992) on display at the San Francisco Center for the Book. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the Center for the Book focuses on the visual creations of artists using photocopiers, the library portion of \u003cem>Positively Charged\u003c/em> provides some historical context. It explains the origins of the photocopier, how the technology developed over time and demonstrates how underground movements stayed connected and energized by handmade photocopied materials.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The library’s exhibit includes independent music presses and activist papers from the ‘60s and ‘70s. There’s the first-ever issue of the punk rock fanzine \u003cem>Search and Destroy\u003c/em> from 1977. There are feminist calls to arms from the ‘70s and ‘80s. You can even see one of the first-ever excerpted reprints of Valerie Solanas’ \u003cem>Scum Manifesto\u003c/em> from 1968, issued shortly after she shot Andy Warhol.\u003c/p>\n\u003cp>There’s some great art on this side of the exhibition as well. Works by \u003ca href=\"https://en.wikipedia.org/wiki/Min%C3%A9_Okubo#Citizen_13660\" rel=\"noopener\">Miné Okubu\u003c/a> show how the artist, author and internment camp survivor photocopied whimsical self-portraits, embellished them with flourishes of color and sent them out as Christmas cards in the very earliest days of copier technology.\u003c/p>\n\u003cfigure id=\"attachment_13924444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924444\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/20230130_133100-800x993.jpg\" alt=\"A freehand sketch shows a girl wearing a Christmas hat, in movement, with two small birds on her shoulders. She is looking over her shoulder at the sun which has dots for eyes. Stylish writing next to the girl says 'Greetings 1958. Miné Okubu.' \" width=\"800\" height=\"993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100-800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100-1020x1266.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100-768x953.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100-1238x1536.jpg 1238w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/20230130_133100.jpg 1362w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photocopied Christmas card from 1958 by Miné Okubu. \u003ccite>(Rae Alexandra/ San Francisco Main Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The joy of \u003cem>Positively Charged\u003c/em> —which was curated by Jennie Hinchcliff and \u003ca href=\"https://maymanahfarhat.com/\">Maymanah Farhat\u003c/a> — is the sheer inspiration it provides. It lovingly recalls a pre-internet time when tactile pleasures were prioritized. It also asserts the ongoing relevance of zines — the San Francisco Center of the Book has many local fanzines on hand to read at will. And, best of all, it reminds us that the act of getting messages, thoughts and things of beauty out into the world is still in our own hands.\u003c/p>\n\u003cp>\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=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003cem>‘Positively Charged: Copier Art in the Bay Area Since the 1960s’ is on view at the San Francisco Center for the Book (375 Rhode Island St.) and in the San Francisco Main Library’s Skylight Gallery (100 Larkin St.) through March 19, 2023. \u003ca href=\"https://sfcb.org/positivelycharged\">Exhibition details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How I Made a Bay Area Classic at Age 15",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> This story is part of \u003c/em>\u003ca href=\"http://kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cem>In this edited excerpt from his book \u003c/em>My Opinion\u003cem> (\u003ca href=\"https://www.amazon.com/My-Opinion-Mac-Mall/dp/0692456570/\">available here\u003c/a>), Vallejo legend Mac Mall recalls signing his first record deal and recording his classic debut album, \u003c/em>Illegal Business\u003cem>, at age 15.\u003c/em>\u003c/p>\n\u003cp>[dropcap]W[/dropcap]hen I heard that \u003ca href=\"https://www.discogs.com/artist/184149-Khayree\" target=\"_blank\" rel=\"noopener\">Khayree\u003c/a> wanted to holla at me about signing to a new label he was starting called Young Black Brotha Records, I had mixed emotions. On one hand, I was superjuiced, ’cause in my opinion, Khayree was and is a genius. His music is how the Crestside streets sound. I knew that if we hooked up, I would become a part of a legacy, but on the other hand, I was havin’ a run of some real buzzard luck. It seemed like nothing was going my way. I would get close enough to touch my goal, and the rug would get snatched from under me. A part of me thought this time would be no different.\u003c/p>\n\u003cp>Khayree was like a myth to me then. I never saw him hangin’ out; I just heard and felt the passion in his music. He definitely had his finger on the pulse of the Country Club and the whole Bay with the records he made for Strictly Business.\u003c/p>\n\u003cp>One of the things that eased my mind was Ceese telling me that it was real business. A Crestside OG and local DJ, Ceese was family; my mother used to babysit him way back when. He was always straight up and honest, so to me, his word was his bond. I got Khayree’s number from Ceese, went directly home, and called him. We talked two or three times, but they were only short conversations, because Khayree was as busy as a dope dealer on the first. Between his campaigning to free Mac Dre, who had been railroaded by the feds, and Ray Luv, who was signed to Strictly Business and dropped the Bay Area classic “\u003ca href=\"https://youtu.be/IVS-j8mGvqU\" target=\"_blank\" rel=\"noopener\">Get Ya Money On\u003c/a>,” Khayree didn’t have much time to chat on the phone. He told me he would come to the Crest to chop it up with me face to face and would probably bring some tracks, so I had to be ready to spit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When the day arrived, a few cuddies and I were posted up in front of my house on Mark Avenue. Khayree pulled up in his dark blue BMW. We knew it was him, ’cause not too many cars like that came through the turf. My crew knew Khayree was in the ‘hood to talk business with me, so they left me there in front of my house. My first impression of Khayree was that he was taller than he looked on the record covers and TV, and he wasn’t mean muggin’; he was actually smiling. So I put my best cold-as-the-North-Pole face on and gave him some dap, and then he ran down his plans on how he was creating Young Black Brotha (YBB) Records. He really didn’t have to sell me on the idea, though, ’cause I was a jump, skip, and a hop from a cell block or a pine box, so I felt I had nothing to lose.\u003c/p>\n\u003cp>Khayree had heard me rap on the four-track demo tape Mac Dre had produced for me, but I guess he wanted to hear me flow live to find out if my skills were actual and factual. I think this is where the man upstairs who controls all game stepped in, ’cause the first piece of music he played for me was knockin’, and I must say, the rap I spit felt tailor made for the beat. The track and rap ended up being the title track to what would become my debut record \u003cem>Illegal Business\u003c/em>. After I spit a few raps to a couple different beats, I guess Khayree was convinced, so we agreed we would make Young Black Brotha Records a reality. The next step, though, would be a hard one. We would have to persuade my parents to let their 15-year-old son get involved with strangers in a business they knew little, if anything, about.\u003c/p>\n\u003cp>[aside label='From the Book' link1='https://www.amazon.com/My-Opinion-Mac-Mall/dp/0692456570/,My Opinion (133 pages; $20)' hero='https://ww2.kqed.org/app/uploads/sites/2/2023/01/MacMall.MyOpinion.jpg']My relationship with my pops wasn’t too cool at this time. We barely even spoke, so I felt he would be against it or wouldn’t care. My mom was under a lot of stress ’cause of the funk between me and my pops, and all she heard about the music business were horror stories of people getting strung out on drugs or dying broke because the record company robbed them. Plus, with the way I was livin’ at that time, she could have thought only the worst.\u003c/p>\n\u003cp>Ceese set up a meeting at my house with him, Khayree, my parents, and me to discuss my future in the record industry. You should have seen us: Ceese and Khayree were sitting on the couch looking like they just stepped out of a rap video, and my folks and I were on the other side of the couch looking like we just stepped out of an episode of \u003cem>Good Times\u003c/em>.\u003c/p>\n\u003cp>My parents asked the usual questions like how this would affect me in school, who would look out for me and make sure I wouldn’t fall victim to drugs, and what was up with the contract (who got what, how much, and when). Since I was a minor, a parent would have to sign along with me. For that reason, I was worried; if my pops told my mom not to sign out of spite, maybe mom wouldn’t sign just to keep things cool between them. If that went down, I was right back where I started: the bottom of the bottom.\u003c/p>\n\u003cp>After Khayree finished his presentation, Ceese assured my parents that he would look out for me as best as he could, acting as DJ/mentor. Like I said, Ceese was family. After Ceese and Khayree bounced, my parents let me know that they thought I shouldn’t risk my future on a dream and that I should concentrate on school. Then they informed me that if I disobeyed them and chose a music career, I would be doing so alone and without their support.\u003c/p>\n\u003cp>When they told me that, it really fucked me up. I mean, this was one of the biggest decisions in my life, and not having them have my back felt like they disowned me anyway. My mind was made up — matter of fact, it was a no-brainer.\u003c/p>\n\u003cp>My mom and pops wanted me to focus on school, but Hogan High School, which I was attending then, was just the minor leagues of the Crest against the rest of Vallejo funk. There, I focused only on fighting with the enemy and smoking weed with the cuddies, and getting a name for myself was more important than studying or homework. My parents didn’t want me to risk my future on a dream, but my life was at risk every day I woke up and went outside. I felt the music industry couldn’t be worse than growing up in the ‘hood.\u003c/p>\n\u003cp>Pops had washed his hands of the situation, so I was able to convince my mother to sign the contract. I had to promise her that I would finish school and stay out of trouble. I gave her my word, we both signed, and it was official: Mac Mall was the first artist signed to Young Black Brotha.\u003c/p>\n\u003cp>https://youtu.be/g8Bfxiq5Cos\u003c/p>\n\u003ch2>Writing Up a Storm for ‘Illegal Business’\u003c/h2>\n\u003cp>So Khayree started giving me tracks, and we began putting together what would become my first record, \u003cem>Illegal Business\u003c/em>. Leila Steinberg, who managed Ray and had managed Tupac before he got with Digital Underground, agreed to be my manager. With Dre in the feds, Ray took on a big cuddie role, letting me come along with him and perform at clubs and concerts. I felt like things were starting to happen — until Ray Luv caught a bullshit case and had to go to San Quentin for a ninety-day op.\u003c/p>\n\u003cp>Leila spent a lot of time trying to make sure he didn’t get washed in the legal system and catch some serious time. Khayree was still shooting me tracks for the records, and I was writing up a storm. In the Crestside, the streets were on fire; it was like cats stopped grinding and started robbing banks. Every neighborhood d-boy switched his pitch up and became a modern-day Jesse James. Cuddies were runnin’ up in every bank and credit union around. Some licks were so sweet, cats hit the same spot twice. This was the time some key members of my crew went down, mostly for robbery charges.\u003c/p>\n\u003cp>At first, the turf took the fed as a joke, but soon nobody would be laughin’. The ‘hood lost some real soldiers to the funk, which was getting deeper by the day. With all this shit jumpin’ off around me, it definitely influenced my rhymes.\u003c/p>\n\u003cp>My family had decided to take a vacation to Detroit that summer to go see my grandmother, Juanita Rocker. Juanita was a strong, strict, smart woman. She invested in real estate and owned property throughout Detroit. I spent a lot of summers in Motown helping repair houses and doing other business. I couldn’t see it then, but now I appreciate the knowledge I received while I was out there. [aside postid='arts_13923766' hero='https://ww2.kqed.org/app/uploads/sites/2/2023/01/RBL.Small_.GIF.gif']\u003c/p>\n\u003cp>But this summer in particular, I wasn’t trying to go out there. I had some Khayree beats to write to, the cuddies from the Strictly Ses (which we changed our name to) and I were putting it down in the town. I was right there in the middle of it. I wasn’t trying to miss any of the action. But after my mom made me go, the trip was actually cool. I got a chance to step back from my reality and put together some real raw material for my CD.\u003c/p>\n\u003cp>When I got back to the Crest, it was on. Khayree had the game plan made and was ready to execute. He decided we were gonna call the record \u003cem>Illegal Business\u003c/em>, since that was one of the first and tightest songs we made. We were gonna do a savage record cover, where I would be lookin’ like I was plotting a heist. When I heard that, I was with it, but the next thing he said threw me off. He told me he wanted to add another L to my name, ’cause he didn’t think people would get Mall from Mal. At first I didn’t want to do it, but trick it! I was getting in the game, so that’s all that mattered.\u003c/p>\n\u003cp>When I started my sophomore year at Hogan High, I was hyphy — I mean, I was experiencing stuff no teenager or most adults get a chance to. My mom made me promise that if I rapped, I would have to keep my grades up, so I did just enough to keep her off my back. When people started seeing that what I was doing was profitable, school became an obstacle for them. I would have fools tell me that I would be making more money than the principal, so I should concentrate on my flows instead of school. It sounded cool, but I made a promise to my mother to finish school, and that was what I was gonna do. I’m not gonna say that I was an angel or anything. I would cut class to do songs — even at lunch time — anything I had to do to make it happen.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VYUNInmYtlI\u003c/p>\n\u003cp>When I finished the record, I knew it was good, but I really didn’t know what we had our hands on. I gave tapes to some cuddies, but I didn’t know how people outside the turf would take to it. Because of Ray Luv’s single “Get Ya Money On,” KMEL, the rap station in the Bay, gave us some love. I remember when I first heard my song “\u003ca href=\"https://youtu.be/CUm-vin3gR0\" target=\"_blank\" rel=\"noopener\">I Gots 2 Have It\u003c/a>” on the radio. A DJ named Theo Mizuhara, the most popular DJ at the time, played it. I was on Mark Avenue with the cuddie from the crew, just smoking blunts and drinking forties, when a cuddie of mine told me they were playin’ my song. I tell ya, I had an out-of-body experience. I couldn’t believe that was me on the radio for the whole Bay to hear. The cuddies were so juiced that we hopped in the cars and rolled all around the turf, dancing and yelling, telling everybody who would listen that I was on the radio.\u003c/p>\n\u003cp>When we dropped the record that summer, I could feel something was about to happen. We had a strong street buzz, and slowly but surely, the record picked up momentum. It was a great time for Bay Area music then.\u003c/p>\n\u003cp>There was JT & the Get Low Playaz, Dre Dog, Cougnut, and RBL getting down in Frisco; Dru Down, The Luniz, 3X Krazy, and Richie Rich out in Oakland; Lil Ric in Richmond; and Brotha Lynch and C-Bo out in Sac. Man, I tell you, it was a good time to be a rapper.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/0qR8qB6JbTVhK2HDodBv4b?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Hooking Up With Tupac, One of the Hardest to Ever Live\u003c/h2>\n\u003cp>With Mac Dre in the feds, E-40 became the king of Vallejo rap. If 40 was the king of Vallejo rap, then I was the prince. A lot of people don’t know this, but 40 and I are cousins, with our roots goin’ back to Louisiana. Actually, when I was younger, my mother and aunt wanted me to hook up with 40 and put out a record, since we were family. We chopped it up, but nothing ever came of it.\u003c/p>\n\u003cp>It was at E-40’s “Practice Lookin’ Hard” video that I met one of the hardest niggas to ever live: Tupac Amaru Shakur.\u003c/p>\n\u003cfigure id=\"attachment_13924484\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13924484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv-1020x1224.jpg\" alt=\"Three young men, two of them sitting on car hoods, on a city street\" width=\"640\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv-1020x1224.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv-800x960.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv-768x922.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv.jpg 1240w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Tupac Shakur, Mac Mall and Ray Luv on the set of Mac Mall’s music video, “Ghetto Theme,” directed by Tupac. \u003ccite>(Courtesy Mac Mall / 'My Opinion')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My cousin Shanda had brought me to the video; it was cool, even though I don’t think I got in one scene. The thing that made it worth being there was when Pac showed up for his cameo. Pac was there with Mopreme, Stretch, Big Syke, and a couple of his folks from the Bay. He looked like success; at the time, he was on his way to becoming the biggest rap star alive, and the best thing about it was that he was from the Bay.\u003c/p>\n\u003cp>I remember back in the day when Pac ran with the Jungle, a turf in Marin. Mac Dre did a show out there, and our ‘hoods had funk. We basically had to fight and shoot our way out of the projects, but that was then, and this was now. I can’t front, I was starstruck. I always related to Tupac, not only ’cause he was from the Bay but because I felt that when he rapped, he spoke for every young Black man in America — shit, the world! He represented how far you could take it if you worked hard and kept it real. Pac was at the video chillin’ just like a regular person, only difference was that everybody was jockin’ him. I remember he was smoking some chocolate ty he had brought back from New York.\u003c/p>\n\u003cp>My cousin Shanda, who was talking shit as usual, had made a remark about his weed, and that’s when I took my chance to introduce myself. I walked up to him and said, “What’s up, Pac? My name is Mac Mall.” Then I gave him some dap.\u003c/p>\n\u003cp>When he heard my name, his eyes got big. Now, anybody who knew Pac knew how hyper he could get about shit. He was like, “You Mac Mall from Young Black Brotha? I love your shit, dog! Me and all my niggas is slammin’ that shit right now! I know your manager, Leila. I’m gonna call you up; we got to do something!”\u003c/p>\n\u003cp>When I heard this coming out of the mouth of one of my rap idols and the biggest rapper in the game, I felt validated and honored. I finally felt like I was on the right track. Shit, if the best said I was good, then I had to be doing something right!\u003c/p>\n\u003cp>When he told me “we had to do something,” I really didn’t trip; in the rap game, when somebody tells you that, it’s kind of like somebody in Hollywood telling you, “Hey, I’ll call you, and we’ll do lunch.”\u003c/p>\n\u003cp>https://youtu.be/EL3N3D5B0CA\u003c/p>\n\u003cp>But Tupac wasn’t Hollywood. He called Leila, whom he hadn’t spoken to in a while, and the next time he was in the Bay, he came through the YBB studio to check out our operation and do some tracks with me and Khayree. We had already shot the video for “Sic Wit Dis” a few months prior, and it was during this visit that Tupac told us that he wanted to direct a video for a song on my record called “Ghetto Theme.” I was floored! I couldn’t believe he would take time out of his busy schedule to direct and be in a video for little ol’ me. Tupac will forever be a friend in my eyes for that.\u003c/p>\n\u003cp>Even now, I think about how God brought Pac into my life. I mean Tupac was large; he didn’t even have to talk to me, let alone take me under his wing. I don’t know why God did it, but I’m happy he did. Here I was in the 11th grade with a CD in stores, doing shows around the country, starting to see a little paper, and having the biggest rapper as a big cuddie! It felt good; life was sweet!\u003c/p>\n\u003cp>But you can’t have the sweet without the bitter. The bitter came in the form of hate; it seemed like the better I did, the more some people hated on me. It didn’t bother me, ’cause I had my crew, but when some of them dudes started to hate, it really cut me deep. I had to come face to face with the fact that everybody wasn’t going to see my dream the way I saw it. It hurt that rap came between us, but this was bigger than me. This was destiny. I had to handle my business. Pac and I got close, and even though he was fighting cases, doing movies, and making music, I was still able to call him and ask him for advice or just to chop it up. [aside postid='arts_13924170' hero='https://ww2.kqed.org/app/uploads/sites/2/2023/01/Saafir.Battle.72dpi.jpg']\u003c/p>\n\u003cp>I remember when Pac wanted to take me to the Soul Train Awards that year. Since I was young, he decided he’d call my mom and ask her personally for permission rather than having his people do it. He couldn’t have called at a worse time, ’cause I wasn’t doing well in school. When he asked her, she straight-up told him no. I almost fainted. I had to explain to her that this was a once-in-a-lifetime opportunity, and I had to get out there. Luckily I was able to get my grades together and go.\u003c/p>\n\u003cp>Man, going to Hollywood for the Soul Train Awards with Tupac was major! It also was the first time Ray Luv and Tupac had spoken since the Strictly Dope days. Strictly Dope was a group Pac and Ray started back in the day. Pac left the group to join Digital Underground, so he and Ray weren’t on good terms. Once we hooked up with Pac, though, he and Ray went into a back room, chopped it up, and squashed whatever problem they had. When we got to the awards, I saw how the big dogs do it. It was superstars everywhere. Pac let me sit in the front next to him, while Ray and Thug Life had other seats in the back. Man, I was literally sitting next to Madonna, and Jamie Foxx, Dr. Dre, and Snoop were by us.\u003c/p>\n\u003cp>People I watched on TV were right in front of my face — not to mention, I was with the biggest rapper/ actor in the game. “Man, if the cuddies could see me now,” I thought.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> This story is part of \u003c/em>\u003ca href=\"http://kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cem>In this edited excerpt from his book \u003c/em>My Opinion\u003cem> (\u003ca href=\"https://www.amazon.com/My-Opinion-Mac-Mall/dp/0692456570/\">available here\u003c/a>), Vallejo legend Mac Mall recalls signing his first record deal and recording his classic debut album, \u003c/em>Illegal Business\u003cem>, at age 15.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen I heard that \u003ca href=\"https://www.discogs.com/artist/184149-Khayree\" target=\"_blank\" rel=\"noopener\">Khayree\u003c/a> wanted to holla at me about signing to a new label he was starting called Young Black Brotha Records, I had mixed emotions. On one hand, I was superjuiced, ’cause in my opinion, Khayree was and is a genius. His music is how the Crestside streets sound. I knew that if we hooked up, I would become a part of a legacy, but on the other hand, I was havin’ a run of some real buzzard luck. It seemed like nothing was going my way. I would get close enough to touch my goal, and the rug would get snatched from under me. A part of me thought this time would be no different.\u003c/p>\n\u003cp>Khayree was like a myth to me then. I never saw him hangin’ out; I just heard and felt the passion in his music. He definitely had his finger on the pulse of the Country Club and the whole Bay with the records he made for Strictly Business.\u003c/p>\n\u003cp>One of the things that eased my mind was Ceese telling me that it was real business. A Crestside OG and local DJ, Ceese was family; my mother used to babysit him way back when. He was always straight up and honest, so to me, his word was his bond. I got Khayree’s number from Ceese, went directly home, and called him. We talked two or three times, but they were only short conversations, because Khayree was as busy as a dope dealer on the first. Between his campaigning to free Mac Dre, who had been railroaded by the feds, and Ray Luv, who was signed to Strictly Business and dropped the Bay Area classic “\u003ca href=\"https://youtu.be/IVS-j8mGvqU\" target=\"_blank\" rel=\"noopener\">Get Ya Money On\u003c/a>,” Khayree didn’t have much time to chat on the phone. He told me he would come to the Crest to chop it up with me face to face and would probably bring some tracks, so I had to be ready to spit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When the day arrived, a few cuddies and I were posted up in front of my house on Mark Avenue. Khayree pulled up in his dark blue BMW. We knew it was him, ’cause not too many cars like that came through the turf. My crew knew Khayree was in the ‘hood to talk business with me, so they left me there in front of my house. My first impression of Khayree was that he was taller than he looked on the record covers and TV, and he wasn’t mean muggin’; he was actually smiling. So I put my best cold-as-the-North-Pole face on and gave him some dap, and then he ran down his plans on how he was creating Young Black Brotha (YBB) Records. He really didn’t have to sell me on the idea, though, ’cause I was a jump, skip, and a hop from a cell block or a pine box, so I felt I had nothing to lose.\u003c/p>\n\u003cp>Khayree had heard me rap on the four-track demo tape Mac Dre had produced for me, but I guess he wanted to hear me flow live to find out if my skills were actual and factual. I think this is where the man upstairs who controls all game stepped in, ’cause the first piece of music he played for me was knockin’, and I must say, the rap I spit felt tailor made for the beat. The track and rap ended up being the title track to what would become my debut record \u003cem>Illegal Business\u003c/em>. After I spit a few raps to a couple different beats, I guess Khayree was convinced, so we agreed we would make Young Black Brotha Records a reality. The next step, though, would be a hard one. We would have to persuade my parents to let their 15-year-old son get involved with strangers in a business they knew little, if anything, about.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>My relationship with my pops wasn’t too cool at this time. We barely even spoke, so I felt he would be against it or wouldn’t care. My mom was under a lot of stress ’cause of the funk between me and my pops, and all she heard about the music business were horror stories of people getting strung out on drugs or dying broke because the record company robbed them. Plus, with the way I was livin’ at that time, she could have thought only the worst.\u003c/p>\n\u003cp>Ceese set up a meeting at my house with him, Khayree, my parents, and me to discuss my future in the record industry. You should have seen us: Ceese and Khayree were sitting on the couch looking like they just stepped out of a rap video, and my folks and I were on the other side of the couch looking like we just stepped out of an episode of \u003cem>Good Times\u003c/em>.\u003c/p>\n\u003cp>My parents asked the usual questions like how this would affect me in school, who would look out for me and make sure I wouldn’t fall victim to drugs, and what was up with the contract (who got what, how much, and when). Since I was a minor, a parent would have to sign along with me. For that reason, I was worried; if my pops told my mom not to sign out of spite, maybe mom wouldn’t sign just to keep things cool between them. If that went down, I was right back where I started: the bottom of the bottom.\u003c/p>\n\u003cp>After Khayree finished his presentation, Ceese assured my parents that he would look out for me as best as he could, acting as DJ/mentor. Like I said, Ceese was family. After Ceese and Khayree bounced, my parents let me know that they thought I shouldn’t risk my future on a dream and that I should concentrate on school. Then they informed me that if I disobeyed them and chose a music career, I would be doing so alone and without their support.\u003c/p>\n\u003cp>When they told me that, it really fucked me up. I mean, this was one of the biggest decisions in my life, and not having them have my back felt like they disowned me anyway. My mind was made up — matter of fact, it was a no-brainer.\u003c/p>\n\u003cp>My mom and pops wanted me to focus on school, but Hogan High School, which I was attending then, was just the minor leagues of the Crest against the rest of Vallejo funk. There, I focused only on fighting with the enemy and smoking weed with the cuddies, and getting a name for myself was more important than studying or homework. My parents didn’t want me to risk my future on a dream, but my life was at risk every day I woke up and went outside. I felt the music industry couldn’t be worse than growing up in the ‘hood.\u003c/p>\n\u003cp>Pops had washed his hands of the situation, so I was able to convince my mother to sign the contract. I had to promise her that I would finish school and stay out of trouble. I gave her my word, we both signed, and it was official: Mac Mall was the first artist signed to Young Black Brotha.\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/g8Bfxiq5Cos'\n title='//www.youtube.com/embed/g8Bfxiq5Cos'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Writing Up a Storm for ‘Illegal Business’\u003c/h2>\n\u003cp>So Khayree started giving me tracks, and we began putting together what would become my first record, \u003cem>Illegal Business\u003c/em>. Leila Steinberg, who managed Ray and had managed Tupac before he got with Digital Underground, agreed to be my manager. With Dre in the feds, Ray took on a big cuddie role, letting me come along with him and perform at clubs and concerts. I felt like things were starting to happen — until Ray Luv caught a bullshit case and had to go to San Quentin for a ninety-day op.\u003c/p>\n\u003cp>Leila spent a lot of time trying to make sure he didn’t get washed in the legal system and catch some serious time. Khayree was still shooting me tracks for the records, and I was writing up a storm. In the Crestside, the streets were on fire; it was like cats stopped grinding and started robbing banks. Every neighborhood d-boy switched his pitch up and became a modern-day Jesse James. Cuddies were runnin’ up in every bank and credit union around. Some licks were so sweet, cats hit the same spot twice. This was the time some key members of my crew went down, mostly for robbery charges.\u003c/p>\n\u003cp>At first, the turf took the fed as a joke, but soon nobody would be laughin’. The ‘hood lost some real soldiers to the funk, which was getting deeper by the day. With all this shit jumpin’ off around me, it definitely influenced my rhymes.\u003c/p>\n\u003cp>My family had decided to take a vacation to Detroit that summer to go see my grandmother, Juanita Rocker. Juanita was a strong, strict, smart woman. She invested in real estate and owned property throughout Detroit. I spent a lot of summers in Motown helping repair houses and doing other business. I couldn’t see it then, but now I appreciate the knowledge I received while I was out there. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But this summer in particular, I wasn’t trying to go out there. I had some Khayree beats to write to, the cuddies from the Strictly Ses (which we changed our name to) and I were putting it down in the town. I was right there in the middle of it. I wasn’t trying to miss any of the action. But after my mom made me go, the trip was actually cool. I got a chance to step back from my reality and put together some real raw material for my CD.\u003c/p>\n\u003cp>When I got back to the Crest, it was on. Khayree had the game plan made and was ready to execute. He decided we were gonna call the record \u003cem>Illegal Business\u003c/em>, since that was one of the first and tightest songs we made. We were gonna do a savage record cover, where I would be lookin’ like I was plotting a heist. When I heard that, I was with it, but the next thing he said threw me off. He told me he wanted to add another L to my name, ’cause he didn’t think people would get Mall from Mal. At first I didn’t want to do it, but trick it! I was getting in the game, so that’s all that mattered.\u003c/p>\n\u003cp>When I started my sophomore year at Hogan High, I was hyphy — I mean, I was experiencing stuff no teenager or most adults get a chance to. My mom made me promise that if I rapped, I would have to keep my grades up, so I did just enough to keep her off my back. When people started seeing that what I was doing was profitable, school became an obstacle for them. I would have fools tell me that I would be making more money than the principal, so I should concentrate on my flows instead of school. It sounded cool, but I made a promise to my mother to finish school, and that was what I was gonna do. I’m not gonna say that I was an angel or anything. I would cut class to do songs — even at lunch time — anything I had to do to make it happen.\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/VYUNInmYtlI'\n title='//www.youtube.com/embed/VYUNInmYtlI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When I finished the record, I knew it was good, but I really didn’t know what we had our hands on. I gave tapes to some cuddies, but I didn’t know how people outside the turf would take to it. Because of Ray Luv’s single “Get Ya Money On,” KMEL, the rap station in the Bay, gave us some love. I remember when I first heard my song “\u003ca href=\"https://youtu.be/CUm-vin3gR0\" target=\"_blank\" rel=\"noopener\">I Gots 2 Have It\u003c/a>” on the radio. A DJ named Theo Mizuhara, the most popular DJ at the time, played it. I was on Mark Avenue with the cuddie from the crew, just smoking blunts and drinking forties, when a cuddie of mine told me they were playin’ my song. I tell ya, I had an out-of-body experience. I couldn’t believe that was me on the radio for the whole Bay to hear. The cuddies were so juiced that we hopped in the cars and rolled all around the turf, dancing and yelling, telling everybody who would listen that I was on the radio.\u003c/p>\n\u003cp>When we dropped the record that summer, I could feel something was about to happen. We had a strong street buzz, and slowly but surely, the record picked up momentum. It was a great time for Bay Area music then.\u003c/p>\n\u003cp>There was JT & the Get Low Playaz, Dre Dog, Cougnut, and RBL getting down in Frisco; Dru Down, The Luniz, 3X Krazy, and Richie Rich out in Oakland; Lil Ric in Richmond; and Brotha Lynch and C-Bo out in Sac. Man, I tell you, it was a good time to be a rapper.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/0qR8qB6JbTVhK2HDodBv4b?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Hooking Up With Tupac, One of the Hardest to Ever Live\u003c/h2>\n\u003cp>With Mac Dre in the feds, E-40 became the king of Vallejo rap. If 40 was the king of Vallejo rap, then I was the prince. A lot of people don’t know this, but 40 and I are cousins, with our roots goin’ back to Louisiana. Actually, when I was younger, my mother and aunt wanted me to hook up with 40 and put out a record, since we were family. We chopped it up, but nothing ever came of it.\u003c/p>\n\u003cp>It was at E-40’s “Practice Lookin’ Hard” video that I met one of the hardest niggas to ever live: Tupac Amaru Shakur.\u003c/p>\n\u003cfigure id=\"attachment_13924484\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13924484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv-1020x1224.jpg\" alt=\"Three young men, two of them sitting on car hoods, on a city street\" width=\"640\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv-1020x1224.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv-800x960.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv-768x922.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Tupac.MacMall..RayLuv.jpg 1240w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Tupac Shakur, Mac Mall and Ray Luv on the set of Mac Mall’s music video, “Ghetto Theme,” directed by Tupac. \u003ccite>(Courtesy Mac Mall / 'My Opinion')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My cousin Shanda had brought me to the video; it was cool, even though I don’t think I got in one scene. The thing that made it worth being there was when Pac showed up for his cameo. Pac was there with Mopreme, Stretch, Big Syke, and a couple of his folks from the Bay. He looked like success; at the time, he was on his way to becoming the biggest rap star alive, and the best thing about it was that he was from the Bay.\u003c/p>\n\u003cp>I remember back in the day when Pac ran with the Jungle, a turf in Marin. Mac Dre did a show out there, and our ‘hoods had funk. We basically had to fight and shoot our way out of the projects, but that was then, and this was now. I can’t front, I was starstruck. I always related to Tupac, not only ’cause he was from the Bay but because I felt that when he rapped, he spoke for every young Black man in America — shit, the world! He represented how far you could take it if you worked hard and kept it real. Pac was at the video chillin’ just like a regular person, only difference was that everybody was jockin’ him. I remember he was smoking some chocolate ty he had brought back from New York.\u003c/p>\n\u003cp>My cousin Shanda, who was talking shit as usual, had made a remark about his weed, and that’s when I took my chance to introduce myself. I walked up to him and said, “What’s up, Pac? My name is Mac Mall.” Then I gave him some dap.\u003c/p>\n\u003cp>When he heard my name, his eyes got big. Now, anybody who knew Pac knew how hyper he could get about shit. He was like, “You Mac Mall from Young Black Brotha? I love your shit, dog! Me and all my niggas is slammin’ that shit right now! I know your manager, Leila. I’m gonna call you up; we got to do something!”\u003c/p>\n\u003cp>When I heard this coming out of the mouth of one of my rap idols and the biggest rapper in the game, I felt validated and honored. I finally felt like I was on the right track. Shit, if the best said I was good, then I had to be doing something right!\u003c/p>\n\u003cp>When he told me “we had to do something,” I really didn’t trip; in the rap game, when somebody tells you that, it’s kind of like somebody in Hollywood telling you, “Hey, I’ll call you, and we’ll do lunch.”\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/EL3N3D5B0CA'\n title='//www.youtube.com/embed/EL3N3D5B0CA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Tupac wasn’t Hollywood. He called Leila, whom he hadn’t spoken to in a while, and the next time he was in the Bay, he came through the YBB studio to check out our operation and do some tracks with me and Khayree. We had already shot the video for “Sic Wit Dis” a few months prior, and it was during this visit that Tupac told us that he wanted to direct a video for a song on my record called “Ghetto Theme.” I was floored! I couldn’t believe he would take time out of his busy schedule to direct and be in a video for little ol’ me. Tupac will forever be a friend in my eyes for that.\u003c/p>\n\u003cp>Even now, I think about how God brought Pac into my life. I mean Tupac was large; he didn’t even have to talk to me, let alone take me under his wing. I don’t know why God did it, but I’m happy he did. Here I was in the 11th grade with a CD in stores, doing shows around the country, starting to see a little paper, and having the biggest rapper as a big cuddie! It felt good; life was sweet!\u003c/p>\n\u003cp>But you can’t have the sweet without the bitter. The bitter came in the form of hate; it seemed like the better I did, the more some people hated on me. It didn’t bother me, ’cause I had my crew, but when some of them dudes started to hate, it really cut me deep. I had to come face to face with the fact that everybody wasn’t going to see my dream the way I saw it. It hurt that rap came between us, but this was bigger than me. This was destiny. I had to handle my business. Pac and I got close, and even though he was fighting cases, doing movies, and making music, I was still able to call him and ask him for advice or just to chop it up. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I remember when Pac wanted to take me to the Soul Train Awards that year. Since I was young, he decided he’d call my mom and ask her personally for permission rather than having his people do it. He couldn’t have called at a worse time, ’cause I wasn’t doing well in school. When he asked her, she straight-up told him no. I almost fainted. I had to explain to her that this was a once-in-a-lifetime opportunity, and I had to get out there. Luckily I was able to get my grades together and go.\u003c/p>\n\u003cp>Man, going to Hollywood for the Soul Train Awards with Tupac was major! It also was the first time Ray Luv and Tupac had spoken since the Strictly Dope days. Strictly Dope was a group Pac and Ray started back in the day. Pac left the group to join Digital Underground, so he and Ray weren’t on good terms. Once we hooked up with Pac, though, he and Ray went into a back room, chopped it up, and squashed whatever problem they had. When we got to the awards, I saw how the big dogs do it. It was superstars everywhere. Pac let me sit in the front next to him, while Ray and Thug Life had other seats in the back. Man, I was literally sitting next to Madonna, and Jamie Foxx, Dr. Dre, and Snoop were by us.\u003c/p>\n\u003cp>People I watched on TV were right in front of my face — not to mention, I was with the biggest rapper/ actor in the game. “Man, if the cuddies could see me now,” I thought.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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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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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
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