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"content": "\u003cp>This week, we learned that the U.S. has \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener noreferrer\">separated over 2,300 children from their parents\u003c/a> at the U.S.-Mexico border and placed them in \u003ca href=\"https://twitter.com/DavidBegnaud/status/1008704668816560128\" target=\"_blank\" rel=\"noopener noreferrer\">chain-link cages\u003c/a>, tent camps and other detainment centers. Audio circulated of \u003ca href=\"https://www.propublica.org/article/children-separated-from-parents-border-patrol-cbp-trump-immigration-policy\" target=\"_blank\" rel=\"noopener noreferrer\">crying children begging for their moms and dads\u003c/a>, and allegations surfaced of border patrol agents \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/23/613907893/aclu-report-detained-immigrant-children-subjected-to-widespread-abuse-by-officia\" target=\"_blank\" rel=\"noopener noreferrer\">kicking migrant children and threatening them with sexual abuse\u003c/a>.\u003c/p>\n\u003cp>Meanwhile, President Trump reversed course and signed an executive order for “\u003ca href=\"https://www.kqed.org/news/11675975/speaker-ryan-plans-immigration-votes-amid-doubts-that-bills-can-pass\" target=\"_blank\" rel=\"noopener noreferrer\">detaining alien families together\u003c/a>,” stopping his policy of family separations while allowing for indefinite detainment and providing \u003ca href=\"https://www.kqed.org/news/11675975/speaker-ryan-plans-immigration-votes-amid-doubts-that-bills-can-pass\" target=\"_blank\" rel=\"noopener noreferrer\">no plan for reuniting children\u003c/a> already separated from their parents. Those children include a \u003ca href=\"https://www.washingtonpost.com/world/the_americas/international-outrage-grows-over-separating-migrant-children-from-parents/2018/06/19/13d0332e-73cb-11e8-bda1-18e53a448a14_story.html?utm_term=.e66e009751b2\" target=\"_blank\" rel=\"noopener noreferrer\">10-year-old girl with Down syndrome\u003c/a>, and \u003ca href=\"https://www.nytimes.com/2018/06/20/us/tender-age-shelters-family-separation-immigration.html\" target=\"_blank\" rel=\"noopener noreferrer\">“tender age” detainees as young as 12 months old\u003c/a>. The Pentagon has been asked to prepare \u003ca href=\"https://www.kqed.org/news/11676360/military-asked-to-provide-20000-beds-for-detained-immigrant-children\" target=\"_blank\" rel=\"noopener noreferrer\">additional housing for up to 20,000 children\u003c/a>, while thus far, images of detainment camps show only boys. \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener noreferrer\">No one knows where the girls are\u003c/a>.\u003c/p>\n\u003cp>Which is to say: if you’re fatigued, you’re \u003ca href=\"https://twitter.com/edyong209/status/1009805404954615808\" target=\"_blank\" rel=\"noopener noreferrer\">not alone\u003c/a>. To get some clarity, catharsis and—yes—comfort on the subject, KQED Arts checked in with 11 different Bay Area artists who work with themes of immigration and detainment. They spend hours pondering borders, laws, family aspirations, deportations, and human rights in their art, music and other creative endeavors.\u003c/p>\n\u003cp>We knew they’d have insight, and advice. We were not wrong. Read below for their input.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13835776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835776\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-800x500.jpg\" alt=\"Guillermo Galindo, who makes instruments from objects found along the U.S.-Mexico border.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo Galindo, who makes instruments from objects found along the U.S.-Mexico border. \u003ccite>(Michelle Wetzler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Guillermo Galindo\u003c/h2>\n\u003cp>\u003cem>Musician and composer who \u003ca href=\"https://www.kqed.org/arts/11301274/guillermo-galindo-border-cantos-instruments-interview\" target=\"_blank\" rel=\"noopener noreferrer\">builds instruments from objects left behind by migrants along the border\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s been heartbreaking. Especially hearing the children crying in \u003ca href=\"https://www.propublica.org/article/children-separated-from-parents-border-patrol-cbp-trump-immigration-policy\" target=\"_blank\" rel=\"noopener noreferrer\">the recording\u003c/a>, it’s unbearable. It’s something that’s impossible to describe, the feeling it gave me. It brings so many images of suffering, and of the past, of history. I’m afraid that history could be repeating itself: we have the memories of the Jewish holocaust, and the indigenous holocaust, things that have happened to immigrants, black people, Japanese people in concentration camps.\u003c/p>\n\u003cp>But this is maybe one of the few times where it’s out in the open, where it’s visible what is happening. In general, as a society, we have become less sensitive to our intuition, and to our spirituality, and to our feelings of human beings. And I don’t know why that’s been happening. Seeing this so much in the open should bother anybody who’s a human being.\u003c/p>\n\u003cp>The thing now is talk to representatives in your government, taking into account that this is an emergency. This is not a joke. Worse and worse things will happen if you don’t talk to your government. Help \u003ca href=\"https://www.npr.org/2018/06/20/621890664/facebook-fundraiser-for-separated-immigrant-families-raises-12-million-in-5-days\" target=\"_blank\" rel=\"noopener noreferrer\">humanitarian organizations\u003c/a> that are supporting the children and the families. And to the artists: it’s about this, it’s about something that has a meaning. We’re not in a time when we’re supposed to do art about ourselves and nobody else. This is a time when art is supposed to speak the words that politics and religion are not speaking.\u003c/p>\n\u003cfigure id=\"attachment_13835748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-800x530.jpg\" alt=\"Flora Ninomiya was taken to a Japanese-American internment camp at age 7.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flora Ninomiya was taken to a Japanese-American internment camp at age 7. \u003ccite>(Courtesy Flora Ninomiya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Flora Ninomiya\u003c/h2>\n\u003cp>\u003cem>Survivor of the Granada Relocation Center, a Japanese-American internment camp, knitter, and \u003ca href=\"https://www.eastbaytimes.com/2017/02/10/richmond-japanese-american-incarceration-to-be-focus-of-special-presentation/\" target=\"_blank\" rel=\"noopener noreferrer\">docent at the Rosie the Riveter Museum\u003c/a> in Richmond\u003c/em>\u003c/p>\n\u003cp>I’m appalled that this is happening—that the president is so callous in how he is carrying out his programs. As a Japanese-American whose family was interned, we were powerless too, like those young children. I was 7 years old and I can still remember that long train trip going to this very isolated desert area and living in the barracks that were built by the United States Army. My father was sent to a separate prison camp from my mother and my siblings and I, and my mother was always sending letters to the government asking to release him. My father, it was really painful for him—he felt betrayed and ashamed.\u003c/p>\n\u003cp>During that time, there were people who helped us, the Quakers, our neighbors, but they had to do so quietly, or they would be marginalized. Today, it’s hopeful that we do see so many Americans speaking out against separating families. It took the American public’s pressure to get the president to issue an executive order.\u003c/p>\n\u003cp>I’m going to keep talking about my family’s experience, and to me it’s very important to support other groups that are being targeted by the government.\u003c/p>\n\u003cfigure id=\"attachment_13835747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835747\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-800x450.jpg\" alt=\"Diana Gameros' songs tell of her experience living in the U.S. as an immigrant from Juarez, Mexico.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diana Gameros’ songs tell of her experience living in the U.S. as an immigrant from Juarez, Mexico. \u003ccite>(Claudia Escobar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Diana Gameros\u003c/h2>\n\u003cp>\u003cem>Musician and songwriter from Juarez, Mexico, whose recent album, ‘Arrullo,’ \u003ca href=\"https://www.kqed.org/arts/11514186/women-to-watch-diana-gameros\" target=\"_blank\" rel=\"noopener noreferrer\">expresses the immigrant experience\u003c/a>\u003c/em>\u003c/p>\n\u003cp>My first reaction is to think that it is not possible that this is happening, but it is… it’s horrifying. I feel like in the past two years we get less surprised at what happens, and it’s sad that we are not getting surprised. It is alarming.\u003c/p>\n\u003cp>My advice for other artists is first to be informed, to really know what is happening, and reach out to organizations, and let them know that you are available, that you are willing to help. As artists we have such a visible platform that we can reach many people, and we should use those platforms, especially if you are a well known artist.\u003c/p>\n\u003cp>I can’t stop thinking about the children, and how every minute that goes by, they are in pain. I ask myself: what if that would have happened to me? I know the feeling of what it is to leave your homeland behind. I really hope that people know how much bravery is involved in this process, of leaving your home. I have so much admiration for the people who have this courage to leave their homeland, and carry all that sadness, and all that hope. They have so much love, and want the best for their kids, they are being good parents. It is disgusting that we are separating them, when we should be welcoming them.\u003c/p>\n\u003cfigure id=\"attachment_13835750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-800x540.jpg\" alt=\"Caleb Duarte at San Antonio Park in Oakland, leading a performance with youth who came to the U.S. without parents.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-520x351.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleb Duarte at San Antonio Park in Oakland, leading a performance with youth who came to the U.S. without parents. \u003ccite>(Farrin Abbott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caleb Duarte\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"http://www.calebduarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist and educator\u003c/a> who leads \u003ca href=\"https://www.kqed.org/arts/13375958/on-being-young-alone-and-crossing-into-the-united-states\" target=\"_blank\" rel=\"noopener noreferrer\">art workshops with undocumented Central American minors\u003c/a> at Fremont High School\u003c/em>\u003c/p>\n\u003cp>It’s the worst kind of nightmare for a parent. That journey is 3,000 miles of hardship. Knowing the back history and the violence these people face, only to reach the United States and have your children taken away by authorities—that is really hard to take in.\u003c/p>\n\u003cp>And social media is unleashing a lot of support for this kind of act. It leads me to reflect on how any country can support these kinds of actions. We need to step back and understand the suffering and fear of those who support these actions.\u003c/p>\n\u003cp>Art in different times has different purposes. At certain moments art is there to shake us up, and sometimes it’s there to gather us back. Right now I think art is there to create logic and reason rather than challenge it. More than anything, it’s important to speak out. We’d be surprised by who, in our immediate circles, our colleagues and family, think differently than us. I’m trying to find ways to have conversations with people who think otherwise.\u003c/p>\n\u003cfigure id=\"attachment_13835778\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-800x516.jpg\" alt=\"A detail from the Oakland Museum of California's 'Sent Away' exhibition, showing tools left behind by a man affected by Mexican repatriations in the 1930s.\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-520x335.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A detail from the Oakland Museum of California’s ‘Sent Away’ exhibition, showing tools left behind in the Mexican repatriations in the 1930s. \u003ccite>(Erendina Delgadillo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Erendina Delgadillo\u003c/h2>\n\u003cp>\u003cem>Associate Curator of History at the Oakland Museum of California, host of recent exhibitions on internment, ‘\u003ca href=\"https://www.kqed.org/arts/13156032/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothea Lange: Politics of Seeing\u003c/a>‘ and ‘\u003ca href=\"http://museumca.org/blog/sent-away-not-forgotten\" target=\"_blank\" rel=\"noopener noreferrer\">Sent Away\u003c/a>‘\u003c/em>\u003c/p>\n\u003cp>It’s been pretty horrifying. But one thing we know is family separations have happened before—with Native Americans, with Japanese families, or with Mexican repatriation in the 1930s. With the recent ‘Sent Away’ installation in our permanent history gallery, we’ve been paying attention to whether the visitors really understand, and if it’s properly conveying the trajectory of racialized communities in moments of political and social stress. In my social media circles, I see people saying, “This is insane! This is not America! This is not who we are!” And I wrestle with it, because the fact is that this has happened before.\u003c/p>\n\u003cp>In the deportations in the ’30s, people were responding to the depression. But the Mexican people deported were not relying on welfare as much as others thought they were. And today, when you hear that they’re causing unprecedented crime, or taking away jobs from “real” Americans, being a drain on the system—that’s not true, but turning them into a specter of those problems is easier than fixing the problem. It’s been very disheartening looking at the pattern of how easily people can be manipulated in very simple ways. You take a feeling, you blow it up, and it obscures the need to delve into really complex issues.\u003c/p>\n\u003cp>It’s a terrible moment. It’s too easy to despair. You’re only shooting yourself by despairing before the fight starts, so donate to organizations, and find those small moments to realize why humanity is valuable, and why we fight for humanity. Remind yourself why life is good.\u003c/p>\n\u003cfigure id=\"attachment_13835737\" class=\"wp-caption aligncenter\" style=\"max-width: 758px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835737\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_.jpg\" alt=\"Ani Rivera, bottom right, with Galería de la Raza'a curatorial staff in 2016.\" width=\"758\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_.jpg 758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-520x292.jpg 520w\" sizes=\"(max-width: 758px) 100vw, 758px\">\u003cfigcaption class=\"wp-caption-text\">Ani Rivera, bottom right, with Galería de la Raza’a curatorial staff in 2016. \u003ccite>(Creo Noveno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ani Rivera\u003c/h2>\n\u003cp>\u003cem>Executive Director for \u003ca href=\"https://kqed.org/arts/tag/galeria-de-la-raza\" target=\"_blank\" rel=\"noopener noreferrer\">Galería de La Raza\u003c/a> in the Mission District, hub for San Francisco’s Latino artist community\u003c/em>\u003c/p>\n\u003cp>It’s just appalling to see how the administration doesn’t value humanity, nor the families that are coming here searching for a better life. They’re being used as pawns to push an agenda. I think our work is not done yet. We need to keep demanding that they close the detention centers. I think that’s where we want to focus: ending the criminalization. We need to stop all profits made from keeping people in cages.\u003c/p>\n\u003cp>We’re definitely contributing to the organized marches and protests being planned for June 30. We will also be at this Friday’s rally in Embarcadero Plaza. We know that art plays a role in creating dialogue and engaging hearts, and we’ll be holding a series of screen-printing demonstrations at these events.\u003c/p>\n\u003cp>The legacy of Galería and René (Yañez, the gallery’s co-founder) and all of the individuals that have contributed and created this space was to address these issues. This is history repeating itself. We’ve been dealing with the criminalization of immigrants for decades. The goal of Galería as an institution is to be a platform for artists to organize. The founders needed to create a community that allowed and provided a path for self-determination. They expect us to be out there.\u003c/p>\n\u003cfigure id=\"attachment_13835744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835744\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-800x457.jpg\" alt=\"A still from 'Rabbit in the Moon' showing Emiko Omori and her mother in the Poston War Relocation Center in Arizona.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Rabbit in the Moon’ showing Emiko Omori and her mother in the Poston War Relocation Center in Arizona. \u003ccite>(Courtesy Chizu Omori)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Chizu Omori\u003c/h2>\n\u003cp>\u003cem>Bay Area journalist and co-producer of the documentary ‘Rabbit in the Moon’ who, in 1942 at the age of 12, \u003ca href=\"https://caamedia.org/blog/2017/02/16/emiko-and-chizu-omori-on-lessons-from-wwii-incarceration/\" target=\"_blank\" rel=\"noopener noreferrer\">was sent with her sister Emiko Omori and their family to the Poston War Relocation Center\u003c/a> in Arizona \u003c/em>\u003c/p>\n\u003cp>The fact that they would implement this policy is so inhumane. There’s a great deal of interest now in what happened to us during WWII to us Japanese Americans. A precedent was set when Roosevelt issued EO 9066, and even though it’s been condemned as a big mistake, that precedent has been used by the Trump administration to justify some of the things they’ve been doing. So of course, I feel an obligation to speak out against what’s happening as something very reminiscent of what happened to us 75 years ago.\u003c/p>\n\u003cp>It’s happened with the travel ban against Muslims, and this general discrimination against people of Muslim faith or people from the Middle East in general. It’s part of the current of racism that’s been part of our history from the very beginning, directed towards people of color. Now it’s against people from Central and South America who are not white people. It’s a language that our president uses to reemphasize this bias against people of color. He refers to us as infestations, or awful characterizations like rapists and murderers. It’s dehumanizing for him to be using this language.\u003c/p>\n\u003cp>Children being separated from their parents at the border is something that I don’t think any of us had contemplated. To take infants… what’s the purpose in doing this? There’s no rationale for it. If you’re going to ask people to stand up and be counted, how many people are for this? Why do they justify doing this thing?\u003c/p>\n\u003cp>I belong to a group called Nikkei Resisters. Our slogan is “Never Again.” Detention and internment are really un-American and we need to speak out and say “It happened to us. And we don’t want to see it happening again.”\u003c/p>\n\u003cfigure id=\"attachment_13835738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835738\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-800x533.jpg\" alt=\"Brian Moss teaches a student population that's 85-percent Latino; 'their fear has been validated,' he says.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Moss teaches a student population that’s 85-percent Latino; ‘their fear has been validated,’ he says. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Brian Moss\u003c/h2>\n\u003cp>\u003cem>San Francisco songwriter (Hanalei, Great Apes) and schoolteacher who \u003ca href=\"https://hanalei.bandcamp.com/track/cross-crossing\" target=\"_blank\" rel=\"noopener noreferrer\">released the song “Cross Crossing”\u003c/a> this week in reaction to abuses at the border\u003c/em>\u003c/p>\n\u003cp>Separating families and children seems so immoral and deplorable, it’s shocking, but with this presidency and this administration the bar has been so low it didn’t completely catch me off-guard. And being a teacher, and given the population of my school, which is 85-percent Latino, it’s something I’ve seen the effects of the whole time. For many of my students, the fear they were already facing rose drastically when he was elected, and now that fear has been validated. It’s happening to them. It’s disturbing and hard to witness.\u003c/p>\n\u003cp>The issue of separating families is so immoral to me that some sort of response, either though song, or \u003ca href=\"https://www.npr.org/2018/06/20/621890664/facebook-fundraiser-for-separated-immigrant-families-raises-12-million-in-5-days\" target=\"_blank\" rel=\"noopener noreferrer\">donating\u003c/a>, or protesting, or going down there volunteering with an organization that’s trying to provide legal aid—anything you can do is a start.\u003c/p>\n\u003cfigure id=\"attachment_13835800\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835800\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-800x527.jpg\" alt=\"Naima Shalhoub: 'we must cry out with each other through our art, together, to respond to this madness.'\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-520x342.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Naima Shalhoub: ‘we must cry out with each other through our art, together, to respond to this madness.’ \u003ccite>(Sarah Deragon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Naima Shalhoub\u003c/h2>\n\u003cp>\u003cem>Oakland songwriter whose song “\u003ca href=\"https://www.youtube.com/watch?v=I9TqmZPXJX8\" target=\"_blank\" rel=\"noopener noreferrer\">Borderlands\u003c/a>” tells of “\u003ca href=\"https://www.youtube.com/watch?v=I9TqmZPXJX8\" target=\"_blank\" rel=\"noopener noreferrer\">a constructed order of things that decides what and who is more valuable\u003c/a>”\u003c/em>\u003c/p>\n\u003cp>What strikes me the most is how conditioned we are becoming to see people through the lenses of our fear, our politics, our scarcity mindsets rather than insisting that all people under the sun are treated with dignity and love. We are forgetting that we have the power to create systems that reflect justice and love, not fear and confinement. We are becoming dismembered from any semblance of connection to land, to spirit, to honor, to respect and instead bowing down to new gods of greed, patriarchy, racism—so much so that a child’s cry does not waken the heart to compassion. Or at least, this is my worry. For our souls, collectively.\u003c/p>\n\u003cp>What is happening is a reflection of what has been buried under the soil of what is now called the United States. The sorrow, the unheard cries, and histories ghosts are truly rising until we all wake to its truth. We must do better by committing to our collective memory—all of it—and holding accountable the leaders who do not. The privilege of forgetting becomes manifest in institutions that create walls separating families, unable to share with the public where our girls and babies are. This is about our responsibility to our children’s future and their safety and dignity by allowing the past to speak.\u003c/p>\n\u003cp>If Nina Simone’s call to action was “it is an artist’s duty to reflect the times,” then we must cry out with each other through our art, together, to respond to this madness.\u003c/p>\n\u003cfigure id=\"attachment_13835934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-800x179.jpg\" alt=\"'Horizons,' by Najib Joe Hakim.\" width=\"800\" height=\"179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-800x179.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-160x36.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-768x172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-1020x228.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-960x215.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-240x54.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-375x84.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-520x116.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Horizons,’ by Najib Joe Hakim. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Najib Joe Hakim\u003c/h2>\n\u003cp>\u003cem>San Francisco photographer and YBCA fellow whose current project, ‘\u003ca href=\"https://electronicintifada.net/content/palestinian-america-najib-joe-hakims-home-away-home/14073\" target=\"_blank\" rel=\"noopener noreferrer\">Home Away From Home\u003c/a>,’ pairs oral histories of 26 Bay Area Palestinian Americans with their portraits\u003c/em>\u003c/p>\n\u003cp>My own family immigrated to the U.S. in the 1950s from Lebanon. Except for the details, ours is a very common story, which most Americans share. Refugees out of Palestine, my parents then left Beirut on a ship with two very young kids and $5 in their pocket. In the coming years, through hard work, education and uncountable sacrifices, we became thriving American citizens.\u003c/p>\n\u003cp>I hate to think what might have become of us had we not snared four of only 100 immigration visas. Would I be staring down a machine gun barrel held by a 20-year-old Israeli soldier? Would we have been caught up in one of the many massacres of the 20-year Lebanese Civil War? Would my kids now be desperately trying to leave Syria on a dinghy with their own children?\u003c/p>\n\u003cp>What I see happening today to immigrant families is the writing of yet another chapter of American history in which the country’s values do not line up with its reality. When people say “I don’t recognize this country anymore,” they are expressing the profound contradictions between what we’ve all been taught about this country and what we see being done in our name.\u003c/p>\n\u003cp>We live in a new dark age in which civilian lives are dehumanized; science and nature are scoffed at; and atavistic fears send us scurrying toward our basest natures. In such times, we artists are challenged to help remind us of our loftier, sacred and shared aspirations.\u003c/p>\n\u003cfigure id=\"attachment_13835745\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835745\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/YosimarReyes-800x450.jpg\" alt=\"Yosimar Reyes: 'If you’re standing in sidelines, you’re part of the problem.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yosimar Reyes: ‘If you’re standing in sidelines, you’re part of the problem.’ \u003ccite>(Courtesy Yosimar Reyes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yosimar Reyes\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"http://yosimarreyes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poet, educator, and founder of La Maricolectiva\u003c/a>, a community based performance group of queer undocumented poets\u003c/em>\u003c/p>\n\u003cp>This week has been a lot. I think it’s great that it’s getting national visibility and a lot of people are learning about these atrocities—I think it’s a really positive thing. People are blatantly stating that we need to abolish immigrant prisons. But for me, it’s more like, it’s always been like this so I’m not surprised. I’m just glad people are realizing the reality of how it is and people are mobilizing and opening their eyes to the fact that this is how it’s been for a lot of folks.\u003c/p>\n\u003cp>With immigration, everything moves so fast and it escalates after a short amount of time. I’m curious to see how it’s going to influence a lot of the writing that I’m doing, but I’m still processing. Organizations on the ground in Texas are doing really good work, they’re giving people legal aid, and I think people should support them. This is happening because we put this person in office and we’re accountable for these actions. If you’re standing in sidelines, you’re part of the problem.\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\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lina Blanco, Claudia Escobar, Sarah Hotchkiss, Kevin L. Jones, Gabe Meline, Nastia Voynovskaya and Kelly Whalen contributed reporting to this story.\u003c/em>\u003c/p>\n\n",
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"excerpt": "After a tumultuous week, Bay Area artists working with immigration issues provide insight and advice.",
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"title": "'It's Horrifying': 11 Bay Area Artists Speak Out on Child Detainment at the Border | KQED",
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"headline": "'It's Horrifying': 11 Bay Area Artists Speak Out on Child Detainment at the Border",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, we learned that the U.S. has \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener noreferrer\">separated over 2,300 children from their parents\u003c/a> at the U.S.-Mexico border and placed them in \u003ca href=\"https://twitter.com/DavidBegnaud/status/1008704668816560128\" target=\"_blank\" rel=\"noopener noreferrer\">chain-link cages\u003c/a>, tent camps and other detainment centers. Audio circulated of \u003ca href=\"https://www.propublica.org/article/children-separated-from-parents-border-patrol-cbp-trump-immigration-policy\" target=\"_blank\" rel=\"noopener noreferrer\">crying children begging for their moms and dads\u003c/a>, and allegations surfaced of border patrol agents \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/23/613907893/aclu-report-detained-immigrant-children-subjected-to-widespread-abuse-by-officia\" target=\"_blank\" rel=\"noopener noreferrer\">kicking migrant children and threatening them with sexual abuse\u003c/a>.\u003c/p>\n\u003cp>Meanwhile, President Trump reversed course and signed an executive order for “\u003ca href=\"https://www.kqed.org/news/11675975/speaker-ryan-plans-immigration-votes-amid-doubts-that-bills-can-pass\" target=\"_blank\" rel=\"noopener noreferrer\">detaining alien families together\u003c/a>,” stopping his policy of family separations while allowing for indefinite detainment and providing \u003ca href=\"https://www.kqed.org/news/11675975/speaker-ryan-plans-immigration-votes-amid-doubts-that-bills-can-pass\" target=\"_blank\" rel=\"noopener noreferrer\">no plan for reuniting children\u003c/a> already separated from their parents. Those children include a \u003ca href=\"https://www.washingtonpost.com/world/the_americas/international-outrage-grows-over-separating-migrant-children-from-parents/2018/06/19/13d0332e-73cb-11e8-bda1-18e53a448a14_story.html?utm_term=.e66e009751b2\" target=\"_blank\" rel=\"noopener noreferrer\">10-year-old girl with Down syndrome\u003c/a>, and \u003ca href=\"https://www.nytimes.com/2018/06/20/us/tender-age-shelters-family-separation-immigration.html\" target=\"_blank\" rel=\"noopener noreferrer\">“tender age” detainees as young as 12 months old\u003c/a>. The Pentagon has been asked to prepare \u003ca href=\"https://www.kqed.org/news/11676360/military-asked-to-provide-20000-beds-for-detained-immigrant-children\" target=\"_blank\" rel=\"noopener noreferrer\">additional housing for up to 20,000 children\u003c/a>, while thus far, images of detainment camps show only boys. \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener noreferrer\">No one knows where the girls are\u003c/a>.\u003c/p>\n\u003cp>Which is to say: if you’re fatigued, you’re \u003ca href=\"https://twitter.com/edyong209/status/1009805404954615808\" target=\"_blank\" rel=\"noopener noreferrer\">not alone\u003c/a>. To get some clarity, catharsis and—yes—comfort on the subject, KQED Arts checked in with 11 different Bay Area artists who work with themes of immigration and detainment. They spend hours pondering borders, laws, family aspirations, deportations, and human rights in their art, music and other creative endeavors.\u003c/p>\n\u003cp>We knew they’d have insight, and advice. We were not wrong. Read below for their input.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13835776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835776\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-800x500.jpg\" alt=\"Guillermo Galindo, who makes instruments from objects found along the U.S.-Mexico border.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo Galindo, who makes instruments from objects found along the U.S.-Mexico border. \u003ccite>(Michelle Wetzler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Guillermo Galindo\u003c/h2>\n\u003cp>\u003cem>Musician and composer who \u003ca href=\"https://www.kqed.org/arts/11301274/guillermo-galindo-border-cantos-instruments-interview\" target=\"_blank\" rel=\"noopener noreferrer\">builds instruments from objects left behind by migrants along the border\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s been heartbreaking. Especially hearing the children crying in \u003ca href=\"https://www.propublica.org/article/children-separated-from-parents-border-patrol-cbp-trump-immigration-policy\" target=\"_blank\" rel=\"noopener noreferrer\">the recording\u003c/a>, it’s unbearable. It’s something that’s impossible to describe, the feeling it gave me. It brings so many images of suffering, and of the past, of history. I’m afraid that history could be repeating itself: we have the memories of the Jewish holocaust, and the indigenous holocaust, things that have happened to immigrants, black people, Japanese people in concentration camps.\u003c/p>\n\u003cp>But this is maybe one of the few times where it’s out in the open, where it’s visible what is happening. In general, as a society, we have become less sensitive to our intuition, and to our spirituality, and to our feelings of human beings. And I don’t know why that’s been happening. Seeing this so much in the open should bother anybody who’s a human being.\u003c/p>\n\u003cp>The thing now is talk to representatives in your government, taking into account that this is an emergency. This is not a joke. Worse and worse things will happen if you don’t talk to your government. Help \u003ca href=\"https://www.npr.org/2018/06/20/621890664/facebook-fundraiser-for-separated-immigrant-families-raises-12-million-in-5-days\" target=\"_blank\" rel=\"noopener noreferrer\">humanitarian organizations\u003c/a> that are supporting the children and the families. And to the artists: it’s about this, it’s about something that has a meaning. We’re not in a time when we’re supposed to do art about ourselves and nobody else. This is a time when art is supposed to speak the words that politics and religion are not speaking.\u003c/p>\n\u003cfigure id=\"attachment_13835748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-800x530.jpg\" alt=\"Flora Ninomiya was taken to a Japanese-American internment camp at age 7.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flora Ninomiya was taken to a Japanese-American internment camp at age 7. \u003ccite>(Courtesy Flora Ninomiya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Flora Ninomiya\u003c/h2>\n\u003cp>\u003cem>Survivor of the Granada Relocation Center, a Japanese-American internment camp, knitter, and \u003ca href=\"https://www.eastbaytimes.com/2017/02/10/richmond-japanese-american-incarceration-to-be-focus-of-special-presentation/\" target=\"_blank\" rel=\"noopener noreferrer\">docent at the Rosie the Riveter Museum\u003c/a> in Richmond\u003c/em>\u003c/p>\n\u003cp>I’m appalled that this is happening—that the president is so callous in how he is carrying out his programs. As a Japanese-American whose family was interned, we were powerless too, like those young children. I was 7 years old and I can still remember that long train trip going to this very isolated desert area and living in the barracks that were built by the United States Army. My father was sent to a separate prison camp from my mother and my siblings and I, and my mother was always sending letters to the government asking to release him. My father, it was really painful for him—he felt betrayed and ashamed.\u003c/p>\n\u003cp>During that time, there were people who helped us, the Quakers, our neighbors, but they had to do so quietly, or they would be marginalized. Today, it’s hopeful that we do see so many Americans speaking out against separating families. It took the American public’s pressure to get the president to issue an executive order.\u003c/p>\n\u003cp>I’m going to keep talking about my family’s experience, and to me it’s very important to support other groups that are being targeted by the government.\u003c/p>\n\u003cfigure id=\"attachment_13835747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835747\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-800x450.jpg\" alt=\"Diana Gameros' songs tell of her experience living in the U.S. as an immigrant from Juarez, Mexico.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diana Gameros’ songs tell of her experience living in the U.S. as an immigrant from Juarez, Mexico. \u003ccite>(Claudia Escobar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Diana Gameros\u003c/h2>\n\u003cp>\u003cem>Musician and songwriter from Juarez, Mexico, whose recent album, ‘Arrullo,’ \u003ca href=\"https://www.kqed.org/arts/11514186/women-to-watch-diana-gameros\" target=\"_blank\" rel=\"noopener noreferrer\">expresses the immigrant experience\u003c/a>\u003c/em>\u003c/p>\n\u003cp>My first reaction is to think that it is not possible that this is happening, but it is… it’s horrifying. I feel like in the past two years we get less surprised at what happens, and it’s sad that we are not getting surprised. It is alarming.\u003c/p>\n\u003cp>My advice for other artists is first to be informed, to really know what is happening, and reach out to organizations, and let them know that you are available, that you are willing to help. As artists we have such a visible platform that we can reach many people, and we should use those platforms, especially if you are a well known artist.\u003c/p>\n\u003cp>I can’t stop thinking about the children, and how every minute that goes by, they are in pain. I ask myself: what if that would have happened to me? I know the feeling of what it is to leave your homeland behind. I really hope that people know how much bravery is involved in this process, of leaving your home. I have so much admiration for the people who have this courage to leave their homeland, and carry all that sadness, and all that hope. They have so much love, and want the best for their kids, they are being good parents. It is disgusting that we are separating them, when we should be welcoming them.\u003c/p>\n\u003cfigure id=\"attachment_13835750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-800x540.jpg\" alt=\"Caleb Duarte at San Antonio Park in Oakland, leading a performance with youth who came to the U.S. without parents.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-520x351.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleb Duarte at San Antonio Park in Oakland, leading a performance with youth who came to the U.S. without parents. \u003ccite>(Farrin Abbott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caleb Duarte\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"http://www.calebduarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist and educator\u003c/a> who leads \u003ca href=\"https://www.kqed.org/arts/13375958/on-being-young-alone-and-crossing-into-the-united-states\" target=\"_blank\" rel=\"noopener noreferrer\">art workshops with undocumented Central American minors\u003c/a> at Fremont High School\u003c/em>\u003c/p>\n\u003cp>It’s the worst kind of nightmare for a parent. That journey is 3,000 miles of hardship. Knowing the back history and the violence these people face, only to reach the United States and have your children taken away by authorities—that is really hard to take in.\u003c/p>\n\u003cp>And social media is unleashing a lot of support for this kind of act. It leads me to reflect on how any country can support these kinds of actions. We need to step back and understand the suffering and fear of those who support these actions.\u003c/p>\n\u003cp>Art in different times has different purposes. At certain moments art is there to shake us up, and sometimes it’s there to gather us back. Right now I think art is there to create logic and reason rather than challenge it. More than anything, it’s important to speak out. We’d be surprised by who, in our immediate circles, our colleagues and family, think differently than us. I’m trying to find ways to have conversations with people who think otherwise.\u003c/p>\n\u003cfigure id=\"attachment_13835778\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-800x516.jpg\" alt=\"A detail from the Oakland Museum of California's 'Sent Away' exhibition, showing tools left behind by a man affected by Mexican repatriations in the 1930s.\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-520x335.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A detail from the Oakland Museum of California’s ‘Sent Away’ exhibition, showing tools left behind in the Mexican repatriations in the 1930s. \u003ccite>(Erendina Delgadillo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Erendina Delgadillo\u003c/h2>\n\u003cp>\u003cem>Associate Curator of History at the Oakland Museum of California, host of recent exhibitions on internment, ‘\u003ca href=\"https://www.kqed.org/arts/13156032/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothea Lange: Politics of Seeing\u003c/a>‘ and ‘\u003ca href=\"http://museumca.org/blog/sent-away-not-forgotten\" target=\"_blank\" rel=\"noopener noreferrer\">Sent Away\u003c/a>‘\u003c/em>\u003c/p>\n\u003cp>It’s been pretty horrifying. But one thing we know is family separations have happened before—with Native Americans, with Japanese families, or with Mexican repatriation in the 1930s. With the recent ‘Sent Away’ installation in our permanent history gallery, we’ve been paying attention to whether the visitors really understand, and if it’s properly conveying the trajectory of racialized communities in moments of political and social stress. In my social media circles, I see people saying, “This is insane! This is not America! This is not who we are!” And I wrestle with it, because the fact is that this has happened before.\u003c/p>\n\u003cp>In the deportations in the ’30s, people were responding to the depression. But the Mexican people deported were not relying on welfare as much as others thought they were. And today, when you hear that they’re causing unprecedented crime, or taking away jobs from “real” Americans, being a drain on the system—that’s not true, but turning them into a specter of those problems is easier than fixing the problem. It’s been very disheartening looking at the pattern of how easily people can be manipulated in very simple ways. You take a feeling, you blow it up, and it obscures the need to delve into really complex issues.\u003c/p>\n\u003cp>It’s a terrible moment. It’s too easy to despair. You’re only shooting yourself by despairing before the fight starts, so donate to organizations, and find those small moments to realize why humanity is valuable, and why we fight for humanity. Remind yourself why life is good.\u003c/p>\n\u003cfigure id=\"attachment_13835737\" class=\"wp-caption aligncenter\" style=\"max-width: 758px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835737\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_.jpg\" alt=\"Ani Rivera, bottom right, with Galería de la Raza'a curatorial staff in 2016.\" width=\"758\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_.jpg 758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-520x292.jpg 520w\" sizes=\"(max-width: 758px) 100vw, 758px\">\u003cfigcaption class=\"wp-caption-text\">Ani Rivera, bottom right, with Galería de la Raza’a curatorial staff in 2016. \u003ccite>(Creo Noveno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ani Rivera\u003c/h2>\n\u003cp>\u003cem>Executive Director for \u003ca href=\"https://kqed.org/arts/tag/galeria-de-la-raza\" target=\"_blank\" rel=\"noopener noreferrer\">Galería de La Raza\u003c/a> in the Mission District, hub for San Francisco’s Latino artist community\u003c/em>\u003c/p>\n\u003cp>It’s just appalling to see how the administration doesn’t value humanity, nor the families that are coming here searching for a better life. They’re being used as pawns to push an agenda. I think our work is not done yet. We need to keep demanding that they close the detention centers. I think that’s where we want to focus: ending the criminalization. We need to stop all profits made from keeping people in cages.\u003c/p>\n\u003cp>We’re definitely contributing to the organized marches and protests being planned for June 30. We will also be at this Friday’s rally in Embarcadero Plaza. We know that art plays a role in creating dialogue and engaging hearts, and we’ll be holding a series of screen-printing demonstrations at these events.\u003c/p>\n\u003cp>The legacy of Galería and René (Yañez, the gallery’s co-founder) and all of the individuals that have contributed and created this space was to address these issues. This is history repeating itself. We’ve been dealing with the criminalization of immigrants for decades. The goal of Galería as an institution is to be a platform for artists to organize. The founders needed to create a community that allowed and provided a path for self-determination. They expect us to be out there.\u003c/p>\n\u003cfigure id=\"attachment_13835744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835744\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-800x457.jpg\" alt=\"A still from 'Rabbit in the Moon' showing Emiko Omori and her mother in the Poston War Relocation Center in Arizona.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Rabbit in the Moon’ showing Emiko Omori and her mother in the Poston War Relocation Center in Arizona. \u003ccite>(Courtesy Chizu Omori)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Chizu Omori\u003c/h2>\n\u003cp>\u003cem>Bay Area journalist and co-producer of the documentary ‘Rabbit in the Moon’ who, in 1942 at the age of 12, \u003ca href=\"https://caamedia.org/blog/2017/02/16/emiko-and-chizu-omori-on-lessons-from-wwii-incarceration/\" target=\"_blank\" rel=\"noopener noreferrer\">was sent with her sister Emiko Omori and their family to the Poston War Relocation Center\u003c/a> in Arizona \u003c/em>\u003c/p>\n\u003cp>The fact that they would implement this policy is so inhumane. There’s a great deal of interest now in what happened to us during WWII to us Japanese Americans. A precedent was set when Roosevelt issued EO 9066, and even though it’s been condemned as a big mistake, that precedent has been used by the Trump administration to justify some of the things they’ve been doing. So of course, I feel an obligation to speak out against what’s happening as something very reminiscent of what happened to us 75 years ago.\u003c/p>\n\u003cp>It’s happened with the travel ban against Muslims, and this general discrimination against people of Muslim faith or people from the Middle East in general. It’s part of the current of racism that’s been part of our history from the very beginning, directed towards people of color. Now it’s against people from Central and South America who are not white people. It’s a language that our president uses to reemphasize this bias against people of color. He refers to us as infestations, or awful characterizations like rapists and murderers. It’s dehumanizing for him to be using this language.\u003c/p>\n\u003cp>Children being separated from their parents at the border is something that I don’t think any of us had contemplated. To take infants… what’s the purpose in doing this? There’s no rationale for it. If you’re going to ask people to stand up and be counted, how many people are for this? Why do they justify doing this thing?\u003c/p>\n\u003cp>I belong to a group called Nikkei Resisters. Our slogan is “Never Again.” Detention and internment are really un-American and we need to speak out and say “It happened to us. And we don’t want to see it happening again.”\u003c/p>\n\u003cfigure id=\"attachment_13835738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835738\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-800x533.jpg\" alt=\"Brian Moss teaches a student population that's 85-percent Latino; 'their fear has been validated,' he says.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Moss teaches a student population that’s 85-percent Latino; ‘their fear has been validated,’ he says. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Brian Moss\u003c/h2>\n\u003cp>\u003cem>San Francisco songwriter (Hanalei, Great Apes) and schoolteacher who \u003ca href=\"https://hanalei.bandcamp.com/track/cross-crossing\" target=\"_blank\" rel=\"noopener noreferrer\">released the song “Cross Crossing”\u003c/a> this week in reaction to abuses at the border\u003c/em>\u003c/p>\n\u003cp>Separating families and children seems so immoral and deplorable, it’s shocking, but with this presidency and this administration the bar has been so low it didn’t completely catch me off-guard. And being a teacher, and given the population of my school, which is 85-percent Latino, it’s something I’ve seen the effects of the whole time. For many of my students, the fear they were already facing rose drastically when he was elected, and now that fear has been validated. It’s happening to them. It’s disturbing and hard to witness.\u003c/p>\n\u003cp>The issue of separating families is so immoral to me that some sort of response, either though song, or \u003ca href=\"https://www.npr.org/2018/06/20/621890664/facebook-fundraiser-for-separated-immigrant-families-raises-12-million-in-5-days\" target=\"_blank\" rel=\"noopener noreferrer\">donating\u003c/a>, or protesting, or going down there volunteering with an organization that’s trying to provide legal aid—anything you can do is a start.\u003c/p>\n\u003cfigure id=\"attachment_13835800\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835800\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-800x527.jpg\" alt=\"Naima Shalhoub: 'we must cry out with each other through our art, together, to respond to this madness.'\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-520x342.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Naima Shalhoub: ‘we must cry out with each other through our art, together, to respond to this madness.’ \u003ccite>(Sarah Deragon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Naima Shalhoub\u003c/h2>\n\u003cp>\u003cem>Oakland songwriter whose song “\u003ca href=\"https://www.youtube.com/watch?v=I9TqmZPXJX8\" target=\"_blank\" rel=\"noopener noreferrer\">Borderlands\u003c/a>” tells of “\u003ca href=\"https://www.youtube.com/watch?v=I9TqmZPXJX8\" target=\"_blank\" rel=\"noopener noreferrer\">a constructed order of things that decides what and who is more valuable\u003c/a>”\u003c/em>\u003c/p>\n\u003cp>What strikes me the most is how conditioned we are becoming to see people through the lenses of our fear, our politics, our scarcity mindsets rather than insisting that all people under the sun are treated with dignity and love. We are forgetting that we have the power to create systems that reflect justice and love, not fear and confinement. We are becoming dismembered from any semblance of connection to land, to spirit, to honor, to respect and instead bowing down to new gods of greed, patriarchy, racism—so much so that a child’s cry does not waken the heart to compassion. Or at least, this is my worry. For our souls, collectively.\u003c/p>\n\u003cp>What is happening is a reflection of what has been buried under the soil of what is now called the United States. The sorrow, the unheard cries, and histories ghosts are truly rising until we all wake to its truth. We must do better by committing to our collective memory—all of it—and holding accountable the leaders who do not. The privilege of forgetting becomes manifest in institutions that create walls separating families, unable to share with the public where our girls and babies are. This is about our responsibility to our children’s future and their safety and dignity by allowing the past to speak.\u003c/p>\n\u003cp>If Nina Simone’s call to action was “it is an artist’s duty to reflect the times,” then we must cry out with each other through our art, together, to respond to this madness.\u003c/p>\n\u003cfigure id=\"attachment_13835934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-800x179.jpg\" alt=\"'Horizons,' by Najib Joe Hakim.\" width=\"800\" height=\"179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-800x179.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-160x36.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-768x172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-1020x228.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-960x215.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-240x54.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-375x84.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-520x116.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Horizons,’ by Najib Joe Hakim. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Najib Joe Hakim\u003c/h2>\n\u003cp>\u003cem>San Francisco photographer and YBCA fellow whose current project, ‘\u003ca href=\"https://electronicintifada.net/content/palestinian-america-najib-joe-hakims-home-away-home/14073\" target=\"_blank\" rel=\"noopener noreferrer\">Home Away From Home\u003c/a>,’ pairs oral histories of 26 Bay Area Palestinian Americans with their portraits\u003c/em>\u003c/p>\n\u003cp>My own family immigrated to the U.S. in the 1950s from Lebanon. Except for the details, ours is a very common story, which most Americans share. Refugees out of Palestine, my parents then left Beirut on a ship with two very young kids and $5 in their pocket. In the coming years, through hard work, education and uncountable sacrifices, we became thriving American citizens.\u003c/p>\n\u003cp>I hate to think what might have become of us had we not snared four of only 100 immigration visas. Would I be staring down a machine gun barrel held by a 20-year-old Israeli soldier? Would we have been caught up in one of the many massacres of the 20-year Lebanese Civil War? Would my kids now be desperately trying to leave Syria on a dinghy with their own children?\u003c/p>\n\u003cp>What I see happening today to immigrant families is the writing of yet another chapter of American history in which the country’s values do not line up with its reality. When people say “I don’t recognize this country anymore,” they are expressing the profound contradictions between what we’ve all been taught about this country and what we see being done in our name.\u003c/p>\n\u003cp>We live in a new dark age in which civilian lives are dehumanized; science and nature are scoffed at; and atavistic fears send us scurrying toward our basest natures. In such times, we artists are challenged to help remind us of our loftier, sacred and shared aspirations.\u003c/p>\n\u003cfigure id=\"attachment_13835745\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835745\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/YosimarReyes-800x450.jpg\" alt=\"Yosimar Reyes: 'If you’re standing in sidelines, you’re part of the problem.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yosimar Reyes: ‘If you’re standing in sidelines, you’re part of the problem.’ \u003ccite>(Courtesy Yosimar Reyes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yosimar Reyes\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"http://yosimarreyes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poet, educator, and founder of La Maricolectiva\u003c/a>, a community based performance group of queer undocumented poets\u003c/em>\u003c/p>\n\u003cp>This week has been a lot. I think it’s great that it’s getting national visibility and a lot of people are learning about these atrocities—I think it’s a really positive thing. People are blatantly stating that we need to abolish immigrant prisons. But for me, it’s more like, it’s always been like this so I’m not surprised. I’m just glad people are realizing the reality of how it is and people are mobilizing and opening their eyes to the fact that this is how it’s been for a lot of folks.\u003c/p>\n\u003cp>With immigration, everything moves so fast and it escalates after a short amount of time. I’m curious to see how it’s going to influence a lot of the writing that I’m doing, but I’m still processing. Organizations on the ground in Texas are doing really good work, they’re giving people legal aid, and I think people should support them. This is happening because we put this person in office and we’re accountable for these actions. If you’re standing in sidelines, you’re part of the problem.\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\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lina Blanco, Claudia Escobar, Sarah Hotchkiss, Kevin L. Jones, Gabe Meline, Nastia Voynovskaya and Kelly Whalen contributed reporting to this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland Psych Rockers Lumerians Return After Four Year Hiatus",
"headTitle": "Oakland Psych Rockers Lumerians Return After Four Year Hiatus | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">A rock band that’s been together for over a decade might seem like one well-oiled machine. But as guitarist and multi-instrumentalist Tyler Green of Oakland’s \u003ca href=\"https://lumerians.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Lumerians\u003c/a> noted in a recent conversation, sometimes it’s all about how a group handles it when things inevitably go wrong on stage.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Sometimes you’ll have gear failure,” he says with gentle amusement. “A kick drum pedal will come detached. But we’ve gotten so comfortable with the parts that we can stretch something out and it seems like, ‘It’s totally part of the show! We’re just exploring the section!’”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even a quick listen to their albums makes it clear why Lumerians have a reputation for exploration. Since their self-titled debut EP in 2007, the quartet has taken a deep dive into all areas of psychedelic and experimental rock ‘n’ roll. Their live performances often feature blasts of zoned-out feedback and mysterious, murky synth trips that make the old ’60s term ‘space rock’ make sense all over again.\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2452611946/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" href=\"%22http://fuzzclub.bandcamp.com/album/call-of-the-void%22\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After a four-year hiatus from releasing music, Lumerians return on June 22 with their newest studio album, \u003c/span>\u003ca href=\"https://fuzzclub.bandcamp.com/album/call-of-the-void\" target=\"_blank\" rel=\"noopener\">\u003ci>\u003cspan style=\"font-weight: 400\">Call of the Void\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, out on London’s \u003ca href=\"https://fuzzclub.bandcamp.com/album/call-of-the-void\" target=\"_blank\" rel=\"noopener\">Fuzz Club\u003c/a> label. The quartet consists of guitarists and multi-instrumentalists Green and Jason Miller, as well as Marc Melzer on bass and synth and Chris Musgrave on drums and percussion. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lumerians recently debuted a moody, brawling punch of a lead single with “Silver Trash,” but the whole of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Call of the Void\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is an involved listen in all senses of the word. Tracks like “Space Curse” and “Clock Spell” are rife with unsettling electronic melodies and droning layers, as if a series of alien transmissions were captured from the back of beyond.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Unlike many bands grappling with Oakland’s rising rents and shortage of rehearsal spaces, Lumerians have been in their studio for nearly a decade. But our conversation naturally turns to the city’s ongoing affordability crisis. It’s a cycle they’ve seen before; they were priced out of San Francisco in 2009.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13835712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/lumerians_table-01-800x450.jpeg\" alt=\"The members of Lumerians say their ideas often start in the kitchen.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-1200x675.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-1180x664.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-960x540.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-240x135.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-375x211.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-520x293.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The members of Lumerians say their ideas often start in the kitchen. \u003ccite>(Courtesy of Lumerians)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Miller and Green speak at length about how having a stable space in Oakland has given the band members the freedom bring in new instruments to experiment with different approaches. The band has a communal kitchen space where they talk about movies and share recipes for vegan tuna sandwiches, and they say that many of their ideas begin there before making it into the recording studio.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Miller describes it, “We can get into our insular pocket world and go out into some strange direction and see how alien things can become.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As for what’s next, West Coast dates are starting to gel for later in the year, but Miller and Green are already looking forward to a European tour. They chat about the last time they crossed the Atlantic, and share a very Spinal Tap-like story about how the spent the night in a seemingly abandoned building without blankets, sheets or heating in the middle of winter. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The best part was the next day when we all woke up after somehow finding our way to sleep, and not sleeping very well,” remembers Miller. “One of the doors that had been locked opens, and there’d been this old woman that ran the place who had been sleeping there the whole time!”\u003c/span>\u003c/p>\n\u003cp>Lumerians clearly aren’t afraid of adventure, and that openness comes across in their experimental approach.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s that old joke: learn everything you can about music, then forget about it,” says Green. “One of my favorite things is to have no plan and just go, ‘What is this going to sound like?’”\u003c/p>\n\n",
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"excerpt": "Their new album, 'Call of the Void,' sounds like alien transmissions captured from the back of beyond.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">A rock band that’s been together for over a decade might seem like one well-oiled machine. But as guitarist and multi-instrumentalist Tyler Green of Oakland’s \u003ca href=\"https://lumerians.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Lumerians\u003c/a> noted in a recent conversation, sometimes it’s all about how a group handles it when things inevitably go wrong on stage.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Sometimes you’ll have gear failure,” he says with gentle amusement. “A kick drum pedal will come detached. But we’ve gotten so comfortable with the parts that we can stretch something out and it seems like, ‘It’s totally part of the show! We’re just exploring the section!’”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even a quick listen to their albums makes it clear why Lumerians have a reputation for exploration. Since their self-titled debut EP in 2007, the quartet has taken a deep dive into all areas of psychedelic and experimental rock ‘n’ roll. Their live performances often feature blasts of zoned-out feedback and mysterious, murky synth trips that make the old ’60s term ‘space rock’ make sense all over again.\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2452611946/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" href=\"%22http://fuzzclub.bandcamp.com/album/call-of-the-void%22\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After a four-year hiatus from releasing music, Lumerians return on June 22 with their newest studio album, \u003c/span>\u003ca href=\"https://fuzzclub.bandcamp.com/album/call-of-the-void\" target=\"_blank\" rel=\"noopener\">\u003ci>\u003cspan style=\"font-weight: 400\">Call of the Void\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, out on London’s \u003ca href=\"https://fuzzclub.bandcamp.com/album/call-of-the-void\" target=\"_blank\" rel=\"noopener\">Fuzz Club\u003c/a> label. The quartet consists of guitarists and multi-instrumentalists Green and Jason Miller, as well as Marc Melzer on bass and synth and Chris Musgrave on drums and percussion. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lumerians recently debuted a moody, brawling punch of a lead single with “Silver Trash,” but the whole of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Call of the Void\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is an involved listen in all senses of the word. Tracks like “Space Curse” and “Clock Spell” are rife with unsettling electronic melodies and droning layers, as if a series of alien transmissions were captured from the back of beyond.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Unlike many bands grappling with Oakland’s rising rents and shortage of rehearsal spaces, Lumerians have been in their studio for nearly a decade. But our conversation naturally turns to the city’s ongoing affordability crisis. It’s a cycle they’ve seen before; they were priced out of San Francisco in 2009.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13835712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/lumerians_table-01-800x450.jpeg\" alt=\"The members of Lumerians say their ideas often start in the kitchen.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-1200x675.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-1180x664.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-960x540.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-240x135.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-375x211.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01-520x293.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/lumerians_table-01.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The members of Lumerians say their ideas often start in the kitchen. \u003ccite>(Courtesy of Lumerians)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Miller and Green speak at length about how having a stable space in Oakland has given the band members the freedom bring in new instruments to experiment with different approaches. The band has a communal kitchen space where they talk about movies and share recipes for vegan tuna sandwiches, and they say that many of their ideas begin there before making it into the recording studio.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Miller describes it, “We can get into our insular pocket world and go out into some strange direction and see how alien things can become.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As for what’s next, West Coast dates are starting to gel for later in the year, but Miller and Green are already looking forward to a European tour. They chat about the last time they crossed the Atlantic, and share a very Spinal Tap-like story about how the spent the night in a seemingly abandoned building without blankets, sheets or heating in the middle of winter. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The best part was the next day when we all woke up after somehow finding our way to sleep, and not sleeping very well,” remembers Miller. “One of the doors that had been locked opens, and there’d been this old woman that ran the place who had been sleeping there the whole time!”\u003c/span>\u003c/p>\n\u003cp>Lumerians clearly aren’t afraid of adventure, and that openness comes across in their experimental approach.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s that old joke: learn everything you can about music, then forget about it,” says Green. “One of my favorite things is to have no plan and just go, ‘What is this going to sound like?’”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "With Latest Album, Equipto Calls Out Housing Crisis and Gentrification",
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"content": "\u003cp>A lot has happened in Ilyich Yasuchi Sato’s world since he galvanized the \u003ca href=\"https://www.kqed.org/arts/11537324/equiptos-hunger-strike-the-importance-of-art-in-social-change\" target=\"_blank\" rel=\"noopener noreferrer\">Frisco 5\u003c/a> hunger strike against police brutality in 2016.\u003c/p>\n\u003cp>The San Francisco rapper, better known as Equipto, has continued his relentless fight for social justice—and not just on wax, but in the streets. In October 2017, he led a \u003ca href=\"http://eltecolote.org/content/en/features/six-months-after-sacramento-march-against-police-violence-search-for-justice-continues/\" target=\"_blank\" rel=\"noopener noreferrer\">14-day, 95-mile march\u003c/a> from San Francisco to Sacramento to pressure California Attorney General Xavier Becerra to prosecute the officers who shot and killed civilians Alex Nieto, Mario Woods, Amilcar Perez-Lopez, Luis Gongora-Pat, Jessica Williams, Kenneth Harding Jr. and Derrick Gaines. Again and again, Equipto has demonstrated his willingness to put his comfort and safety on the line for his beliefs.\u003c/p>\n\u003cp>In the midst of his activism, Equipto also took the time to record new music. This time around, the veteran rapper got together with other San Francisco artists to form a new group called The Watershed. The Watershed features Baghead, Professa Gabel, Mcstravick, Brycon, MC Pauze and Monk HTS—rappers and producers with deep roots in San Francisco’s underground hip-hop scene. Their self-titled May album is “an open letter about our love and hate with the city, and a way to honor hip-hop culture,” Equipto says.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2981912578/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" href=\"http://the-watershed-415.bandcamp.com/album/equipto-brycon-present-the-watershed\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“Hella San Francisco” is a perfect example of that love-hate relationship. It shines a light on how gentrification has altered the city’s demographics, displacing many lower-income people of color. “Take a walk past Valencia, even up Guerrero / Anymore you can’t even recognize Divisadero / So the people and the city are supposed to sit back and tolerate it? / They build a system where they got us all dollar chasin’,” rhymes Equipto over a smooth, tambourine-driven break beat laced with funky guitar.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The album also touches on controversial subjects like the housing crisis. The track “Timmy the Wino” pays homage to a down-and-out veteran Equipto once knew. “It’s a true story in a sense,” he says. “Timothy used to live off 16th and Valencia before Valencia got gentrified. It’s a song that we wanted to embody and let people know that this is part of San Francisco.”\u003c/p>\n\u003cfigure id=\"attachment_13835687\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/The-Watershed.jpg\" alt=\"\" width=\"750\" height=\"636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Watershed.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Watershed-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Watershed-240x204.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Watershed-375x318.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Watershed-520x441.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">The Watershed. \u003ccite>(Courtesy of Equipto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Equipto laments: “The people you shun or think they are nobodies, these are actually people of San Francisco, and they make the city.”\u003c/p>\n\u003cp>My conversation with Equipto coincides with the announcement of London Breed’s victory in the San Francisco mayoral race, and it’s impossible to talk to the rapper about The Watershed and not include politics in the conversation. Equipto is one of Breed’s most fervent critics, despite her being a San Francisco native and the city’s first black, female mayor—a selling point for many voters.\u003c/p>\n\u003cp>Equipto talks at length about propaganda in politics, and how we, as people of color, are conditioned to believe that we have to support a candidate simply because they are also of color. \u003cspan style=\"font-weight: 400\">“I can imagine what she went through as a woman of color growing up in the Fillmore, so I have nothing but respect for her on that level,” Equipto concedes.\u003c/span>\u003c/p>\n\u003cp>But he points out that in 2014, when Breed was District 5 supervisor, she \u003ca href=\"http://sfappeal.com/2014/12/supes-vote-down-police-brutality-resolution/\" target=\"_blank\" rel=\"noopener noreferrer\">voted against a resolution\u003c/a> to recognize racial bias in police departments, calling the post-Ferguson resolution “divisive.” Indeed, Breed also refused to call on former Police Chief Greg Suhr to resign after a racist texting scandal and several police shootings, and \u003ca href=\"https://48hills.org/2016/09/15879/\" target=\"_blank\" rel=\"noopener noreferrer\">failed to attend meetings\u003c/a> with African American residents facing displacement in her district during her campaign.\u003c/p>\n\u003cp>“Her voting is documented history,” says Equipto.\u003c/p>\n\u003cp>The Watershed are starting to hit stages across the Bay Area to promote their album and its underlying message of people power. On June 24, they’re slated to perform at The Uptown in Oakland for Housing Oakland Now, a fundraiser for the \u003ca href=\"https://www.kqed.org/arts/13828811/in-the-field-with-east-oakland-collective-a-grassroots-group-aiding-the-homeless\" target=\"_blank\" rel=\"noopener noreferrer\">East Oakland Collective\u003c/a> and The Village, two grassroots groups building shelters and providing services for Oakland’s homeless residents. Local hip-hop stars like Mistah F.A.B., Gift of Gab of Blackalicious and DJ Davey D are on the bill, along with cumbia band La Misa Negra.\u003c/p>\n\u003cp>The show was originally slated for The New Parish, but last Thursday, \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>East Bay Express\u003c/em> reported\u003c/a> that Jason Perkins of Parish Entertainment Group allegedly harassed homeless residents in San Francisco near his other venue, Brick & Mortar Music Hall. After conflicting information appeared as to whether Perkins still had ties to The New Parish, The East Oakland Collective decided to switch venues.\u003c/p>\n\u003cp>Equipto is not letting this controversy derail his purpose. “We need brothers and sisters that are artists with well known platforms to lock arms with frontliners,” he says. “It’s the time to stand up when you have such a strong influence.”\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\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Equipto and The Watershed perform at Housing Oakland Now on June 24. Details \u003ca href=\"https://www.facebook.com/events/631064693912361/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot has happened in Ilyich Yasuchi Sato’s world since he galvanized the \u003ca href=\"https://www.kqed.org/arts/11537324/equiptos-hunger-strike-the-importance-of-art-in-social-change\" target=\"_blank\" rel=\"noopener noreferrer\">Frisco 5\u003c/a> hunger strike against police brutality in 2016.\u003c/p>\n\u003cp>The San Francisco rapper, better known as Equipto, has continued his relentless fight for social justice—and not just on wax, but in the streets. In October 2017, he led a \u003ca href=\"http://eltecolote.org/content/en/features/six-months-after-sacramento-march-against-police-violence-search-for-justice-continues/\" target=\"_blank\" rel=\"noopener noreferrer\">14-day, 95-mile march\u003c/a> from San Francisco to Sacramento to pressure California Attorney General Xavier Becerra to prosecute the officers who shot and killed civilians Alex Nieto, Mario Woods, Amilcar Perez-Lopez, Luis Gongora-Pat, Jessica Williams, Kenneth Harding Jr. and Derrick Gaines. Again and again, Equipto has demonstrated his willingness to put his comfort and safety on the line for his beliefs.\u003c/p>\n\u003cp>In the midst of his activism, Equipto also took the time to record new music. This time around, the veteran rapper got together with other San Francisco artists to form a new group called The Watershed. The Watershed features Baghead, Professa Gabel, Mcstravick, Brycon, MC Pauze and Monk HTS—rappers and producers with deep roots in San Francisco’s underground hip-hop scene. Their self-titled May album is “an open letter about our love and hate with the city, and a way to honor hip-hop culture,” Equipto says.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2981912578/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" href=\"http://the-watershed-415.bandcamp.com/album/equipto-brycon-present-the-watershed\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“Hella San Francisco” is a perfect example of that love-hate relationship. It shines a light on how gentrification has altered the city’s demographics, displacing many lower-income people of color. “Take a walk past Valencia, even up Guerrero / Anymore you can’t even recognize Divisadero / So the people and the city are supposed to sit back and tolerate it? / They build a system where they got us all dollar chasin’,” rhymes Equipto over a smooth, tambourine-driven break beat laced with funky guitar.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The album also touches on controversial subjects like the housing crisis. The track “Timmy the Wino” pays homage to a down-and-out veteran Equipto once knew. “It’s a true story in a sense,” he says. “Timothy used to live off 16th and Valencia before Valencia got gentrified. It’s a song that we wanted to embody and let people know that this is part of San Francisco.”\u003c/p>\n\u003cfigure id=\"attachment_13835687\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/The-Watershed.jpg\" alt=\"\" width=\"750\" height=\"636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Watershed.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Watershed-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Watershed-240x204.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Watershed-375x318.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Watershed-520x441.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">The Watershed. \u003ccite>(Courtesy of Equipto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Equipto laments: “The people you shun or think they are nobodies, these are actually people of San Francisco, and they make the city.”\u003c/p>\n\u003cp>My conversation with Equipto coincides with the announcement of London Breed’s victory in the San Francisco mayoral race, and it’s impossible to talk to the rapper about The Watershed and not include politics in the conversation. Equipto is one of Breed’s most fervent critics, despite her being a San Francisco native and the city’s first black, female mayor—a selling point for many voters.\u003c/p>\n\u003cp>Equipto talks at length about propaganda in politics, and how we, as people of color, are conditioned to believe that we have to support a candidate simply because they are also of color. \u003cspan style=\"font-weight: 400\">“I can imagine what she went through as a woman of color growing up in the Fillmore, so I have nothing but respect for her on that level,” Equipto concedes.\u003c/span>\u003c/p>\n\u003cp>But he points out that in 2014, when Breed was District 5 supervisor, she \u003ca href=\"http://sfappeal.com/2014/12/supes-vote-down-police-brutality-resolution/\" target=\"_blank\" rel=\"noopener noreferrer\">voted against a resolution\u003c/a> to recognize racial bias in police departments, calling the post-Ferguson resolution “divisive.” Indeed, Breed also refused to call on former Police Chief Greg Suhr to resign after a racist texting scandal and several police shootings, and \u003ca href=\"https://48hills.org/2016/09/15879/\" target=\"_blank\" rel=\"noopener noreferrer\">failed to attend meetings\u003c/a> with African American residents facing displacement in her district during her campaign.\u003c/p>\n\u003cp>“Her voting is documented history,” says Equipto.\u003c/p>\n\u003cp>The Watershed are starting to hit stages across the Bay Area to promote their album and its underlying message of people power. On June 24, they’re slated to perform at The Uptown in Oakland for Housing Oakland Now, a fundraiser for the \u003ca href=\"https://www.kqed.org/arts/13828811/in-the-field-with-east-oakland-collective-a-grassroots-group-aiding-the-homeless\" target=\"_blank\" rel=\"noopener noreferrer\">East Oakland Collective\u003c/a> and The Village, two grassroots groups building shelters and providing services for Oakland’s homeless residents. Local hip-hop stars like Mistah F.A.B., Gift of Gab of Blackalicious and DJ Davey D are on the bill, along with cumbia band La Misa Negra.\u003c/p>\n\u003cp>The show was originally slated for The New Parish, but last Thursday, \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>East Bay Express\u003c/em> reported\u003c/a> that Jason Perkins of Parish Entertainment Group allegedly harassed homeless residents in San Francisco near his other venue, Brick & Mortar Music Hall. After conflicting information appeared as to whether Perkins still had ties to The New Parish, The East Oakland Collective decided to switch venues.\u003c/p>\n\u003cp>Equipto is not letting this controversy derail his purpose. “We need brothers and sisters that are artists with well known platforms to lock arms with frontliners,” he says. “It’s the time to stand up when you have such a strong influence.”\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\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Equipto and The Watershed perform at Housing Oakland Now on June 24. Details \u003ca href=\"https://www.facebook.com/events/631064693912361/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "After 80 Years, the Barbershop Harmony Society Will Allow Women to Join",
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"content": "\u003cp>If you’re at all familiar with the modern perception of barbershop singing, you might have guessed that one of its leading organizations, the Barbershop Harmony Society, was an all-male — and all-white — organization at the time of its founding in 1938. The organization opened to people of color in 1963, as the country was living within the crucible of the civil rights movement. For 80 years, though, it remained closed to women. Until yesterday.\u003c/p>\n\u003cp>“Beginning today,” the BHS’ statement, released June 19, reads, “we welcome women to join the Barbershop Harmony Society as members.” Its membership chapters can, however, “choose to stay exactly the same as you are today” — as a male-only club — or “choose to add a mixed chorus, or a new, distinct women’s chorus. New chapters might form — male, female, or mixed. This is about adding, not subtracting. More people, sharing more harmony, and more joy, in more ways.” Later, its announcement makes it plain that chapters are not required to begin accepting female members. And, further suggesting a controversial core to the announcement, the BHS notes it believes “preserving the experience of men singing together \u003cem>and\u003c/em> welcoming women as members of the barbershop harmony society are compatible ideas.”\u003c/p>\n\u003cp>The announcement is the result of a three-year soul search undertaken by the BHS, during which it conducted membership surveys, studies and research on its aims, which yielded a broad platform: “\u003ca href=\"http://www.barbershop.org/everyoneinharmony/\" target=\"_blank\" rel=\"noopener\">Everyone In Harmony\u003c/a>.”\u003c/p>\n\u003cp>The BHS’ policy shift and the statement accompanying it is notable both for its timing and its tone — “cautious” might be the word. It’s a tiptoe that can be traced with ease to the cultural origins in which barbershop became popular. The Barbershop Harmony Society’s first meeting took place in the spring of 1938 at the Tulsa Club, an all-white, membership-only organization of the time, established to provide southern oil men a place to socialize in private. After a two-decade wane in popularity that began in the ’20s, the establishment of the BHS kicked off a revival of the barbershop sound through the ’40s and helped to define \u003ca href=\"https://www.google.com/search?q=barbershop+quartet&num=20&safe=off&source=lnms&tbm=isch&sa=X&ved=0ahUKEwj-1f2MpuDbAhXNx1kKHb0NBM4Q_AUICygC&biw=1365&bih=619\" target=\"_blank\" rel=\"noopener\">a (not-incorrect) perception\u003c/a> of the genre that has lasted into the present day.\u003c/p>\n\u003cp>“Gentlemen,” the organization’s initial, industrialist-tinged call to song \u003ca href=\"http://www.barbershop.org/about-us/history-of-barbershop/how-it-all-began/\" target=\"_blank\" rel=\"noopener\">began\u003c/a>, “In this age of dictators and government control of everything, about the only privilege guaranteed by the Bill of Rights not in some way supervised and directed, is the art of barber shop \u003cem>[sic]\u003c/em> quartet singing.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In that note, from 1938, a plan to head off interlopers and to protect delicate sensibilities was well in place: “We will have a private room and so will not be embarrassed by the curiosity of the vulgar public,” it read, before concluding, “You may bring a fellow singer if you desire.” With that, the bedrock for what was then called the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America was established.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yjnveOPkLq4\u003c/p>\n\u003cp>That plea for harmony was written 80 years ago by Rupert Hall, “Royal Keeper of the Minor Keys,” and Owen Clifton Cash, “Third Assistant Temporary Vice Chairman.” Those self-applied titles were an \u003ca href=\"http://www.barbershop.org/owen-clifton-oc-cash-our-founder/\">apparent\u003c/a> tongue-in-cheek dig at the honorifics going around at the time thanks to the New Deal, as was its ludicrous acronym, SPEBSQSA.\u003c/p>\n\u003cp>But, as the BHS enters the 21st century with its new, admittedly spongy, policy of inclusion, it has stood side-by-side for nearly its whole history with an organization that does much the same thing, but across the formerly impassable line of gender: Sweet Adelines International, a women’s barbershop organization also founded in Tulsa, still under the shadow of World War II at the time.\u003c/p>\n\u003cp>“In 1945, there were several wives of barbershoppers who wanted to do what their husbands were doing. The BHS were all men and they wanted to keep it that way,” Patty Cobb-Baker, president of Sweet Adelines, tells NPR. The men wanted to “keep the wives at home and doing whatever they were doing back in 1945. But a woman by the name of Edna Mae Anderson said ‘Well, we can, and we want to.’ ”\u003c/p>\n\u003cp>Cobb-Baker says Sweet Adelines became a way to foster leadership within (white) female communities — the harmonies gave its members “the opportunity to commune with other women,” Cobb-Baker says, “to become leaders. Kind of like the Girl Scouts, we like to grow leadership skills in women that they never knew they had.”\u003c/p>\n\u003cp>Of the potential competition that BHS’ new policy could present to her organization, Cobb-Baker says she’d “be lying” if the thought didn’t cross her mind. “We have a very strong strategic plan ourselves, our own vision,” she says. “We will always be happy when there are more opportunities for people to sing in the world.”\u003c/p>\n\u003cp>Barbershop’s origins as a genre and a term are more diverse than the image it has accrued over the 80 years since the BHS’ founding, however — wildly so, according to Frédéric Döhl, a musicologist and author of the \u003ca href=\"https://www.jstor.org/stable/10.5406/americanmusic.32.2.0123\" target=\"_blank\" rel=\"noopener\">2014 paper\u003c/a>\u003cem> From Harmonic Style to Genre: The Early History of the Uniquely American Musical Term Barbershop\u003c/em>. Döhl writes that, at least when it comes to use of the word barbershop to describe the musical style, that “no reliable attributions can be made about its origins with regard to race, gender, region, social environment, amateur or professional, impromptu or composed-arranged, highbrow or lowbrow etc.”\u003c/p>\n\u003cp>Despite that, the form has cultivated — on purpose at first, later perhaps by reflex — a palpable and gentry-ish defensive streak among its practitioners. As one singer \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=92246274&ft=nprml&f=92246274\" target=\"_blank\" rel=\"noopener\">told NPR in 2008\u003c/a>, commenting on the introduction of more modern pop songs into the form: “I happen to be one of many that has difficulty in telling you what barbershop is, but I can sure tell you when it isn’t.”\u003c/p>\n\u003cp>“We like to think of them as ‘preservationists.’ There is certainly a range of devotion to what is believed to be the ‘pure’ barbershop style,” Brian Lynch, a public relations executive with the BHS, tells NPR. “In my experience, ‘barbershop’ is whatever it was the day you joined.”\u003c/p>\n\u003cp>Of its checkered origins, Lynch is forthright. Asked of its past as an all-white, all-male organization, he says it “is a piece of our history that we’re working hard to acknowledge and understand and move forward from. It’s not something we’re proud of today.” He adds that the BHS has \u003ca href=\"https://issuu.com/theharmonizer/docs/harmonizer_vol77_no6_novdec2017/24\" target=\"_blank\" rel=\"noopener\">established\u003c/a> an endowment fund for persons of color, “all parts of the evolution of any organization to reset and understand what your purpose is.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Our motto,” Cobb-Baker says, “is ‘harmonize the world.’ ” That’s a tall order — always, perhaps more so now than ever. But it’s never too late to try. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+80+Years%2C+The+Barbershop+Harmony+Society+Will+Allow+Women+To+Join&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re at all familiar with the modern perception of barbershop singing, you might have guessed that one of its leading organizations, the Barbershop Harmony Society, was an all-male — and all-white — organization at the time of its founding in 1938. The organization opened to people of color in 1963, as the country was living within the crucible of the civil rights movement. For 80 years, though, it remained closed to women. Until yesterday.\u003c/p>\n\u003cp>“Beginning today,” the BHS’ statement, released June 19, reads, “we welcome women to join the Barbershop Harmony Society as members.” Its membership chapters can, however, “choose to stay exactly the same as you are today” — as a male-only club — or “choose to add a mixed chorus, or a new, distinct women’s chorus. New chapters might form — male, female, or mixed. This is about adding, not subtracting. More people, sharing more harmony, and more joy, in more ways.” Later, its announcement makes it plain that chapters are not required to begin accepting female members. And, further suggesting a controversial core to the announcement, the BHS notes it believes “preserving the experience of men singing together \u003cem>and\u003c/em> welcoming women as members of the barbershop harmony society are compatible ideas.”\u003c/p>\n\u003cp>The announcement is the result of a three-year soul search undertaken by the BHS, during which it conducted membership surveys, studies and research on its aims, which yielded a broad platform: “\u003ca href=\"http://www.barbershop.org/everyoneinharmony/\" target=\"_blank\" rel=\"noopener\">Everyone In Harmony\u003c/a>.”\u003c/p>\n\u003cp>The BHS’ policy shift and the statement accompanying it is notable both for its timing and its tone — “cautious” might be the word. It’s a tiptoe that can be traced with ease to the cultural origins in which barbershop became popular. The Barbershop Harmony Society’s first meeting took place in the spring of 1938 at the Tulsa Club, an all-white, membership-only organization of the time, established to provide southern oil men a place to socialize in private. After a two-decade wane in popularity that began in the ’20s, the establishment of the BHS kicked off a revival of the barbershop sound through the ’40s and helped to define \u003ca href=\"https://www.google.com/search?q=barbershop+quartet&num=20&safe=off&source=lnms&tbm=isch&sa=X&ved=0ahUKEwj-1f2MpuDbAhXNx1kKHb0NBM4Q_AUICygC&biw=1365&bih=619\" target=\"_blank\" rel=\"noopener\">a (not-incorrect) perception\u003c/a> of the genre that has lasted into the present day.\u003c/p>\n\u003cp>“Gentlemen,” the organization’s initial, industrialist-tinged call to song \u003ca href=\"http://www.barbershop.org/about-us/history-of-barbershop/how-it-all-began/\" target=\"_blank\" rel=\"noopener\">began\u003c/a>, “In this age of dictators and government control of everything, about the only privilege guaranteed by the Bill of Rights not in some way supervised and directed, is the art of barber shop \u003cem>[sic]\u003c/em> quartet singing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In that note, from 1938, a plan to head off interlopers and to protect delicate sensibilities was well in place: “We will have a private room and so will not be embarrassed by the curiosity of the vulgar public,” it read, before concluding, “You may bring a fellow singer if you desire.” With that, the bedrock for what was then called the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America was established.\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/yjnveOPkLq4'\n title='//www.youtube.com/embed/yjnveOPkLq4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That plea for harmony was written 80 years ago by Rupert Hall, “Royal Keeper of the Minor Keys,” and Owen Clifton Cash, “Third Assistant Temporary Vice Chairman.” Those self-applied titles were an \u003ca href=\"http://www.barbershop.org/owen-clifton-oc-cash-our-founder/\">apparent\u003c/a> tongue-in-cheek dig at the honorifics going around at the time thanks to the New Deal, as was its ludicrous acronym, SPEBSQSA.\u003c/p>\n\u003cp>But, as the BHS enters the 21st century with its new, admittedly spongy, policy of inclusion, it has stood side-by-side for nearly its whole history with an organization that does much the same thing, but across the formerly impassable line of gender: Sweet Adelines International, a women’s barbershop organization also founded in Tulsa, still under the shadow of World War II at the time.\u003c/p>\n\u003cp>“In 1945, there were several wives of barbershoppers who wanted to do what their husbands were doing. The BHS were all men and they wanted to keep it that way,” Patty Cobb-Baker, president of Sweet Adelines, tells NPR. The men wanted to “keep the wives at home and doing whatever they were doing back in 1945. But a woman by the name of Edna Mae Anderson said ‘Well, we can, and we want to.’ ”\u003c/p>\n\u003cp>Cobb-Baker says Sweet Adelines became a way to foster leadership within (white) female communities — the harmonies gave its members “the opportunity to commune with other women,” Cobb-Baker says, “to become leaders. Kind of like the Girl Scouts, we like to grow leadership skills in women that they never knew they had.”\u003c/p>\n\u003cp>Of the potential competition that BHS’ new policy could present to her organization, Cobb-Baker says she’d “be lying” if the thought didn’t cross her mind. “We have a very strong strategic plan ourselves, our own vision,” she says. “We will always be happy when there are more opportunities for people to sing in the world.”\u003c/p>\n\u003cp>Barbershop’s origins as a genre and a term are more diverse than the image it has accrued over the 80 years since the BHS’ founding, however — wildly so, according to Frédéric Döhl, a musicologist and author of the \u003ca href=\"https://www.jstor.org/stable/10.5406/americanmusic.32.2.0123\" target=\"_blank\" rel=\"noopener\">2014 paper\u003c/a>\u003cem> From Harmonic Style to Genre: The Early History of the Uniquely American Musical Term Barbershop\u003c/em>. Döhl writes that, at least when it comes to use of the word barbershop to describe the musical style, that “no reliable attributions can be made about its origins with regard to race, gender, region, social environment, amateur or professional, impromptu or composed-arranged, highbrow or lowbrow etc.”\u003c/p>\n\u003cp>Despite that, the form has cultivated — on purpose at first, later perhaps by reflex — a palpable and gentry-ish defensive streak among its practitioners. As one singer \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=92246274&ft=nprml&f=92246274\" target=\"_blank\" rel=\"noopener\">told NPR in 2008\u003c/a>, commenting on the introduction of more modern pop songs into the form: “I happen to be one of many that has difficulty in telling you what barbershop is, but I can sure tell you when it isn’t.”\u003c/p>\n\u003cp>“We like to think of them as ‘preservationists.’ There is certainly a range of devotion to what is believed to be the ‘pure’ barbershop style,” Brian Lynch, a public relations executive with the BHS, tells NPR. “In my experience, ‘barbershop’ is whatever it was the day you joined.”\u003c/p>\n\u003cp>Of its checkered origins, Lynch is forthright. Asked of its past as an all-white, all-male organization, he says it “is a piece of our history that we’re working hard to acknowledge and understand and move forward from. It’s not something we’re proud of today.” He adds that the BHS has \u003ca href=\"https://issuu.com/theharmonizer/docs/harmonizer_vol77_no6_novdec2017/24\" target=\"_blank\" rel=\"noopener\">established\u003c/a> an endowment fund for persons of color, “all parts of the evolution of any organization to reset and understand what your purpose is.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Our motto,” Cobb-Baker says, “is ‘harmonize the world.’ ” That’s a tall order — always, perhaps more so now than ever. But it’s never too late to try. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+80+Years%2C+The+Barbershop+Harmony+Society+Will+Allow+Women+To+Join&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Empress Of, Jeff Rosenstock to Headline This Year's 20th Street Block Party",
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"content": "\u003cp>Local concert promoters Noise Pop have announced the lineup for the sixth annual \u003ca href=\"http://www.20thstreetblockparty.com/\" rel=\"noopener\" target=\"_blank\">20th Street Block Party\u003c/a>, the free outdoor festival held in the Mission District.\u003c/p>\n\u003cp>Held Aug. 18, this year’s 20th Street Block Party features performances by Empress Of, Jeff Rosenstock, The Marias and other groups, with more to be announced in the near future.\u003c/p>\n\u003cp>Empress Of is the electro-synth-pop project of Latin American-singer songwriter Lorely Rodriguez, who’s currently working on the follow-up to her critically acclaimed debut album \u003ci>Me\u003c/i>; festival-goers should anticipate hearing new tracks.\u003c/p>\n\u003cfigure id=\"attachment_13835557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-800x534.jpg\" alt=\"On stage during the 2017 20th Street Block Party\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On stage during the 2017 20th Street Block Party. \u003ccite>(Paige K Parsons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 2018 20th Block Street Party lineup also includes several local groups, such as San Francisco “\u003ca href=\"https://theshes.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">all female rock and roll quartet\u003c/a>” The She’s, pop punkers \u003ca href=\"https://thetotalbettys.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">The Total Bettys\u003c/a> and \u003ca href=\"https://fantheband.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">FAN\u003c/a>, the new solo project from Meric Long, the singer/guitarist of the Dodos. \u003c/p>\n\u003cp>The final act on the bill will be revealed in the coming weeks, as it will be determined by a contest Noise Pop is holding with DoTheBay. The winner will perform first on the festival’s main stage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The festival, which takes over the 20th Street corridor between Harrison and Bryant Streets, also features numerous food vendors and local artists. Over the past six years, the festival has grown into a massive event, drawing crowds over 20,000 and raising thousands for the Mission Language and Vocational School.\u003c/p>\n\u003cp>“We honestly love throwing on this event every summer, especially because it helps give back to our 20th Street neighborhood—the backyard to Noise Pop’s own offices,” Noise Pop general manager Dawson Ludwig said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To learn more about the festival, visit \u003ca href=\"http://www.20thstreetblockparty.com/\" rel=\"noopener\" target=\"_blank\">20thstreetblockparty.com\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Local concert promoters Noise Pop have announced the lineup for the sixth annual \u003ca href=\"http://www.20thstreetblockparty.com/\" rel=\"noopener\" target=\"_blank\">20th Street Block Party\u003c/a>, the free outdoor festival held in the Mission District.\u003c/p>\n\u003cp>Held Aug. 18, this year’s 20th Street Block Party features performances by Empress Of, Jeff Rosenstock, The Marias and other groups, with more to be announced in the near future.\u003c/p>\n\u003cp>Empress Of is the electro-synth-pop project of Latin American-singer songwriter Lorely Rodriguez, who’s currently working on the follow-up to her critically acclaimed debut album \u003ci>Me\u003c/i>; festival-goers should anticipate hearing new tracks.\u003c/p>\n\u003cfigure id=\"attachment_13835557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-800x534.jpg\" alt=\"On stage during the 2017 20th Street Block Party\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On stage during the 2017 20th Street Block Party. \u003ccite>(Paige K Parsons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 2018 20th Block Street Party lineup also includes several local groups, such as San Francisco “\u003ca href=\"https://theshes.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">all female rock and roll quartet\u003c/a>” The She’s, pop punkers \u003ca href=\"https://thetotalbettys.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">The Total Bettys\u003c/a> and \u003ca href=\"https://fantheband.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">FAN\u003c/a>, the new solo project from Meric Long, the singer/guitarist of the Dodos. \u003c/p>\n\u003cp>The final act on the bill will be revealed in the coming weeks, as it will be determined by a contest Noise Pop is holding with DoTheBay. The winner will perform first on the festival’s main stage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The festival, which takes over the 20th Street corridor between Harrison and Bryant Streets, also features numerous food vendors and local artists. Over the past six years, the festival has grown into a massive event, drawing crowds over 20,000 and raising thousands for the Mission Language and Vocational School.\u003c/p>\n\u003cp>“We honestly love throwing on this event every summer, especially because it helps give back to our 20th Street neighborhood—the backyard to Noise Pop’s own offices,” Noise Pop general manager Dawson Ludwig said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To learn more about the festival, visit \u003ca href=\"http://www.20thstreetblockparty.com/\" rel=\"noopener\" target=\"_blank\">20thstreetblockparty.com\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "photos-and-recap-wine-bowties-feels-vi-at-the-craneway-pavilion",
"title": "Photos and Recap: Wine & Bowties' FEELS VI at the Craneway Pavilion",
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"content": "\u003cp>After a two-year absence, the \u003ca href=\"http://wineandbowties.com/\" rel=\"noopener\" target=\"_blank\">Wine & Bowties\u003c/a> crew brought back its massive party/show/festival/celebration FEELS at the Craneway Pavilion in Richmond over the weekend. Though the venue may have been more formal than its previous locations (the \u003ca href=\"https://www.kqed.org/arts/11628892/photos-feels-v-oaklands-hottest-underground-warehouse-party\" rel=\"noopener\" target=\"_blank\">past two FEELS\u003c/a> were held at American Steel warehouse in West Oakland), the inclusive atmosphere and staggering creative heft of music and art exploded bigger than ever.\u003c/p>\n\u003cfigure id=\"attachment_13835347\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/MG_5721-800x450.jpg\" alt=\"Mykki Blanco plays FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mykki Blanco plays FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003cp>Highlights near the end of the night included Mykki Blanco’s spastic run through the crowd to climb a warehouse scaffold, Bbymutha’s confident set of slaps on a side stage, and Princess Nokia’s festival-closing, stagedive-peppered set. Artwork from Jeffrey Cheung, Sadie Barnette, Yetunde Olagbaju, and many others filled the hall; Zachary Fox \u003ca href=\"https://www.instagram.com/p/BkIuaxwFox4/\" rel=\"noopener\" target=\"_blank\">recreated his teenage bedroom\u003c/a> next to a couch area. But overall, the cross-collaborative environment is what makes FEELS quintessentially Bay Area; I knew at least two people who flew in from across the country to celebrate its return. Even Kehlani came through.\u003c/p>\n\u003cfigure id=\"attachment_13835343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/MG_5173-2-800x450.jpg\" alt=\"Kehlani attends FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. Estefany Gonzalez)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani attends FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez) \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Kelis hit the stage, the whole warehouse was lit in a steady stream of movement. Princess Nokia’s closing set, stagedives and all, capped the night—one where, more than ever, \u003ca href=\"https://twitter.com/OGpenn/status/1008260676924477440\" rel=\"noopener\" target=\"_blank\">the people were the artwork\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Photos below\u003c/strong>. \u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13835288,13835285,13835273,13835276,13835259,13835284,13835251,13835281,13835236,13835226,13835228,13835231,13835233,13835238,13835241,13835243,13835244,13835252,13835246,13835287,13835286,13835283,13835279,13835280,13835282,13835277,13835275,13835274,13835272,13835271,13835270,13835269,13835268,13835262,13835265,13835266,13835267,13835261,13835260,13835256,13835255,13835249,13835250,13835253,13835248,13835247,13835239,13835240,13835242,13835237,13835234\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cem>All photos by Estefany Gonzalez.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The East Bay's massive warehouse party made its anticipated return Saturday with an inclusive, cross-collaborative explosion of music and art.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a two-year absence, the \u003ca href=\"http://wineandbowties.com/\" rel=\"noopener\" target=\"_blank\">Wine & Bowties\u003c/a> crew brought back its massive party/show/festival/celebration FEELS at the Craneway Pavilion in Richmond over the weekend. Though the venue may have been more formal than its previous locations (the \u003ca href=\"https://www.kqed.org/arts/11628892/photos-feels-v-oaklands-hottest-underground-warehouse-party\" rel=\"noopener\" target=\"_blank\">past two FEELS\u003c/a> were held at American Steel warehouse in West Oakland), the inclusive atmosphere and staggering creative heft of music and art exploded bigger than ever.\u003c/p>\n\u003cfigure id=\"attachment_13835347\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/MG_5721-800x450.jpg\" alt=\"Mykki Blanco plays FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mykki Blanco plays FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003cp>Highlights near the end of the night included Mykki Blanco’s spastic run through the crowd to climb a warehouse scaffold, Bbymutha’s confident set of slaps on a side stage, and Princess Nokia’s festival-closing, stagedive-peppered set. Artwork from Jeffrey Cheung, Sadie Barnette, Yetunde Olagbaju, and many others filled the hall; Zachary Fox \u003ca href=\"https://www.instagram.com/p/BkIuaxwFox4/\" rel=\"noopener\" target=\"_blank\">recreated his teenage bedroom\u003c/a> next to a couch area. But overall, the cross-collaborative environment is what makes FEELS quintessentially Bay Area; I knew at least two people who flew in from across the country to celebrate its return. Even Kehlani came through.\u003c/p>\n\u003cfigure id=\"attachment_13835343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/MG_5173-2-800x450.jpg\" alt=\"Kehlani attends FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. Estefany Gonzalez)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani attends FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez) \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Kelis hit the stage, the whole warehouse was lit in a steady stream of movement. Princess Nokia’s closing set, stagedives and all, capped the night—one where, more than ever, \u003ca href=\"https://twitter.com/OGpenn/status/1008260676924477440\" rel=\"noopener\" target=\"_blank\">the people were the artwork\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Photos below\u003c/strong>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Josiah Wise has face tattoos and a prominent septum piercing that almost touches his lips. Some days he wears bright blue makeup, or colors his facial hair neon pink. He has a collection of dolls and often carries one with him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/620364558/620939210\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Equally eclectic is his musical background. He grew up singing in church choir, attended college for classical music, and now is finding his sound at a cross-section of gospel, R&B and avant-garde pop, performing under the name \u003ca href=\"https://www.npr.org/artists/591500094/serpentwithfeet\" target=\"_blank\" rel=\"noopener\">serpentwithfeet\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13835422\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album.jpg\" alt=\"serpentwithfeet, 'Soil'\" width=\"400\" height=\"400\" class=\"size-full wp-image-13835422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">serpentwithfeet, ‘Soil’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On his full-length debut album, \u003cem>soil \u003c/em>(released June 8), he looks back to the sounds of his religious upbringing while crafting language to express living as a queer black person in the present. Wise was closeted growing up — partially to avoid conflict, he says, but mainly because he didn’t have the language to express himself.\u003c/p>\n\u003cp>“Me being inconspicuous growing up, or people around me maybe not being comfortable, was because I didn’t know what was going on,” he says. “I didn’t know how to talk about how I was feeling.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wise says he wanted to be able to have a full conversation about the way he felt, not just about sex or attraction: “It just needed to be a full conversation, because my day is a queer day. I eat breakfast queer. I walk queer. I think that takes time for a young person.”\u003c/p>\n\u003cp>As he’s found his voice, others have taken notice. \u003ca href=\"https://www.npr.org/artists/15191158/bjork\">Bjork\u003c/a> featured him on a \u003ca href=\"https://open.spotify.com/album/08G1xcaXGSR4rywf6DsqAH\">remix \u003c/a>of her song “Blissing Me” last year, and he toured as an opener for \u003ca href=\"https://www.npr.org/artists/14866307/grizzly-bear\">Grizzly Bear\u003c/a>. With a sonic semblance to peers like \u003ca href=\"https://www.npr.org/artists/250255694/childish-gambino\">Childish Gambino\u003c/a>, \u003ca href=\"https://www.npr.org/artists/186483722/thundercat\">Thundercat\u003c/a> and \u003ca href=\"https://www.npr.org/artists/537778695/moses-sumney\">Moses Sumney\u003c/a>, Wise is positioning himself within the ranks of neo-soul staples.\u003c/p>\n\u003cp>Wise spoke about the musical and emotional road to the creation of \u003cem>soil\u003c/em> with NPR’s Rachel Martin. Hear their conversation at the audio link.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Web intern Emily Abshire contributed to this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=serpentwithfeet+Crafts+His+Own+Language+For+Queer+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Josiah Wise has face tattoos and a prominent septum piercing that almost touches his lips. Some days he wears bright blue makeup, or colors his facial hair neon pink. He has a collection of dolls and often carries one with him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/620364558/620939210\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Equally eclectic is his musical background. He grew up singing in church choir, attended college for classical music, and now is finding his sound at a cross-section of gospel, R&B and avant-garde pop, performing under the name \u003ca href=\"https://www.npr.org/artists/591500094/serpentwithfeet\" target=\"_blank\" rel=\"noopener\">serpentwithfeet\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13835422\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album.jpg\" alt=\"serpentwithfeet, 'Soil'\" width=\"400\" height=\"400\" class=\"size-full wp-image-13835422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/serpentwithfeet_soil_album-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">serpentwithfeet, ‘Soil’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On his full-length debut album, \u003cem>soil \u003c/em>(released June 8), he looks back to the sounds of his religious upbringing while crafting language to express living as a queer black person in the present. Wise was closeted growing up — partially to avoid conflict, he says, but mainly because he didn’t have the language to express himself.\u003c/p>\n\u003cp>“Me being inconspicuous growing up, or people around me maybe not being comfortable, was because I didn’t know what was going on,” he says. “I didn’t know how to talk about how I was feeling.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wise says he wanted to be able to have a full conversation about the way he felt, not just about sex or attraction: “It just needed to be a full conversation, because my day is a queer day. I eat breakfast queer. I walk queer. I think that takes time for a young person.”\u003c/p>\n\u003cp>As he’s found his voice, others have taken notice. \u003ca href=\"https://www.npr.org/artists/15191158/bjork\">Bjork\u003c/a> featured him on a \u003ca href=\"https://open.spotify.com/album/08G1xcaXGSR4rywf6DsqAH\">remix \u003c/a>of her song “Blissing Me” last year, and he toured as an opener for \u003ca href=\"https://www.npr.org/artists/14866307/grizzly-bear\">Grizzly Bear\u003c/a>. With a sonic semblance to peers like \u003ca href=\"https://www.npr.org/artists/250255694/childish-gambino\">Childish Gambino\u003c/a>, \u003ca href=\"https://www.npr.org/artists/186483722/thundercat\">Thundercat\u003c/a> and \u003ca href=\"https://www.npr.org/artists/537778695/moses-sumney\">Moses Sumney\u003c/a>, Wise is positioning himself within the ranks of neo-soul staples.\u003c/p>\n\u003cp>Wise spoke about the musical and emotional road to the creation of \u003cem>soil\u003c/em> with NPR’s Rachel Martin. Hear their conversation at the audio link.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Web intern Emily Abshire contributed to this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=serpentwithfeet+Crafts+His+Own+Language+For+Queer+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A Pennsylvania judge said Monday she’ll rule in “due time” after an evidence hearing to determine whether rapper Meek Mill should get a new trial in his decade-old gun and drug convictions.\u003c/p>\n\u003cp>Mill’s attorneys have asked for a new trial based on credibility issues with former Philadelphia police officer Reginald Graham, who was pivotal in his arrest in 2007 and who testified at his trial. The Philadelphia district attorney’s office supported the request for a new trial, agreeing before Monday’s hearing that the “Commonwealth does not have confidence in the credibility of Reginald Graham’s testimony in this case.”\u003c/p>\n\u003cp>The attorneys also agreed that another officer who was part of Mill’s original arrest had given credible sworn testimony that contradicted Graham’s. The district attorney’s office also said it had information as early as 2014 related to Graham’s misconduct that was not shared with Mill’s attorneys until this year.\u003c/p>\n\u003cp>Despite the agreement, Judge Genece Brinkley scheduled an evidence hearing and said Monday she needed more time to review evidence that Graham had credibility issues in this case before ruling whether to allow a new trial.\u003c/p>\n\u003cp>A different Philadelphia judge has agreed to overturn convictions in at least three other cases in which Graham gave testimony, all without evidentiary hearings. The district attorney’s office decided not to retry those cases.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mill’s attorneys said after the two-hour hearing Monday that the interactions with Brinkley were confrontational. One said Brinkley laughed at testimony from an expert witness, and another said her language during the hearing suggested that she had already decided to rule against Mill’s request.\u003c/p>\n\u003cp>The state Supreme Court recently split on a request by Mill’s attorneys to remove Brinkley from his case earlier this month. Three justices said they would grant the request to remove his case from Brinkley, while three others said they would deny it or they had not heard enough to grant the request.\u003c/p>\n\u003cp>Brinkley sentenced Mill in November to two to four years in prison for violating probation related to two charges that were dismissed. She found him in technical violation of probation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mill served almost five months of the sentence before the state Supreme Court ordered his release on bond.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mill’s attorneys said after the two-hour hearing Monday that the interactions with Brinkley were confrontational. One said Brinkley laughed at testimony from an expert witness, and another said her language during the hearing suggested that she had already decided to rule against Mill’s request.\u003c/p>\n\u003cp>The state Supreme Court recently split on a request by Mill’s attorneys to remove Brinkley from his case earlier this month. Three justices said they would grant the request to remove his case from Brinkley, while three others said they would deny it or they had not heard enough to grant the request.\u003c/p>\n\u003cp>Brinkley sentenced Mill in November to two to four years in prison for violating probation related to two charges that were dismissed. She found him in technical violation of probation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mill served almost five months of the sentence before the state Supreme Court ordered his release on bond.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Beyoncé released a joint album with Jay-Z on Saturday, titled \u003cem>Everything is Love\u003c/em> and credited to “The Carters.” In addition to the album, the couple released a bonus single “SALUD” and a video for album track “APESHIT,” filmed at the Louvre in Paris. \u003c/p>\n\u003cfigure id=\"attachment_13835217\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/everything.jpg\" alt=\"'Everything is Love' album cover.\" width=\"640\" height=\"640\" class=\"size-full wp-image-13835217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Everything is Love’ album cover.\u003c/figcaption>\u003c/figure>\n\u003cp>Rumors of a collaborative album have swirled for months, especially after the couple announced a joint tour together. The release of \u003cem>Everything is Love\u003c/em> comes at the end of that tour’s leg in England; an announcement was broadcast at Beyoncé and Jay-Z’s London show. \u003c/p>\n\u003cp>https://twitter.com/deborahh_v/status/1008109092802646019\u003c/p>\n\u003cp>The album features Migos, Pharrell and others, including a guest appearance by Blue Ivy Carter, shouting out her new siblings. The album finds Jay-Z dissing the NFL and the Grammys, and a swipe at Spotify. (Notably, the album comes in the middle of Kanye West’s \u003ca href=\"https://www.spin.com/2018/05/kanye-tweets-tracklists-good-music-albums/\" rel=\"noopener\" target=\"_blank\">blitz of weekly albums\u003c/a> from his associated artists.)\u003c/p>\n\u003cp>\u003cdel datetime=\"2018-06-18T16:23:11+00:00\">At post time, the album is only available on Tidal\u003c/del>. UPDATE: It’s \u003ca href=\"https://twitter.com/nprmusic/status/1008666725661986816\" rel=\"noopener\" target=\"_blank\">now on Spotify\u003c/a>. Beyoncé and Jay-Z are on the On The Run Tour II through the fall, which hits the Bay Area in September.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Jermaine Dupri is a hip-hop and R&B hitmaker. His songs have sold millions of copies, topped music charts throughout the 1990s and early 2000s and helped launch the careers of \u003ca href=\"https://www.npr.org/tags/180505108/kris-kross\" target=\"_blank\" rel=\"noopener\">Kriss Kross\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15817733/usher\" target=\"_blank\" rel=\"noopener\">Usher\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15324690/mariah-carey\" target=\"_blank\" rel=\"noopener\">Mariah Carey\u003c/a> and many others. Now, the 30-year music veteran has been inducted into \u003ca href=\"https://www.songhall.org/\">The Songwriters Hall of Fame\u003c/a>. Dupri is only the second hip-hop artist to be so honored. (\u003ca href=\"https://www.npr.org/artists/16318474/jay-z\" target=\"_blank\" rel=\"noopener\">Jay-Z\u003c/a> was \u003ca href=\"https://www.npr.org/sections/therecord/2017/02/22/516641140/jay-z-is-the-first-rapper-to-be-elected-to-songwriters-hall-of-fame\" target=\"_blank\" rel=\"noopener\">inducted\u003c/a> last year.) “To be mentioned in the same breath as people I admire means everything to me,” Dupri says, citing Motown Records founder Berry Gordy Jr. as source of inspiration.\u003c/p>\n\u003cp>According to Dupri, the key to writing a hit song is to focus on the hook as the driving force. That’s what he did when penning his first big record, Kriss Kross’s 1992 breakout single “Jump.” Dupri says he wrote the song in 30 minutes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=010KyIQjkTk\u003c/p>\n\u003cp>“It’s a thing that happens where you start writing a song, it’s a burning feeling that you have to finish it. Once I had the first verse, you don’t want to hear the song incomplete,” he explains. “I’ve written other songs just as fast, but that was the first time I had that feeling.”\u003c/p>\n\u003cp>For Dupri, this Hall of Fame honor is special because it highlights a talent he feels he doesn’t get enough credit for. He remembers being at a pool in Mexico and watching a pool full of people sing Usher’s “You Make Me Wanna…” never realizing he wrote it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bQRzrnH6_HY\u003c/p>\n\u003cp>“Some people see Jermaine Dupri as a producer and they don’t really know what the songwriting skills are,” he says. “That’s why I’m so proud about this induction because it makes you pay attention to me writing songs and sitting down and thinking of these stories that people fall in love with.” \u003c/p>\n\u003cp>In honor of his induction, enjoy a NPR Music playlist of Jermaine Dupri’s hits from the ’90s until now. \u003c/p>\n\u003cp>\u003cem>Web editor Sidney Madden contributed to this story.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Auser%3Anpr_music%3Aplaylist%3A2QL4gjl6kiepLkcSsPqq3B\" width=\"600\" height=\"480\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jermaine+Durpri+Is+A+Songwriters+Hall+Of+Famer+And+We+Have+The+Playlist+To+Prove+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jermaine Dupri is a hip-hop and R&B hitmaker. His songs have sold millions of copies, topped music charts throughout the 1990s and early 2000s and helped launch the careers of \u003ca href=\"https://www.npr.org/tags/180505108/kris-kross\" target=\"_blank\" rel=\"noopener\">Kriss Kross\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15817733/usher\" target=\"_blank\" rel=\"noopener\">Usher\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15324690/mariah-carey\" target=\"_blank\" rel=\"noopener\">Mariah Carey\u003c/a> and many others. Now, the 30-year music veteran has been inducted into \u003ca href=\"https://www.songhall.org/\">The Songwriters Hall of Fame\u003c/a>. Dupri is only the second hip-hop artist to be so honored. (\u003ca href=\"https://www.npr.org/artists/16318474/jay-z\" target=\"_blank\" rel=\"noopener\">Jay-Z\u003c/a> was \u003ca href=\"https://www.npr.org/sections/therecord/2017/02/22/516641140/jay-z-is-the-first-rapper-to-be-elected-to-songwriters-hall-of-fame\" target=\"_blank\" rel=\"noopener\">inducted\u003c/a> last year.) “To be mentioned in the same breath as people I admire means everything to me,” Dupri says, citing Motown Records founder Berry Gordy Jr. as source of inspiration.\u003c/p>\n\u003cp>According to Dupri, the key to writing a hit song is to focus on the hook as the driving force. That’s what he did when penning his first big record, Kriss Kross’s 1992 breakout single “Jump.” Dupri says he wrote the song in 30 minutes.\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/010KyIQjkTk'\n title='//www.youtube.com/embed/010KyIQjkTk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s a thing that happens where you start writing a song, it’s a burning feeling that you have to finish it. Once I had the first verse, you don’t want to hear the song incomplete,” he explains. “I’ve written other songs just as fast, but that was the first time I had that feeling.”\u003c/p>\n\u003cp>For Dupri, this Hall of Fame honor is special because it highlights a talent he feels he doesn’t get enough credit for. He remembers being at a pool in Mexico and watching a pool full of people sing Usher’s “You Make Me Wanna…” never realizing he wrote it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.eventbrite.com/e/feels-6-with-kelis-princess-nokia-mykki-blanco-more-tickets-45007616994\" target=\"_blank\" rel=\"noopener\">Feels 6\u003c/a>, an Oakland-born art and music fest, is resurfacing in Richmond on June 16 after a two year lull, with headliners Kelis, Princess Nokia and Mykki Blanco. And Wine & Bowties, the creative collective behind the event, announced Friday morning that the visual art preview on June 15 will feature \u003ca href=\"https://www.eventbrite.com/e/janelle-monaes-dirty-computer-pop-up-screening-at-feels-6-tickets-47097938201\" target=\"_blank\" rel=\"noopener\">a screening\u003c/a> of Janelle Monáe’s “emotion picture,” or short film, \u003cem>Dirty Computer\u003c/em>, hosted by the artist herself.\u003c/span>\u003c/p>\n\u003cp>Previously, the June 15 art preview was for VIP ticket holders only, but there are now a limited number of free spots to attend the screening with Monáe, and \u003ca href=\"https://www.eventbrite.com/e/janelle-monaes-dirty-computer-pop-up-screening-at-feels-6-tickets-47097938201\" target=\"_blank\" rel=\"noopener\">RSVP\u003c/a> is required. The June 15 event also features a solo performance from experimental singer-songwriter Lonnie Holley and short film screenings from filmmakers Yetunde Olagbaju, Summer Mason, Mark Sabb, Laneya Billingsley and more.\u003c/p>\n\u003cp>This year’s Feels is unlike previous editions. Once held at the industrial warehouse American Steel in West Oakland, the party made the move to Craneway Pavilion, a glass-paneled, 45,000-square-foot concert hall with views of the San Francisco Bay, following the sale of its previous location.\u003c/p>\n\u003cfigure id=\"attachment_13829093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829093\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Wine & Bowties’ Feels 6 announcement party at the Berkeley Art Museum and Pacific Film Archive on Apr. 10, 2018. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s event has a notable majority of female and LGBTQ performers on its musical lineup. Rappers Queens D. Light and Siri; DJs Fela Kutchii, B-Side Brujas, Namaste Shawty and Russell E.L. Butler; and experimental singer-songwriter Spellling are featured on the bill, in addition to rising rappers Allblack and Rexx Life Raj and electronic musician Yves Tumor.\u003c/p>\n\u003cp>The visual arts lineup includes Chaz Bear, Kesh, Sadie Barnette, Zack Fox, Dicko Chan, Jeffrey Cheung, Sofía Córdova, Muae Sesay, Ali Madigan, Azha Ayanna Luckman, David Huffman, House of Milico, Sko Habibi, Ezra Miller, Mark Sabb, Oliva Krause, Rewina Beshue, Jjaahz, Laneya Billingsley and Flatspot. Details \u003ca href=\"http://feels6.tv/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.eventbrite.com/e/feels-6-with-kelis-princess-nokia-mykki-blanco-more-tickets-45007616994\" target=\"_blank\" rel=\"noopener\">Feels 6\u003c/a>, an Oakland-born art and music fest, is resurfacing in Richmond on June 16 after a two year lull, with headliners Kelis, Princess Nokia and Mykki Blanco. And Wine & Bowties, the creative collective behind the event, announced Friday morning that the visual art preview on June 15 will feature \u003ca href=\"https://www.eventbrite.com/e/janelle-monaes-dirty-computer-pop-up-screening-at-feels-6-tickets-47097938201\" target=\"_blank\" rel=\"noopener\">a screening\u003c/a> of Janelle Monáe’s “emotion picture,” or short film, \u003cem>Dirty Computer\u003c/em>, hosted by the artist herself.\u003c/span>\u003c/p>\n\u003cp>Previously, the June 15 art preview was for VIP ticket holders only, but there are now a limited number of free spots to attend the screening with Monáe, and \u003ca href=\"https://www.eventbrite.com/e/janelle-monaes-dirty-computer-pop-up-screening-at-feels-6-tickets-47097938201\" target=\"_blank\" rel=\"noopener\">RSVP\u003c/a> is required. The June 15 event also features a solo performance from experimental singer-songwriter Lonnie Holley and short film screenings from filmmakers Yetunde Olagbaju, Summer Mason, Mark Sabb, Laneya Billingsley and more.\u003c/p>\n\u003cp>This year’s Feels is unlike previous editions. Once held at the industrial warehouse American Steel in West Oakland, the party made the move to Craneway Pavilion, a glass-paneled, 45,000-square-foot concert hall with views of the San Francisco Bay, following the sale of its previous location.\u003c/p>\n\u003cfigure id=\"attachment_13829093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829093\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Wine & Bowties’ Feels 6 announcement party at the Berkeley Art Museum and Pacific Film Archive on Apr. 10, 2018. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s event has a notable majority of female and LGBTQ performers on its musical lineup. Rappers Queens D. Light and Siri; DJs Fela Kutchii, B-Side Brujas, Namaste Shawty and Russell E.L. Butler; and experimental singer-songwriter Spellling are featured on the bill, in addition to rising rappers Allblack and Rexx Life Raj and electronic musician Yves Tumor.\u003c/p>\n\u003cp>The visual arts lineup includes Chaz Bear, Kesh, Sadie Barnette, Zack Fox, Dicko Chan, Jeffrey Cheung, Sofía Córdova, Muae Sesay, Ali Madigan, Azha Ayanna Luckman, David Huffman, House of Milico, Sko Habibi, Ezra Miller, Mark Sabb, Oliva Krause, Rewina Beshue, Jjaahz, Laneya Billingsley and Flatspot. Details \u003ca href=\"http://feels6.tv/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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