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"title": "SFO’s Harvey Milk Terminal 1 to Open With New Public Art",
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"content": "\u003cp>When you’re listing off the Bay Area’s great art collections, chances are you’re forgetting one very important stockpile of visual art—the airport.\u003c/p>\n\u003cp>Outside of local museums, the San Francisco International Airport is, in fact, home to the largest and most valuable public collection of art in the region. \u003c/p>\n\u003cp>And it’s getting bigger.\u003c/p>\n\u003cp>[aside postID='arts_10998106' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2015/10/EllingsonCover-1180x664.jpg']\u003c/p>\n\u003cp>When the Harvey Milk Terminal 1 opens with nine of its planned 25 gates on July 23, it will contain five new public art commissions and 25 two-dimensional works, many of which are by Bay Area artists. Ultimately, the terminal will be home to a total of 14 new public artworks.\u003c/p>\n\u003cp>The terminal’s redesign and expansion will continue until 2023, but it’s the steady whine of construction that funds the airport’s art—SFO is subject to the Art Enrichment Ordinance, which requires two percent of the gross construction costs of publicly funded capital projects be allocated for public art. \u003c/p>\n\u003cp>As the first airport terminal in the world named for an LGBTQ+ leader, it’s fitting that a huge amount of temporary wall space is given over to the text and images of \u003ci>Harvey Milk: Messenger of Hope\u003c/i>, an SFO museum exhibit that will remain in place for at least two years. \u003c/p>\n\u003cfigure id=\"attachment_13860224\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200.jpg\" alt=\"Rendering of Mark Handforth's ' Cadmium Red Giant' in Harvey Milk Terminal 1, SFO.\" width=\"1200\" height=\"1043\" class=\"size-full wp-image-13860224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200-800x695.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200-768x668.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200-1020x887.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of Mark Handforth’s ‘ Cadmium Red Giant’ in Harvey Milk Terminal 1, SFO. \u003ccite>(Courtesy of the San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have high hopes for the future of San Francisco,” reads a quote from Milk, in a block of introductory wall text just after the terminal’s security checkpoint. Stretching 380 feet, the exhibit includes dramatically blown-up images of Milk meeting with constituents; ephemera from his runs for city supervisor; newspaper articles documenting his assassination, along with that of Mayor George Moscone, by former Supervisor Dan White; and one particularly heartfelt handwritten note of condolence.\u003c/p>\n\u003cp>The nearly 100 images were gathered from the San Francisco Public Library and the GLBT Historical Society—and a November 2018 public call for images, which yielded some results that will actually enter the aforementioned collections, SFO Museum representatives say. \u003c/p>\n\u003cfigure id=\"attachment_13860222\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/AMC1738_Untitled_sm_web.jpg\" alt=\"Artwork by Alicia McCarthy inside Harvey Milk Terminal 1 at the San Francisco International Airport.\" width=\"500\" height=\"495\" class=\"size-full wp-image-13860222\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AMC1738_Untitled_sm_web.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AMC1738_Untitled_sm_web-160x158.jpg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by Alicia McCarthy inside Harvey Milk Terminal 1 at the San Francisco International Airport. \u003ccite>(Courtesy of the San Francisco Arts Comission )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Until Terminal 1 construction is completed, this impressive display is only available to ticketed passengers, but a permanent (and much smaller) exhibition on the life and legacy of Harvey Milk will be installed outside the security checkpoint for the general public in 2021.\u003c/p>\n\u003cp>What isn’t going away is the first batch of the terminal’s permanent public artworks: two mosaic murals (\u003ca href=\"http://www.robertminervini.com/\" rel=\"noopener\" target=\"_blank\">Robert Minervini\u003c/a> and \u003ca href=\"http://www.jasonjagel.com/\" rel=\"noopener\" target=\"_blank\">Jason Jägel\u003c/a>), two hanging sculptures (\u003ca href=\"http://lizglynn.work/\" rel=\"noopener\" target=\"_blank\">Liz Glynn\u003c/a> and \u003ca href=\"https://gavinbrown.biz/artists/mark_handforth/works\" rel=\"noopener\" target=\"_blank\">Mark Hanforth\u003c/a>) and a wall installation (\u003ca href=\"https://art21.org/artist/leonardo-drew/\" rel=\"noopener\" target=\"_blank\">Leonardo Drew\u003c/a>).\u003c/p>\n\u003cp>Such artworks fulfill many functions at the airport, says Susan Pontious, the SFAC’s civic art collection and public art program director. One is wayfinding. Such as: “Meet me under that witchy red metal star with the silver tree branch and neon bits” (Hanforth’s \u003ci>Cadmium Red Giant\u003c/i>).\u003c/p>\n\u003cp>Another is as an introduction to the particular aesthetics of San Francisco. See the terminal’s “Mission Wall,” an alcove hung with two-dimensional work by artists associated with the Mission School—Barry McGee, Chris Johanson and Alicia McCarthy.\u003c/p>\n\u003cp>And then there’s the bald reality of how most people will spend quality time with SFO’s art: waiting for flights. Here we have Minervini’s delightfully intricate mosaic piece, \u003ci>Hyper-Natural Bay Area\u003c/i>, designed like a window looking across the Bay to a blue-hued San Francisco skyline (with the Salesforce tower still under construction). On the window’s “ledge,” an assortment of potted plants, cats, classical and Brancusi-looking sculpture, and a friendly wooden bear take shape courtesy of what Minervini estimates are millions of tile pieces. \u003c/p>\n\u003cfigure id=\"attachment_13860223\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200.jpg\" alt=\"Rendering of Jason Jagel's 'The Author & Her Story,' in Harvey Milk Terminal 1, SFO.\" width=\"1200\" height=\"679\" class=\"size-full wp-image-13860223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200-1020x577.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of Jason Jagel’s ‘The Author & Her Story,’ in Harvey Milk Terminal 1, SFO. \u003ccite>(Courtesy of the San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few gates down, Jägel’s \u003ci>The Author & Her Story\u003c/i>—despite being made from glazed tile and stretched to 13-by-33 feet—retains the rich, moody hues of the original oil painting that served as its model. Its fantastical scene of multicolored characters sitting around a sphere (a globe? a fortune teller’s crystal ball?) spreads to the mural’s very margins, suggesting imaginative possibilities beyond the tiles’ edges. Suffice to say: Both mosaics are full of details to keep the impatient traveler engaged and amused. \u003c/p>\n\u003cp>Unfortunately, the most unconventional pieces of the five new public artworks are the ones that might be hardest to observe for any substantial period of time. Drew’s \u003ci>Number 69S\u003c/i>, assembled from recycled materials and past artworks, spans three walls of a boarding area’s bulkheads and is best viewed from the center of the terminal walkway, likely to be too busy for looky-looing. \u003c/p>\n\u003cp>And Liz Glynn’s incredible \u003ci>Terra-Techne\u003c/i> hangs above the terminal’s new security check-in area—six separate representations of the world’s continents. Seen from below, cast stainless steel plants native to California seem to grow upside-down from each land mass. From above, Glynn covers the continents in circuit-board patterns made up of three-dimensional terracotta tiles.\u003c/p>\n\u003cp>Which is all to say: Next time you fly Jet Blue or Southwest, you might end up hoping for some slow lines. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003ci>Harvey Milk Terminal 1 opens to the public on July 23, 2019, with a free community day scheduled for Saturday, July 20. \u003ca href=\"https://www.eventbrite.com/e/sfo-harvey-milk-terminal-1-community-day-tickets-61464561157\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When the Harvey Milk Terminal 1 opens with nine of its planned 25 gates on July 23, it will contain five new public art commissions and 25 two-dimensional works, many of which are by Bay Area artists. Ultimately, the terminal will be home to a total of 14 new public artworks.\u003c/p>\n\u003cp>The terminal’s redesign and expansion will continue until 2023, but it’s the steady whine of construction that funds the airport’s art—SFO is subject to the Art Enrichment Ordinance, which requires two percent of the gross construction costs of publicly funded capital projects be allocated for public art. \u003c/p>\n\u003cp>As the first airport terminal in the world named for an LGBTQ+ leader, it’s fitting that a huge amount of temporary wall space is given over to the text and images of \u003ci>Harvey Milk: Messenger of Hope\u003c/i>, an SFO museum exhibit that will remain in place for at least two years. \u003c/p>\n\u003cfigure id=\"attachment_13860224\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200.jpg\" alt=\"Rendering of Mark Handforth's ' Cadmium Red Giant' in Harvey Milk Terminal 1, SFO.\" width=\"1200\" height=\"1043\" class=\"size-full wp-image-13860224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200-800x695.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200-768x668.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Mark-Handforth_1200-1020x887.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of Mark Handforth’s ‘ Cadmium Red Giant’ in Harvey Milk Terminal 1, SFO. \u003ccite>(Courtesy of the San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have high hopes for the future of San Francisco,” reads a quote from Milk, in a block of introductory wall text just after the terminal’s security checkpoint. Stretching 380 feet, the exhibit includes dramatically blown-up images of Milk meeting with constituents; ephemera from his runs for city supervisor; newspaper articles documenting his assassination, along with that of Mayor George Moscone, by former Supervisor Dan White; and one particularly heartfelt handwritten note of condolence.\u003c/p>\n\u003cp>The nearly 100 images were gathered from the San Francisco Public Library and the GLBT Historical Society—and a November 2018 public call for images, which yielded some results that will actually enter the aforementioned collections, SFO Museum representatives say. \u003c/p>\n\u003cfigure id=\"attachment_13860222\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/AMC1738_Untitled_sm_web.jpg\" alt=\"Artwork by Alicia McCarthy inside Harvey Milk Terminal 1 at the San Francisco International Airport.\" width=\"500\" height=\"495\" class=\"size-full wp-image-13860222\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AMC1738_Untitled_sm_web.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/AMC1738_Untitled_sm_web-160x158.jpg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by Alicia McCarthy inside Harvey Milk Terminal 1 at the San Francisco International Airport. \u003ccite>(Courtesy of the San Francisco Arts Comission )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Until Terminal 1 construction is completed, this impressive display is only available to ticketed passengers, but a permanent (and much smaller) exhibition on the life and legacy of Harvey Milk will be installed outside the security checkpoint for the general public in 2021.\u003c/p>\n\u003cp>What isn’t going away is the first batch of the terminal’s permanent public artworks: two mosaic murals (\u003ca href=\"http://www.robertminervini.com/\" rel=\"noopener\" target=\"_blank\">Robert Minervini\u003c/a> and \u003ca href=\"http://www.jasonjagel.com/\" rel=\"noopener\" target=\"_blank\">Jason Jägel\u003c/a>), two hanging sculptures (\u003ca href=\"http://lizglynn.work/\" rel=\"noopener\" target=\"_blank\">Liz Glynn\u003c/a> and \u003ca href=\"https://gavinbrown.biz/artists/mark_handforth/works\" rel=\"noopener\" target=\"_blank\">Mark Hanforth\u003c/a>) and a wall installation (\u003ca href=\"https://art21.org/artist/leonardo-drew/\" rel=\"noopener\" target=\"_blank\">Leonardo Drew\u003c/a>).\u003c/p>\n\u003cp>Such artworks fulfill many functions at the airport, says Susan Pontious, the SFAC’s civic art collection and public art program director. One is wayfinding. Such as: “Meet me under that witchy red metal star with the silver tree branch and neon bits” (Hanforth’s \u003ci>Cadmium Red Giant\u003c/i>).\u003c/p>\n\u003cp>Another is as an introduction to the particular aesthetics of San Francisco. See the terminal’s “Mission Wall,” an alcove hung with two-dimensional work by artists associated with the Mission School—Barry McGee, Chris Johanson and Alicia McCarthy.\u003c/p>\n\u003cp>And then there’s the bald reality of how most people will spend quality time with SFO’s art: waiting for flights. Here we have Minervini’s delightfully intricate mosaic piece, \u003ci>Hyper-Natural Bay Area\u003c/i>, designed like a window looking across the Bay to a blue-hued San Francisco skyline (with the Salesforce tower still under construction). On the window’s “ledge,” an assortment of potted plants, cats, classical and Brancusi-looking sculpture, and a friendly wooden bear take shape courtesy of what Minervini estimates are millions of tile pieces. \u003c/p>\n\u003cfigure id=\"attachment_13860223\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200.jpg\" alt=\"Rendering of Jason Jagel's 'The Author & Her Story,' in Harvey Milk Terminal 1, SFO.\" width=\"1200\" height=\"679\" class=\"size-full wp-image-13860223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Jason-Jagel_1200-1020x577.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of Jason Jagel’s ‘The Author & Her Story,’ in Harvey Milk Terminal 1, SFO. \u003ccite>(Courtesy of the San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few gates down, Jägel’s \u003ci>The Author & Her Story\u003c/i>—despite being made from glazed tile and stretched to 13-by-33 feet—retains the rich, moody hues of the original oil painting that served as its model. Its fantastical scene of multicolored characters sitting around a sphere (a globe? a fortune teller’s crystal ball?) spreads to the mural’s very margins, suggesting imaginative possibilities beyond the tiles’ edges. Suffice to say: Both mosaics are full of details to keep the impatient traveler engaged and amused. \u003c/p>\n\u003cp>Unfortunately, the most unconventional pieces of the five new public artworks are the ones that might be hardest to observe for any substantial period of time. Drew’s \u003ci>Number 69S\u003c/i>, assembled from recycled materials and past artworks, spans three walls of a boarding area’s bulkheads and is best viewed from the center of the terminal walkway, likely to be too busy for looky-looing. \u003c/p>\n\u003cp>And Liz Glynn’s incredible \u003ci>Terra-Techne\u003c/i> hangs above the terminal’s new security check-in area—six separate representations of the world’s continents. Seen from below, cast stainless steel plants native to California seem to grow upside-down from each land mass. From above, Glynn covers the continents in circuit-board patterns made up of three-dimensional terracotta tiles.\u003c/p>\n\u003cp>Which is all to say: Next time you fly Jet Blue or Southwest, you might end up hoping for some slow lines. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003ci>Harvey Milk Terminal 1 opens to the public on July 23, 2019, with a free community day scheduled for Saturday, July 20. \u003ca href=\"https://www.eventbrite.com/e/sfo-harvey-milk-terminal-1-community-day-tickets-61464561157\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'This Is Reparations:' S.F. School Board Votes to Paint Over Controversial High School Mural",
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"headTitle": "‘This Is Reparations:’ S.F. School Board Votes to Paint Over Controversial High School Mural | KQED",
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"content": "\u003cp>The San Francisco Board of Education voted Tuesday to paint over a mural series showing George Washington as a slave owner and promoter of the United States’ genocidal westward expansion, acknowledging decades of complaints about the depiction of a dead Native American and enslaved African Americans inside George Washington High School.\u003c/p>\n\u003cp>The unanimous vote instructed district staff to develop a plan to paint over all 13 panels of Victor Arnautoff’s “Life of Washington” mural, which is expected to cost some $600,000 and take more than a year to implement. In the event of “undue delay,” according to the amended motion by commissioner Mark Sanchez, the school board retains the option of covering the mural temporarily with paneling.\u003c/p>\n\u003cp>“This is reparations,” Sanchez said, dismissing concerns about estimated costs.\u003c/p>\n\u003cp>It was a decisive moment in a protracted debate, one propelled by the nationwide referendum on public monuments to racism, that found the school board going above and beyond district staff’s recommendation to obscure the mural with fabric or paneling, and instead heeding community members’ demands to “paint it down.” [aside postID=news_11756796,arts_13854510]\u003c/p>\n\u003cp>Paloma Flores, program coordinator for the school district’s Indian Education Program, joined with local high school students, recent George Washington graduates and Native American parents to oppose the mural during public comment Tuesday. “It’s not a matter of offense, it’s a matter of the right to learn without a hostile environment,” Flores said. “Intent does not negate lived experience.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The plan is still contingent on an environmental impact report, and appeals or legal challenges are expected: Lope Yap Jr., vice president of the high school’s alumni association and an outspoken mural supporter, said the group will sue to halt the mural destruction.\u003c/p>\n\u003cp>“We’ll use every tactic available,” Yap Jr. said, adding that there are “several grounds” for litigation.\u003c/p>\n\u003cfigure id=\"attachment_13854565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gwhs-main-800x342.jpg\" alt=\"A WPA-era mural by Victor Arnautoff depicting slave ownership is part of a new controversy at George Washington High School in San Francisco.\" width=\"800\" height=\"342\" class=\"size-medium wp-image-13854565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-main.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-main-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-main-768x328.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A WPA-era mural by Victor Arnautoff depicting slave ownership is part of a new controversy at George Washington High School in San Francisco. \u003ccite>(Courtesy George Washington High School Alumni Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnautoff, a Russian-born social realist, painted the 1,600 square-foot “Life of Washington” mural in 1936, showing the nation’s first president in various periods of his life. Two of the 13 panels are primarily at issue: One shows Washington among his slaves at Mount Vernon, while in another he directs white men with guns westward, over the body of an apparently slain Native American.\u003c/p>\n\u003cp>Asked if the board’s decision would apply to all or only parts of the mural, district spokesperson Laura Dudnick on Tuesday said “the options to cover the mural are for the entire mural.”\u003c/p>\n\u003cp>According to Arnautoff’s biographer Robert Cherny, the artist intended the mural as a “counter narrative,” or a corrective rebuke to the nation’s founding mythology. Supporters of the Works Progress Administration-funded frescoes cite the communist artist’s progressive motivations, decrying efforts to remove the artworks as censorship and a betrayal of history stemming from a lack of understanding and interpretative context.\u003c/p>\n\u003cp>“Political artworks like Arnautoff’s must not be confused with historic monuments such as Confederate statues, which are intended to send a clear racist message,” reads a recent statement from the National Coalition Against Censorship, echoing sentiments from New Deal scholars and Russian American organizations as well as local arts figures \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/bay-area-art-leaders-on-censorship-of-george-washington-high-mural\">polled\u003c/a> by the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cp>However, critics of the artwork, a camp including many students and Native American parents, have recently, as well as in decades past, argued that the depictions of slain and enslaved people of color have no place in a school lobby. They believe the artist’s intentions are irrelevant in light of the harm to young people of color daily confronted by images of their ancestors debased.\u003c/p>\n\u003cp>“Kids don’t see these images as helpful or powerful, they see them as insulting and demeaning,” George Washington High School student Kai Anderson-Lawson, who is Native American, said at a June 18 school board meeting. The notion that young indigenous people are at risk of forgetting their own history, Anderson-Lawson added, is offensive: “Generational trauma follows us.”\u003c/p>\n\u003cp>Barbara Mumby-Huerta, a San Francisco Arts Commission staffer who is Native American, pointed out at the same meeting that, for all the talk of historical accuracy, the mural actually shows ignorance of indigenous cultures. “To portray a Native person face down, dead, you are trapping their soul so that they can not move on,” she said.\u003c/p>\n\u003cp>(The San Francisco Arts Commission has not officially taken a position on the mural’s removal.)\u003c/p>\n\u003cp>The demographics of the opposing camps seemed to influence the board’s decision to paint over the mural. School board member Gabriela López noted at the June 18 meeting that the mural supporters offering public comment skewed older and white, saying they generally weren’t “representative of the people affected.”\u003c/p>\n\u003cp>Although the controversy dates back to the 1960s, it escalated beginning in 2017 amid a nationwide referendum on public monuments, in particular Confederate statues, to racism and exploitation. That year a preservationist nonprofit recommended George Washington High School for landmark status, a process the school board scuttled out of reluctance to enshrine the mural.\u003c/p>\n\u003cp>For guidance, the district convened a Reflection and Action Group, which held four public meetings before approving, by a vote of 10-1, a recommendation this past February to paint over all thirteen panels of “Life of Washington.” The committee referenced Cherny’s interpretation of Arnautoff’s work when it wrote that the “impact of this mural is greater than what its intent ever was; it’s not counter narrative if it traumatizes students and community members.”\u003c/p>\n\u003cp>Yap Jr., the lone dissenting Reflection and Action Group member, said he’s disappointed the school board declined to further consider the alumni association’s proposal to provide more context for the mural, and accused his critics of incivility. “Anything less than whitewashing for the opposition would be a compromise,” he said.\u003c/p>\n\u003cp>It is a long-simmering issue: In 1968, according to the landmark application, George Washington High School students voted 61 percent in favor of supplementing the mural with positive depictions of black people. Daryl Thomas, then president of the Washington Afro-American club, called for “recognition of the great contributions of black people to the sciences and history.”\u003c/p>\n\u003cp>The Afro-American Club proposed that Dewey Crumpler, a young black artist, paint what has come to be known as the “response” mural. Crumpler’s “Multi-Ethnic Heritage: Black, Asian, Native/Latin American” works, completed in 1974, show empowered people of color rendered in a fiery, sunburst palette near the Arnautoff mural.\u003c/p>\n\u003cp>But Crumpler, now a painting professor at the San Francisco Art Institute, has emerged a seemingly unlikely champion of the mural that prompted his own. He recently appeared in a \u003ca href=\"https://www.youtube.com/watch?v=sZEMpyvdAXQ\">video\u003c/a> analyzing controversial imagery. “Without Arnautoff’s murals, my murals are irrelevant. And without my murals, Arnautoff’s murals are irrelevant,” he said. “They are one thing.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Some of the same community members successfully campaigned for the \u003ca href=\"https://www.kqed.org/arts/13840748/early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote\">removal last year\u003c/a> of Civic Center Plaza statue “Early Days,” which critics also called historically inaccurate and degrading to Native Americans.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Board of Education voted Tuesday to paint over a mural series showing George Washington as a slave owner and promoter of the United States’ genocidal westward expansion, acknowledging decades of complaints about the depiction of a dead Native American and enslaved African Americans inside George Washington High School.\u003c/p>\n\u003cp>The unanimous vote instructed district staff to develop a plan to paint over all 13 panels of Victor Arnautoff’s “Life of Washington” mural, which is expected to cost some $600,000 and take more than a year to implement. In the event of “undue delay,” according to the amended motion by commissioner Mark Sanchez, the school board retains the option of covering the mural temporarily with paneling.\u003c/p>\n\u003cp>“This is reparations,” Sanchez said, dismissing concerns about estimated costs.\u003c/p>\n\u003cp>It was a decisive moment in a protracted debate, one propelled by the nationwide referendum on public monuments to racism, that found the school board going above and beyond district staff’s recommendation to obscure the mural with fabric or paneling, and instead heeding community members’ demands to “paint it down.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Paloma Flores, program coordinator for the school district’s Indian Education Program, joined with local high school students, recent George Washington graduates and Native American parents to oppose the mural during public comment Tuesday. “It’s not a matter of offense, it’s a matter of the right to learn without a hostile environment,” Flores said. “Intent does not negate lived experience.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The plan is still contingent on an environmental impact report, and appeals or legal challenges are expected: Lope Yap Jr., vice president of the high school’s alumni association and an outspoken mural supporter, said the group will sue to halt the mural destruction.\u003c/p>\n\u003cp>“We’ll use every tactic available,” Yap Jr. said, adding that there are “several grounds” for litigation.\u003c/p>\n\u003cfigure id=\"attachment_13854565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gwhs-main-800x342.jpg\" alt=\"A WPA-era mural by Victor Arnautoff depicting slave ownership is part of a new controversy at George Washington High School in San Francisco.\" width=\"800\" height=\"342\" class=\"size-medium wp-image-13854565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-main.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-main-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-main-768x328.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A WPA-era mural by Victor Arnautoff depicting slave ownership is part of a new controversy at George Washington High School in San Francisco. \u003ccite>(Courtesy George Washington High School Alumni Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnautoff, a Russian-born social realist, painted the 1,600 square-foot “Life of Washington” mural in 1936, showing the nation’s first president in various periods of his life. Two of the 13 panels are primarily at issue: One shows Washington among his slaves at Mount Vernon, while in another he directs white men with guns westward, over the body of an apparently slain Native American.\u003c/p>\n\u003cp>Asked if the board’s decision would apply to all or only parts of the mural, district spokesperson Laura Dudnick on Tuesday said “the options to cover the mural are for the entire mural.”\u003c/p>\n\u003cp>According to Arnautoff’s biographer Robert Cherny, the artist intended the mural as a “counter narrative,” or a corrective rebuke to the nation’s founding mythology. Supporters of the Works Progress Administration-funded frescoes cite the communist artist’s progressive motivations, decrying efforts to remove the artworks as censorship and a betrayal of history stemming from a lack of understanding and interpretative context.\u003c/p>\n\u003cp>“Political artworks like Arnautoff’s must not be confused with historic monuments such as Confederate statues, which are intended to send a clear racist message,” reads a recent statement from the National Coalition Against Censorship, echoing sentiments from New Deal scholars and Russian American organizations as well as local arts figures \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/bay-area-art-leaders-on-censorship-of-george-washington-high-mural\">polled\u003c/a> by the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cp>However, critics of the artwork, a camp including many students and Native American parents, have recently, as well as in decades past, argued that the depictions of slain and enslaved people of color have no place in a school lobby. They believe the artist’s intentions are irrelevant in light of the harm to young people of color daily confronted by images of their ancestors debased.\u003c/p>\n\u003cp>“Kids don’t see these images as helpful or powerful, they see them as insulting and demeaning,” George Washington High School student Kai Anderson-Lawson, who is Native American, said at a June 18 school board meeting. The notion that young indigenous people are at risk of forgetting their own history, Anderson-Lawson added, is offensive: “Generational trauma follows us.”\u003c/p>\n\u003cp>Barbara Mumby-Huerta, a San Francisco Arts Commission staffer who is Native American, pointed out at the same meeting that, for all the talk of historical accuracy, the mural actually shows ignorance of indigenous cultures. “To portray a Native person face down, dead, you are trapping their soul so that they can not move on,” she said.\u003c/p>\n\u003cp>(The San Francisco Arts Commission has not officially taken a position on the mural’s removal.)\u003c/p>\n\u003cp>The demographics of the opposing camps seemed to influence the board’s decision to paint over the mural. School board member Gabriela López noted at the June 18 meeting that the mural supporters offering public comment skewed older and white, saying they generally weren’t “representative of the people affected.”\u003c/p>\n\u003cp>Although the controversy dates back to the 1960s, it escalated beginning in 2017 amid a nationwide referendum on public monuments, in particular Confederate statues, to racism and exploitation. That year a preservationist nonprofit recommended George Washington High School for landmark status, a process the school board scuttled out of reluctance to enshrine the mural.\u003c/p>\n\u003cp>For guidance, the district convened a Reflection and Action Group, which held four public meetings before approving, by a vote of 10-1, a recommendation this past February to paint over all thirteen panels of “Life of Washington.” The committee referenced Cherny’s interpretation of Arnautoff’s work when it wrote that the “impact of this mural is greater than what its intent ever was; it’s not counter narrative if it traumatizes students and community members.”\u003c/p>\n\u003cp>Yap Jr., the lone dissenting Reflection and Action Group member, said he’s disappointed the school board declined to further consider the alumni association’s proposal to provide more context for the mural, and accused his critics of incivility. “Anything less than whitewashing for the opposition would be a compromise,” he said.\u003c/p>\n\u003cp>It is a long-simmering issue: In 1968, according to the landmark application, George Washington High School students voted 61 percent in favor of supplementing the mural with positive depictions of black people. Daryl Thomas, then president of the Washington Afro-American club, called for “recognition of the great contributions of black people to the sciences and history.”\u003c/p>\n\u003cp>The Afro-American Club proposed that Dewey Crumpler, a young black artist, paint what has come to be known as the “response” mural. Crumpler’s “Multi-Ethnic Heritage: Black, Asian, Native/Latin American” works, completed in 1974, show empowered people of color rendered in a fiery, sunburst palette near the Arnautoff mural.\u003c/p>\n\u003cp>But Crumpler, now a painting professor at the San Francisco Art Institute, has emerged a seemingly unlikely champion of the mural that prompted his own. He recently appeared in a \u003ca href=\"https://www.youtube.com/watch?v=sZEMpyvdAXQ\">video\u003c/a> analyzing controversial imagery. “Without Arnautoff’s murals, my murals are irrelevant. And without my murals, Arnautoff’s murals are irrelevant,” he said. “They are one thing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the same community members successfully campaigned for the \u003ca href=\"https://www.kqed.org/arts/13840748/early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote\">removal last year\u003c/a> of Civic Center Plaza statue “Early Days,” which critics also called historically inaccurate and degrading to Native Americans.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Several prominent bands, musicians and artist estates sued the world’s largest record company, Universal Music Group [UMG], on Friday after \u003ca href=\"https://www.nytimes.com/2019/06/11/magazine/universal-fire-master-recordings.html\" rel=\"noopener\" target=\"_blank\">an investigation published by the \u003cem>New York Times\u003c/em>\u003c/a> earlier this month alleged that hundreds of thousands of master recordings, protection copies, unreleased music and other materials had burned in a massive fire at a UMG vault in 2008.\u003c/p>\n\u003cp>The suit, which seeks damages in excess of $100 million, was filed by the estates of Tom Petty and Tupac Shakur, the bands Hole and Soundgarden, and singer-songwriter Steve Earle; it is seeking class action status, so that any other “similarly situated,” UMG-affiliated musicians and estates may enter the suit as well. According to the \u003cem>Times\u003c/em> report, the blaze allegedly destroyed the work of scores of top musicians over many decades, ranging from Louis Armstrong to The Roots.\u003c/p>\n\u003cp>The plaintiffs contend that UMG breached its contract with artists by failing to archive the materials properly, instead allegedly stowing masters and other materials “in an inadequate, substandard storage warehouse located on the backlot of Universal Studios [Hollywood] that was a known firetrap.” Moreover, they say that after the fire, “UMG concealed the loss with false public statements such as that ‘we only lost a small number of tapes and other material by obscure artists from the 1940s and 50s.’ ”\u003c/p>\n\u003cp>The suit also claims that even as UMG allegedly hid devastating losses from their artists and the public, the company “successfully pursued litigation and insurance claims which it reportedly valued at $150 million,” and that the musicians are entitled to share in those claims.\u003c/p>\n\u003cp>The suit was filed in U.S. Central District Court in Los Angeles and is the first legal action taken since the \u003cem>Times \u003c/em>published its investigation. The plaintiffs are being represented by three firms: King, Holmes, Paterno & Soriano; McPherson LLP; and Susman Godfrey LLP.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Universal Music Group declined to comment to NPR on the class action lawsuit. In a previous statement on June 11, UMG \u003ca href=\"https://www.npr.org/2019/06/19/734080816/following-a-fiery-controversy-legal-issues-mount-for-universal-music\">said\u003c/a> that the \u003cem>Times \u003c/em>investigation contained “numerous inaccuracies, misleading statements, contradictions and fundamental misunderstandings.” Arnaud de Puyfontaine, the chairman of UMG’s parent company, Vivendi, \u003ca href=\"https://variety.com/2019/music/news/vivendi-universal-music-group-fire-noise-arnaud-de-puyfontaine-1203248649/\">told \u003cem>Variety\u003c/em>\u003c/a> on Thursday that the \u003cem>Times\u003c/em> investigation was “just noise.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Courtney Love Cobain — the former frontwoman of Hole (and the widow of Kurt Cobain, whose band Nirvana was another UMG group) — \u003ca href=\"https://twitter.com/Courtney/status/1139615965786677248\">tweeted\u003c/a> an anguished response to the \u003cem>Times\u003c/em> investigation, writing: “Read [\u003cem>Times \u003c/em>journalist] Jody Rosen’s devastating, frightening exposé on the UMG fire disaster. Our history has been ripped apart, what a terrible, sad tale this is.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Artists+File+%24100+Million+Suit+Against+Universal+Music+Over+2008+Fire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Several prominent bands, musicians and artist estates sued the world’s largest record company, Universal Music Group [UMG], on Friday after \u003ca href=\"https://www.nytimes.com/2019/06/11/magazine/universal-fire-master-recordings.html\" rel=\"noopener\" target=\"_blank\">an investigation published by the \u003cem>New York Times\u003c/em>\u003c/a> earlier this month alleged that hundreds of thousands of master recordings, protection copies, unreleased music and other materials had burned in a massive fire at a UMG vault in 2008.\u003c/p>\n\u003cp>The suit, which seeks damages in excess of $100 million, was filed by the estates of Tom Petty and Tupac Shakur, the bands Hole and Soundgarden, and singer-songwriter Steve Earle; it is seeking class action status, so that any other “similarly situated,” UMG-affiliated musicians and estates may enter the suit as well. According to the \u003cem>Times\u003c/em> report, the blaze allegedly destroyed the work of scores of top musicians over many decades, ranging from Louis Armstrong to The Roots.\u003c/p>\n\u003cp>The plaintiffs contend that UMG breached its contract with artists by failing to archive the materials properly, instead allegedly stowing masters and other materials “in an inadequate, substandard storage warehouse located on the backlot of Universal Studios [Hollywood] that was a known firetrap.” Moreover, they say that after the fire, “UMG concealed the loss with false public statements such as that ‘we only lost a small number of tapes and other material by obscure artists from the 1940s and 50s.’ ”\u003c/p>\n\u003cp>The suit also claims that even as UMG allegedly hid devastating losses from their artists and the public, the company “successfully pursued litigation and insurance claims which it reportedly valued at $150 million,” and that the musicians are entitled to share in those claims.\u003c/p>\n\u003cp>The suit was filed in U.S. Central District Court in Los Angeles and is the first legal action taken since the \u003cem>Times \u003c/em>published its investigation. The plaintiffs are being represented by three firms: King, Holmes, Paterno & Soriano; McPherson LLP; and Susman Godfrey LLP.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Universal Music Group declined to comment to NPR on the class action lawsuit. In a previous statement on June 11, UMG \u003ca href=\"https://www.npr.org/2019/06/19/734080816/following-a-fiery-controversy-legal-issues-mount-for-universal-music\">said\u003c/a> that the \u003cem>Times \u003c/em>investigation contained “numerous inaccuracies, misleading statements, contradictions and fundamental misunderstandings.” Arnaud de Puyfontaine, the chairman of UMG’s parent company, Vivendi, \u003ca href=\"https://variety.com/2019/music/news/vivendi-universal-music-group-fire-noise-arnaud-de-puyfontaine-1203248649/\">told \u003cem>Variety\u003c/em>\u003c/a> on Thursday that the \u003cem>Times\u003c/em> investigation was “just noise.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Courtney Love Cobain — the former frontwoman of Hole (and the widow of Kurt Cobain, whose band Nirvana was another UMG group) — \u003ca href=\"https://twitter.com/Courtney/status/1139615965786677248\">tweeted\u003c/a> an anguished response to the \u003cem>Times\u003c/em> investigation, writing: “Read [\u003cem>Times \u003c/em>journalist] Jody Rosen’s devastating, frightening exposé on the UMG fire disaster. Our history has been ripped apart, what a terrible, sad tale this is.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Artists+File+%24100+Million+Suit+Against+Universal+Music+Over+2008+Fire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Vân-Ánh Võ \u003c/a>started studying music in Vietnam at the age of four. She trained with six different musical masters. “We have 54 different ethnic groups in Vietnam, and we have so many different genres! But regardless of what regions they come from, they shared the same thing: the same quality of belief. Music doesn’t have borders. Culture doesn’t have borders.”\u003c/p>\n\u003cp>Võ lives in Fremont now with her husband and children, and her work here as a musician and composer resonates with U.S. audiences. She’s won an Emmy, collaborated with the \u003ca href=\"https://www.kronosquartet.org\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, and played at top venues like the Kennedy Center in Washington D.C. She’s even played a \u003ca href=\"https://www.npr.org/2014/01/04/259390015/van-anh-vanessa-vo-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Tiny Desk Concert\u003c/a> for NPR. (At 6:30 in, listen to her witty take on Erik Satie’s Gnossienne No. 3, performed on the \u003cem>dan Bau\u003c/em>.)\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=8y02Rv8sQzw]\u003c/p>\n\u003cp>So it was the South Bay non-profit \u003ca href=\"https://sangamarts.org\" target=\"_blank\" rel=\"noopener\">Sangam Arts\u003c/a> commissioned Võ to writing something new blending the Vietnamese, Chicano and African-American cultural traditions of the Santa Clara Valley.\u003c/p>\n\u003cp>Võ started as she typically does, by interviewing people to hear their life stories. “To share the voices of immigrants, the strength that immigrants bring to this country,\u003cspan class=\"Apple-converted-space\"> \u003c/span>the ways that our immigrants built this country, right? Altogether,” she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The national conversation around immigration is toxic these days — even as, here in the Bay Area, we live alongside multiple cultures, many of which blend in remarkably harmonious ways.\u003cspan class=\"Apple-converted-space\"> “In a time like this, it’s important that we have more music, more stories to share, to connect everyone together,” Võ said.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13860082\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13860082 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM.jpeg\" alt=\"From left to right: Mikhael Khalikulov (cello, viola, electric bass) , Jimi Nakagawa (taiko, percussion), Joshua Mellinger (frame drum, trap set, tabla, marimba), Megan Ai, Vân-Ánh Võ (đàn tranh).\" width=\"2048\" height=\"1141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-160x89.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-800x446.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-768x428.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-1020x568.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-1200x669.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-1920x1070.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Mikhael Khalikulov (cello, viola, electric bass) , Jimi Nakagawa (taiko, percussion), Joshua Mellinger (frame drum, trap set, tabla, marimba), Megan Ai, Vân-Ánh Võ (đàn tranh). \u003ccite>(Courtesy of Sangam Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But how to communicate that idea musically without it sounding awkward, or forced? This is where you find Võ in her element as a border crossing artist.\u003c/span>\u003c/p>\n\u003cp>For instance, in her research for \u003cspan style=\"font-weight: 400\">\u003cem>3L: Love, Life, Loss, \u003c/em>\u003c/span>she discovered two traditional spiritual songs: \u003cem>Cô Côi Thượng Ngàn\u003c/em> from Vietnam, and \u003cem>Viene La Muerte Echando Rasero\u003c/em> from Mexico. Both reflect on mortality, but also resonate musically.\u003c/p>\n\u003cp>“They both start out with the major key, and then they both change into minor key when the song go into the body of it, and then they both end the phrase with the same chord structure and start the phrase with the same chord structure! They are very different in rhythm, but they actually work side by side. Isn’t that amazing?” \u003cspan style=\"font-weight: 400\">Võ said with infectious enthusiasm.\u003c/span>\u003c/p>\n\u003cp>[aside postID='arts_11260223,arts_13850950,arts_13837387' label='Related Coverage']Sure enough, when you hear \u003cem>Queen of the Night\u003c/em>, the second movement of \u003ci>3L: Love, Life, Los, \u003c/i>her argument is readily apparent. It is a natural fit.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> In \u003cem>3L: Love, Life, Loss,\u003c/em> Võ’s ensemble includes musicians who specialize in Japanese taiko drumming, marimba, and cello, among other things. She employs traditional Vietnamese instruments to make sounds and melodies that delight modern ears. In a similar fashion, Võ pulls forward bouncy rhythms to make heady spiritual themes accessible. \u003c/span>\u003c/p>\n\u003cp>It’s a talent she demonstrates on most of the projects she works on, like \u003cem>\u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">The Odyssey: From Vietnam to America\u003c/a>\u003c/em>, a multimedia suite about the terrors the boat people faced.\u003c/p>\n\u003cp>Võ explains she only engages in work that feel personally meaningful for her. “My work has to have a message. It has to have something for people to go home and talk about.” \u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"site-name\">\u003cem>\u003cstrong>3L: Love, Loss, Life\u003c/strong> runs June 22, 2019 at Sunnyvale Theater in Sunnyvale. For more information, click \u003cstrong>\u003ca href=\"https://www.tikkl.com/sangamarts/c/3L\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"title": "Musical Fusion for Modern Ears in Vân-Ánh Võ's '3L: Love, Life, Loss' | KQED",
"description": "The latest multi-cultural exploration from Sangam Arts features Fremont musician and composer Vân-Ánh Võ. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Vân-Ánh Võ \u003c/a>started studying music in Vietnam at the age of four. She trained with six different musical masters. “We have 54 different ethnic groups in Vietnam, and we have so many different genres! But regardless of what regions they come from, they shared the same thing: the same quality of belief. Music doesn’t have borders. Culture doesn’t have borders.”\u003c/p>\n\u003cp>Võ lives in Fremont now with her husband and children, and her work here as a musician and composer resonates with U.S. audiences. She’s won an Emmy, collaborated with the \u003ca href=\"https://www.kronosquartet.org\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, and played at top venues like the Kennedy Center in Washington D.C. She’s even played a \u003ca href=\"https://www.npr.org/2014/01/04/259390015/van-anh-vanessa-vo-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Tiny Desk Concert\u003c/a> for NPR. (At 6:30 in, listen to her witty take on Erik Satie’s Gnossienne No. 3, performed on the \u003cem>dan Bau\u003c/em>.)\u003c/p>\n\u003cp>\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/8y02Rv8sQzw'\n title='//www.youtube.com/embed/8y02Rv8sQzw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So it was the South Bay non-profit \u003ca href=\"https://sangamarts.org\" target=\"_blank\" rel=\"noopener\">Sangam Arts\u003c/a> commissioned Võ to writing something new blending the Vietnamese, Chicano and African-American cultural traditions of the Santa Clara Valley.\u003c/p>\n\u003cp>Võ started as she typically does, by interviewing people to hear their life stories. “To share the voices of immigrants, the strength that immigrants bring to this country,\u003cspan class=\"Apple-converted-space\"> \u003c/span>the ways that our immigrants built this country, right? Altogether,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The national conversation around immigration is toxic these days — even as, here in the Bay Area, we live alongside multiple cultures, many of which blend in remarkably harmonious ways.\u003cspan class=\"Apple-converted-space\"> “In a time like this, it’s important that we have more music, more stories to share, to connect everyone together,” Võ said.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13860082\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13860082 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM.jpeg\" alt=\"From left to right: Mikhael Khalikulov (cello, viola, electric bass) , Jimi Nakagawa (taiko, percussion), Joshua Mellinger (frame drum, trap set, tabla, marimba), Megan Ai, Vân-Ánh Võ (đàn tranh).\" width=\"2048\" height=\"1141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-160x89.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-800x446.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-768x428.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-1020x568.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-1200x669.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-1920x1070.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Mikhael Khalikulov (cello, viola, electric bass) , Jimi Nakagawa (taiko, percussion), Joshua Mellinger (frame drum, trap set, tabla, marimba), Megan Ai, Vân-Ánh Võ (đàn tranh). \u003ccite>(Courtesy of Sangam Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But how to communicate that idea musically without it sounding awkward, or forced? This is where you find Võ in her element as a border crossing artist.\u003c/span>\u003c/p>\n\u003cp>For instance, in her research for \u003cspan style=\"font-weight: 400\">\u003cem>3L: Love, Life, Loss, \u003c/em>\u003c/span>she discovered two traditional spiritual songs: \u003cem>Cô Côi Thượng Ngàn\u003c/em> from Vietnam, and \u003cem>Viene La Muerte Echando Rasero\u003c/em> from Mexico. Both reflect on mortality, but also resonate musically.\u003c/p>\n\u003cp>“They both start out with the major key, and then they both change into minor key when the song go into the body of it, and then they both end the phrase with the same chord structure and start the phrase with the same chord structure! They are very different in rhythm, but they actually work side by side. Isn’t that amazing?” \u003cspan style=\"font-weight: 400\">Võ said with infectious enthusiasm.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sure enough, when you hear \u003cem>Queen of the Night\u003c/em>, the second movement of \u003ci>3L: Love, Life, Los, \u003c/i>her argument is readily apparent. It is a natural fit.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> In \u003cem>3L: Love, Life, Loss,\u003c/em> Võ’s ensemble includes musicians who specialize in Japanese taiko drumming, marimba, and cello, among other things. She employs traditional Vietnamese instruments to make sounds and melodies that delight modern ears. In a similar fashion, Võ pulls forward bouncy rhythms to make heady spiritual themes accessible. \u003c/span>\u003c/p>\n\u003cp>It’s a talent she demonstrates on most of the projects she works on, like \u003cem>\u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">The Odyssey: From Vietnam to America\u003c/a>\u003c/em>, a multimedia suite about the terrors the boat people faced.\u003c/p>\n\u003cp>Võ explains she only engages in work that feel personally meaningful for her. “My work has to have a message. It has to have something for people to go home and talk about.” \u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"site-name\">\u003cem>\u003cstrong>3L: Love, Loss, Life\u003c/strong> runs June 22, 2019 at Sunnyvale Theater in Sunnyvale. For more information, click \u003cstrong>\u003ca href=\"https://www.tikkl.com/sangamarts/c/3L\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Trump's 'Extreme Vetting' Hurts the Arts, Discourages Cultural Exchange, Experts Say",
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"content": "\u003cp>Last month, the members of Kronos Quartet found themselves scrambling to change their festival’s itinerary after a headliner’s visa was unexpectedly delayed.\u003c/p>\n\u003cp>For their annual Kronos Festival, the string ensemble was set to premiere \u003cem>Tegere Tulon\u003c/em>, a new work they commissioned from Malian composer Hawa Kassé Mady Diabaté. Diabaté had been approved to come to the United States to perform and record in previous years, and Kronos Quartet expected her smooth arrival in San Francisco to premiere the piece at SFJAZZ on June 1.\u003c/p>\n\u003cp>But on May 22, State Department officials unexpectedly summoned Diabaté for additional questioning at the U.S. embassy in Bamako, Mali. She was asked to fill out a DS-5535, a form known to delay applications indefinitely. She had to miss the concert even though Kronos Quartet already paid for her travel and marketed the event using her name.\u003c/p>\n\u003cp>https://youtu.be/IzeVKYTMqww\u003c/p>\n\u003cp>Arts presenters and legal experts say delays in artist visas are becoming more common under the Trump administration’s “\u003ca href=\"https://www.cbsnews.com/news/what-is-extreme-vetting/\" target=\"_blank\" rel=\"noopener\">extreme vetting\u003c/a>” policies, which they argue hurt the performing arts and have chilling consequences for free speech. Indeed, the administration now requires nearly all visa applicants to answer detailed \u003ca href=\"https://www.cbsnews.com/news/state-department-now-requires-us-visa-applicants-to-share-social-media-accounts-2019-06-01/\" target=\"_blank\" rel=\"noopener\">questions about their social media activity\u003c/a>, raising alarms among the \u003ca href=\"https://www.aclu.org/press-releases/aclu-comment-state-department-notices-requiring-social-media-information-visa\" target=\"_blank\" rel=\"noopener\">ACLU\u003c/a> and other advocacy groups, who say these questions cause visa applicants to censor their online speech out of fear. Lawyers and talent bookers say the visa application process for international artists is opaque, arbitrary and inconsistent, and discourages much-needed cultural exchange at a time of anti-immigrant sentiment in the United States.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The worry is that promoters, presenters and festival organizers will be worried about this happening and therefore will decide not to engage with certain kinds of artists,” says Janet Cowperthwaite, managing director of the Kronos Performing Arts Association. “There’s a whole domino effect that can take place, really upsetting the ecosystem of our field.”\u003c/p>\n\u003ch2>Artists from the Global South hit with delays\u003c/h2>\n\u003cp>Musician and lawyer \u003ca href=\"https://www.covey.law/matthew-covey/\" target=\"_blank\" rel=\"noopener\">Matthew Covey\u003c/a>, whose firm represents at least 4,000 international artists a year, including Diabaté, says that visa delays like the one Diabaté experienced have become more frequent over the last six months as State Department officials ramp up the use of the DS-5535 form for artists from African nations President Trump once derided as “shithole countries.”\u003c/p>\n\u003cp>[pullquote size='large']Lawyers and talent bookers say the visa application process for international artists is opaque, arbitrary and inconsistent, and discourages much-needed cultural exchange at a time of anti-immigrant sentiment in the United States.[/pullquote]\u003c/p>\n\u003cp>Typically, Covey says, the application for an O or P visa for visiting entertainers, athletes and scholars takes several weeks to get approved by U.S. Citizenship and Immigration Services and the State Department. But because it’s difficult to predict whether an artist will be asked to fill out a DS-5535 form, arts presenters have been running into unexpected visa delays that set off a chain reaction of lost revenue. When a show is abruptly canceled due to a visa delay, the concert presenter loses the money they invested in the artist’s visa application, legal fees and travel. The venue often sits empty, losing money from refunded concert tickets, with no ability to book another act to fill seats at short notice.\u003c/p>\n\u003cp>“When you see consistently artists from the Global South, the Middle East, from Latin America, from Africa are the ones who are principally running into these problems, the easiest way for arts presenters to minimize that risk is to not book artists from those parts of the world,” says Covey. “While it’s understandable, I think it’s tragic, because these are exactly the voices we need to be hearing in America culturally right now.”\u003c/p>\n\u003cfigure id=\"attachment_13860005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860005\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/trio-da-kali-800x660.jpg\" alt=\"Hawa Kasse Mady Diabate (left) of Trio Da Kali missed her June 1 performance with the Kronos Quartet due to an unexpected visa delay. Arts presenters say these are becoming more common under the Trump administration's "extreme vetting" policy.\" width=\"800\" height=\"660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trio-da-kali.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trio-da-kali-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trio-da-kali-768x634.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hawa Kasse Mady Diabate (left) of Trio Da Kali missed her June 1 performance with the Kronos Quartet due to an unexpected visa delay. Arts presenters say these are becoming more common under the Trump administration’s “extreme vetting” policy. \u003ccite>(Courtesy of Trio Da Kali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Covey says that the U.S. government’s two main concerns in implementing the DS-5535—screening people who are likely to pose a security risk or overstay their visas and immigrate to the U.S. illegally—are often enforced in racially biased ways.\u003c/p>\n\u003cp>“It’s racism, and it’s economics, and it’s demographics,” says Covey, adding that artists from Africa and Latin America are seen as likelier to immigrate illegally, and Middle Eastern artists are stereotyped as potential terrorists. “The overlap of those Venn diagrams is enormous, and that’s why it’s hard to unravel this problem.”\u003c/p>\n\u003cp>State Department officials, however, contend that they implement the DS-5535 form on a case-by-case basis due to a variety of factors, not just an artist’s country of origin. “Many factors can trigger the need for additional processing, including when concerns are raised after the applicant’s biographic or biometric information is processed through national security screening tools, consular screening tools, or at the discretion of the interviewing officer,” a State Department offical told KQED via email.\u003c/p>\n\u003ch2>Seemingly arbitrary visa denials\u003c/h2>\n\u003cp>Covey says his clients, the Tanzanian electronic musicians \u003ca href=\"https://nyegenyegetapes.bandcamp.com/album/uingizaji-hewa\" target=\"_blank\" rel=\"noopener\">Duke\u003c/a> and MCZO, were denied artist visas in May because couldn’t sufficiently prove that they weren’t planning to immigrate to the United States illegally. Covey argues that Duke and MCZO have no incentive to immigrate: the two run a record label in their home country, where they regularly sell out stadium shows and have a much larger following than they do in the United States.\u003c/p>\n\u003cp>“In the end, NOTHING could prove that we did not intend to run away illegally once checked in at our Holiday Inn,” the artists wrote at the time in a \u003ca href=\"https://www.facebook.com/NyegeNyegeFestival/posts/2354051684616689?__tn__=K-R\" target=\"_blank\" rel=\"noopener\">statement on Facebook\u003c/a>. [aside postid='arts_13859890']\u003c/p>\n\u003cp>“The scenario has really changed in the past year. Things that were completely predictable, would routinely be approved, are now being called into question for reasons that—to me—are apparent and not necessarily written into law,” says talent booker Bill Smith of \u003ca href=\"http://www.riotartists.com/\" target=\"_blank\" rel=\"noopener\">Riot Artists\u003c/a>, who has been putting on U.S. tours for international artists for over 20 years. “Certainly people with Arabic names are unduly singled out—and frankly, they’re not necessarily applying the law. I think they’re applying the unspoken will of the administration.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.billmartinez.com/\" target=\"_blank\" rel=\"noopener\">Bill Martinez\u003c/a>, a concert presenter and lawyer representing international artists, says that he has encountered visa issues with recent clients of his, including the Indian dance troupe \u003ca href=\"https://www.snda.in\" target=\"_blank\" rel=\"noopener\">Sumeet Nagdev Dance Arts\u003c/a>. Martinez says the U.S. government denied their visa because it determined that the dancers did not have enough money to support themselves during a short trip to Seattle. However, Martinez submitted evidence that the event presenter planned to pay for travel, room and board; a “per diem” allowance for food and expenses; plus an honorarium to compensate for the performance.\u003c/p>\n\u003cp>https://youtu.be/mH0Xfmotbfg\u003c/p>\n\u003cp>“It doesn’t make sense,” says Martinez. “But it’s exactly the frustrating reality we’re coping with. It causes consternation, doubts among the presenters who lose money doing the filings [for the artists’ visa applications].”\u003c/p>\n\u003cp>Still, despite recent difficulties in obtaining artist visas, some arts presenters aren’t deterred. SFJAZZ founder and executive artistic director Randall Kline says he’s determined to continue booking international artists from Africa and Latin America in particular as part of his organization’s mission to promote music from the African diaspora. He says the process has always been difficult during his 30 years as a concert presenter.\u003c/p>\n\u003cp>“The United States has never been easy with work visas for artists. While the climate is difficult now, it’s never been easy,” he says, adding that arts presenters must now allow for much more lead time when booking a concert to accommodate surprise visa delays. “It isn’t the plague descending on us right now.”\u003c/p>\n\u003ch2>‘Chilling’ consequences for free speech\u003c/h2>\n\u003cp>Arts presenters and legal experts also raise red flags about the addition of extensive questions about visiting artists’ (and scholars and athletes’) social media presence on visa applications. While State Department officials say that the U.S. government doesn’t deny visas based on political beliefs, critics argue that these questions can encourage self-censorship because of fear that what someone posts online can affect their application. [aside postid='arts_13859688']\u003c/p>\n\u003cp>“We’re not discounting the need for security, but that need needs to be balanced with freedom to express our thoughts, including criticism of the government,” says Martinez.\u003c/p>\n\u003cp>However, the State Department maintains that it’s not denying visas based on political beliefs. “Consular officers cannot deny visas based on applicants’ race, religion, ethnicity, national origin, political views, gender, or sexual orientation,” an official wrote via email. “The collection of social media identifiers is consistent with this.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size='large' align='right' citation='Bill Smith, talent booker at Riot Artists']\u003c/span>“Certainly people with Arabic names are unduly singled out—and frankly, they’re not necessarily applying the law. I think they’re applying the unspoken will of the administration.”[/pullquote]\u003c/p>\n\u003cp>“Regardless of whether, when looking at social media, they make decisions based on what they see there, it clearly has to have a kind of chilling effect on freedom of expression by any artist planning to come to the U.S.,” says Covey. “Even if I’m a Norwegian opera singer, I’m going to think twice before going on my Facebook account and saying what I think about climate change because I don’t want to screw up my tour.”\u003c/p>\n\u003cp>He and other experts say that the U.S. government’s visa policies prevent cultural exchange, fueling the country’s xenophobic climate amid an anti-immigrant administration. “Nothing benefits from shutting doors,” says Martinez. “If you don’t have communication—which culture is—you don’t have these cultural exchanges, there is no hope.”\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>\u003cstrong>Correction:\u003c/strong> This article incorrectly stated that the application for an O or P visa for visiting entertainers, athletes and scholars takes a week to ten days to get approved by U.S. Citizenship and Immigration Services and the State Department. In fact, it takes several weeks. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last month, the members of Kronos Quartet found themselves scrambling to change their festival’s itinerary after a headliner’s visa was unexpectedly delayed.\u003c/p>\n\u003cp>For their annual Kronos Festival, the string ensemble was set to premiere \u003cem>Tegere Tulon\u003c/em>, a new work they commissioned from Malian composer Hawa Kassé Mady Diabaté. Diabaté had been approved to come to the United States to perform and record in previous years, and Kronos Quartet expected her smooth arrival in San Francisco to premiere the piece at SFJAZZ on June 1.\u003c/p>\n\u003cp>But on May 22, State Department officials unexpectedly summoned Diabaté for additional questioning at the U.S. embassy in Bamako, Mali. She was asked to fill out a DS-5535, a form known to delay applications indefinitely. She had to miss the concert even though Kronos Quartet already paid for her travel and marketed the event using her name.\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/IzeVKYTMqww'\n title='//www.youtube.com/embed/IzeVKYTMqww'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Arts presenters and legal experts say delays in artist visas are becoming more common under the Trump administration’s “\u003ca href=\"https://www.cbsnews.com/news/what-is-extreme-vetting/\" target=\"_blank\" rel=\"noopener\">extreme vetting\u003c/a>” policies, which they argue hurt the performing arts and have chilling consequences for free speech. Indeed, the administration now requires nearly all visa applicants to answer detailed \u003ca href=\"https://www.cbsnews.com/news/state-department-now-requires-us-visa-applicants-to-share-social-media-accounts-2019-06-01/\" target=\"_blank\" rel=\"noopener\">questions about their social media activity\u003c/a>, raising alarms among the \u003ca href=\"https://www.aclu.org/press-releases/aclu-comment-state-department-notices-requiring-social-media-information-visa\" target=\"_blank\" rel=\"noopener\">ACLU\u003c/a> and other advocacy groups, who say these questions cause visa applicants to censor their online speech out of fear. Lawyers and talent bookers say the visa application process for international artists is opaque, arbitrary and inconsistent, and discourages much-needed cultural exchange at a time of anti-immigrant sentiment in the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The worry is that promoters, presenters and festival organizers will be worried about this happening and therefore will decide not to engage with certain kinds of artists,” says Janet Cowperthwaite, managing director of the Kronos Performing Arts Association. “There’s a whole domino effect that can take place, really upsetting the ecosystem of our field.”\u003c/p>\n\u003ch2>Artists from the Global South hit with delays\u003c/h2>\n\u003cp>Musician and lawyer \u003ca href=\"https://www.covey.law/matthew-covey/\" target=\"_blank\" rel=\"noopener\">Matthew Covey\u003c/a>, whose firm represents at least 4,000 international artists a year, including Diabaté, says that visa delays like the one Diabaté experienced have become more frequent over the last six months as State Department officials ramp up the use of the DS-5535 form for artists from African nations President Trump once derided as “shithole countries.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "Lawyers and talent bookers say the visa application process for international artists is opaque, arbitrary and inconsistent, and discourages much-needed cultural exchange at a time of anti-immigrant sentiment in the United States.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Typically, Covey says, the application for an O or P visa for visiting entertainers, athletes and scholars takes several weeks to get approved by U.S. Citizenship and Immigration Services and the State Department. But because it’s difficult to predict whether an artist will be asked to fill out a DS-5535 form, arts presenters have been running into unexpected visa delays that set off a chain reaction of lost revenue. When a show is abruptly canceled due to a visa delay, the concert presenter loses the money they invested in the artist’s visa application, legal fees and travel. The venue often sits empty, losing money from refunded concert tickets, with no ability to book another act to fill seats at short notice.\u003c/p>\n\u003cp>“When you see consistently artists from the Global South, the Middle East, from Latin America, from Africa are the ones who are principally running into these problems, the easiest way for arts presenters to minimize that risk is to not book artists from those parts of the world,” says Covey. “While it’s understandable, I think it’s tragic, because these are exactly the voices we need to be hearing in America culturally right now.”\u003c/p>\n\u003cfigure id=\"attachment_13860005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860005\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/trio-da-kali-800x660.jpg\" alt=\"Hawa Kasse Mady Diabate (left) of Trio Da Kali missed her June 1 performance with the Kronos Quartet due to an unexpected visa delay. Arts presenters say these are becoming more common under the Trump administration's "extreme vetting" policy.\" width=\"800\" height=\"660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trio-da-kali.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trio-da-kali-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trio-da-kali-768x634.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hawa Kasse Mady Diabate (left) of Trio Da Kali missed her June 1 performance with the Kronos Quartet due to an unexpected visa delay. Arts presenters say these are becoming more common under the Trump administration’s “extreme vetting” policy. \u003ccite>(Courtesy of Trio Da Kali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Covey says that the U.S. government’s two main concerns in implementing the DS-5535—screening people who are likely to pose a security risk or overstay their visas and immigrate to the U.S. illegally—are often enforced in racially biased ways.\u003c/p>\n\u003cp>“It’s racism, and it’s economics, and it’s demographics,” says Covey, adding that artists from Africa and Latin America are seen as likelier to immigrate illegally, and Middle Eastern artists are stereotyped as potential terrorists. “The overlap of those Venn diagrams is enormous, and that’s why it’s hard to unravel this problem.”\u003c/p>\n\u003cp>State Department officials, however, contend that they implement the DS-5535 form on a case-by-case basis due to a variety of factors, not just an artist’s country of origin. “Many factors can trigger the need for additional processing, including when concerns are raised after the applicant’s biographic or biometric information is processed through national security screening tools, consular screening tools, or at the discretion of the interviewing officer,” a State Department offical told KQED via email.\u003c/p>\n\u003ch2>Seemingly arbitrary visa denials\u003c/h2>\n\u003cp>Covey says his clients, the Tanzanian electronic musicians \u003ca href=\"https://nyegenyegetapes.bandcamp.com/album/uingizaji-hewa\" target=\"_blank\" rel=\"noopener\">Duke\u003c/a> and MCZO, were denied artist visas in May because couldn’t sufficiently prove that they weren’t planning to immigrate to the United States illegally. Covey argues that Duke and MCZO have no incentive to immigrate: the two run a record label in their home country, where they regularly sell out stadium shows and have a much larger following than they do in the United States.\u003c/p>\n\u003cp>“In the end, NOTHING could prove that we did not intend to run away illegally once checked in at our Holiday Inn,” the artists wrote at the time in a \u003ca href=\"https://www.facebook.com/NyegeNyegeFestival/posts/2354051684616689?__tn__=K-R\" target=\"_blank\" rel=\"noopener\">statement on Facebook\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The scenario has really changed in the past year. Things that were completely predictable, would routinely be approved, are now being called into question for reasons that—to me—are apparent and not necessarily written into law,” says talent booker Bill Smith of \u003ca href=\"http://www.riotartists.com/\" target=\"_blank\" rel=\"noopener\">Riot Artists\u003c/a>, who has been putting on U.S. tours for international artists for over 20 years. “Certainly people with Arabic names are unduly singled out—and frankly, they’re not necessarily applying the law. I think they’re applying the unspoken will of the administration.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.billmartinez.com/\" target=\"_blank\" rel=\"noopener\">Bill Martinez\u003c/a>, a concert presenter and lawyer representing international artists, says that he has encountered visa issues with recent clients of his, including the Indian dance troupe \u003ca href=\"https://www.snda.in\" target=\"_blank\" rel=\"noopener\">Sumeet Nagdev Dance Arts\u003c/a>. Martinez says the U.S. government denied their visa because it determined that the dancers did not have enough money to support themselves during a short trip to Seattle. However, Martinez submitted evidence that the event presenter planned to pay for travel, room and board; a “per diem” allowance for food and expenses; plus an honorarium to compensate for the performance.\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/mH0Xfmotbfg'\n title='//www.youtube.com/embed/mH0Xfmotbfg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It doesn’t make sense,” says Martinez. “But it’s exactly the frustrating reality we’re coping with. It causes consternation, doubts among the presenters who lose money doing the filings [for the artists’ visa applications].”\u003c/p>\n\u003cp>Still, despite recent difficulties in obtaining artist visas, some arts presenters aren’t deterred. SFJAZZ founder and executive artistic director Randall Kline says he’s determined to continue booking international artists from Africa and Latin America in particular as part of his organization’s mission to promote music from the African diaspora. He says the process has always been difficult during his 30 years as a concert presenter.\u003c/p>\n\u003cp>“The United States has never been easy with work visas for artists. While the climate is difficult now, it’s never been easy,” he says, adding that arts presenters must now allow for much more lead time when booking a concert to accommodate surprise visa delays. “It isn’t the plague descending on us right now.”\u003c/p>\n\u003ch2>‘Chilling’ consequences for free speech\u003c/h2>\n\u003cp>Arts presenters and legal experts also raise red flags about the addition of extensive questions about visiting artists’ (and scholars and athletes’) social media presence on visa applications. While State Department officials say that the U.S. government doesn’t deny visas based on political beliefs, critics argue that these questions can encourage self-censorship because of fear that what someone posts online can affect their application. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re not discounting the need for security, but that need needs to be balanced with freedom to express our thoughts, including criticism of the government,” says Martinez.\u003c/p>\n\u003cp>However, the State Department maintains that it’s not denying visas based on political beliefs. “Consular officers cannot deny visas based on applicants’ race, religion, ethnicity, national origin, political views, gender, or sexual orientation,” an official wrote via email. “The collection of social media identifiers is consistent with this.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Regardless of whether, when looking at social media, they make decisions based on what they see there, it clearly has to have a kind of chilling effect on freedom of expression by any artist planning to come to the U.S.,” says Covey. “Even if I’m a Norwegian opera singer, I’m going to think twice before going on my Facebook account and saying what I think about climate change because I don’t want to screw up my tour.”\u003c/p>\n\u003cp>He and other experts say that the U.S. government’s visa policies prevent cultural exchange, fueling the country’s xenophobic climate amid an anti-immigrant administration. “Nothing benefits from shutting doors,” says Martinez. “If you don’t have communication—which culture is—you don’t have these cultural exchanges, there is no hope.”\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>\u003cstrong>Correction:\u003c/strong> This article incorrectly stated that the application for an O or P visa for visiting entertainers, athletes and scholars takes a week to ten days to get approved by U.S. Citizenship and Immigration Services and the State Department. In fact, it takes several weeks. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While his viral hit “Old Town Road” still sits atop the \u003cem>Billboard\u003c/em> Hot 100 throne, \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\">Lil Nas X\u003c/a> drops “Panini,” a second taste of his upcoming EP \u003cem>7\u003c/em>, due out June 21 via Columbia Records.\u003c/p>\n\u003cp>[aside postID='arts_13854359' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/billy-ray-cyrus-lil-nas-x.jpg' target='_blank']\u003c/p>\n\u003cp>“Panini” has a weightier sound than the hit that’s made the 20-year-old famous for weeks this spring, though the whistling that bookends the track seems to tip a hat to the Yeehaw Agenda. And Lil Nas X raps simple yet somehow unexpected, stick-in-your-head rhymes to open: “Ey panini / Don’t you be a meanie / Thought you wanted me to go / Why you tryna keep me teeny?”\u003c/p>\n\u003cp>https://youtu.be/1PrWA4C8eLw\u003c/p>\n\u003cp>A few familiar names contributed to to the booming production of “Panini.” New York duo Take A Daytrip and Dot da Genius — famous for his spidery, spellbinding work with \u003ca href=\"https://www.npr.org/artists/127557916/kid-cudi\">Kid Cudi\u003c/a>, \u003ca href=\"https://www.npr.org/sections/allsongs/2017/09/26/552903867/jhen-aiko-narrates-her-psychedelic-trip-through-death-love-and-reawakening\">Jhene Aiko\u003c/a> and more — co-produced the sub-two-minute bop, which also interpolates bits of melody from Nirvana’s “In Bloom.” (The artist gave Frances Bean Cobain a shout-out for the song clearance on \u003ca href=\"https://twitter.com/LilNasX/status/1141746171607576576\">Twitter\u003c/a>.)\u003c/p>\n\u003cp>\u003cem>7 \u003c/em>is the official follow-up to \u003cem>NASARATI\u003c/em>, the Internet star’s 2018 self-released project. On the cowboy boot heels of his massive glow-up, this upcoming EP will aim to cement Lil Nas X as more than a flash in the pan success. With “Panini,” he’s already proven he can be more than a one-hit wonder.\u003c/p>\n\u003cp>7 \u003cem>is due out June 21 via Columbia Records.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>Poet, writer and musician Joy Harjo — a member of the Muscogee Creek Nation — often draws on Native American stories, languages and myths. But she says that she’s not self-consciously trying to bring that material into her work. If anything, it’s the other way around.\u003c/p>\n\u003cp>“I think the culture is bringing me into it with poetry — that it’s part of me,” Harjo says in an interview with NPR’s Lynn Neary. “I don’t think about it … And so it doesn’t necessarily become a self-conscious thing — it’s just there … When you grow up as a person in your culture, you have your culture and you’re in it, but you’re also in this American culture, and that’s another layer.”\u003c/p>\n\u003cp>Harjo, 68, will represent both her Indigenous culture and those of the United States of America when she \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/06/14/531784281/tracy-k-smith-new-u-s-poet-laureate-calls-poems-her-anchor\">succeeds Tracy K. Smith\u003c/a> as the country’s 23rd poet laureate consultant in poetry (that’s the official title) this fall. Her term, announced Wednesday by Librarian of Congress Carla Hayden, will make her the first Native American poet to serve in the position.\u003c/p>\n\u003cp>“It’s such an honoring for Native people in this country, when we’ve been so disappeared and disregarded,” Harjo says. “And yet we’re the root cultures, over 500-something tribes and I don’t know how many at first contact. But it’s quite an honor … I bear that honor on behalf of the people and my ancestors. So that’s really exciting for me.”\u003c/p>\n\u003cp>A native and resident of Tulsa, Okla. — she is also the first Oklahoman to be named U.S. poet laureate — Harjo says the appointment is an opportunity to continue a role she has often assumed throughout her career: as an “ambassador” of poetry. The Library of Congress \u003ca href=\"http://loc.gov/poetry/about_laureate.html\">calls the position\u003c/a> “the nation’s official poet” and assigns a “modest minimum” of official duties in order to enable individual projects designed “to raise the national consciousness to a greater appreciation of the reading and writing of poetry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Since I started writing in 1973, I’ve almost always been on the road with poetry, and meeting people and communities … every state in the union, small and large communities, for years on behalf of poetry — and the gift that poetry brings to all of us,” Harjo says.\u003c/p>\n\u003cp>Harjo is the author of eight books of poetry, including the American Book Award-winning \u003cem>In Mad Love and War \u003c/em>(1990). She has also written a memoir and literature for children and young adults. She has taught at the University of California, Los Angeles, and the University of Tennessee.\u003c/p>\n\u003cp>A new collection called \u003cem>An American Sunrise\u003c/em> will be published in August. \u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/92063/an-american-sunrise\">Its title poem\u003c/a> interpolates and salutes \u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/28112/we-real-cool\">a famous Gwendolyn Brooks poem\u003c/a>, but imbues it with new meaning about the persistence of Native people: “We are still America. We / know the rumors of our demise. We spit them out. They die / soon.”\u003c/p>\n\u003cp>Born in 1951, Harjo did not have an easy start to her life as a multidisciplinary artist. Her memoir \u003cem>Crazy Brave \u003c/em>discusses her father’s alcoholism, her abusive stepfather, teen motherhood, a failed first marriage and living in poverty — before finding the “spirit of poetry.”\u003c/p>\n\u003cp>“I needed to find my voice, I think, in order to live,” \u003ca href=\"https://www.npr.org/2012/07/09/156501436/joy-harjos-crazy-brave-path-to-finding-her-voice\">she said to Neal Conan\u003c/a> on NPR’s \u003cem>Talk of the Nation \u003c/em>in 2012.\u003c/p>\n\u003cp>The memoir also discusses the time that she heard Miles Davis on her parents’ car radio and experienced a transcendental moment, which she connected to her mother’s singing and her deep identification with music. Much later in life, nearing age 40, she picked up a saxophone for the first time. She has now released five albums of original music and won a Native American Music Award in 2009.\u003c/p>\n\u003cp>Harjo talks about her poetry as a kind of music — like making a fire by slamming two rocks together. “You hit words together with rhythm and sound quality and fierce playfulness,” she says.\u003c/p>\n\u003cp>But in terms of subject matter, she also sees poetry as “an immense conversation of the soul.” She says she’s driven by “justice and healing and transformation: The idea that you can … transform the images of our people from being non-human to human beings, and the ability to transform experiences that could potentially destroy a pe\u003cem>o\u003c/em>ple, a family, a person to experiences that build connection and community.”\u003c/p>\n\u003cp>Her work often merges the global and the personal, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=11695780\">the imagery of the natural world\u003c/a> and that of the inner one. She speaks often not only of the diversity of humanity, but also of its unifying story, its oneness.\u003c/p>\n\u003cp>“To her, poems are ‘carriers of dreams, knowledge and wisdom,’ and through them, she tells an American story of tradition and loss, reckoning and myth-making,” said Hayden in a statement. “Her work powerfully connects us to the earth and the spiritual world with direct, inventive lyricism that helps us reimagine who we are.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.poetryfoundation.org/poems/141852/she-had-some-horses-590104cf40742\">“She Had Some Horses,”\u003c/a> found in the collection of the same name, Harjo describes the many, often contradictory “horses” within a woman: “She had some horses she loved. / She had some horses she hated. / These were the same horses.”\u003c/p>\n\u003cp>In “\u003ca href=\"https://poets.org/poem/morning-i-pray-my-enemies\">This Morning I Pray for My Enemies,\u003c/a>” which she read for NPR, she relates the sun to the heart.\u003c/p>\n\u003cblockquote>\u003cp>And whom do I call my enemy?\u003cbr>\nAn enemy must be worthy of engagement.\u003cbr>\nI turn in the direction of the sun and keep walking.\u003cbr>\nIt’s the heart that asks the question, not my furious mind.\u003cbr>\nThe heart is the smaller cousin of the sun.\u003cbr>\nIt sees and knows everything.\u003cbr>\nIt hears the gnashing even as it hears the blessing.\u003cbr>\nThe door to the mind should only open from the heart.\u003cbr>\nAn enemy who gets in, risks the danger of becoming a friend.\u003c/p>\u003c/blockquote>\n\u003cp>The poem appears in Harjo’s 2015 collection \u003cem>Conflict Resolution for Holy Beings\u003c/em>. Harjo says that humanizing and healing will be her aims as poet laureate — “a healing of people speaking to each other, with each other,” she says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Communities that normally would not sit with each other, I would love to see … interchanges with poetry,” Harjo says. She suggests gathering “cowboys and Indians” for a poetry summit. “I really believe if people sit together and hear their deepest feelings and thoughts beyond political divisiveness, it makes connections. There’s connections made that can’t be made with politicized language.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Joy+Harjo+Becomes+The+First+Native+American+U.S.+Poet+Laureate+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Poet, writer and musician Joy Harjo — a member of the Muscogee Creek Nation — often draws on Native American stories, languages and myths. But she says that she’s not self-consciously trying to bring that material into her work. If anything, it’s the other way around.\u003c/p>\n\u003cp>“I think the culture is bringing me into it with poetry — that it’s part of me,” Harjo says in an interview with NPR’s Lynn Neary. “I don’t think about it … And so it doesn’t necessarily become a self-conscious thing — it’s just there … When you grow up as a person in your culture, you have your culture and you’re in it, but you’re also in this American culture, and that’s another layer.”\u003c/p>\n\u003cp>Harjo, 68, will represent both her Indigenous culture and those of the United States of America when she \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/06/14/531784281/tracy-k-smith-new-u-s-poet-laureate-calls-poems-her-anchor\">succeeds Tracy K. Smith\u003c/a> as the country’s 23rd poet laureate consultant in poetry (that’s the official title) this fall. Her term, announced Wednesday by Librarian of Congress Carla Hayden, will make her the first Native American poet to serve in the position.\u003c/p>\n\u003cp>“It’s such an honoring for Native people in this country, when we’ve been so disappeared and disregarded,” Harjo says. “And yet we’re the root cultures, over 500-something tribes and I don’t know how many at first contact. But it’s quite an honor … I bear that honor on behalf of the people and my ancestors. So that’s really exciting for me.”\u003c/p>\n\u003cp>A native and resident of Tulsa, Okla. — she is also the first Oklahoman to be named U.S. poet laureate — Harjo says the appointment is an opportunity to continue a role she has often assumed throughout her career: as an “ambassador” of poetry. The Library of Congress \u003ca href=\"http://loc.gov/poetry/about_laureate.html\">calls the position\u003c/a> “the nation’s official poet” and assigns a “modest minimum” of official duties in order to enable individual projects designed “to raise the national consciousness to a greater appreciation of the reading and writing of poetry.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Since I started writing in 1973, I’ve almost always been on the road with poetry, and meeting people and communities … every state in the union, small and large communities, for years on behalf of poetry — and the gift that poetry brings to all of us,” Harjo says.\u003c/p>\n\u003cp>Harjo is the author of eight books of poetry, including the American Book Award-winning \u003cem>In Mad Love and War \u003c/em>(1990). She has also written a memoir and literature for children and young adults. She has taught at the University of California, Los Angeles, and the University of Tennessee.\u003c/p>\n\u003cp>A new collection called \u003cem>An American Sunrise\u003c/em> will be published in August. \u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/92063/an-american-sunrise\">Its title poem\u003c/a> interpolates and salutes \u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/28112/we-real-cool\">a famous Gwendolyn Brooks poem\u003c/a>, but imbues it with new meaning about the persistence of Native people: “We are still America. We / know the rumors of our demise. We spit them out. They die / soon.”\u003c/p>\n\u003cp>Born in 1951, Harjo did not have an easy start to her life as a multidisciplinary artist. Her memoir \u003cem>Crazy Brave \u003c/em>discusses her father’s alcoholism, her abusive stepfather, teen motherhood, a failed first marriage and living in poverty — before finding the “spirit of poetry.”\u003c/p>\n\u003cp>“I needed to find my voice, I think, in order to live,” \u003ca href=\"https://www.npr.org/2012/07/09/156501436/joy-harjos-crazy-brave-path-to-finding-her-voice\">she said to Neal Conan\u003c/a> on NPR’s \u003cem>Talk of the Nation \u003c/em>in 2012.\u003c/p>\n\u003cp>The memoir also discusses the time that she heard Miles Davis on her parents’ car radio and experienced a transcendental moment, which she connected to her mother’s singing and her deep identification with music. Much later in life, nearing age 40, she picked up a saxophone for the first time. She has now released five albums of original music and won a Native American Music Award in 2009.\u003c/p>\n\u003cp>Harjo talks about her poetry as a kind of music — like making a fire by slamming two rocks together. “You hit words together with rhythm and sound quality and fierce playfulness,” she says.\u003c/p>\n\u003cp>But in terms of subject matter, she also sees poetry as “an immense conversation of the soul.” She says she’s driven by “justice and healing and transformation: The idea that you can … transform the images of our people from being non-human to human beings, and the ability to transform experiences that could potentially destroy a pe\u003cem>o\u003c/em>ple, a family, a person to experiences that build connection and community.”\u003c/p>\n\u003cp>Her work often merges the global and the personal, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=11695780\">the imagery of the natural world\u003c/a> and that of the inner one. She speaks often not only of the diversity of humanity, but also of its unifying story, its oneness.\u003c/p>\n\u003cp>“To her, poems are ‘carriers of dreams, knowledge and wisdom,’ and through them, she tells an American story of tradition and loss, reckoning and myth-making,” said Hayden in a statement. “Her work powerfully connects us to the earth and the spiritual world with direct, inventive lyricism that helps us reimagine who we are.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.poetryfoundation.org/poems/141852/she-had-some-horses-590104cf40742\">“She Had Some Horses,”\u003c/a> found in the collection of the same name, Harjo describes the many, often contradictory “horses” within a woman: “She had some horses she loved. / She had some horses she hated. / These were the same horses.”\u003c/p>\n\u003cp>In “\u003ca href=\"https://poets.org/poem/morning-i-pray-my-enemies\">This Morning I Pray for My Enemies,\u003c/a>” which she read for NPR, she relates the sun to the heart.\u003c/p>\n\u003cblockquote>\u003cp>And whom do I call my enemy?\u003cbr>\nAn enemy must be worthy of engagement.\u003cbr>\nI turn in the direction of the sun and keep walking.\u003cbr>\nIt’s the heart that asks the question, not my furious mind.\u003cbr>\nThe heart is the smaller cousin of the sun.\u003cbr>\nIt sees and knows everything.\u003cbr>\nIt hears the gnashing even as it hears the blessing.\u003cbr>\nThe door to the mind should only open from the heart.\u003cbr>\nAn enemy who gets in, risks the danger of becoming a friend.\u003c/p>\u003c/blockquote>\n\u003cp>The poem appears in Harjo’s 2015 collection \u003cem>Conflict Resolution for Holy Beings\u003c/em>. Harjo says that humanizing and healing will be her aims as poet laureate — “a healing of people speaking to each other, with each other,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In San Jose’s Japantown, Contemporary Transience Takes on Historical Weight",
"headTitle": "In San Jose’s Japantown, Contemporary Transience Takes on Historical Weight | KQED",
"content": "\u003cp>For the four artists in \u003ca href=\"https://www.artobjectgallery.com/\" rel=\"noopener\" target=\"_blank\">ArtObjectGallery\u003c/a>’s \u003ci>Transient Existence\u003c/i>, the exhibition title refers not just to their own experiences of living abroad (all were born in Japan, but two now live in the Bay Area, two in Berlin), but of the historical movement of people—especially people of Japanese descent, and especially in the United States. \u003c/p>\n\u003cp>In the show, opening June 21 in the heart of San Jose’s Japantown, \u003ca href=\"http://aisukekondo.com/Home.html\" rel=\"noopener\" target=\"_blank\">Aisuke Kondo\u003c/a>, \u003ca href=\"http://takeshimoro.com/\" rel=\"noopener\" target=\"_blank\">Takeshi Moro\u003c/a>, \u003ca href=\"http://yukikonagakura.com/yukikonagakura.html\" rel=\"noopener\" target=\"_blank\">Yukiko Nagakura\u003c/a> and \u003ca href=\"http://kaoriyamashita.com/\" rel=\"noopener\" target=\"_blank\">Kaori Yamashita\u003c/a> deal mostly, but not exclusively, with their connections to the Tule Lake and Topaz concentration camps used to incarcerate Japanese Americans during WWII. \u003c/p>\n\u003cp>Nearly 80 years after President Franklin D. Roosevelt signed and issued Executive Order 9066, few survive who can speak to the experience of being wrongfully detained in their own country. At Tule Lake and Topaz—located at the California/Oregon border and in Utah, respectively—little but historical plaques remain. The artists of \u003ci>Transient Existence\u003c/i> find ways to amplify and broaden that story, exploring dynamics of power, vulnerability and impermanence across works of photography, sculpture and collage. \u003c/p>\n\u003cfigure id=\"attachment_13859836\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Transient4_1200.jpg\" alt=\"Takeshi Moro, 'The Gleaner,' 2019; Pigmented Inkjet Print.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13859836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-1020x764.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Takeshi Moro, ‘The Gleaner,’ 2019; Pigmented Inkjet Print. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The projects displayed are as varied as their individual practices and backgrounds. Kondo’s ongoing series \u003ci>Matter and Memory\u003c/i> retraces his great-grandfather’s life as an immigrant in the United States, during which he was relocated from San Francisco to Topaz. Moro’s work is informed by his years of working with elders at San Jose’s Japantown senior center, and with the Japanese American Museum of San Jose. Nagakura is particularly interested in highlighting instances of gender inequality; an example of work from the show pulls from racist newspaper reporting about Japanese women. And Yamashita’s previous work—delicate ceramics and sculptural installations hinting at architectural ruins—demonstrates an ability to gesture at larger, universal concerns within the format of carefully constructed tableaux. \u003c/p>\n\u003cp>Together, the artists of \u003ci>Transient Existence\u003c/i> find common ground in their shared experience of living “elsewhere,” and in doing so, usher our understanding of contemporary transience (its privileges and pains) into conversation with forced movements of the past.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the four artists in \u003ca href=\"https://www.artobjectgallery.com/\" rel=\"noopener\" target=\"_blank\">ArtObjectGallery\u003c/a>’s \u003ci>Transient Existence\u003c/i>, the exhibition title refers not just to their own experiences of living abroad (all were born in Japan, but two now live in the Bay Area, two in Berlin), but of the historical movement of people—especially people of Japanese descent, and especially in the United States. \u003c/p>\n\u003cp>In the show, opening June 21 in the heart of San Jose’s Japantown, \u003ca href=\"http://aisukekondo.com/Home.html\" rel=\"noopener\" target=\"_blank\">Aisuke Kondo\u003c/a>, \u003ca href=\"http://takeshimoro.com/\" rel=\"noopener\" target=\"_blank\">Takeshi Moro\u003c/a>, \u003ca href=\"http://yukikonagakura.com/yukikonagakura.html\" rel=\"noopener\" target=\"_blank\">Yukiko Nagakura\u003c/a> and \u003ca href=\"http://kaoriyamashita.com/\" rel=\"noopener\" target=\"_blank\">Kaori Yamashita\u003c/a> deal mostly, but not exclusively, with their connections to the Tule Lake and Topaz concentration camps used to incarcerate Japanese Americans during WWII. \u003c/p>\n\u003cp>Nearly 80 years after President Franklin D. Roosevelt signed and issued Executive Order 9066, few survive who can speak to the experience of being wrongfully detained in their own country. At Tule Lake and Topaz—located at the California/Oregon border and in Utah, respectively—little but historical plaques remain. The artists of \u003ci>Transient Existence\u003c/i> find ways to amplify and broaden that story, exploring dynamics of power, vulnerability and impermanence across works of photography, sculpture and collage. \u003c/p>\n\u003cfigure id=\"attachment_13859836\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Transient4_1200.jpg\" alt=\"Takeshi Moro, 'The Gleaner,' 2019; Pigmented Inkjet Print.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13859836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-1020x764.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Takeshi Moro, ‘The Gleaner,’ 2019; Pigmented Inkjet Print. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The projects displayed are as varied as their individual practices and backgrounds. Kondo’s ongoing series \u003ci>Matter and Memory\u003c/i> retraces his great-grandfather’s life as an immigrant in the United States, during which he was relocated from San Francisco to Topaz. Moro’s work is informed by his years of working with elders at San Jose’s Japantown senior center, and with the Japanese American Museum of San Jose. Nagakura is particularly interested in highlighting instances of gender inequality; an example of work from the show pulls from racist newspaper reporting about Japanese women. And Yamashita’s previous work—delicate ceramics and sculptural installations hinting at architectural ruins—demonstrates an ability to gesture at larger, universal concerns within the format of carefully constructed tableaux. \u003c/p>\n\u003cp>Together, the artists of \u003ci>Transient Existence\u003c/i> find common ground in their shared experience of living “elsewhere,” and in doing so, usher our understanding of contemporary transience (its privileges and pains) into conversation with forced movements of the past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "SF Had Right to Remove 'Early Days' Statue Deemed Racist, Judge Says",
"headTitle": "SF Had Right to Remove ‘Early Days’ Statue Deemed Racist, Judge Says | KQED",
"content": "\u003cp>A San Francisco Superior Court judge last week upheld the San Francisco Art Commission’s decision last year to remove the controversial Civic Center Plaza statue “Early Days,” rejecting a lawsuit alleging that the commission was “motivated by prejudice against people of European heritage and culture,” to unlawfully “desecrate … a piece of fine art.”\u003c/p>\n\u003cp>The plaintiffs alleged the arts commission illegally wasted public resources by removing the art solely on the justification that “it was racist and painful to Native Americans and those who shared the interpretation of it being racist and that its existence represented white supremacy.” \u003c/p>\n\u003cp>But Judge Cynthia Ming-mei Lee called that reason enough, citing city policies allowing for the removal of public art following “‘significant adverse public reaction over an extended period of time (five years or more),’” she wrote. \u003c/p>\n\u003cp>“Accordingly the SFAC had discretion to remove the statue based on racism and the Court may not interfere with its decision.” \u003c/p>\n\u003cfigure id=\"attachment_13840756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-800x450.jpg\" alt=\"'Early Days,' part of the Pioneer Monument in San Francisco's Civic Center, will be removed in the wake of a Sept. 12 meeting at City Hall.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13840756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Early Days,’ part of the Pioneer Monument in San Francisco’s Civic Center, will be removed in the wake of a Sept. 12 meeting at City Hall. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tom DeCaigny, San Francisco’s cultural affairs director and a defendant in the lawsuit, said in a statement the “decision affirms the Arts Commission’s authority to remove racist imagery from the public realm.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He continued, “This is an important victory for the Native American community and their allies who have fought for many years to see this historically inaccurate and racist depiction of indigenous people removed.”\u003c/p>\n\u003cp>The arts commission sought to remove “Early Days” from the Pioneer Monument sculptural group near City Hall after determining its depiction of a Native American kneeling beneath a Spanish vaquero and missionary was degrading and historically inaccurate. \u003c/p>\n\u003cp>Activists opposed the statue for decades, and calls for its removal escalated in 2017 amid a national movement against Confederate statues and other racist monuments. The arts commission voted to replace the “racist and disrespectful sculpture” with a didactic plaque. [aside postID=arts_13840748]\u003c/p>\n\u003cp>But Petaluma attorney Frear Stephen Schmid challenged the decision before the San Francisco Board of Appeals, calling its removal “tantamount to destruction” and akin to “taking the lips off the Mona Lisa.” The board ultimately rejected his argument, and the statue was removed last September.\u003c/p>\n\u003cp>Schmid, a white man, filed the lawsuit last November claiming the arts commission was “ethically [sic] and racially motivated in favor of one racial/ethnic group, Native Americans,” hence violating his civil rights by “by vilifying the artistic work, the European Catholic priest, [and] the Vaquero[.]” \u003c/p>\n\u003cp>But Schmid and co-plaintiff Patricia Briggs, the judge wrote, lacked standing to sue on civil-rights grounds because they “are not the artists of Pioneer Monument,” and called their claim that the statue’s removal was a violent act “unsupported by legal or statutory authority.” \u003c/p>\n\u003cp>Nor was the judge persuaded by plaintiffs’ argument that the statue’s removal violated the charitable and public trust doctrines, pointing out that the latter only applies to “the duty of the state to protect the people’s common heritage of streams, lakes, marshlands and tidelands[.]” \u003c/p>\n\u003cp>Schmid could not be reached for comment. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last October, the San Francisco Board of Supervisors \u003ca href=\"https://www.kqed.org/news/11695768/s-f-moves-toward-requiring-more-representation-of-women-in-public-spaces\">voted to approve a measure\u003c/a> requiring broader representation of women in statues and other artworks on city-owned property. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A San Francisco Superior Court judge last week upheld the San Francisco Art Commission’s decision last year to remove the controversial Civic Center Plaza statue “Early Days,” rejecting a lawsuit alleging that the commission was “motivated by prejudice against people of European heritage and culture,” to unlawfully “desecrate … a piece of fine art.”\u003c/p>\n\u003cp>The plaintiffs alleged the arts commission illegally wasted public resources by removing the art solely on the justification that “it was racist and painful to Native Americans and those who shared the interpretation of it being racist and that its existence represented white supremacy.” \u003c/p>\n\u003cp>But Judge Cynthia Ming-mei Lee called that reason enough, citing city policies allowing for the removal of public art following “‘significant adverse public reaction over an extended period of time (five years or more),’” she wrote. \u003c/p>\n\u003cp>“Accordingly the SFAC had discretion to remove the statue based on racism and the Court may not interfere with its decision.” \u003c/p>\n\u003cfigure id=\"attachment_13840756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-800x450.jpg\" alt=\"'Early Days,' part of the Pioneer Monument in San Francisco's Civic Center, will be removed in the wake of a Sept. 12 meeting at City Hall.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13840756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EarlyDaysStatue-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Early Days,’ part of the Pioneer Monument in San Francisco’s Civic Center, will be removed in the wake of a Sept. 12 meeting at City Hall. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tom DeCaigny, San Francisco’s cultural affairs director and a defendant in the lawsuit, said in a statement the “decision affirms the Arts Commission’s authority to remove racist imagery from the public realm.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He continued, “This is an important victory for the Native American community and their allies who have fought for many years to see this historically inaccurate and racist depiction of indigenous people removed.”\u003c/p>\n\u003cp>The arts commission sought to remove “Early Days” from the Pioneer Monument sculptural group near City Hall after determining its depiction of a Native American kneeling beneath a Spanish vaquero and missionary was degrading and historically inaccurate. \u003c/p>\n\u003cp>Activists opposed the statue for decades, and calls for its removal escalated in 2017 amid a national movement against Confederate statues and other racist monuments. The arts commission voted to replace the “racist and disrespectful sculpture” with a didactic plaque. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Petaluma attorney Frear Stephen Schmid challenged the decision before the San Francisco Board of Appeals, calling its removal “tantamount to destruction” and akin to “taking the lips off the Mona Lisa.” The board ultimately rejected his argument, and the statue was removed last September.\u003c/p>\n\u003cp>Schmid, a white man, filed the lawsuit last November claiming the arts commission was “ethically [sic] and racially motivated in favor of one racial/ethnic group, Native Americans,” hence violating his civil rights by “by vilifying the artistic work, the European Catholic priest, [and] the Vaquero[.]” \u003c/p>\n\u003cp>But Schmid and co-plaintiff Patricia Briggs, the judge wrote, lacked standing to sue on civil-rights grounds because they “are not the artists of Pioneer Monument,” and called their claim that the statue’s removal was a violent act “unsupported by legal or statutory authority.” \u003c/p>\n\u003cp>Nor was the judge persuaded by plaintiffs’ argument that the statue’s removal violated the charitable and public trust doctrines, pointing out that the latter only applies to “the duty of the state to protect the people’s common heritage of streams, lakes, marshlands and tidelands[.]” \u003c/p>\n\u003cp>Schmid could not be reached for comment. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last October, the San Francisco Board of Supervisors \u003ca href=\"https://www.kqed.org/news/11695768/s-f-moves-toward-requiring-more-representation-of-women-in-public-spaces\">voted to approve a measure\u003c/a> requiring broader representation of women in statues and other artworks on city-owned property. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dystopian Dreams and Goofy Sci Fi Humor at San Jose's MACLA",
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"headTitle": "Dystopian Dreams and Goofy Sci Fi Humor at San Jose’s MACLA | KQED",
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"content": "\u003cp>Science fiction has always been a creative space for working out our deepest hopes and fears about the future, and really, the present. White males have dominated the genre for decades, but that’s not to say it’s a white, male genre. After all, it all started with Mary Shelley’s seminal 1818 novel \u003cem>Frankenstein.\u003c/em>\u003c/p>\n\u003cp>So let’s start here with the idea that Latino artists and writers have a long history mining ancient and native mythologies and incorporating them into modern contexts with magical realism, as in Gabriel García Márquez’s \u003cem>One Hundred Years of Solitude\u003c/em>.\u003c/p>\n\u003cp>GenXers and younger will recall \u003ca href=\"http://www.fantagraphics.com/series/loveandrockets/\" target=\"_blank\" rel=\"noopener\">\u003cem>Love and Rockets\u003c/em>\u003c/a>, a comic book series birthed in the early 1980 and recently rebooted by Fantagraphics from brothers Gilbert, Jaime, and Mario Hernandez of Oxnard.\u003c/p>\n\u003cp>Sci fi is not a stretch.\u003c/p>\n\u003cfigure id=\"attachment_13859673\" class=\"wp-caption aligncenter\" style=\"max-width: 1369px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37717.jpg\" alt=\""El Calendario," by San Jose artist Claudia Blanco. Note that this sci fi nod to Jesus Helguera's iconic 1966 painting "La Leyenda de los Volcanes" purports to come from the East Palo Alto bakery called the Pink Elephant.\" width=\"1369\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-1920x2872.jpg 1920w\" sizes=\"(max-width: 1369px) 100vw, 1369px\">\u003cfigcaption class=\"wp-caption-text\">“El Calendario,” by San Jose artist Claudia Blanco. Note that this sci fi nod to Jesus Helguera’s iconic 1966 painting “La Leyenda de los Volcanes” purports to come from the East Palo Alto bakery called the\u003ca href=\"http://thepinkelephantbakery.com\" target=\"_blank\" rel=\"noopener\"> Pink Elephant\u003c/a>. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unicorns, Aliens, and Futuristic Cities at Movimiento de Arte y Cultura Latino Americana (MACLA) in San Jose is a pocket-sized exhibit that showcases a handful of contemporary visual artists exploring dystopian paranoia, fantasy and humor. The exhibition was co-curated by Joey Reyes and MACLA’s Visual Arts Engagement Coordinator Maryela Perez.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>El Calen\u003c/i>\u003ci>da\u003c/i>\u003ci>rio\u003c/i>, a painting created for this exhibit by San Jose artist Claudia Blanco, functions as its visual mascot, and for good reason. “She reimagines a calendar that a lot of Latino folks that visit bakeries, like, panderias, they get at the end of the year,” Perez says.\u003c/p>\n\u003cp>Many of these calendars feature a particular, iconic image by Mexican artist Jesus Helguera called \u003ci>La Leyenda de los Volcanes,\u003c/i> or \u003cem>The Legend of the Volcanos\u003c/em>. Our Aztec hero staggers forward with his dead lover, tragically limp in his arms. On Blanco’s calendar, the warrior is replaced by an alien from the 1996 movie \u003ca href=\"https://www.rottentomatoes.com/m/mars_attacks\" target=\"_blank\" rel=\"noopener\">\u003cem>Mars Attacks\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13859674\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859674\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut.jpg\" alt='\"Birth of the Four Directions,\" by Jorge Gonzales. Color pencil on paper, 2016.' width=\"1920\" height=\"1625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-800x677.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-768x650.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-1020x863.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-1200x1016.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">“Birth of the Four Directions,” by Jorge Gonzales. Color pencil on paper, 2016. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit also explores an unexpected affinity between science fiction and spirituality. Take \u003cem>Birth of the Four Directions\u003c/em> by Jorge Gonzales. The pencil drawing depicts a ball of concentrated energy in the cosmos bursting into four directions.\u003cbr>\n“We often think about the Big Bang and how it was the birth of the universe, but you can easily connect the birth of the four directions,” Perez says.\u003c/p>\n\u003cp>There is an aspect of science fiction that echoes the imperialistic compulsions of colonialism. Think of the appeal of creating “new worlds,” bumping aside “alien” species to pursue a nationalistic vision with self-righteous violence.\u003c/p>\n\u003cp>\u003cem>La Raza Cosmica\u003c/em> (see above) by Michael Menchaca reinterprets an essay by Mexican philosopher Jose Vasconcelo that imagines a “fifth race” in the Americas. Inspired by pre-Columbian iconography, Menchaca deconstructs Vasconcelo’s mestizo identity theory with animated animals.\u003c/p>\n\u003cfigure id=\"attachment_13859675\" class=\"wp-caption aligncenter\" style=\"max-width: 858px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut.jpg\" alt='\"Double Ass Coyotl\" by Javier Martinez. \"No matter what way you turn, your past is going to be following you,\" says MACLA’s Visual Arts Engagement Coordinator Maryela Perez.' width=\"858\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut.jpg 858w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-768x527.jpg 768w\" sizes=\"(max-width: 858px) 100vw, 858px\">\u003cfigcaption class=\"wp-caption-text\">“Double Ass Coyotl” by Javier Martinez. “No matter what way you turn, your past is going to be following you,” says MACLA’s Visual Arts Engagement Coordinator Maryela Perez. \u003ccite>(Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cats, clowns, bears and elephants dance about in the multi-media video installation, at once cartoonish and fantastical. With multi-layered humor, Menchaca is essentially thumbing his nose at Spanish racism as it’s played out in the New World.\u003c/p>\n\u003cp>Even lowrider culture gets a spacey nod from Javier Martinez, who explores fantastical combinations of machine, machine and animal in three pieces on view in the gallery. Each one is funny, but also a little bit disturbing, provocative.\u003c/p>\n\u003cp>Have you noticed? Latinx sci fi is having a moment right now: in \u003ca href=\"http://www.comicosity.com/tag/comix-latinx/\" target=\"_blank\" rel=\"noopener\">comic books\u003c/a>, \u003ca href=\"https://queensmuseum.org/2018/09/mundos-alternos\" target=\"_blank\" rel=\"noopener\">museums\u003c/a>, even \u003ci>Black Mirror \u003c/i>on Netflix, which just produced a series of \u003ca href=\"https://www.youtube.com/channel/UC5ZiUaIJ2b5dYBYGf5iEUrA\" target=\"_blank\" rel=\"noopener\">YouTube\u003c/a> shorts in Spanish , featuring a cast of Latinx social media stars.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=RqATb20dO34]\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ci>Unicorns, Aliens, and Futuristic Cities \u003c/i>\u003c/strong>runs June 5 – August 19, 2019 at Movimiento de Arte y Cultura Latino Americana (MACLA) in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://maclaarte.org/programs/visual-arts/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"title": "Dystopian Dreams and Goofy Sci Fi Humor at San Jose's MACLA | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Science fiction has always been a creative space for working out our deepest hopes and fears about the future, and really, the present. White males have dominated the genre for decades, but that’s not to say it’s a white, male genre. After all, it all started with Mary Shelley’s seminal 1818 novel \u003cem>Frankenstein.\u003c/em>\u003c/p>\n\u003cp>So let’s start here with the idea that Latino artists and writers have a long history mining ancient and native mythologies and incorporating them into modern contexts with magical realism, as in Gabriel García Márquez’s \u003cem>One Hundred Years of Solitude\u003c/em>.\u003c/p>\n\u003cp>GenXers and younger will recall \u003ca href=\"http://www.fantagraphics.com/series/loveandrockets/\" target=\"_blank\" rel=\"noopener\">\u003cem>Love and Rockets\u003c/em>\u003c/a>, a comic book series birthed in the early 1980 and recently rebooted by Fantagraphics from brothers Gilbert, Jaime, and Mario Hernandez of Oxnard.\u003c/p>\n\u003cp>Sci fi is not a stretch.\u003c/p>\n\u003cfigure id=\"attachment_13859673\" class=\"wp-caption aligncenter\" style=\"max-width: 1369px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37717.jpg\" alt=\""El Calendario," by San Jose artist Claudia Blanco. Note that this sci fi nod to Jesus Helguera's iconic 1966 painting "La Leyenda de los Volcanes" purports to come from the East Palo Alto bakery called the Pink Elephant.\" width=\"1369\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-1920x2872.jpg 1920w\" sizes=\"(max-width: 1369px) 100vw, 1369px\">\u003cfigcaption class=\"wp-caption-text\">“El Calendario,” by San Jose artist Claudia Blanco. Note that this sci fi nod to Jesus Helguera’s iconic 1966 painting “La Leyenda de los Volcanes” purports to come from the East Palo Alto bakery called the\u003ca href=\"http://thepinkelephantbakery.com\" target=\"_blank\" rel=\"noopener\"> Pink Elephant\u003c/a>. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unicorns, Aliens, and Futuristic Cities at Movimiento de Arte y Cultura Latino Americana (MACLA) in San Jose is a pocket-sized exhibit that showcases a handful of contemporary visual artists exploring dystopian paranoia, fantasy and humor. The exhibition was co-curated by Joey Reyes and MACLA’s Visual Arts Engagement Coordinator Maryela Perez.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>El Calen\u003c/i>\u003ci>da\u003c/i>\u003ci>rio\u003c/i>, a painting created for this exhibit by San Jose artist Claudia Blanco, functions as its visual mascot, and for good reason. “She reimagines a calendar that a lot of Latino folks that visit bakeries, like, panderias, they get at the end of the year,” Perez says.\u003c/p>\n\u003cp>Many of these calendars feature a particular, iconic image by Mexican artist Jesus Helguera called \u003ci>La Leyenda de los Volcanes,\u003c/i> or \u003cem>The Legend of the Volcanos\u003c/em>. Our Aztec hero staggers forward with his dead lover, tragically limp in his arms. On Blanco’s calendar, the warrior is replaced by an alien from the 1996 movie \u003ca href=\"https://www.rottentomatoes.com/m/mars_attacks\" target=\"_blank\" rel=\"noopener\">\u003cem>Mars Attacks\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13859674\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859674\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut.jpg\" alt='\"Birth of the Four Directions,\" by Jorge Gonzales. Color pencil on paper, 2016.' width=\"1920\" height=\"1625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-800x677.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-768x650.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-1020x863.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-1200x1016.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">“Birth of the Four Directions,” by Jorge Gonzales. Color pencil on paper, 2016. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit also explores an unexpected affinity between science fiction and spirituality. Take \u003cem>Birth of the Four Directions\u003c/em> by Jorge Gonzales. The pencil drawing depicts a ball of concentrated energy in the cosmos bursting into four directions.\u003cbr>\n“We often think about the Big Bang and how it was the birth of the universe, but you can easily connect the birth of the four directions,” Perez says.\u003c/p>\n\u003cp>There is an aspect of science fiction that echoes the imperialistic compulsions of colonialism. Think of the appeal of creating “new worlds,” bumping aside “alien” species to pursue a nationalistic vision with self-righteous violence.\u003c/p>\n\u003cp>\u003cem>La Raza Cosmica\u003c/em> (see above) by Michael Menchaca reinterprets an essay by Mexican philosopher Jose Vasconcelo that imagines a “fifth race” in the Americas. Inspired by pre-Columbian iconography, Menchaca deconstructs Vasconcelo’s mestizo identity theory with animated animals.\u003c/p>\n\u003cfigure id=\"attachment_13859675\" class=\"wp-caption aligncenter\" style=\"max-width: 858px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut.jpg\" alt='\"Double Ass Coyotl\" by Javier Martinez. \"No matter what way you turn, your past is going to be following you,\" says MACLA’s Visual Arts Engagement Coordinator Maryela Perez.' width=\"858\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut.jpg 858w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-768x527.jpg 768w\" sizes=\"(max-width: 858px) 100vw, 858px\">\u003cfigcaption class=\"wp-caption-text\">“Double Ass Coyotl” by Javier Martinez. “No matter what way you turn, your past is going to be following you,” says MACLA’s Visual Arts Engagement Coordinator Maryela Perez. \u003ccite>(Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cats, clowns, bears and elephants dance about in the multi-media video installation, at once cartoonish and fantastical. With multi-layered humor, Menchaca is essentially thumbing his nose at Spanish racism as it’s played out in the New World.\u003c/p>\n\u003cp>Even lowrider culture gets a spacey nod from Javier Martinez, who explores fantastical combinations of machine, machine and animal in three pieces on view in the gallery. Each one is funny, but also a little bit disturbing, provocative.\u003c/p>\n\u003cp>Have you noticed? Latinx sci fi is having a moment right now: in \u003ca href=\"http://www.comicosity.com/tag/comix-latinx/\" target=\"_blank\" rel=\"noopener\">comic books\u003c/a>, \u003ca href=\"https://queensmuseum.org/2018/09/mundos-alternos\" target=\"_blank\" rel=\"noopener\">museums\u003c/a>, even \u003ci>Black Mirror \u003c/i>on Netflix, which just produced a series of \u003ca href=\"https://www.youtube.com/channel/UC5ZiUaIJ2b5dYBYGf5iEUrA\" target=\"_blank\" rel=\"noopener\">YouTube\u003c/a> shorts in Spanish , featuring a cast of Latinx social media stars.\u003c/p>\n\u003cp>\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/RqATb20dO34'\n title='//www.youtube.com/embed/RqATb20dO34'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ci>Unicorns, Aliens, and Futuristic Cities \u003c/i>\u003c/strong>runs June 5 – August 19, 2019 at Movimiento de Arte y Cultura Latino Americana (MACLA) in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://maclaarte.org/programs/visual-arts/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "no-public-benefit-arts-groups-challenge-kaiser-auditorium-redevelopment-plan",
"title": "'No Public Benefit': Arts Groups Challenge Kaiser Auditorium Redevelopment Plan",
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"headTitle": "‘No Public Benefit’: Arts Groups Challenge Kaiser Auditorium Redevelopment Plan | KQED",
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"content": "\u003cp>\u003cem>Updated Tuesday, 3:45 p.m. \u003c/em>\u003c/p>\n\u003cp>A coalition of Oakland arts and culture groups have appealed Orton Development’s plan to renovate and manage the city-owned Henry J. Kaiser Convention Center, showing intensified scrutiny of the derelict civic landmark’s expected return as office and performance space.\u003c/p>\n\u003cp>The coalition, which includes organizations such as the Black Arts Movement Business District Community Development Corporation, East Side Arts Alliance, Asian Pacific-Islander Environmental Network and the Malonga Arts Residents Association, wants the City of Oakland to halt Orton’s $50 million plan until ensuring stronger commitments to affordability and accessibility, or else solicit new redevelopment proposals altogether. \u003c/p>\n\u003cp>It’s a proposal to serve several hundred in a space that, critics point out, for decades served several thousand. Some stakeholders would still prefer to see the main arena space restored as an arena or for more public-facing uses, making the thought of private offices doubly offensive. [aside postID='arts_13852472']\u003c/p>\n\u003cp>The appeal, which aims to reverse a planning commission approval from April, says Orton has neglected its public access obligations and failed to offer enough office and performance space at rates affordable to the Oakland arts and nonprofit organizations the developer says it wants to attract. In other words, it’s a challenge from the very groups the project purports to serve.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At issue for the activists and arts and neighborhood groups represented by the appellant coalition is whether or not Orton is offering sufficient community benefits in light of the building’s cultural significance and the pending terms of its claim on the former convention center. If approved, Orton would have a 99-year lease with the City of Oakland. \u003c/p>\n\u003cp>The appellants also argue that officials have disregarded the city’s equity goals—in particular, a mandate to redress historic injustices by ensuring people of color share in the benefits of the city’s economic upswing. These goals are articulated in deeply-researched city documents such as the \u003ca href=\"https://www.kqed.org/arts/13827589/oakland-releases-draft-of-citys-cultural-plan-its-first-in-30-years\" target=\"_blank\" rel=\"noopener\">Cultural Plan\u003c/a> and Strategies for Protecting Arts & Culture Space in Oakland.\u003c/p>\n\u003cp>“Having these policies and not enacting them is called benign neglect,” said coalition member Ayodele Nzinga, founding director of Lower Bottom Playaz and a key part of the Black Arts Movement Business District. “From what we know of this deal, there’s no public benefit.”\u003c/p>\n\u003cfigure id=\"attachment_13859578\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3-800x450.jpg\" alt=\"A sculptural niche on the north side of the Henry J. Kaiser Convention Center.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13859578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3-1200x676.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sculptural niche on the north side of the Henry J. Kaiser Convention Center. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Underlying the conflict is a deeper anxiety about outsourcing the revival of a public asset to a private entity. Mitchell Schwarzer, an architecture and urbanism historian who teaches at California College of the Arts, believes it reflects the city favoring professionals at the expense of the commons, a trend he described recently in an \u003ca href=\"https://placesjournal.org/article/privatizing-the-public-city/\" target=\"_blank\" rel=\"noopener\">article\u003c/a> for \u003cem>Places Journal\u003c/em>. \u003c/p>\n\u003cp>“To take what was the most important civic gathering space and turn it into privatized offices, even for nonprofits, that’s terribly symptomatic of where Oakland is going,” he said, calling the 1914 building the centerpiece of Oakland’s “City Beautiful” push for regal public amenities. \u003c/p>\n\u003cp>The 215,000-square-foot Beaux Arts building hosted presidents, sports and performers for most of the 20th century, but it’s stood empty since 2006—a conspicuous monument to disinvestment beside Laney College and Oakland Museum of California on the southern edge of Lake Merritt. A city-sanctioned “Tuff Shed” homeless encampment occupies part of the parking lot. \u003c/p>\n\u003cfigure id=\"attachment_13859580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-800x479.jpg\" alt='A city-sanctioned \"Tuff Shed\" homeless encampment occupies part of the Henry J. Kaiser Convention Center parking lot in Oakland.' width=\"800\" height=\"479\" class=\"size-medium wp-image-13859580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-800x479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-768x460.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-1020x611.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-1200x719.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A city-sanctioned “Tuff Shed” homeless encampment occupies part of the Henry J. Kaiser Convention Center parking lot in Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Orton won redevelopment rights in 2015, and now intends to turn the main arena into offices, with workspace reserved for nonprofits and arts groups struggling to afford commercial rent in Oakland. Their plan also includes restoring the smaller Calvin Simmons Theater as a 1,500-seat performance space. Part of the idea is to centralize administration, storage, rehearsal and programmatic facilities for performing arts outfits such as the Oakland Ballet and the Oakland Symphony. \u003c/p>\n\u003cp>(The Calvin Simmons Theater hosted the Oakland Symphony, whose former leader it’s named after, until the 1970s, and current music director Michael Morgan has lauded its acoustics.)\u003c/p>\n\u003cp>Orton expects the rechristened “Oakland Civic” project to cost $64.5 million. Financing, pending council approval, involves a large subsidy from the city: $3.1 million in grants and up to $20 million in New Markets Tax Credits, a federal program for spurring investment in poor areas, with the developer covering the remainder. \u003c/p>\n\u003cp>Orton project manager David Dial didn’t respond to an interview request, but this week the developer provided the appellant coalition its first discussion draft of a community benefits agreement. The document proposes 17 percent of office space for nonprofit arts and education groups, much of it at $2-$2.80 per square foot for “small organizations led by people of color.” Orton plans to offer long-term leases, and create an endowment to subsidize theater rentals.\u003c/p>\n\u003cfigure id=\"attachment_13859575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-800x451.jpg\" alt=\"Orton Development plans to restore the Calvin Simmons Theater as a 1,500-seat performance space.\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13859575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-1200x677.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign.jpg 1914w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Orton Development plans to restore the Calvin Simmons Theater as a 1,500-seat performance space. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Appellant coalition member Eric Arnold, a former City of Oakland equity consultant who’s helped negotiate several community benefits agreements, said the proposal shows good faith from Orton. “But it does not reflect a thorough community engagement process—it’s taken four years to get to this point,” he said.\u003c/p>\n\u003cp>Arnold wants firmer commitments to Calvin Simmons Theater accessibility, lest it become as cost-prohibitive to use as the Paramount and Fox theaters. “They’re exclusionary—exactly the model we don’t want to repeat,” he said, adding that the Kaiser redevelopment overall is a key opportunity for the City of Oakland to implement its own strategies for cultural preservation.\u003c/p>\n\u003cp>Without the terms of Orton’s own lease with the City of Oakland, though, Nzinga said it’s difficult for stakeholders to actually assess the agreement. “This project is not only typical of the city’s failure to develop a public lands use policy, it’s indicative of how their public engagement strategy fails,” Nzinga said. “It doesn’t allow for community input until after the ship has sailed.” \u003c/p>\n\u003cfigure id=\"attachment_13852543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k1-800x449.jpg\" alt=\"A rendering of Orton Development's proposed north facade of the rechristened "Oakland Civic."\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13852543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1.jpg 1182w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Orton Development’s proposed north facade of the rechristened “Oakland Civic.” \u003ccite>(Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nzinga similarly believes the city is avoiding giving the appeal a public airing. Oakland councilmember Nikki Fortunato Bas, whose district includes the Kaiser Convention Center, said at a May committee hearing that she hadn’t received the appeal until days prior, prompting her colleagues to criticize city administration for poor communication with elected officials. \u003c/p>\n\u003cp>(Bas did not provide a statement for this article.) \u003c/p>\n\u003cp>Mark Sawicki, Oakland’s director of economic and workforce development, said at the meeting that the council’s vote on the appeal, assuming it’s denied, needs to be fast-tracked in order for the city to help Orton take advantage of the tax credits—which expire at the end of the year. \u003c/p>\n\u003cp>City council is scheduled to vote on the appeal Tuesday, and a report from the department of building and planning recommends denial, saying the challenge is addressed to the wrong entity. “The Planning Commission does not have authority to legislate the terms of disposition or use of public land—only the City Council does,” it reads.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Arnold called the Kaiser redevelopment the “perfect storm,” a high-stakes test of officials’ ability to strike a good deal for their constituents. “This is one of the city’s last big public assets,” he said. “So it’s imperative to derive maximum public benefits.”\u003c/p>\n\n",
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"excerpt": "The landmark’s anticipated redevelopment is encountering resistance from the very groups it purports to serve.",
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"title": "'No Public Benefit': Arts Groups Challenge Kaiser Auditorium Redevelopment Plan | KQED",
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"headline": "'No Public Benefit': Arts Groups Challenge Kaiser Auditorium Redevelopment Plan",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated Tuesday, 3:45 p.m. \u003c/em>\u003c/p>\n\u003cp>A coalition of Oakland arts and culture groups have appealed Orton Development’s plan to renovate and manage the city-owned Henry J. Kaiser Convention Center, showing intensified scrutiny of the derelict civic landmark’s expected return as office and performance space.\u003c/p>\n\u003cp>The coalition, which includes organizations such as the Black Arts Movement Business District Community Development Corporation, East Side Arts Alliance, Asian Pacific-Islander Environmental Network and the Malonga Arts Residents Association, wants the City of Oakland to halt Orton’s $50 million plan until ensuring stronger commitments to affordability and accessibility, or else solicit new redevelopment proposals altogether. \u003c/p>\n\u003cp>It’s a proposal to serve several hundred in a space that, critics point out, for decades served several thousand. Some stakeholders would still prefer to see the main arena space restored as an arena or for more public-facing uses, making the thought of private offices doubly offensive. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The appeal, which aims to reverse a planning commission approval from April, says Orton has neglected its public access obligations and failed to offer enough office and performance space at rates affordable to the Oakland arts and nonprofit organizations the developer says it wants to attract. In other words, it’s a challenge from the very groups the project purports to serve.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At issue for the activists and arts and neighborhood groups represented by the appellant coalition is whether or not Orton is offering sufficient community benefits in light of the building’s cultural significance and the pending terms of its claim on the former convention center. If approved, Orton would have a 99-year lease with the City of Oakland. \u003c/p>\n\u003cp>The appellants also argue that officials have disregarded the city’s equity goals—in particular, a mandate to redress historic injustices by ensuring people of color share in the benefits of the city’s economic upswing. These goals are articulated in deeply-researched city documents such as the \u003ca href=\"https://www.kqed.org/arts/13827589/oakland-releases-draft-of-citys-cultural-plan-its-first-in-30-years\" target=\"_blank\" rel=\"noopener\">Cultural Plan\u003c/a> and Strategies for Protecting Arts & Culture Space in Oakland.\u003c/p>\n\u003cp>“Having these policies and not enacting them is called benign neglect,” said coalition member Ayodele Nzinga, founding director of Lower Bottom Playaz and a key part of the Black Arts Movement Business District. “From what we know of this deal, there’s no public benefit.”\u003c/p>\n\u003cfigure id=\"attachment_13859578\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3-800x450.jpg\" alt=\"A sculptural niche on the north side of the Henry J. Kaiser Convention Center.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13859578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3-1200x676.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sculptural niche on the north side of the Henry J. Kaiser Convention Center. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Underlying the conflict is a deeper anxiety about outsourcing the revival of a public asset to a private entity. Mitchell Schwarzer, an architecture and urbanism historian who teaches at California College of the Arts, believes it reflects the city favoring professionals at the expense of the commons, a trend he described recently in an \u003ca href=\"https://placesjournal.org/article/privatizing-the-public-city/\" target=\"_blank\" rel=\"noopener\">article\u003c/a> for \u003cem>Places Journal\u003c/em>. \u003c/p>\n\u003cp>“To take what was the most important civic gathering space and turn it into privatized offices, even for nonprofits, that’s terribly symptomatic of where Oakland is going,” he said, calling the 1914 building the centerpiece of Oakland’s “City Beautiful” push for regal public amenities. \u003c/p>\n\u003cp>The 215,000-square-foot Beaux Arts building hosted presidents, sports and performers for most of the 20th century, but it’s stood empty since 2006—a conspicuous monument to disinvestment beside Laney College and Oakland Museum of California on the southern edge of Lake Merritt. A city-sanctioned “Tuff Shed” homeless encampment occupies part of the parking lot. \u003c/p>\n\u003cfigure id=\"attachment_13859580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-800x479.jpg\" alt='A city-sanctioned \"Tuff Shed\" homeless encampment occupies part of the Henry J. Kaiser Convention Center parking lot in Oakland.' width=\"800\" height=\"479\" class=\"size-medium wp-image-13859580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-800x479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-768x460.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-1020x611.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-1200x719.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A city-sanctioned “Tuff Shed” homeless encampment occupies part of the Henry J. Kaiser Convention Center parking lot in Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Orton won redevelopment rights in 2015, and now intends to turn the main arena into offices, with workspace reserved for nonprofits and arts groups struggling to afford commercial rent in Oakland. Their plan also includes restoring the smaller Calvin Simmons Theater as a 1,500-seat performance space. Part of the idea is to centralize administration, storage, rehearsal and programmatic facilities for performing arts outfits such as the Oakland Ballet and the Oakland Symphony. \u003c/p>\n\u003cp>(The Calvin Simmons Theater hosted the Oakland Symphony, whose former leader it’s named after, until the 1970s, and current music director Michael Morgan has lauded its acoustics.)\u003c/p>\n\u003cp>Orton expects the rechristened “Oakland Civic” project to cost $64.5 million. Financing, pending council approval, involves a large subsidy from the city: $3.1 million in grants and up to $20 million in New Markets Tax Credits, a federal program for spurring investment in poor areas, with the developer covering the remainder. \u003c/p>\n\u003cp>Orton project manager David Dial didn’t respond to an interview request, but this week the developer provided the appellant coalition its first discussion draft of a community benefits agreement. The document proposes 17 percent of office space for nonprofit arts and education groups, much of it at $2-$2.80 per square foot for “small organizations led by people of color.” Orton plans to offer long-term leases, and create an endowment to subsidize theater rentals.\u003c/p>\n\u003cfigure id=\"attachment_13859575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-800x451.jpg\" alt=\"Orton Development plans to restore the Calvin Simmons Theater as a 1,500-seat performance space.\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13859575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-1200x677.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign.jpg 1914w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Orton Development plans to restore the Calvin Simmons Theater as a 1,500-seat performance space. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Appellant coalition member Eric Arnold, a former City of Oakland equity consultant who’s helped negotiate several community benefits agreements, said the proposal shows good faith from Orton. “But it does not reflect a thorough community engagement process—it’s taken four years to get to this point,” he said.\u003c/p>\n\u003cp>Arnold wants firmer commitments to Calvin Simmons Theater accessibility, lest it become as cost-prohibitive to use as the Paramount and Fox theaters. “They’re exclusionary—exactly the model we don’t want to repeat,” he said, adding that the Kaiser redevelopment overall is a key opportunity for the City of Oakland to implement its own strategies for cultural preservation.\u003c/p>\n\u003cp>Without the terms of Orton’s own lease with the City of Oakland, though, Nzinga said it’s difficult for stakeholders to actually assess the agreement. “This project is not only typical of the city’s failure to develop a public lands use policy, it’s indicative of how their public engagement strategy fails,” Nzinga said. “It doesn’t allow for community input until after the ship has sailed.” \u003c/p>\n\u003cfigure id=\"attachment_13852543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k1-800x449.jpg\" alt=\"A rendering of Orton Development's proposed north facade of the rechristened "Oakland Civic."\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13852543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1.jpg 1182w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Orton Development’s proposed north facade of the rechristened “Oakland Civic.” \u003ccite>(Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nzinga similarly believes the city is avoiding giving the appeal a public airing. Oakland councilmember Nikki Fortunato Bas, whose district includes the Kaiser Convention Center, said at a May committee hearing that she hadn’t received the appeal until days prior, prompting her colleagues to criticize city administration for poor communication with elected officials. \u003c/p>\n\u003cp>(Bas did not provide a statement for this article.) \u003c/p>\n\u003cp>Mark Sawicki, Oakland’s director of economic and workforce development, said at the meeting that the council’s vote on the appeal, assuming it’s denied, needs to be fast-tracked in order for the city to help Orton take advantage of the tax credits—which expire at the end of the year. \u003c/p>\n\u003cp>City council is scheduled to vote on the appeal Tuesday, and a report from the department of building and planning recommends denial, saying the challenge is addressed to the wrong entity. “The Planning Commission does not have authority to legislate the terms of disposition or use of public land—only the City Council does,” it reads.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>WASHINGTON (AP) — The topic of reparations for slavery is headed to Capitol Hill for its first hearing in more than a decade with writer \u003ca href=\"https://www.kqed.org/arts/13839454/brunch-with-isabel-allende-and-other-book-events-to-look-forward-to-this-fall\" target=\"_blank\" rel=\"noopener\">Ta-Nehisi Coates\u003c/a> and actor \u003ca href=\"https://www.kqed.org/arts/13859133/the-last-black-man-in-san-francisco-review\" target=\"_blank\" rel=\"noopener\">Danny Glover\u003c/a> set to testify before a House panel.\u003c/p>\n\u003cp>The House Judiciary Subcommittee on the Constitution, Civil Rights and Civil Liberties is scheduled to hold the hearing next Wednesday, its stated purpose “to examine, through open and constructive discourse, the legacy of the Trans-Atlantic Slave Trade, its continuing impact on the community and the path to restorative justice.” The date of the hearing, June 19, coincides with Juneteenth, a cultural holiday commemorating the emancipation of enslaved black people in America.\u003c/p>\n\u003cp>[aside postID='arts_13858829' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/05/LastBlackManinSF.jpg' target='_blank']\u003c/p>\n\u003cp>Former Democratic Rep. John Conyers of Michigan, the longtime sponsor of House Resolution 40, first proposed the measure calling for a study of reparations in 1989. Conyers reintroduced the bill every session until his resignation in 2017.\u003c/p>\n\u003cp>Texas Democratic Rep. Sheila Jackson Lee, the resolution’s new sponsor, introduced it earlier this year and pushed for next week’s hearing. House Speaker Nancy Pelosi said in February that she supports a reparations study, a topic that hasn’t been the subject of a House hearing since 2007.\u003c/p>\n\u003cp>Reparations had been a fringe issue and occasional punchline until Coates’ 2014 essay in The Atlantic, “The Case for Reparations,” thrust the topic back into the national discourse. Danny Glover, who hails from San Francisco, has never swayed from activism. Fans may have seen him starring most recently in \u003ca href=\"https://www.kqed.org/pop/112325/the-last-black-man-in-san-francisco-is-about-who-belongs-in-the-city\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a> as Grandpa Allen in Jimmy Fails and Joe Talbott’s cinematic portrait of a young black man on his search for home in his rapidly-gentrifying home city of San Francisco. Off-screen, Glover has served as a Goodwill Ambassador for the United Nations Development Program and spoken at rallies for economic justice and global human rights. He is also a UNICEF ambassador.\u003c/p>\n\u003cp>In an interview with Coates as he prepared to leave office, President Barack Obama questioned the implementation of reparations but not the concept. And in a conversation, Coates had earlier this year with Rep. Alexandria Ocasio-Cortez, D-N.Y., the popular progressive endorsed reparations.\u003c/p>\n\u003cp>The reparations debate became part of the 2020 presidential race early, as several Democratic presidential primary candidates signaled their support for compensating the descendants of slaves, though not in the traditional sense of direct payouts to black Americans. Most have been vague on more specific ideas, but they have instead offered policies addressing economic inequality that could disproportionately benefit black people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Former Democratic Rep. John Conyers of Michigan, the longtime sponsor of House Resolution 40, first proposed the measure calling for a study of reparations in 1989. Conyers reintroduced the bill every session until his resignation in 2017.\u003c/p>\n\u003cp>Texas Democratic Rep. Sheila Jackson Lee, the resolution’s new sponsor, introduced it earlier this year and pushed for next week’s hearing. House Speaker Nancy Pelosi said in February that she supports a reparations study, a topic that hasn’t been the subject of a House hearing since 2007.\u003c/p>\n\u003cp>Reparations had been a fringe issue and occasional punchline until Coates’ 2014 essay in The Atlantic, “The Case for Reparations,” thrust the topic back into the national discourse. Danny Glover, who hails from San Francisco, has never swayed from activism. Fans may have seen him starring most recently in \u003ca href=\"https://www.kqed.org/pop/112325/the-last-black-man-in-san-francisco-is-about-who-belongs-in-the-city\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a> as Grandpa Allen in Jimmy Fails and Joe Talbott’s cinematic portrait of a young black man on his search for home in his rapidly-gentrifying home city of San Francisco. Off-screen, Glover has served as a Goodwill Ambassador for the United Nations Development Program and spoken at rallies for economic justice and global human rights. He is also a UNICEF ambassador.\u003c/p>\n\u003cp>In an interview with Coates as he prepared to leave office, President Barack Obama questioned the implementation of reparations but not the concept. And in a conversation, Coates had earlier this year with Rep. Alexandria Ocasio-Cortez, D-N.Y., the popular progressive endorsed reparations.\u003c/p>\n\u003cp>The reparations debate became part of the 2020 presidential race early, as several Democratic presidential primary candidates signaled their support for compensating the descendants of slaves, though not in the traditional sense of direct payouts to black Americans. Most have been vague on more specific ideas, but they have instead offered policies addressing economic inequality that could disproportionately benefit black people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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