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"content": "\u003cp>Oakland police officers cleared out homeless camps at Oakland’s Mosswood Park Tuesday, days before the popular punk festival Burger Boogaloo.\u003c/p>\n\u003cp>The sweep removed an estimated 20 people living in tents on the park grounds, according to Joe DeVries, assistant to the Oakland City Administrator. While the removal occurred just days before Burger Boogaloo, DeVries said that the city cleared the homeless in preparation for a program serving disabled youth. The program, which had been on hiatus since 2016 following a fire at the park’s recreation center, expects 150 participants next month.\u003c/p>\n\u003cp>Concerns over issues created by the encampment, such as the sizable amount of syringes littering the grounds, led to the city clearing the park, a decision DeVries said was announced four months ago.\u003c/p>\n\u003cp>“We can’t have 150 disabled students recreating in a park where we routinely collect hundreds of hypodermic needles,” DeVries \u003ca href=\"https://www.eastbaytimes.com/2018/06/26/homeless-cleared-out-of-north-oakland-park/\" rel=\"noopener\" target=\"_blank\">told the \u003cem>East Bay Times\u003c/em>\u003c/a>. \u003c/p>\n\u003cp>Meanwhile, news of the sweep \u003ca href=\"https://twitter.com/Indybay/status/1011699489332068356\" rel=\"noopener\" target=\"_blank\">spread on social media\u003c/a>, where \u003ca href=\"https://www.facebook.com/totaltrashproductions/\" rel=\"noopener\" target=\"_blank\">Burger Boogaloo promoters\u003c/a> came under \u003ca href=\"https://twitter.com/charmainesnames/status/1011821672775630854\" rel=\"noopener\" target=\"_blank\">criticism\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burger Boogaloo released an official statement Wednesday afternoon.\u003c/p>\n\u003cp>“Burger Boogaloo is pained by the ongoing homeless crisis in Oakland and everywhere,” it read. “As a consequence of events and programs planned at Mosswood Park, including our permitted event, people living there were asked to leave by Oakland Police. Prior to the Tuesday expulsion, Burger Boogaloo staff spent time assisting people in the park with the move.”\u003c/p>\n\u003cp>Burger Boogaloo also stated that it had donated to \u003ca href=\"http://apcollaborative.org/\" rel=\"noopener\" target=\"_blank\">Alameda Point Collaborative\u003c/a> and \u003ca href=\"http://www.homeaway.org/\" rel=\"noopener\" target=\"_blank\">A Home Away From Homelessness\u003c/a>, two homeless assistance organizations, adding that “we encourage our friends and anyone concerned about the plight of people here in our community to do the same.”\u003c/p>\n\u003cp>The festival further announced that the \u003ca href=\"http://homelessactioncenter.org/\" rel=\"noopener\" target=\"_blank\">Homeless Action Center\u003c/a> will have a presence at the two-day festival, with members collecting donations.\u003c/p>\n\u003cp>Calls to Boogaloo founder Marcos Ribak were not returned at press time.\u003c/p>\n\u003cp>Issues of homelessness have overlapped with the local music scene in recent weeks, with Jason Perkins of local venues the New Parish and Brick & Mortar Music Hall \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\" rel=\"noopener\" target=\"_blank\">caught on security video pepper-spraying a homeless man\u003c/a>. Some say Perkins also appears to have been behind flyers posted around the Brick & Mortar Music Hall which called for homeless people to clear out, and \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\" rel=\"noopener\" target=\"_blank\">threatened physical violence and burning\u003c/a> for those who did not. (A homeless benefit featuring Equipto, La Misa Negra and Mistah F.A.B. scheduled at the New Parish was \u003ca href=\"https://www.kqed.org/arts/13835668/with-latest-album-equipto-calls-out-housing-crisis-and-gentrification\" rel=\"noopener\" target=\"_blank\">moved to a different venue\u003c/a> in response.)\u003c/p>\n\u003cp>Aleksander Prechtl, friend of Ribak and singer for the band Battleship, who are scheduled to perform at the festival this weekend, told KQED that he was “confident” Boogaloo’s organizers “advocated the city on behalf of the homeless and would assist in minimizing the disruption to their lives.”\u003c/p>\n\u003cp>“I’ve known Marcos for many years and have no reason to think he’d be anything but kind and generous to everyone, especially the homeless,” Prechtl wrote in an email.\u003c/p>\n\u003cp>Prechtl opined that because the festival uses only half the park, an option might have been to move the encampment to another site in the park, but away from the festival. He added that it’s on the city to “treat the housing crisis as the emergency it is.”\u003c/p>\n\u003cp>“We should not allow homelessness to be ever seen as normal nor acceptable. We, as a society, need to treat housing and healthcare as the human rights that they are,” Prechtl wrote. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has been updated.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland police officers cleared out homeless camps at Oakland’s Mosswood Park Tuesday, days before the popular punk festival Burger Boogaloo.\u003c/p>\n\u003cp>The sweep removed an estimated 20 people living in tents on the park grounds, according to Joe DeVries, assistant to the Oakland City Administrator. While the removal occurred just days before Burger Boogaloo, DeVries said that the city cleared the homeless in preparation for a program serving disabled youth. The program, which had been on hiatus since 2016 following a fire at the park’s recreation center, expects 150 participants next month.\u003c/p>\n\u003cp>Concerns over issues created by the encampment, such as the sizable amount of syringes littering the grounds, led to the city clearing the park, a decision DeVries said was announced four months ago.\u003c/p>\n\u003cp>“We can’t have 150 disabled students recreating in a park where we routinely collect hundreds of hypodermic needles,” DeVries \u003ca href=\"https://www.eastbaytimes.com/2018/06/26/homeless-cleared-out-of-north-oakland-park/\" rel=\"noopener\" target=\"_blank\">told the \u003cem>East Bay Times\u003c/em>\u003c/a>. \u003c/p>\n\u003cp>Meanwhile, news of the sweep \u003ca href=\"https://twitter.com/Indybay/status/1011699489332068356\" rel=\"noopener\" target=\"_blank\">spread on social media\u003c/a>, where \u003ca href=\"https://www.facebook.com/totaltrashproductions/\" rel=\"noopener\" target=\"_blank\">Burger Boogaloo promoters\u003c/a> came under \u003ca href=\"https://twitter.com/charmainesnames/status/1011821672775630854\" rel=\"noopener\" target=\"_blank\">criticism\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burger Boogaloo released an official statement Wednesday afternoon.\u003c/p>\n\u003cp>“Burger Boogaloo is pained by the ongoing homeless crisis in Oakland and everywhere,” it read. “As a consequence of events and programs planned at Mosswood Park, including our permitted event, people living there were asked to leave by Oakland Police. Prior to the Tuesday expulsion, Burger Boogaloo staff spent time assisting people in the park with the move.”\u003c/p>\n\u003cp>Burger Boogaloo also stated that it had donated to \u003ca href=\"http://apcollaborative.org/\" rel=\"noopener\" target=\"_blank\">Alameda Point Collaborative\u003c/a> and \u003ca href=\"http://www.homeaway.org/\" rel=\"noopener\" target=\"_blank\">A Home Away From Homelessness\u003c/a>, two homeless assistance organizations, adding that “we encourage our friends and anyone concerned about the plight of people here in our community to do the same.”\u003c/p>\n\u003cp>The festival further announced that the \u003ca href=\"http://homelessactioncenter.org/\" rel=\"noopener\" target=\"_blank\">Homeless Action Center\u003c/a> will have a presence at the two-day festival, with members collecting donations.\u003c/p>\n\u003cp>Calls to Boogaloo founder Marcos Ribak were not returned at press time.\u003c/p>\n\u003cp>Issues of homelessness have overlapped with the local music scene in recent weeks, with Jason Perkins of local venues the New Parish and Brick & Mortar Music Hall \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\" rel=\"noopener\" target=\"_blank\">caught on security video pepper-spraying a homeless man\u003c/a>. Some say Perkins also appears to have been behind flyers posted around the Brick & Mortar Music Hall which called for homeless people to clear out, and \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\" rel=\"noopener\" target=\"_blank\">threatened physical violence and burning\u003c/a> for those who did not. (A homeless benefit featuring Equipto, La Misa Negra and Mistah F.A.B. scheduled at the New Parish was \u003ca href=\"https://www.kqed.org/arts/13835668/with-latest-album-equipto-calls-out-housing-crisis-and-gentrification\" rel=\"noopener\" target=\"_blank\">moved to a different venue\u003c/a> in response.)\u003c/p>\n\u003cp>Aleksander Prechtl, friend of Ribak and singer for the band Battleship, who are scheduled to perform at the festival this weekend, told KQED that he was “confident” Boogaloo’s organizers “advocated the city on behalf of the homeless and would assist in minimizing the disruption to their lives.”\u003c/p>\n\u003cp>“I’ve known Marcos for many years and have no reason to think he’d be anything but kind and generous to everyone, especially the homeless,” Prechtl wrote in an email.\u003c/p>\n\u003cp>Prechtl opined that because the festival uses only half the park, an option might have been to move the encampment to another site in the park, but away from the festival. He added that it’s on the city to “treat the housing crisis as the emergency it is.”\u003c/p>\n\u003cp>“We should not allow homelessness to be ever seen as normal nor acceptable. We, as a society, need to treat housing and healthcare as the human rights that they are,” Prechtl wrote. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has been updated.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Emmett Carson Officially Out as Head of Silicon Valley Community Foundation | KQED",
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"content": "\u003cp>Emmett Carson, the CEO of the Silicon Valley Community Foundation, is officially out, the Foundation announced Wednesday.\u003c/p>\n\u003cp>“Today, Dr. Carson will end his employment with SVCF after more than a decade of service, effective immediately,” the board of directors published on the Foundation’s \u003ca href=\"https://www.siliconvalleycf.org/blog/announcements/update-silicon-valley-community-foundation-board-directors\" target=\"_blank\" rel=\"noopener\">website\u003c/a>. “This will enable SVCF to continue to rebuild its workplace environment and execute its mission as effectively as possible.”\u003c/p>\n\u003cp>Carson had been on paid administrative leave for approximately two months during an investigation of alleged managerial misconduct at the nation’s biggest community foundation. Board member Greg Avis will continue to serve as interim CEO while a national firm searches for a permanent replacement.\u003c/p>\n\u003cp>The board also released a \u003ca href=\"https://www.siliconvalleycf.org/sites/default/files/blog/SVCF-Public-Report-FINAL.pdf\" target=\"_blank\" rel=\"noopener\">summary\u003c/a> of the report detailing an independent investigation by the law firm \u003ca href=\"https://www.bsfllp.com\" target=\"_blank\" rel=\"noopener\">Boies Schiller Flexner\u003c/a>.\u003c/p>\n\u003cp>The board of the Silicon Valley Community Foundation commissioned the investigation in April, following reports of harassment and bullying at the hands of the nonprofit’s top fundraiser, Mari Ellen Loijens. A summary of the full report substantiates many of the allegations from current and former employees in blunt terms:\u003c/p>\n\u003cblockquote>\u003cp>BSF’s investigation found that there were certain widespread workplace culture issues at SVCF, including a fear of speaking out or reporting workplace issues out of concern for retaliation, as well as a distrust of HR leadership. The top-down, “command-and-control” management style of SVCF’s formerCEO and former senior development executive contributed to this environment.\u003c/p>\n\u003cp>There were other workplace culture issues at SVCF that were not as widespread, but that were serious and affected many employees. These included sexual, racial, crude, and otherwise inappropriate remarks and conduct that became “normalized” within certain divisions, as well as public shaming and bullying behavior exhibited at times by certain former SVCF executives. Unacceptable behavior by certain former SVCF executives was often inadequately addressed or overlooked. Many employees (including other SVCF executives) reported feeling that certain former SVCF executives were“untouchable” regardless of their actions. When complaints were raised to HR or SVCF leaders, the systems put in place frequently failed to sufficiently address inappropriate conduct and ensure that appropriate remedial action was taken. Instead, employees were left with the impression that if they did not like the workplace culture, they were free to“get off the bus.” This evidently led some current and former employees to feel that they had no other option but to address workplace concerns in the press or write a letter directly to the Board.\u003c/p>\u003c/blockquote>\n\u003cp>The Board acknowledged that, “This failure happened under our watch.” Also, “We are deeply sorry to our entire community, especially our past and present employees.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the conciliatory language doesn’t mollify Rebecca Dupras, a former VP for development who \u003ca href=\"https://www.kqed.org/arts/13829974/top-fundraiser-at-silicon-valley-community-foundation-resigns\" target=\"_blank\" rel=\"noopener\">left last year\u003c/a>. “I’m angry. This is pure cowardice. There’s a full report they aren’t releasing after promising full transparency. Plus why should he (or she) still benefit after promoting a culture of fear and intimidation for 11 years? Mediocrity is not acceptable,” Dupras wrote to KQED.\u003c/p>\n\u003cp>“The departures of Dr. Carson and other senior staff people are certainly step one in the healing process,” wrote Daniel Hoebeke, who was the Foundation’s Director of Planned Giving for all of five months. “My heart continues to go out, however, to the many, many individuals who suffered under their leadership. The permanent damage to their reputations and the stain on their resumes remains problematic.”\u003c/p>\n\u003cp>Carson led the Foundation’s growth from the 2007 merger of two smaller community foundations. These days, the foundation’s assets total $13.5 billion, making it the third largest philanthropy in the United States. Carson was handsomely rewarded for that growth, making an annual salary of \u003ca href=\"https://www.philanthropy.com/article/Top-Earners-Among/242554\" target=\"_blank\" rel=\"noopener\">nearly $900,000\u003c/a>.\u003c/p>\n\u003cp>Much of that growth was credited to Loijens, the Foundation’s chief business, development and brand officer. She resigned a day after a scathing report in the Chronicle of Philanthropy accused her of routinely bullying her staff and making sexually inappropriate remarks. It was that exposé, and subsequent publicity, that led the Foundation’s board of directors to act.\u003c/p>\n\u003cp>In a statement, Carson wrote:\u003c/p>\n\u003cblockquote>\u003cp>Guided by a board willing to take bold risks and a highly dedicated and committed staff who believed no challenge was beyond their capabilities, we achieved our goals beyond anyone’s dreams, including my own. SVCF charted an entirely new course recognizing that in an increasingly global society, individual and corporate donors have geographically diverse charitable interests and desire a single philanthropic institution through which to achieve their goals. That this approach remains controversial today – over a decade after SVCF’s founding – is testament to how visionary and disruptive this idea has been in Silicon Valley and elsewhere.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Emmett Carson, the CEO of the Silicon Valley Community Foundation, is officially out, the Foundation announced Wednesday.\u003c/p>\n\u003cp>“Today, Dr. Carson will end his employment with SVCF after more than a decade of service, effective immediately,” the board of directors published on the Foundation’s \u003ca href=\"https://www.siliconvalleycf.org/blog/announcements/update-silicon-valley-community-foundation-board-directors\" target=\"_blank\" rel=\"noopener\">website\u003c/a>. “This will enable SVCF to continue to rebuild its workplace environment and execute its mission as effectively as possible.”\u003c/p>\n\u003cp>Carson had been on paid administrative leave for approximately two months during an investigation of alleged managerial misconduct at the nation’s biggest community foundation. Board member Greg Avis will continue to serve as interim CEO while a national firm searches for a permanent replacement.\u003c/p>\n\u003cp>The board also released a \u003ca href=\"https://www.siliconvalleycf.org/sites/default/files/blog/SVCF-Public-Report-FINAL.pdf\" target=\"_blank\" rel=\"noopener\">summary\u003c/a> of the report detailing an independent investigation by the law firm \u003ca href=\"https://www.bsfllp.com\" target=\"_blank\" rel=\"noopener\">Boies Schiller Flexner\u003c/a>.\u003c/p>\n\u003cp>The board of the Silicon Valley Community Foundation commissioned the investigation in April, following reports of harassment and bullying at the hands of the nonprofit’s top fundraiser, Mari Ellen Loijens. A summary of the full report substantiates many of the allegations from current and former employees in blunt terms:\u003c/p>\n\u003cblockquote>\u003cp>BSF’s investigation found that there were certain widespread workplace culture issues at SVCF, including a fear of speaking out or reporting workplace issues out of concern for retaliation, as well as a distrust of HR leadership. The top-down, “command-and-control” management style of SVCF’s formerCEO and former senior development executive contributed to this environment.\u003c/p>\n\u003cp>There were other workplace culture issues at SVCF that were not as widespread, but that were serious and affected many employees. These included sexual, racial, crude, and otherwise inappropriate remarks and conduct that became “normalized” within certain divisions, as well as public shaming and bullying behavior exhibited at times by certain former SVCF executives. Unacceptable behavior by certain former SVCF executives was often inadequately addressed or overlooked. Many employees (including other SVCF executives) reported feeling that certain former SVCF executives were“untouchable” regardless of their actions. When complaints were raised to HR or SVCF leaders, the systems put in place frequently failed to sufficiently address inappropriate conduct and ensure that appropriate remedial action was taken. Instead, employees were left with the impression that if they did not like the workplace culture, they were free to“get off the bus.” This evidently led some current and former employees to feel that they had no other option but to address workplace concerns in the press or write a letter directly to the Board.\u003c/p>\u003c/blockquote>\n\u003cp>The Board acknowledged that, “This failure happened under our watch.” Also, “We are deeply sorry to our entire community, especially our past and present employees.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the conciliatory language doesn’t mollify Rebecca Dupras, a former VP for development who \u003ca href=\"https://www.kqed.org/arts/13829974/top-fundraiser-at-silicon-valley-community-foundation-resigns\" target=\"_blank\" rel=\"noopener\">left last year\u003c/a>. “I’m angry. This is pure cowardice. There’s a full report they aren’t releasing after promising full transparency. Plus why should he (or she) still benefit after promoting a culture of fear and intimidation for 11 years? Mediocrity is not acceptable,” Dupras wrote to KQED.\u003c/p>\n\u003cp>“The departures of Dr. Carson and other senior staff people are certainly step one in the healing process,” wrote Daniel Hoebeke, who was the Foundation’s Director of Planned Giving for all of five months. “My heart continues to go out, however, to the many, many individuals who suffered under their leadership. The permanent damage to their reputations and the stain on their resumes remains problematic.”\u003c/p>\n\u003cp>Carson led the Foundation’s growth from the 2007 merger of two smaller community foundations. These days, the foundation’s assets total $13.5 billion, making it the third largest philanthropy in the United States. Carson was handsomely rewarded for that growth, making an annual salary of \u003ca href=\"https://www.philanthropy.com/article/Top-Earners-Among/242554\" target=\"_blank\" rel=\"noopener\">nearly $900,000\u003c/a>.\u003c/p>\n\u003cp>Much of that growth was credited to Loijens, the Foundation’s chief business, development and brand officer. She resigned a day after a scathing report in the Chronicle of Philanthropy accused her of routinely bullying her staff and making sexually inappropriate remarks. It was that exposé, and subsequent publicity, that led the Foundation’s board of directors to act.\u003c/p>\n\u003cp>In a statement, Carson wrote:\u003c/p>\n\u003cblockquote>\u003cp>Guided by a board willing to take bold risks and a highly dedicated and committed staff who believed no challenge was beyond their capabilities, we achieved our goals beyond anyone’s dreams, including my own. SVCF charted an entirely new course recognizing that in an increasingly global society, individual and corporate donors have geographically diverse charitable interests and desire a single philanthropic institution through which to achieve their goals. That this approach remains controversial today – over a decade after SVCF’s founding – is testament to how visionary and disruptive this idea has been in Silicon Valley and elsewhere.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Joe Jackson, Patriarch of the Jacksons, Dead at 89",
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"content": "\u003cp>Joe Jackson, patriarch of the legendary Jackson family, which included Michael and Janet Jackson, has died, the estate of Michael has confirmed in a statement. No cause of death was given, though he had reportedly been diagnosed with cancer.\u003c/p>\n\u003cp>Officially, Joe Jackson was a band manager, taking five of his sons from a locally celebrated pop vocal group in Gary, Ind., in the mid-1960s to international acclaim, acting as the launchpad to superstardom for his son Michael. Their paths, however, would be revealed through the decades as ones paved in checkers.\u003c/p>\n\u003cp>Joe Jackson, \u003ca href=\"https://www.jwjackson.com/about-joejackson/\" target=\"_blank\" rel=\"noopener\">born\u003c/a> in Alabama on July 26, 1928, was the eldest of six children of Samuel and Chrystal Jackson. Jackson’s parents separated in 1942, leaving Joe to travel between his father in Oakland, Calif. and his mother in East Chicago, Ind., before settling in the latter.\u003c/p>\n\u003cp>In his early 20s, while moonlighting in a blues band with his brother Luther, Joe met Katherine Scruse, whom he would marry in November 1949. (It would be his second, following a brief marriage that was annulled.) Rebbie Jackson — the first of their 10 children — was born in 1950; Jackie in 1951; Tito in 1953; Jermaine in 1954; La Toya in 1956; Marlon in 1957; Brandon in 1957; Michael in 1958; Randy in 1961; and Janet in 1966.\u003c/p>\n\u003cp>In the early 1960s, Jackson was working in a steel mill when he formed — or regimented, with regular daily practice scheduled by the tempestuous family head — a band sourced from his five sons: Jermaine, Jackie, Marlon, Tito and the youngest, Michael, as its charismatic lead singer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Through performances at local malls and talent shows, the group quickly cultivated a sterling local reputation, eventually taking top prize in a contest at the Apollo Theater in New York in 1967, when Michael was 9 years old. After auditioning in July 1968, The Jackson 5 was signed to Berry Gordy’s legendary Motown Records in March 1969. The group released its first single, “I Want You Back,” that October, \u003ca href=\"https://www.billboard.com/music/the-jacksons/chart-history/hot-100/song/581782\" target=\"_blank\" rel=\"noopener\">becoming\u003c/a> its first No. 1 hit the following January. The group’s first album, \u003cem>Diana Ross Presents The Jackson 5,\u003c/em> would tally an astounding 10 million sales over just 10 months; the following April, the Jackson 5’s classic “ABC” would dethrone The Beatles’ “Let It Be” from the top of the singles chart.\u003c/p>\n\u003cp>Later in life, however — after “Jackson Mania” and Saturday morning cartoons, solo careers and meet-and-greets with the Queen of England — a darker public picture of the Jackson family’s internal life was slowly revealed.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.youtube.com/watch?v=BbItFJJPPmA\" target=\"_blank\" rel=\"noopener\">interview with Oprah Winfrey\u003c/a> in 1993, Michael Jackson revealed that the drive behind his and his brothers’ early success was a harsh regime enforced by Joe, bordering on physical and mental abuse.\u003c/p>\n\u003cp>Joe Jackson and some of the other Jackson siblings denied those allegations, describing the treatment as in line with the stern discipline practices of the day.\u003c/p>\n\u003cp>“There was a lot of love in that little house,” Jackie Jackson, the eldest brother, is quoted as saying in \u003cem>The Jacksons: Legacy\u003c/em>. “My mother was the sweetest woman you could ever meet. … My father was the one who cracked the whip.”\u003c/p>\n\u003cp>In a 2007 interview with \u003cem>The Chicago Defender,\u003c/em> Joe Jackson explained that his form of discipline was not unlike any other black family of the era. “Yeah, I whipped my kids and back then there was nothing wrong with that,” he said. “Nowadays people want to call the police on you. The people complaining about what I did got whippings from their parents too.”\u003c/p>\n\u003cp>Despite the internal tensions the allegations caused within the family, Jackson was seen holding his son’s hand as they walked into the Santa Barbara County Superior Court, before Michael’s 2005 trial on charges of child molestation, and never wavered in maintaining his son’s innocence.\u003c/p>\n\u003cp>In fact, Jackson acknowledged Michael did not exactly have the most idyllic of childhoods, saying it may have influenced the public’s perception of The King of Pop. As he \u003ca href=\"https://www.cnn.com/2013/01/30/showbiz/joe-jackson-pmt/index.html\">told CNN\u003c/a> in 2013: “Well … Michael was a big old kid himself. He was still — had the mind of a kid. But he loved kids so much. And the things that he didn’t have, he tried to help them to have it.”\u003c/p>\n\u003cp>When questioned about any regrets in that CNN interview, Jackson replied: “Well, I’m glad I was tough, because look what I came out with. I came out with some kids that everybody loved all over the world. And they treated everybody right.”\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by Andrew Flanagan.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Joe+Jackson%2C+Strict+Manager+And+Father+To+Pop+Royalty%2C+Dead+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joe Jackson, patriarch of the legendary Jackson family, which included Michael and Janet Jackson, has died, the estate of Michael has confirmed in a statement. No cause of death was given, though he had reportedly been diagnosed with cancer.\u003c/p>\n\u003cp>Officially, Joe Jackson was a band manager, taking five of his sons from a locally celebrated pop vocal group in Gary, Ind., in the mid-1960s to international acclaim, acting as the launchpad to superstardom for his son Michael. Their paths, however, would be revealed through the decades as ones paved in checkers.\u003c/p>\n\u003cp>Joe Jackson, \u003ca href=\"https://www.jwjackson.com/about-joejackson/\" target=\"_blank\" rel=\"noopener\">born\u003c/a> in Alabama on July 26, 1928, was the eldest of six children of Samuel and Chrystal Jackson. Jackson’s parents separated in 1942, leaving Joe to travel between his father in Oakland, Calif. and his mother in East Chicago, Ind., before settling in the latter.\u003c/p>\n\u003cp>In his early 20s, while moonlighting in a blues band with his brother Luther, Joe met Katherine Scruse, whom he would marry in November 1949. (It would be his second, following a brief marriage that was annulled.) Rebbie Jackson — the first of their 10 children — was born in 1950; Jackie in 1951; Tito in 1953; Jermaine in 1954; La Toya in 1956; Marlon in 1957; Brandon in 1957; Michael in 1958; Randy in 1961; and Janet in 1966.\u003c/p>\n\u003cp>In the early 1960s, Jackson was working in a steel mill when he formed — or regimented, with regular daily practice scheduled by the tempestuous family head — a band sourced from his five sons: Jermaine, Jackie, Marlon, Tito and the youngest, Michael, as its charismatic lead singer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Through performances at local malls and talent shows, the group quickly cultivated a sterling local reputation, eventually taking top prize in a contest at the Apollo Theater in New York in 1967, when Michael was 9 years old. After auditioning in July 1968, The Jackson 5 was signed to Berry Gordy’s legendary Motown Records in March 1969. The group released its first single, “I Want You Back,” that October, \u003ca href=\"https://www.billboard.com/music/the-jacksons/chart-history/hot-100/song/581782\" target=\"_blank\" rel=\"noopener\">becoming\u003c/a> its first No. 1 hit the following January. The group’s first album, \u003cem>Diana Ross Presents The Jackson 5,\u003c/em> would tally an astounding 10 million sales over just 10 months; the following April, the Jackson 5’s classic “ABC” would dethrone The Beatles’ “Let It Be” from the top of the singles chart.\u003c/p>\n\u003cp>Later in life, however — after “Jackson Mania” and Saturday morning cartoons, solo careers and meet-and-greets with the Queen of England — a darker public picture of the Jackson family’s internal life was slowly revealed.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.youtube.com/watch?v=BbItFJJPPmA\" target=\"_blank\" rel=\"noopener\">interview with Oprah Winfrey\u003c/a> in 1993, Michael Jackson revealed that the drive behind his and his brothers’ early success was a harsh regime enforced by Joe, bordering on physical and mental abuse.\u003c/p>\n\u003cp>Joe Jackson and some of the other Jackson siblings denied those allegations, describing the treatment as in line with the stern discipline practices of the day.\u003c/p>\n\u003cp>“There was a lot of love in that little house,” Jackie Jackson, the eldest brother, is quoted as saying in \u003cem>The Jacksons: Legacy\u003c/em>. “My mother was the sweetest woman you could ever meet. … My father was the one who cracked the whip.”\u003c/p>\n\u003cp>In a 2007 interview with \u003cem>The Chicago Defender,\u003c/em> Joe Jackson explained that his form of discipline was not unlike any other black family of the era. “Yeah, I whipped my kids and back then there was nothing wrong with that,” he said. “Nowadays people want to call the police on you. The people complaining about what I did got whippings from their parents too.”\u003c/p>\n\u003cp>Despite the internal tensions the allegations caused within the family, Jackson was seen holding his son’s hand as they walked into the Santa Barbara County Superior Court, before Michael’s 2005 trial on charges of child molestation, and never wavered in maintaining his son’s innocence.\u003c/p>\n\u003cp>In fact, Jackson acknowledged Michael did not exactly have the most idyllic of childhoods, saying it may have influenced the public’s perception of The King of Pop. As he \u003ca href=\"https://www.cnn.com/2013/01/30/showbiz/joe-jackson-pmt/index.html\">told CNN\u003c/a> in 2013: “Well … Michael was a big old kid himself. He was still — had the mind of a kid. But he loved kids so much. And the things that he didn’t have, he tried to help them to have it.”\u003c/p>\n\u003cp>When questioned about any regrets in that CNN interview, Jackson replied: “Well, I’m glad I was tough, because look what I came out with. I came out with some kids that everybody loved all over the world. And they treated everybody right.”\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by Andrew Flanagan.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Joe+Jackson%2C+Strict+Manager+And+Father+To+Pop+Royalty%2C+Dead+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Killdeer Plays Killjoy, Halts Production of 'Canada's Coachella'",
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"content": "\u003cp>\u003cstrong>\u003cem>Updated\u003c/em>\u003c/strong>\u003cem> 1:57 p.m. ET, June 26 with a statement from the Canadian government.\u003c/em>\u003c/p>\n\u003cp>Organizers of Ottawa’s RBC Bluesfest, which \u003ca href=\"https://ottawabluesfest.ca/our-organization/\" target=\"_blank\" rel=\"noopener\">describes\u003c/a> itself as “the Canadian version of Bonnaroo, Coachella, and/or the New Orleans Jazz and Heritage festival,” are refusing to separate a family of birds that has nested near its festival site, preventing the construction of its main stage.\u003c/p>\n\u003cp>“The fact of the matter is that, without sounding righteous, we want to do the most humane thing,” AJ Sauve, the festival’s communications director, told NPR.\u003c/p>\n\u003cp>The festival, which is expecting to draw 100,000 music fans from July 5-15, has received the go-ahead to relocate the eggs some time Tuesday.\u003c/p>\n\u003cp>“We’ve seen it all — you name it, we’ve seen it,” Sauve said. “This one here, this is a new one.” Sauve added that he and his team have become amateur ornithologists over the past two days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Environment and Climate Change Canada (ECCC) has issued a permit under the federal Migratory Birds Convention Act to allow the relocation of the nest to nearby suitable habitat,” a spokesperson for the ECCC writes in a statement to NPR. “The Killdeer is not a species at risk although the Canadian population has seen a decline over the last 40 years. The relocation will allow the nest to remain and eggs to hatch in the natural environment. In the event of nest abandonment, eggs will be transported to a rehabilitation facility to provide the best probability for survival.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=QFzxR3NERUQ\" target=\"_blank\" rel=\"noopener\">press conference\u003c/a> held Monday, festival director Mark Monahan stressed the need to find a compromise. “Within a week or so there’s going to be 100,000 people congregating on this site,” he said. “We realize that, although it may seem calm right now, it is highly unlikely that the activity level, which will be tremendous, will be conducive to the eggs or the bird continuing to be here. So we’re trying to come up with a solution that’s best obviously for the eggs and the birds, and also hopefully that wouldn’t hamper our ability to set up and eventually put on the festival.”\u003c/p>\n\u003cp>The birds are a common species called “killdeers,” which is known for both its boisterous vocalizing and its “fake broken wing dance,” which it uses to distract predators from its nest. Organizers hope to incubate the eggs, or move the nest to a safer location until the eggs hatch, after which the chicks — unlike, say, human beings — become relatively independent. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I5Kt8XGFcXw\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Killdeer+Plays+Killjoy%2C+Halts+Production+Of+%27Canada%27s+Coachella%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Updated\u003c/em>\u003c/strong>\u003cem> 1:57 p.m. ET, June 26 with a statement from the Canadian government.\u003c/em>\u003c/p>\n\u003cp>Organizers of Ottawa’s RBC Bluesfest, which \u003ca href=\"https://ottawabluesfest.ca/our-organization/\" target=\"_blank\" rel=\"noopener\">describes\u003c/a> itself as “the Canadian version of Bonnaroo, Coachella, and/or the New Orleans Jazz and Heritage festival,” are refusing to separate a family of birds that has nested near its festival site, preventing the construction of its main stage.\u003c/p>\n\u003cp>“The fact of the matter is that, without sounding righteous, we want to do the most humane thing,” AJ Sauve, the festival’s communications director, told NPR.\u003c/p>\n\u003cp>The festival, which is expecting to draw 100,000 music fans from July 5-15, has received the go-ahead to relocate the eggs some time Tuesday.\u003c/p>\n\u003cp>“We’ve seen it all — you name it, we’ve seen it,” Sauve said. “This one here, this is a new one.” Sauve added that he and his team have become amateur ornithologists over the past two days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Environment and Climate Change Canada (ECCC) has issued a permit under the federal Migratory Birds Convention Act to allow the relocation of the nest to nearby suitable habitat,” a spokesperson for the ECCC writes in a statement to NPR. “The Killdeer is not a species at risk although the Canadian population has seen a decline over the last 40 years. The relocation will allow the nest to remain and eggs to hatch in the natural environment. In the event of nest abandonment, eggs will be transported to a rehabilitation facility to provide the best probability for survival.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=QFzxR3NERUQ\" target=\"_blank\" rel=\"noopener\">press conference\u003c/a> held Monday, festival director Mark Monahan stressed the need to find a compromise. “Within a week or so there’s going to be 100,000 people congregating on this site,” he said. “We realize that, although it may seem calm right now, it is highly unlikely that the activity level, which will be tremendous, will be conducive to the eggs or the bird continuing to be here. So we’re trying to come up with a solution that’s best obviously for the eggs and the birds, and also hopefully that wouldn’t hamper our ability to set up and eventually put on the festival.”\u003c/p>\n\u003cp>The birds are a common species called “killdeers,” which is known for both its boisterous vocalizing and its “fake broken wing dance,” which it uses to distract predators from its nest. Organizers hope to incubate the eggs, or move the nest to a safer location until the eggs hatch, after which the chicks — unlike, say, human beings — become relatively independent. \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/I5Kt8XGFcXw'\n title='//www.youtube.com/embed/I5Kt8XGFcXw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Killdeer+Plays+Killjoy%2C+Halts+Production+Of+%27Canada%27s+Coachella%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How Crazy Do You Have to Be to Sit Through 15 Hours of Opera?",
"headTitle": "How Crazy Do You Have to Be to Sit Through 15 Hours of Opera? | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t was during the first intermission of \u003cem>The Ring\u003c/em> cycle, about three and a half hours into a 15-hour opera, that I saw my first audience member sleeping on the floor.\u003c/p>\n\u003cp>Seeing his head leaning against the wall, his jaw half-open, his hands loosely clasped around a program for Richard Wagner’s interminable masterwork, four words came to my mind: “I don’t blame him.”\u003c/p>\n\u003cp>I’ll be honest. I signed up to see \u003cem>The Ring\u003c/em> for one reason, and that’s to be able to say that I did it. Like reading \u003cem>War and Peace\u003c/em>, climbing Mount Everest, or running the Boston marathon, you see \u003cem>The Ring\u003c/em> at least in part for bragging rights. I came up playing in punk bands and listening to rap music, and while I’d grown to love some opera, my foundational years were not exactly proper training for 15 hours of it, spread over four days.\u003c/p>\n\u003cfigure id=\"attachment_13835978\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/AlberichWotan-800x545.jpg\" alt=\"Falk Struckmann as Alberich as Greer Grimsley as Wotan in Wagner's 'Das Rheingold.'\" width=\"800\" height=\"545\" class=\"size-medium wp-image-13835978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-1200x817.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-1180x803.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-960x653.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-520x354.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Falk Struckmann as Alberich as Greer Grimsley as Wotan in Wagner’s ‘Das Rheingold.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But something inexplicable happened to me, sitting there in the War Memorial Opera House, around the halfway point of \u003cem>The Ring\u003c/em>. All the story’s threads started coming together: the rampant greed of the characters, their betrayal and incest, the corruption of power on grand display. The musical motifs overlapped on each other, and began triggering emotional synapses that I couldn’t deny. Nothing about \u003cem>The Ring\u003c/em> is what you’d call “catchy,” but I was suddenly drawn to its music and lyrics more fiercely than any pop music I’d known.\u003c/p>\n\u003cp>What the hell was happening to me? The fantasy-saga of \u003cem>The Ring\u003c/em>—about an actual ring, made from stolen gold, that grants power over the world—is not something I normally enjoy. The ring changes hands between gods and mortals and giants and mythical creatures, over three generations. \u003cem>Whoop-de-doo\u003c/em>. There’s a man-child warrior (Siegfried), an avenging Valkyrie (Brünnhilde), a conniving God (Wotan), and dozens of others in a complex family tree. Visualize me, twirling my index finger in the air and rolling my eyes.\u003c/p>\n\u003cfigure id=\"attachment_13835972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-800x533.jpg\" alt=\"Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner's 'Siegfried.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13835972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet I stumbled out of that third night’s production and onto Van Ness Avenue, with lunatic Wagner-worshipping fans all around me in lederhosen and horned helmets, and typed into my phone:\u003c/p>\n\u003cblockquote>\u003cp>DUDE ALL THE ELEMENTS ARE COMING TOGETHER I’M EVEN ROOTING FOR THE INCEST NOW PLUS THERE WAS A GIANT DEATH ROBOT WITH STEEL CLAWS INSIDE THE OPERA HOUSE IT IS BANANAS I AM HOOKED PLEASE JOIN MY RING FAN CLUB\u003c/p>\u003c/blockquote>\n\u003cp>Ten hours in, after three parts of \u003cem>The Ring\u003c/em> (\u003cem>Das Rheingold\u003c/em>, \u003cem>Die Walküre\u003c/em>, and \u003cem>Siegfried\u003c/em>, but before \u003cem>Götterdämmerung\u003c/em>), I’d witnessed power-hungry gods, adultery, brutal death, rapist giants killed, flaming hammers, a revolt by enslaved miners, and a guy who turns into a snake. I’d come into it ready to quit at the first moment of boredom, and now nothing, not even a giant death robot with steel claws, could stand in my way of seeing the \u003cem>The Ring\u003c/em> to completion.\u003c/p>\n\u003cfigure id=\"attachment_13835980\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Ring.Robot_-800x534.jpg\" alt=\"David Cangelosi as Mime in Wagner's 'Siegfried.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835980\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Cangelosi as Mime in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t helps that San Francisco Opera’s current \u003cem>Ring\u003c/em>—similar to its 2011 production, and again under the direction of Francesca Zambello—is not what newbies think of when they think of opera. Rather than vikings and braids and portly sopranos in breastplates, it opens like a psychedelic light show from the 1960s Fillmore, with a low-octave rumble as slow, formless swirls undulate on a massive projection screen. When the curtain comes up, it’s as if 200 teenagers have been \u003ca href=\"https://www.newyorker.com/magazine/2018/05/14/the-promise-of-vaping-and-the-rise-of-juul\" rel=\"noopener\" target=\"_blank\">Juuling\u003c/a> on stage, smoke spilling into the orchestra pit. From the start, you know this is something different.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Technically, the set is a marvel. Giants enter on a hanging I-beam. The Valkyries enter on parachutes. \u003ca href=\"https://sfopera.com/blog/top-dogs-train-for-the-opera-stage/\" rel=\"noopener\" target=\"_blank\">Two live dogs\u003c/a> race across the stage. An oversized hammer spews fireworks. A long bridge descends from the wings. An underground mine looks like a Richard Serra sculpture on PCP. A huge Cypress Structure-like freeway looms large. Lights projecting from the floor create eerie atmospheres. At one point, the entire stage is aflame around Brünnhilde.\u003c/p>\n\u003cfigure id=\"attachment_13835973\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Ring.Trailer-800x524.jpg\" alt=\"David Cangelosi as Mime and Greer Grimsley as Wotan in Wagner's 'Siegfried.'\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13835973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-1200x785.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-1180x772.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-960x628.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-520x340.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Cangelosi as Mime and Greer Grimsley as Wotan in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thematically, in 2018, there’s a lot to chew on. It’s quite a thing to see an opera about the corruption of power during a week when the U.S. government is busy separating children from their parents and putting them in tent camps. (“I would never steal a cub from its mother,” Siegfried sings at one point.) And while Zambello has remarked that her \u003cem>Ring\u003c/em> is a \u003ca href=\"https://48hills.org/2018/06/ring-cycle-francesca-zambello-sf-opera/\" rel=\"noopener\" target=\"_blank\">lesson in environmentalism\u003c/a>, beginning in pre-Gold Rush California and spanning into the future, the production’s degradation of people’s living environments brings to mind those same child tent camps on the border—if not conditions in Puerto Rico, or even Division Street right here in San Francisco.\u003c/p>\n\u003cp>Perhaps this is the abiding achievement of \u003cem>The Ring\u003c/em>, this ability to reflect current events 140 years after its premiere. This production contains a daughter buried in bags of money as her rapist sings “Woman, your suffering is all your fault,” evoking Bill Cosby’s out-of-court settlements. It has Siegfried dunking a man’s head underwater until he gets what he wants, a reminder of Bush-era waterboarding. It contains a scene of women tending to a pile of cables and circuit boards; “our eternal knowledge,” they call it, plainly recalling the internet. There’s even an oath, taken on a spear, that amounts to Bill Clinton’s famous claim that “I did not have sexual relations with that woman.”\u003c/p>\n\u003cp>It makes you wonder: in 10 more years, give or take, when SF Opera likely mounts \u003cem>The Ring\u003c/em> again, which themes or characters will resonate most? What will the ring, a symbol of dominion over the world, represent to us then? What will we have learned from this moment in America? \u003c/p>\n\u003cfigure id=\"attachment_13835976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/WotanGiants-800x573.jpg\" alt=\"Greer Grimsley as Wotan, Julie Adams as Freia and Andrea Silvestrelli as Fasolt in Wagner’s 'Das Rheingold,' with Brandon Jovanovich as Froh and Brian Mulligan as Donner looking on.\" width=\"800\" height=\"573\" class=\"size-medium wp-image-13835976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-1200x860.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-1180x845.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-960x688.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-520x373.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greer Grimsley as Wotan, Julie Adams as Freia and Andrea Silvestrelli as Fasolt in Wagner’s ‘Das Rheingold,’ with Brandon Jovanovich as Froh and Brian Mulligan as Donner looking on. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ll of this is to say that I understand, now, the legions who call themselves the Ring Cult—the people who travel the world seeing entire \u003cem>Ring\u003c/em> cycles. (A spokesperson from SF Opera tells me that one couple flew into town from Europe to see all three complete cycles this month; I also saw a mother in the standing-room section so dedicated to \u003cem>The Ring\u003c/em> that she’d brought her baby, breastfeeding it at intermission.) Most folks think these people are crazy, but then, I think the same about those who memorize Pi to the 100th digit, or ride a bike across the country, or do hot yoga. We all have our forms of self-torture that, for whatever reason or another, benefit our soul.\u003c/p>\n\u003cp>Yes, \u003cem>The Ring\u003c/em> at times constitutes self-torture. Binge-watching television is a common analogue cited for watching 15 hours of \u003cem>The Ring\u003c/em>, except no television executive in the world could greenlight it without losing their job. It contains numerous prolonged sections of inner monologue and narration, redundant to an exasperating degree. Here are some notes I wrote while watching it:\u003c/p>\n\u003cblockquote>\u003cp>\n– \u003cem>It just took these people 5 minutes to say, basically, “It’s getting dark”\u003c/em>\u003c/p>\n\u003cp>– \u003cem>After 15 minutes of singing about it, the guy finally pulls the sword out of the tree\u003c/em>\u003c/p>\n\u003cp>– \u003cem>More endless singing about the weather\u003c/em>\u003c/p>\n\u003cp>– \u003cem>A half hour later and the story has not advanced one bit! They are still talking about the same thing they were talking about a half hour ago, which in itself was rehashing things that already happened earlier! Jesus Lord make it stop\u003c/em>\u003c/p>\n\u003cp>– \u003cem>This is really one overdramatic soap opera with 4 hours of explaining, arguing and whining, and 20 minutes of action\u003c/em>\u003c/p>\n\u003cp>– \u003cem>“A burning spell pierces my heart! My mind is reeling!… How shall I awaken her? Do I dare?” BLAH BLAH BLAH DUDE. “Yearning consumes me.” UGGGGGG\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13835974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-800x558.jpg\" alt=\"Daniel Brenna as the title role in Wagner's 'Siegfried.'\" width=\"800\" height=\"558\" class=\"size-medium wp-image-13835974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-1200x837.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-960x670.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-520x363.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Brenna as the title role in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ut yes, this benefits the soul. These stretches, however maddening, are not mind-numbing. \u003cem>The Ring\u003c/em> is so long that it lulls one’s brain into a state of semi-hypnosis, resting but active. This is where the magic happens. Your mind floats above the story, free to think upon its greater themes, to weave them into your own life and your flashes of memory.\u003c/p>\n\u003cp>Meanwhile, the orchestra (in San Francisco, under the direction of Donald Runnicles), repeats Wagner’s \u003ca href=\"http://www.pjb.com.au/mus/wagner/\" rel=\"noopener\" target=\"_blank\">many leitmotifs\u003c/a>, tiny musical signals of character or plot or theme, feeding them to you subconsciously. You think they’re boring the hell out of you, but you are wrong. What they are doing, in essence, is rewiring your reality. \u003c/p>\n\u003cp>And then it all comes to a head—the swaying pocketwatch is snatched up, the fingers snap—and you’re back in the story with a new understanding of its world. The threads of character and music stack atop each other with greater and greater frequency. Suddenly, for the first time in 12 hours, there’s a full choir on the stage, bellowing loudly. The Earth is on the precipice of destruction. The heart rate quickens. It’s basically like watching the Warriors and the Lakers, tied 101-101 in the fourth quarter with 38 seconds to go.\u003c/p>\n\u003cfigure id=\"attachment_13835971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-800x534.jpg\" alt=\"Iréne Theorin as Brünnhilde with members of the San Franciso Opera Chorus in Wagner's 'Götterdämmerung.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iréne Theorin as Brünnhilde with members of the San Franciso Opera Chorus in Wagner’s ‘Götterdämmerung.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Opera House, before the final act of \u003cem>Götterdämmerung\u003c/em> and the final lap of my marathon of opera, my seatmate—a well-known classical critic from a national weekly magazine—turned to me and quipped, “Here we go…. now everyone lives happily ever after!”\u003c/p>\n\u003cp>I’ll spoil it for you: everyone does \u003cem>not\u003c/em> live happily ever after.\u003c/p>\n\u003cp>But I’m telling you, the next time \u003cem>The Ring\u003c/em> comes around, you might just see me in lederhosen and a horned helmet, sleeping on the floor between acts, and waiting to be transformed all over again.\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_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>The third and final cycle of ‘The Ring’ runs June 26–July 1 at the War Memorial Opera House in San Francisco. Tickets are $100–$535 for each part of the cycle, with $10 standing-room tickets available the morning of each performance, in person, cash only, at the box office at 10am. \u003ca href=\"https://sfopera.com/ring/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "A first-timer's experience with 'The Ring,' Richard Wagner's epic four-part saga, in San Francisco Opera's current production.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t was during the first intermission of \u003cem>The Ring\u003c/em> cycle, about three and a half hours into a 15-hour opera, that I saw my first audience member sleeping on the floor.\u003c/p>\n\u003cp>Seeing his head leaning against the wall, his jaw half-open, his hands loosely clasped around a program for Richard Wagner’s interminable masterwork, four words came to my mind: “I don’t blame him.”\u003c/p>\n\u003cp>I’ll be honest. I signed up to see \u003cem>The Ring\u003c/em> for one reason, and that’s to be able to say that I did it. Like reading \u003cem>War and Peace\u003c/em>, climbing Mount Everest, or running the Boston marathon, you see \u003cem>The Ring\u003c/em> at least in part for bragging rights. I came up playing in punk bands and listening to rap music, and while I’d grown to love some opera, my foundational years were not exactly proper training for 15 hours of it, spread over four days.\u003c/p>\n\u003cfigure id=\"attachment_13835978\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/AlberichWotan-800x545.jpg\" alt=\"Falk Struckmann as Alberich as Greer Grimsley as Wotan in Wagner's 'Das Rheingold.'\" width=\"800\" height=\"545\" class=\"size-medium wp-image-13835978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-1200x817.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-1180x803.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-960x653.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-520x354.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Falk Struckmann as Alberich as Greer Grimsley as Wotan in Wagner’s ‘Das Rheingold.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But something inexplicable happened to me, sitting there in the War Memorial Opera House, around the halfway point of \u003cem>The Ring\u003c/em>. All the story’s threads started coming together: the rampant greed of the characters, their betrayal and incest, the corruption of power on grand display. The musical motifs overlapped on each other, and began triggering emotional synapses that I couldn’t deny. Nothing about \u003cem>The Ring\u003c/em> is what you’d call “catchy,” but I was suddenly drawn to its music and lyrics more fiercely than any pop music I’d known.\u003c/p>\n\u003cp>What the hell was happening to me? The fantasy-saga of \u003cem>The Ring\u003c/em>—about an actual ring, made from stolen gold, that grants power over the world—is not something I normally enjoy. The ring changes hands between gods and mortals and giants and mythical creatures, over three generations. \u003cem>Whoop-de-doo\u003c/em>. There’s a man-child warrior (Siegfried), an avenging Valkyrie (Brünnhilde), a conniving God (Wotan), and dozens of others in a complex family tree. Visualize me, twirling my index finger in the air and rolling my eyes.\u003c/p>\n\u003cfigure id=\"attachment_13835972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-800x533.jpg\" alt=\"Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner's 'Siegfried.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13835972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet I stumbled out of that third night’s production and onto Van Ness Avenue, with lunatic Wagner-worshipping fans all around me in lederhosen and horned helmets, and typed into my phone:\u003c/p>\n\u003cblockquote>\u003cp>DUDE ALL THE ELEMENTS ARE COMING TOGETHER I’M EVEN ROOTING FOR THE INCEST NOW PLUS THERE WAS A GIANT DEATH ROBOT WITH STEEL CLAWS INSIDE THE OPERA HOUSE IT IS BANANAS I AM HOOKED PLEASE JOIN MY RING FAN CLUB\u003c/p>\u003c/blockquote>\n\u003cp>Ten hours in, after three parts of \u003cem>The Ring\u003c/em> (\u003cem>Das Rheingold\u003c/em>, \u003cem>Die Walküre\u003c/em>, and \u003cem>Siegfried\u003c/em>, but before \u003cem>Götterdämmerung\u003c/em>), I’d witnessed power-hungry gods, adultery, brutal death, rapist giants killed, flaming hammers, a revolt by enslaved miners, and a guy who turns into a snake. I’d come into it ready to quit at the first moment of boredom, and now nothing, not even a giant death robot with steel claws, could stand in my way of seeing the \u003cem>The Ring\u003c/em> to completion.\u003c/p>\n\u003cfigure id=\"attachment_13835980\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Ring.Robot_-800x534.jpg\" alt=\"David Cangelosi as Mime in Wagner's 'Siegfried.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835980\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Cangelosi as Mime in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t helps that San Francisco Opera’s current \u003cem>Ring\u003c/em>—similar to its 2011 production, and again under the direction of Francesca Zambello—is not what newbies think of when they think of opera. Rather than vikings and braids and portly sopranos in breastplates, it opens like a psychedelic light show from the 1960s Fillmore, with a low-octave rumble as slow, formless swirls undulate on a massive projection screen. When the curtain comes up, it’s as if 200 teenagers have been \u003ca href=\"https://www.newyorker.com/magazine/2018/05/14/the-promise-of-vaping-and-the-rise-of-juul\" rel=\"noopener\" target=\"_blank\">Juuling\u003c/a> on stage, smoke spilling into the orchestra pit. From the start, you know this is something different.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Technically, the set is a marvel. Giants enter on a hanging I-beam. The Valkyries enter on parachutes. \u003ca href=\"https://sfopera.com/blog/top-dogs-train-for-the-opera-stage/\" rel=\"noopener\" target=\"_blank\">Two live dogs\u003c/a> race across the stage. An oversized hammer spews fireworks. A long bridge descends from the wings. An underground mine looks like a Richard Serra sculpture on PCP. A huge Cypress Structure-like freeway looms large. Lights projecting from the floor create eerie atmospheres. At one point, the entire stage is aflame around Brünnhilde.\u003c/p>\n\u003cfigure id=\"attachment_13835973\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Ring.Trailer-800x524.jpg\" alt=\"David Cangelosi as Mime and Greer Grimsley as Wotan in Wagner's 'Siegfried.'\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13835973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-1200x785.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-1180x772.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-960x628.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-520x340.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Cangelosi as Mime and Greer Grimsley as Wotan in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thematically, in 2018, there’s a lot to chew on. It’s quite a thing to see an opera about the corruption of power during a week when the U.S. government is busy separating children from their parents and putting them in tent camps. (“I would never steal a cub from its mother,” Siegfried sings at one point.) And while Zambello has remarked that her \u003cem>Ring\u003c/em> is a \u003ca href=\"https://48hills.org/2018/06/ring-cycle-francesca-zambello-sf-opera/\" rel=\"noopener\" target=\"_blank\">lesson in environmentalism\u003c/a>, beginning in pre-Gold Rush California and spanning into the future, the production’s degradation of people’s living environments brings to mind those same child tent camps on the border—if not conditions in Puerto Rico, or even Division Street right here in San Francisco.\u003c/p>\n\u003cp>Perhaps this is the abiding achievement of \u003cem>The Ring\u003c/em>, this ability to reflect current events 140 years after its premiere. This production contains a daughter buried in bags of money as her rapist sings “Woman, your suffering is all your fault,” evoking Bill Cosby’s out-of-court settlements. It has Siegfried dunking a man’s head underwater until he gets what he wants, a reminder of Bush-era waterboarding. It contains a scene of women tending to a pile of cables and circuit boards; “our eternal knowledge,” they call it, plainly recalling the internet. There’s even an oath, taken on a spear, that amounts to Bill Clinton’s famous claim that “I did not have sexual relations with that woman.”\u003c/p>\n\u003cp>It makes you wonder: in 10 more years, give or take, when SF Opera likely mounts \u003cem>The Ring\u003c/em> again, which themes or characters will resonate most? What will the ring, a symbol of dominion over the world, represent to us then? What will we have learned from this moment in America? \u003c/p>\n\u003cfigure id=\"attachment_13835976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/WotanGiants-800x573.jpg\" alt=\"Greer Grimsley as Wotan, Julie Adams as Freia and Andrea Silvestrelli as Fasolt in Wagner’s 'Das Rheingold,' with Brandon Jovanovich as Froh and Brian Mulligan as Donner looking on.\" width=\"800\" height=\"573\" class=\"size-medium wp-image-13835976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-1200x860.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-1180x845.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-960x688.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-520x373.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greer Grimsley as Wotan, Julie Adams as Freia and Andrea Silvestrelli as Fasolt in Wagner’s ‘Das Rheingold,’ with Brandon Jovanovich as Froh and Brian Mulligan as Donner looking on. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ll of this is to say that I understand, now, the legions who call themselves the Ring Cult—the people who travel the world seeing entire \u003cem>Ring\u003c/em> cycles. (A spokesperson from SF Opera tells me that one couple flew into town from Europe to see all three complete cycles this month; I also saw a mother in the standing-room section so dedicated to \u003cem>The Ring\u003c/em> that she’d brought her baby, breastfeeding it at intermission.) Most folks think these people are crazy, but then, I think the same about those who memorize Pi to the 100th digit, or ride a bike across the country, or do hot yoga. We all have our forms of self-torture that, for whatever reason or another, benefit our soul.\u003c/p>\n\u003cp>Yes, \u003cem>The Ring\u003c/em> at times constitutes self-torture. Binge-watching television is a common analogue cited for watching 15 hours of \u003cem>The Ring\u003c/em>, except no television executive in the world could greenlight it without losing their job. It contains numerous prolonged sections of inner monologue and narration, redundant to an exasperating degree. Here are some notes I wrote while watching it:\u003c/p>\n\u003cblockquote>\u003cp>\n– \u003cem>It just took these people 5 minutes to say, basically, “It’s getting dark”\u003c/em>\u003c/p>\n\u003cp>– \u003cem>After 15 minutes of singing about it, the guy finally pulls the sword out of the tree\u003c/em>\u003c/p>\n\u003cp>– \u003cem>More endless singing about the weather\u003c/em>\u003c/p>\n\u003cp>– \u003cem>A half hour later and the story has not advanced one bit! They are still talking about the same thing they were talking about a half hour ago, which in itself was rehashing things that already happened earlier! Jesus Lord make it stop\u003c/em>\u003c/p>\n\u003cp>– \u003cem>This is really one overdramatic soap opera with 4 hours of explaining, arguing and whining, and 20 minutes of action\u003c/em>\u003c/p>\n\u003cp>– \u003cem>“A burning spell pierces my heart! My mind is reeling!… How shall I awaken her? Do I dare?” BLAH BLAH BLAH DUDE. “Yearning consumes me.” UGGGGGG\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13835974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-800x558.jpg\" alt=\"Daniel Brenna as the title role in Wagner's 'Siegfried.'\" width=\"800\" height=\"558\" class=\"size-medium wp-image-13835974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-1200x837.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-960x670.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-520x363.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Brenna as the title role in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ut yes, this benefits the soul. These stretches, however maddening, are not mind-numbing. \u003cem>The Ring\u003c/em> is so long that it lulls one’s brain into a state of semi-hypnosis, resting but active. This is where the magic happens. Your mind floats above the story, free to think upon its greater themes, to weave them into your own life and your flashes of memory.\u003c/p>\n\u003cp>Meanwhile, the orchestra (in San Francisco, under the direction of Donald Runnicles), repeats Wagner’s \u003ca href=\"http://www.pjb.com.au/mus/wagner/\" rel=\"noopener\" target=\"_blank\">many leitmotifs\u003c/a>, tiny musical signals of character or plot or theme, feeding them to you subconsciously. You think they’re boring the hell out of you, but you are wrong. What they are doing, in essence, is rewiring your reality. \u003c/p>\n\u003cp>And then it all comes to a head—the swaying pocketwatch is snatched up, the fingers snap—and you’re back in the story with a new understanding of its world. The threads of character and music stack atop each other with greater and greater frequency. Suddenly, for the first time in 12 hours, there’s a full choir on the stage, bellowing loudly. The Earth is on the precipice of destruction. The heart rate quickens. It’s basically like watching the Warriors and the Lakers, tied 101-101 in the fourth quarter with 38 seconds to go.\u003c/p>\n\u003cfigure id=\"attachment_13835971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-800x534.jpg\" alt=\"Iréne Theorin as Brünnhilde with members of the San Franciso Opera Chorus in Wagner's 'Götterdämmerung.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iréne Theorin as Brünnhilde with members of the San Franciso Opera Chorus in Wagner’s ‘Götterdämmerung.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Opera House, before the final act of \u003cem>Götterdämmerung\u003c/em> and the final lap of my marathon of opera, my seatmate—a well-known classical critic from a national weekly magazine—turned to me and quipped, “Here we go…. now everyone lives happily ever after!”\u003c/p>\n\u003cp>I’ll spoil it for you: everyone does \u003cem>not\u003c/em> live happily ever after.\u003c/p>\n\u003cp>But I’m telling you, the next time \u003cem>The Ring\u003c/em> comes around, you might just see me in lederhosen and a horned helmet, sleeping on the floor between acts, and waiting to be transformed all over again.\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_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The third and final cycle of ‘The Ring’ runs June 26–July 1 at the War Memorial Opera House in San Francisco. Tickets are $100–$535 for each part of the cycle, with $10 standing-room tickets available the morning of each performance, in person, cash only, at the box office at 10am. \u003ca href=\"https://sfopera.com/ring/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "smithsonian-reveals-winning-design-for-new-native-american-veterans-memorial",
"title": "Smithsonian Reveals Winning Design for New Native American Veterans Memorial",
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"headTitle": "Smithsonian Reveals Winning Design for New Native American Veterans Memorial | KQED",
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"content": "\u003cp>\u003cstrong>Updated at 1:45 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>The Smithsonian’s \u003ca href=\"http://www.nmai.si.edu/\">National Museum of the American Indian\u003c/a> has announced the winning concept for the \u003ca href=\"https://nmai.si.edu/nnavm/\">National Native American Veterans Memorial\u003c/a>: Multimedia artist \u003ca href=\"https://harveypratt.com/\">Harvey Pratt’s\u003c/a> \u003cem>Warriors’ Circle of Honor\u003c/em> will incorporate a large, upright stainless steel circle set above a stone drum in the center of a circular walkway with intricate carvings of the five military seals.\u003c/p>\n\u003cfigure id=\"attachment_13836023\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-800x800.jpg\" alt=\"The multimedia artist Harvey Pratt's "Warriors' Circle of Honor" will incorporate an enormous, upright stainless steel circle.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13836023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The multimedia artist Harvey Pratt’s “Warriors’ Circle of Honor” will incorporate an enormous, upright stainless steel circle. \u003ccite>(National Museum of the American Indian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The memorial will sit on the National Mall in Washington, D.C., and Pratt envisions that from there will be a clear view of the U.S. Capitol’s dome. As Smithsonian.com \u003ca href=\"https://www.smithsonianmag.com/smithsonian-institution/this-innovative-memorial-soon-honor-native-american-veterans-180969060/\">has reported\u003c/a>, Pratt’s use of circles suggest “the cycle of life and death, and the continuity of all things.” The stone drum, it adds, symbolizes an invitation for people to “harmonize their experiences” with one another to the “silent rhythms” of the drumbeat.\u003c/p>\n\u003cp>Pratt was born in Guthrie, Okla., and is a citizen of the Cheyenne and Arapaho nations. He’s a veteran of the Marine Corps and served in Vietnam from 1962 to 1965. He also worked as a forensic artist for years, creating witness description drawings for law enforcement.\u003c/p>\n\u003cp>Pratt tells NPR’s Mary Louise Kelly that he hopes his design will function as an architectural piece rather than just a work of sculpture — something that people can become a part of.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He says he can picture people taking a seat on the benches tucked into the drum fountain, and reflecting on their own experiences with the military. He also hopes that it might be a cathartic place for some veterans.\u003c/p>\n\u003cp>“Most nations have veterans tell stories about what they did,” Pratt says. “People can come in there and do that and be comforted, and get rid of some things that are on their minds that bother them.”\u003c/p>\n\u003cp>More than 150,000 veterans \u003ca href=\"https://www.census.gov/newsroom/releases/archives/facts_for_features_special_editions/cb11-ff22.html\">identified as American Indian and Alaska Native in the 2010 census\u003c/a>. And according to the U.S. Department of Defense, \u003ca href=\"https://www.va.gov/TRIBALGOVERNMENT/docs/AIAN_Report_FINAL_v2_7.pdf\">there are more than 20,000 active duty service members\u003c/a> in the military who identify as American Indian or Alaska Native.\u003c/p>\n\u003cp>The memorial was selected unanimously by an eight-person jury of Native and non-Native artists, designers, museum directors and veterans. It acknowledges the history and service of American Indian, Alaska Native and Native Hawaiian veterans, according to the museum’s director, Kevin Gover, who is a citizen of the Pawnee Tribe of Oklahoma.\u003c/p>\n\u003cp>Gover says that throughout the process of helping plan the memorial, he’s met thousands Native American veterans who have demonstrated over and over their commitment to the U.S.\u003c/p>\n\u003cp>“These veterans are perfectly aware that they are serving a country that had not kept its commitments to Native people, and yet they chose — and are still choosing — to serve,” Gover says. “This reflects a very deep kind of patriotism. I can think of no finer example of service to the United States and the promise it holds.”\u003c/p>\n\u003cp>The memorial will break ground on Sept. 21, 2019, and will be unveiled in late 2020.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want it to be a place of healing and comfort, and a place that’s hopefully going to be built on love,” Pratt says. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Smithsonian+Reveals+Winning+Design+For+New+Native+American+Veterans+Memorial&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 1:45 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>The Smithsonian’s \u003ca href=\"http://www.nmai.si.edu/\">National Museum of the American Indian\u003c/a> has announced the winning concept for the \u003ca href=\"https://nmai.si.edu/nnavm/\">National Native American Veterans Memorial\u003c/a>: Multimedia artist \u003ca href=\"https://harveypratt.com/\">Harvey Pratt’s\u003c/a> \u003cem>Warriors’ Circle of Honor\u003c/em> will incorporate a large, upright stainless steel circle set above a stone drum in the center of a circular walkway with intricate carvings of the five military seals.\u003c/p>\n\u003cfigure id=\"attachment_13836023\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-800x800.jpg\" alt=\"The multimedia artist Harvey Pratt's "Warriors' Circle of Honor" will incorporate an enormous, upright stainless steel circle.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13836023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pratt-_el_3_sq-cc78aa8bc6bc125bb6b78dfdc7fe40420803c281.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The multimedia artist Harvey Pratt’s “Warriors’ Circle of Honor” will incorporate an enormous, upright stainless steel circle. \u003ccite>(National Museum of the American Indian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The memorial will sit on the National Mall in Washington, D.C., and Pratt envisions that from there will be a clear view of the U.S. Capitol’s dome. As Smithsonian.com \u003ca href=\"https://www.smithsonianmag.com/smithsonian-institution/this-innovative-memorial-soon-honor-native-american-veterans-180969060/\">has reported\u003c/a>, Pratt’s use of circles suggest “the cycle of life and death, and the continuity of all things.” The stone drum, it adds, symbolizes an invitation for people to “harmonize their experiences” with one another to the “silent rhythms” of the drumbeat.\u003c/p>\n\u003cp>Pratt was born in Guthrie, Okla., and is a citizen of the Cheyenne and Arapaho nations. He’s a veteran of the Marine Corps and served in Vietnam from 1962 to 1965. He also worked as a forensic artist for years, creating witness description drawings for law enforcement.\u003c/p>\n\u003cp>Pratt tells NPR’s Mary Louise Kelly that he hopes his design will function as an architectural piece rather than just a work of sculpture — something that people can become a part of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He says he can picture people taking a seat on the benches tucked into the drum fountain, and reflecting on their own experiences with the military. He also hopes that it might be a cathartic place for some veterans.\u003c/p>\n\u003cp>“Most nations have veterans tell stories about what they did,” Pratt says. “People can come in there and do that and be comforted, and get rid of some things that are on their minds that bother them.”\u003c/p>\n\u003cp>More than 150,000 veterans \u003ca href=\"https://www.census.gov/newsroom/releases/archives/facts_for_features_special_editions/cb11-ff22.html\">identified as American Indian and Alaska Native in the 2010 census\u003c/a>. And according to the U.S. Department of Defense, \u003ca href=\"https://www.va.gov/TRIBALGOVERNMENT/docs/AIAN_Report_FINAL_v2_7.pdf\">there are more than 20,000 active duty service members\u003c/a> in the military who identify as American Indian or Alaska Native.\u003c/p>\n\u003cp>The memorial was selected unanimously by an eight-person jury of Native and non-Native artists, designers, museum directors and veterans. It acknowledges the history and service of American Indian, Alaska Native and Native Hawaiian veterans, according to the museum’s director, Kevin Gover, who is a citizen of the Pawnee Tribe of Oklahoma.\u003c/p>\n\u003cp>Gover says that throughout the process of helping plan the memorial, he’s met thousands Native American veterans who have demonstrated over and over their commitment to the U.S.\u003c/p>\n\u003cp>“These veterans are perfectly aware that they are serving a country that had not kept its commitments to Native people, and yet they chose — and are still choosing — to serve,” Gover says. “This reflects a very deep kind of patriotism. I can think of no finer example of service to the United States and the promise it holds.”\u003c/p>\n\u003cp>The memorial will break ground on Sept. 21, 2019, and will be unveiled in late 2020.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want it to be a place of healing and comfort, and a place that’s hopefully going to be built on love,” Pratt says. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Smithsonian+Reveals+Winning+Design+For+New+Native+American+Veterans+Memorial&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Following through on promises to finally diversify the rank and file of the Academy of Motion Pictures, the Oscar-granting body has \u003ca href=\"http://www.app.oscars.org/newmembers2018/\">invited a record number of 928 new members\u003c/a>, making the 2018 class the largest in history.\u003c/p>\n\u003cp>The invitations, issued Monday to an array of people involved in the film industry across 59 countries, are part of the Academy’s stated mission to include more women and more people of color after the 2014 and 2015 #OscarsSoWhite controversies, which essentially shut-out non-white acting nominees from all 20 spots in the lead and supporting acting roles.\u003c/p>\n\u003cp>According to the Academy’s breakdown, 49 percent of new members this year are women and 38 percent are people of color. Still, those numbers do little to raise overall numbers of both groups over last year. Should everyone who has been invited actually agree to join, it would raise overall female membership from 28 percent to 31 percent, while non-white participation would inch up from 13 percent to 16 percent.\u003c/p>\n\u003cp>Among the most recognizable names asked into the privileged fold are Tiffany Haddish, Dave Chappelle, Mindy Kaling, Amy Schumer, Kumail Nanjiani, Wendell Pierce, Gina Rodriguez, Sarah Silverman, J.K. Rowling, Kendrick Lamar, Questlove and Jada Pinkett Smith, who boycotted the 2016 awards for its lack of diversity.\u003c/p>\n\u003cp>As of Tuesday morning, only a handful of those newly invited had acknowledged it on Twitter. Rodriguez and Pierce both said they were “honored.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/HereIsGina/status/1011378202973859840\u003c/p>\n\u003cp>https://twitter.com/WendellPierce/status/1011383955793248256\u003c/p>\n\u003cp>Nanjiani took a more factual tone, writing, “Hey yo. I’m in the Academy.”\u003c/p>\n\u003cp>https://twitter.com/kumailn/status/1011322202694864897\u003c/p>\n\u003cp>And actor Miles Teller promised “to never let anyone borrow my screeners.”\u003c/p>\n\u003cp>https://twitter.com/Miles_Teller/status/1011367085715402753\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Former Academy president Cheryl Boone Isaacs — the first African-American president of the group and the third woman to hold the position — initiated push to broaden membership in 2016 after it was revealed that 92% were white and 75% male. At the time she said her goal was to \u003ca href=\"https://www.hollywoodreporter.com/news/new-academy-members-2018-revealed-1123069\">double the number of women and people of color\u003c/a> in the Academy by 2020. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oscar%27s+Academy+Invites+928+New+Members%2C+Getting+Closer+To+Diversity+Goals&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following through on promises to finally diversify the rank and file of the Academy of Motion Pictures, the Oscar-granting body has \u003ca href=\"http://www.app.oscars.org/newmembers2018/\">invited a record number of 928 new members\u003c/a>, making the 2018 class the largest in history.\u003c/p>\n\u003cp>The invitations, issued Monday to an array of people involved in the film industry across 59 countries, are part of the Academy’s stated mission to include more women and more people of color after the 2014 and 2015 #OscarsSoWhite controversies, which essentially shut-out non-white acting nominees from all 20 spots in the lead and supporting acting roles.\u003c/p>\n\u003cp>According to the Academy’s breakdown, 49 percent of new members this year are women and 38 percent are people of color. Still, those numbers do little to raise overall numbers of both groups over last year. Should everyone who has been invited actually agree to join, it would raise overall female membership from 28 percent to 31 percent, while non-white participation would inch up from 13 percent to 16 percent.\u003c/p>\n\u003cp>Among the most recognizable names asked into the privileged fold are Tiffany Haddish, Dave Chappelle, Mindy Kaling, Amy Schumer, Kumail Nanjiani, Wendell Pierce, Gina Rodriguez, Sarah Silverman, J.K. Rowling, Kendrick Lamar, Questlove and Jada Pinkett Smith, who boycotted the 2016 awards for its lack of diversity.\u003c/p>\n\u003cp>As of Tuesday morning, only a handful of those newly invited had acknowledged it on Twitter. Rodriguez and Pierce both said they were “honored.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Donald Hall, a former poet laureate of the United States whose writing explored everything from nature to mortality to the toss of a baseball, has died at the age of 89. \u003c/p>\n\u003cp>Hall died on Saturday at his family farm, known as Eagle Pond, in the small town of Wilmot, N.H. His death was announced by his literary agent, Wendy Strothman. \u003c/p>\n\u003cp>Hall was a prolific author who began writing when he was just 12 years old. Over the course of a career that spanned more than seven decades, he wrote over 40 books, about half of which were works of poetry. \u003c/p>\n\u003cp>“My body causes me trouble when I cross the room,” he told \u003cem>Fresh Air\u003c/em>‘s Terry Gross in \u003ca href=\"https://www.npr.org/2012/02/08/146348759/donald-hall-a-poets-view-out-the-window\" target=\"_blank\" rel=\"noopener\">a 2012 interview\u003c/a>, “but when I am sitting down writing, I am in my heaven — my old heaven.” \u003c/p>\n\u003cp>From 2006 to 2007, Hall served as the nation’s poet laureate, and in 2010, he was among the recipients of the National Medal of Arts, the nation’s highest honor for artists and arts patrons. His writing, former President Barack Obama once said, “inspired Americans and enhanced the role of poetry in our national life.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Donald+Hall%2C+Former+Poet+Laureate%2C+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Donald Hall, a former poet laureate of the United States whose writing explored everything from nature to mortality to the toss of a baseball, has died at the age of 89. \u003c/p>\n\u003cp>Hall died on Saturday at his family farm, known as Eagle Pond, in the small town of Wilmot, N.H. His death was announced by his literary agent, Wendy Strothman. \u003c/p>\n\u003cp>Hall was a prolific author who began writing when he was just 12 years old. Over the course of a career that spanned more than seven decades, he wrote over 40 books, about half of which were works of poetry. \u003c/p>\n\u003cp>“My body causes me trouble when I cross the room,” he told \u003cem>Fresh Air\u003c/em>‘s Terry Gross in \u003ca href=\"https://www.npr.org/2012/02/08/146348759/donald-hall-a-poets-view-out-the-window\" target=\"_blank\" rel=\"noopener\">a 2012 interview\u003c/a>, “but when I am sitting down writing, I am in my heaven — my old heaven.” \u003c/p>\n\u003cp>From 2006 to 2007, Hall served as the nation’s poet laureate, and in 2010, he was among the recipients of the National Medal of Arts, the nation’s highest honor for artists and arts patrons. His writing, former President Barack Obama once said, “inspired Americans and enhanced the role of poetry in our national life.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Donald+Hall%2C+Former+Poet+Laureate%2C+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Arrest Made in the Murder of Rapper XXXTentacion",
"headTitle": "Arrest Made in the Murder of Rapper XXXTentacion | KQED",
"content": "\u003cp>A suspect in the murder of 20-year-old Jahseh Onfroy, better known as the controversial and chart-topping rapper XXXTentacion (pronounced “ex-ex-ex-ten-tah-see-ohn”), has been arrested, the Broward Sheriff’s Office \u003ca href=\"https://twitter.com/browardsheriff/status/1009799365156855809\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> Thursday morning. The police say that Dedrick Williams, 22 years old, was \u003ca href=\"https://apps.sheriff.org/ArrestSearch/InmateDetail/121800604\" target=\"_blank\" rel=\"noopener\">arrested\u003c/a> for the the murder of Onfroy, who was shot outside of a high-end motor sports dealership in Deerfield Beach, Fla. on June 18. Williams was arrested around 7 p.m. on Wednesday in Pompano Beach, Fla., just south of Deerfield Beach, according to police. In a follow-up statement, police \u003ca href=\"https://twitter.com/browardsheriff/status/1009836415964860417\" target=\"_blank\" rel=\"noopener\">say\u003c/a> Williams was arrested during a traffic stop and that they are still searching for additional suspects.\u003c/p>\n\u003cp>On Monday, \u003ca href=\"https://www.sheriff.org/PIO/News/Pages/RAPPER-KILLED-IN-BROAD-DAYLIGHT.aspx\" target=\"_blank\" rel=\"noopener\">investigators said\u003c/a> they were searching for two suspects, at least one of whom shot at Onfroy during an “apparent robbery,” before fleeing in a dark-colored SUV. In that statement, the sheriff’s office also noted it would offer a $3,000 reward for information that led to an arrest.\u003c/p>\n\u003cfigure id=\"attachment_13835811\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/d_williams_custom-6fe856f780f7e47b62854eeb36f7087f0dadb5bc.jpg\" alt=\"Mug shot of Dedrick Williams.\" width=\"200\" height=\"231\" class=\"size-full wp-image-13835811\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/d_williams_custom-6fe856f780f7e47b62854eeb36f7087f0dadb5bc.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/d_williams_custom-6fe856f780f7e47b62854eeb36f7087f0dadb5bc-160x185.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Mug shot of Dedrick Williams. \u003ccite>(Courtesy of the Broward Sheriff's Office)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A \u003ca href=\"https://twitter.com/AKWPR/status/1009169337293213696?ref_src=twsrc%5Etfw&ref_url=http%3A%2F%2Fwww.nme.com%2Fnews%2Fmusic%2Fxxxtentacion-manager-statement-2341329\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> from Onfroy’s manager posted on social media on Tuesday, June 19 requested that the privacy of his family, friends and loved ones “be respected at this time.”\u003c/p>\n\u003cp>Onfroy’s murder triggered an outpouring of tributes from his fans and other artists, with Kanye West \u003ca href=\"https://twitter.com/kanyewest/status/1008839504902307840\" target=\"_blank\" rel=\"noopener\">writing\u003c/a> that he never told Onfroy “how much you inspired me when you were here.” In Los Angeles on Tuesday night, a vigil attended by around 1,000 devolved into the crowd jumping on a news van and swarming passing cars, \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-xxxtentacion-memorial-fairfax-20180619-story.html\" target=\"_blank\" rel=\"noopener\">according to\u003c/a> the \u003cem>Los Angeles Times\u003c/em>,\u003cem> \u003c/em>before being dispersed by police. Earlier that day, a Broward television station \u003ca href=\"https://www.local10.com/news/florida/deerfield-beach/vigil-held-tuesday-for-rapper-gunned-down-in-deerfield-beach\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> that “hundreds” gathered at the site of his shooting in a vigil, leaving behind teddy bears and graffiti.\u003c/p>\n\u003cp>But the response to Onfroy’s death has been notably divided, due to the litany of allegations against him, including \u003ca href=\"https://www2.miami-dadeclerk.com/cjis/CasePrinter.aspx?case=Jw2cFa%2fOs%2fffWfyL1nWI8A%3d%3d&AspxAutoDetectCookieSupport=1\" target=\"_blank\" rel=\"noopener\">the battery\u003c/a> of a pregnant ex-girlfriend and a history of other violent actions, as Onfroy \u003ca href=\"http://www.miaminewtimes.com/music/the-real-story-of-rapper-xxxtentacion-10410980\" target=\"_blank\" rel=\"noopener\">recently described\u003c/a> in an interview with \u003cem>Miami New Times\u003c/em>. On Twitter, \u003ca href=\"https://twitter.com/francesssraeee/status/1008840916218646529\" target=\"_blank\" rel=\"noopener\">some\u003c/a> thought he didn’t deserve posthumous celebration because of that past.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If we act as if he never existed, or as if he was not as popular as he was … or as if his fans didn’t see some articulation of their own hurt and hopelessness in his music, we’re lying to ourselves,” \u003cem>The Ringer\u003c/em>‘s Lindsay Zoladz \u003ca href=\"https://www.theringer.com/music/2018/6/18/17477234/xxxtentacion-death\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> the day of his death. In the headline of a piece on responses to his death, \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2018/06/19/arts/music/xxxtentacion-death-reaction.html\" target=\"_blank\" rel=\"noopener\">wondered\u003c/a>: “Hero or Villain?”\u003c/p>\n\u003cp>XXXTentacion was one of two artists initially targeted by a “hateful conduct” policy that Spotify \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/16/611426272/spotifys-hateful-conduct-policy-drags-the-music-industry-into-the-metoo-moment\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> in May, which resulted in artists not being placed onto the streaming service’s highly popular playlists. (Following criticism and protests from other artists — including \u003ca href=\"https://www.billboard.com/articles/business/8458884/top-dawg-warned-spotify-ceo-kendrick-lamar-others-pull-music-hate-conduct-policy\" target=\"_blank\" rel=\"noopener\">an ultimatum\u003c/a> from the head of Kendrick Lamar’s record label — the company later \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/616179202/spotify-to-roll-back-its-hateful-conduct-policy\" target=\"_blank\" rel=\"noopener\">rolled back\u003c/a> the policy.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The day after his death, June 19, XXXTentacion’s song “SAD!” was streamed 10.4 million times on Spotify, breaking the global single-day streaming record set by Taylor Swift on Aug. 25 of last year, the day that her single “Look What You Made Me Do” was released, with 10.1 million. As well, his album \u003cem>?\u003c/em> is expected to \u003ca href=\"https://www.billboard.com/biz/articles/8461856/xxxtentacions-music-sales-rise-1603-after-death-as-his-album-heads-back-to-top\" target=\"_blank\" rel=\"noopener\">return\u003c/a> to the top 10 of next week’s \u003cem>Billboard \u003c/em>200 albums chart. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Arrest+Made+In+The+Murder+Of+Rapper+XXXTentacion&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A suspect in the murder of 20-year-old Jahseh Onfroy, better known as the controversial and chart-topping rapper XXXTentacion (pronounced “ex-ex-ex-ten-tah-see-ohn”), has been arrested, the Broward Sheriff’s Office \u003ca href=\"https://twitter.com/browardsheriff/status/1009799365156855809\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> Thursday morning. The police say that Dedrick Williams, 22 years old, was \u003ca href=\"https://apps.sheriff.org/ArrestSearch/InmateDetail/121800604\" target=\"_blank\" rel=\"noopener\">arrested\u003c/a> for the the murder of Onfroy, who was shot outside of a high-end motor sports dealership in Deerfield Beach, Fla. on June 18. Williams was arrested around 7 p.m. on Wednesday in Pompano Beach, Fla., just south of Deerfield Beach, according to police. In a follow-up statement, police \u003ca href=\"https://twitter.com/browardsheriff/status/1009836415964860417\" target=\"_blank\" rel=\"noopener\">say\u003c/a> Williams was arrested during a traffic stop and that they are still searching for additional suspects.\u003c/p>\n\u003cp>On Monday, \u003ca href=\"https://www.sheriff.org/PIO/News/Pages/RAPPER-KILLED-IN-BROAD-DAYLIGHT.aspx\" target=\"_blank\" rel=\"noopener\">investigators said\u003c/a> they were searching for two suspects, at least one of whom shot at Onfroy during an “apparent robbery,” before fleeing in a dark-colored SUV. In that statement, the sheriff’s office also noted it would offer a $3,000 reward for information that led to an arrest.\u003c/p>\n\u003cfigure id=\"attachment_13835811\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/d_williams_custom-6fe856f780f7e47b62854eeb36f7087f0dadb5bc.jpg\" alt=\"Mug shot of Dedrick Williams.\" width=\"200\" height=\"231\" class=\"size-full wp-image-13835811\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/d_williams_custom-6fe856f780f7e47b62854eeb36f7087f0dadb5bc.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/d_williams_custom-6fe856f780f7e47b62854eeb36f7087f0dadb5bc-160x185.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Mug shot of Dedrick Williams. \u003ccite>(Courtesy of the Broward Sheriff's Office)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A \u003ca href=\"https://twitter.com/AKWPR/status/1009169337293213696?ref_src=twsrc%5Etfw&ref_url=http%3A%2F%2Fwww.nme.com%2Fnews%2Fmusic%2Fxxxtentacion-manager-statement-2341329\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> from Onfroy’s manager posted on social media on Tuesday, June 19 requested that the privacy of his family, friends and loved ones “be respected at this time.”\u003c/p>\n\u003cp>Onfroy’s murder triggered an outpouring of tributes from his fans and other artists, with Kanye West \u003ca href=\"https://twitter.com/kanyewest/status/1008839504902307840\" target=\"_blank\" rel=\"noopener\">writing\u003c/a> that he never told Onfroy “how much you inspired me when you were here.” In Los Angeles on Tuesday night, a vigil attended by around 1,000 devolved into the crowd jumping on a news van and swarming passing cars, \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-xxxtentacion-memorial-fairfax-20180619-story.html\" target=\"_blank\" rel=\"noopener\">according to\u003c/a> the \u003cem>Los Angeles Times\u003c/em>,\u003cem> \u003c/em>before being dispersed by police. Earlier that day, a Broward television station \u003ca href=\"https://www.local10.com/news/florida/deerfield-beach/vigil-held-tuesday-for-rapper-gunned-down-in-deerfield-beach\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> that “hundreds” gathered at the site of his shooting in a vigil, leaving behind teddy bears and graffiti.\u003c/p>\n\u003cp>But the response to Onfroy’s death has been notably divided, due to the litany of allegations against him, including \u003ca href=\"https://www2.miami-dadeclerk.com/cjis/CasePrinter.aspx?case=Jw2cFa%2fOs%2fffWfyL1nWI8A%3d%3d&AspxAutoDetectCookieSupport=1\" target=\"_blank\" rel=\"noopener\">the battery\u003c/a> of a pregnant ex-girlfriend and a history of other violent actions, as Onfroy \u003ca href=\"http://www.miaminewtimes.com/music/the-real-story-of-rapper-xxxtentacion-10410980\" target=\"_blank\" rel=\"noopener\">recently described\u003c/a> in an interview with \u003cem>Miami New Times\u003c/em>. On Twitter, \u003ca href=\"https://twitter.com/francesssraeee/status/1008840916218646529\" target=\"_blank\" rel=\"noopener\">some\u003c/a> thought he didn’t deserve posthumous celebration because of that past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If we act as if he never existed, or as if he was not as popular as he was … or as if his fans didn’t see some articulation of their own hurt and hopelessness in his music, we’re lying to ourselves,” \u003cem>The Ringer\u003c/em>‘s Lindsay Zoladz \u003ca href=\"https://www.theringer.com/music/2018/6/18/17477234/xxxtentacion-death\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> the day of his death. In the headline of a piece on responses to his death, \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2018/06/19/arts/music/xxxtentacion-death-reaction.html\" target=\"_blank\" rel=\"noopener\">wondered\u003c/a>: “Hero or Villain?”\u003c/p>\n\u003cp>XXXTentacion was one of two artists initially targeted by a “hateful conduct” policy that Spotify \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/16/611426272/spotifys-hateful-conduct-policy-drags-the-music-industry-into-the-metoo-moment\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> in May, which resulted in artists not being placed onto the streaming service’s highly popular playlists. (Following criticism and protests from other artists — including \u003ca href=\"https://www.billboard.com/articles/business/8458884/top-dawg-warned-spotify-ceo-kendrick-lamar-others-pull-music-hate-conduct-policy\" target=\"_blank\" rel=\"noopener\">an ultimatum\u003c/a> from the head of Kendrick Lamar’s record label — the company later \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/616179202/spotify-to-roll-back-its-hateful-conduct-policy\" target=\"_blank\" rel=\"noopener\">rolled back\u003c/a> the policy.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The day after his death, June 19, XXXTentacion’s song “SAD!” was streamed 10.4 million times on Spotify, breaking the global single-day streaming record set by Taylor Swift on Aug. 25 of last year, the day that her single “Look What You Made Me Do” was released, with 10.1 million. As well, his album \u003cem>?\u003c/em> is expected to \u003ca href=\"https://www.billboard.com/biz/articles/8461856/xxxtentacions-music-sales-rise-1603-after-death-as-his-album-heads-back-to-top\" target=\"_blank\" rel=\"noopener\">return\u003c/a> to the top 10 of next week’s \u003cem>Billboard \u003c/em>200 albums chart. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Arrest+Made+In+The+Murder+Of+Rapper+XXXTentacion&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "its-horrifying-10-bay-area-artists-speak-out-on-child-detainment-at-the-border",
"title": "'It's Horrifying': 11 Bay Area Artists Speak Out on Child Detainment at the Border",
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"headTitle": "‘It’s Horrifying’: 11 Bay Area Artists Speak Out on Child Detainment at the Border | KQED",
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"content": "\u003cp>This week, we learned that the U.S. has \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener noreferrer\">separated over 2,300 children from their parents\u003c/a> at the U.S.-Mexico border and placed them in \u003ca href=\"https://twitter.com/DavidBegnaud/status/1008704668816560128\" target=\"_blank\" rel=\"noopener noreferrer\">chain-link cages\u003c/a>, tent camps and other detainment centers. Audio circulated of \u003ca href=\"https://www.propublica.org/article/children-separated-from-parents-border-patrol-cbp-trump-immigration-policy\" target=\"_blank\" rel=\"noopener noreferrer\">crying children begging for their moms and dads\u003c/a>, and allegations surfaced of border patrol agents \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/23/613907893/aclu-report-detained-immigrant-children-subjected-to-widespread-abuse-by-officia\" target=\"_blank\" rel=\"noopener noreferrer\">kicking migrant children and threatening them with sexual abuse\u003c/a>.\u003c/p>\n\u003cp>Meanwhile, President Trump reversed course and signed an executive order for “\u003ca href=\"https://www.kqed.org/news/11675975/speaker-ryan-plans-immigration-votes-amid-doubts-that-bills-can-pass\" target=\"_blank\" rel=\"noopener noreferrer\">detaining alien families together\u003c/a>,” stopping his policy of family separations while allowing for indefinite detainment and providing \u003ca href=\"https://www.kqed.org/news/11675975/speaker-ryan-plans-immigration-votes-amid-doubts-that-bills-can-pass\" target=\"_blank\" rel=\"noopener noreferrer\">no plan for reuniting children\u003c/a> already separated from their parents. Those children include a \u003ca href=\"https://www.washingtonpost.com/world/the_americas/international-outrage-grows-over-separating-migrant-children-from-parents/2018/06/19/13d0332e-73cb-11e8-bda1-18e53a448a14_story.html?utm_term=.e66e009751b2\" target=\"_blank\" rel=\"noopener noreferrer\">10-year-old girl with Down syndrome\u003c/a>, and \u003ca href=\"https://www.nytimes.com/2018/06/20/us/tender-age-shelters-family-separation-immigration.html\" target=\"_blank\" rel=\"noopener noreferrer\">“tender age” detainees as young as 12 months old\u003c/a>. The Pentagon has been asked to prepare \u003ca href=\"https://www.kqed.org/news/11676360/military-asked-to-provide-20000-beds-for-detained-immigrant-children\" target=\"_blank\" rel=\"noopener noreferrer\">additional housing for up to 20,000 children\u003c/a>, while thus far, images of detainment camps show only boys. \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener noreferrer\">No one knows where the girls are\u003c/a>.\u003c/p>\n\u003cp>Which is to say: if you’re fatigued, you’re \u003ca href=\"https://twitter.com/edyong209/status/1009805404954615808\" target=\"_blank\" rel=\"noopener noreferrer\">not alone\u003c/a>. To get some clarity, catharsis and—yes—comfort on the subject, KQED Arts checked in with 11 different Bay Area artists who work with themes of immigration and detainment. They spend hours pondering borders, laws, family aspirations, deportations, and human rights in their art, music and other creative endeavors.\u003c/p>\n\u003cp>We knew they’d have insight, and advice. We were not wrong. Read below for their input.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13835776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835776\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-800x500.jpg\" alt=\"Guillermo Galindo, who makes instruments from objects found along the U.S.-Mexico border.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo Galindo, who makes instruments from objects found along the U.S.-Mexico border. \u003ccite>(Michelle Wetzler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Guillermo Galindo\u003c/h2>\n\u003cp>\u003cem>Musician and composer who \u003ca href=\"https://www.kqed.org/arts/11301274/guillermo-galindo-border-cantos-instruments-interview\" target=\"_blank\" rel=\"noopener noreferrer\">builds instruments from objects left behind by migrants along the border\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s been heartbreaking. Especially hearing the children crying in \u003ca href=\"https://www.propublica.org/article/children-separated-from-parents-border-patrol-cbp-trump-immigration-policy\" target=\"_blank\" rel=\"noopener noreferrer\">the recording\u003c/a>, it’s unbearable. It’s something that’s impossible to describe, the feeling it gave me. It brings so many images of suffering, and of the past, of history. I’m afraid that history could be repeating itself: we have the memories of the Jewish holocaust, and the indigenous holocaust, things that have happened to immigrants, black people, Japanese people in concentration camps.\u003c/p>\n\u003cp>But this is maybe one of the few times where it’s out in the open, where it’s visible what is happening. In general, as a society, we have become less sensitive to our intuition, and to our spirituality, and to our feelings of human beings. And I don’t know why that’s been happening. Seeing this so much in the open should bother anybody who’s a human being.\u003c/p>\n\u003cp>The thing now is talk to representatives in your government, taking into account that this is an emergency. This is not a joke. Worse and worse things will happen if you don’t talk to your government. Help \u003ca href=\"https://www.npr.org/2018/06/20/621890664/facebook-fundraiser-for-separated-immigrant-families-raises-12-million-in-5-days\" target=\"_blank\" rel=\"noopener noreferrer\">humanitarian organizations\u003c/a> that are supporting the children and the families. And to the artists: it’s about this, it’s about something that has a meaning. We’re not in a time when we’re supposed to do art about ourselves and nobody else. This is a time when art is supposed to speak the words that politics and religion are not speaking.\u003c/p>\n\u003cfigure id=\"attachment_13835748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-800x530.jpg\" alt=\"Flora Ninomiya was taken to a Japanese-American internment camp at age 7.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flora Ninomiya was taken to a Japanese-American internment camp at age 7. \u003ccite>(Courtesy Flora Ninomiya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Flora Ninomiya\u003c/h2>\n\u003cp>\u003cem>Survivor of the Granada Relocation Center, a Japanese-American internment camp, knitter, and \u003ca href=\"https://www.eastbaytimes.com/2017/02/10/richmond-japanese-american-incarceration-to-be-focus-of-special-presentation/\" target=\"_blank\" rel=\"noopener noreferrer\">docent at the Rosie the Riveter Museum\u003c/a> in Richmond\u003c/em>\u003c/p>\n\u003cp>I’m appalled that this is happening—that the president is so callous in how he is carrying out his programs. As a Japanese-American whose family was interned, we were powerless too, like those young children. I was 7 years old and I can still remember that long train trip going to this very isolated desert area and living in the barracks that were built by the United States Army. My father was sent to a separate prison camp from my mother and my siblings and I, and my mother was always sending letters to the government asking to release him. My father, it was really painful for him—he felt betrayed and ashamed.\u003c/p>\n\u003cp>During that time, there were people who helped us, the Quakers, our neighbors, but they had to do so quietly, or they would be marginalized. Today, it’s hopeful that we do see so many Americans speaking out against separating families. It took the American public’s pressure to get the president to issue an executive order.\u003c/p>\n\u003cp>I’m going to keep talking about my family’s experience, and to me it’s very important to support other groups that are being targeted by the government.\u003c/p>\n\u003cfigure id=\"attachment_13835747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835747\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-800x450.jpg\" alt=\"Diana Gameros' songs tell of her experience living in the U.S. as an immigrant from Juarez, Mexico.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diana Gameros’ songs tell of her experience living in the U.S. as an immigrant from Juarez, Mexico. \u003ccite>(Claudia Escobar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Diana Gameros\u003c/h2>\n\u003cp>\u003cem>Musician and songwriter from Juarez, Mexico, whose recent album, ‘Arrullo,’ \u003ca href=\"https://www.kqed.org/arts/11514186/women-to-watch-diana-gameros\" target=\"_blank\" rel=\"noopener noreferrer\">expresses the immigrant experience\u003c/a>\u003c/em>\u003c/p>\n\u003cp>My first reaction is to think that it is not possible that this is happening, but it is… it’s horrifying. I feel like in the past two years we get less surprised at what happens, and it’s sad that we are not getting surprised. It is alarming.\u003c/p>\n\u003cp>My advice for other artists is first to be informed, to really know what is happening, and reach out to organizations, and let them know that you are available, that you are willing to help. As artists we have such a visible platform that we can reach many people, and we should use those platforms, especially if you are a well known artist.\u003c/p>\n\u003cp>I can’t stop thinking about the children, and how every minute that goes by, they are in pain. I ask myself: what if that would have happened to me? I know the feeling of what it is to leave your homeland behind. I really hope that people know how much bravery is involved in this process, of leaving your home. I have so much admiration for the people who have this courage to leave their homeland, and carry all that sadness, and all that hope. They have so much love, and want the best for their kids, they are being good parents. It is disgusting that we are separating them, when we should be welcoming them.\u003c/p>\n\u003cfigure id=\"attachment_13835750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-800x540.jpg\" alt=\"Caleb Duarte at San Antonio Park in Oakland, leading a performance with youth who came to the U.S. without parents.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-520x351.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleb Duarte at San Antonio Park in Oakland, leading a performance with youth who came to the U.S. without parents. \u003ccite>(Farrin Abbott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caleb Duarte\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"http://www.calebduarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist and educator\u003c/a> who leads \u003ca href=\"https://www.kqed.org/arts/13375958/on-being-young-alone-and-crossing-into-the-united-states\" target=\"_blank\" rel=\"noopener noreferrer\">art workshops with undocumented Central American minors\u003c/a> at Fremont High School\u003c/em>\u003c/p>\n\u003cp>It’s the worst kind of nightmare for a parent. That journey is 3,000 miles of hardship. Knowing the back history and the violence these people face, only to reach the United States and have your children taken away by authorities—that is really hard to take in.\u003c/p>\n\u003cp>And social media is unleashing a lot of support for this kind of act. It leads me to reflect on how any country can support these kinds of actions. We need to step back and understand the suffering and fear of those who support these actions.\u003c/p>\n\u003cp>Art in different times has different purposes. At certain moments art is there to shake us up, and sometimes it’s there to gather us back. Right now I think art is there to create logic and reason rather than challenge it. More than anything, it’s important to speak out. We’d be surprised by who, in our immediate circles, our colleagues and family, think differently than us. I’m trying to find ways to have conversations with people who think otherwise.\u003c/p>\n\u003cfigure id=\"attachment_13835778\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-800x516.jpg\" alt=\"A detail from the Oakland Museum of California's 'Sent Away' exhibition, showing tools left behind by a man affected by Mexican repatriations in the 1930s.\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-520x335.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A detail from the Oakland Museum of California’s ‘Sent Away’ exhibition, showing tools left behind in the Mexican repatriations in the 1930s. \u003ccite>(Erendina Delgadillo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Erendina Delgadillo\u003c/h2>\n\u003cp>\u003cem>Associate Curator of History at the Oakland Museum of California, host of recent exhibitions on internment, ‘\u003ca href=\"https://www.kqed.org/arts/13156032/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothea Lange: Politics of Seeing\u003c/a>‘ and ‘\u003ca href=\"http://museumca.org/blog/sent-away-not-forgotten\" target=\"_blank\" rel=\"noopener noreferrer\">Sent Away\u003c/a>‘\u003c/em>\u003c/p>\n\u003cp>It’s been pretty horrifying. But one thing we know is family separations have happened before—with Native Americans, with Japanese families, or with Mexican repatriation in the 1930s. With the recent ‘Sent Away’ installation in our permanent history gallery, we’ve been paying attention to whether the visitors really understand, and if it’s properly conveying the trajectory of racialized communities in moments of political and social stress. In my social media circles, I see people saying, “This is insane! This is not America! This is not who we are!” And I wrestle with it, because the fact is that this has happened before.\u003c/p>\n\u003cp>In the deportations in the ’30s, people were responding to the depression. But the Mexican people deported were not relying on welfare as much as others thought they were. And today, when you hear that they’re causing unprecedented crime, or taking away jobs from “real” Americans, being a drain on the system—that’s not true, but turning them into a specter of those problems is easier than fixing the problem. It’s been very disheartening looking at the pattern of how easily people can be manipulated in very simple ways. You take a feeling, you blow it up, and it obscures the need to delve into really complex issues.\u003c/p>\n\u003cp>It’s a terrible moment. It’s too easy to despair. You’re only shooting yourself by despairing before the fight starts, so donate to organizations, and find those small moments to realize why humanity is valuable, and why we fight for humanity. Remind yourself why life is good.\u003c/p>\n\u003cfigure id=\"attachment_13835737\" class=\"wp-caption aligncenter\" style=\"max-width: 758px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835737\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_.jpg\" alt=\"Ani Rivera, bottom right, with Galería de la Raza'a curatorial staff in 2016.\" width=\"758\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_.jpg 758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-520x292.jpg 520w\" sizes=\"(max-width: 758px) 100vw, 758px\">\u003cfigcaption class=\"wp-caption-text\">Ani Rivera, bottom right, with Galería de la Raza’a curatorial staff in 2016. \u003ccite>(Creo Noveno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ani Rivera\u003c/h2>\n\u003cp>\u003cem>Executive Director for \u003ca href=\"https://kqed.org/arts/tag/galeria-de-la-raza\" target=\"_blank\" rel=\"noopener noreferrer\">Galería de La Raza\u003c/a> in the Mission District, hub for San Francisco’s Latino artist community\u003c/em>\u003c/p>\n\u003cp>It’s just appalling to see how the administration doesn’t value humanity, nor the families that are coming here searching for a better life. They’re being used as pawns to push an agenda. I think our work is not done yet. We need to keep demanding that they close the detention centers. I think that’s where we want to focus: ending the criminalization. We need to stop all profits made from keeping people in cages.\u003c/p>\n\u003cp>We’re definitely contributing to the organized marches and protests being planned for June 30. We will also be at this Friday’s rally in Embarcadero Plaza. We know that art plays a role in creating dialogue and engaging hearts, and we’ll be holding a series of screen-printing demonstrations at these events.\u003c/p>\n\u003cp>The legacy of Galería and René (Yañez, the gallery’s co-founder) and all of the individuals that have contributed and created this space was to address these issues. This is history repeating itself. We’ve been dealing with the criminalization of immigrants for decades. The goal of Galería as an institution is to be a platform for artists to organize. The founders needed to create a community that allowed and provided a path for self-determination. They expect us to be out there.\u003c/p>\n\u003cfigure id=\"attachment_13835744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835744\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-800x457.jpg\" alt=\"A still from 'Rabbit in the Moon' showing Emiko Omori and her mother in the Poston War Relocation Center in Arizona.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Rabbit in the Moon’ showing Emiko Omori and her mother in the Poston War Relocation Center in Arizona. \u003ccite>(Courtesy Chizu Omori)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Chizu Omori\u003c/h2>\n\u003cp>\u003cem>Bay Area journalist and co-producer of the documentary ‘Rabbit in the Moon’ who, in 1942 at the age of 12, \u003ca href=\"https://caamedia.org/blog/2017/02/16/emiko-and-chizu-omori-on-lessons-from-wwii-incarceration/\" target=\"_blank\" rel=\"noopener noreferrer\">was sent with her sister Emiko Omori and their family to the Poston War Relocation Center\u003c/a> in Arizona \u003c/em>\u003c/p>\n\u003cp>The fact that they would implement this policy is so inhumane. There’s a great deal of interest now in what happened to us during WWII to us Japanese Americans. A precedent was set when Roosevelt issued EO 9066, and even though it’s been condemned as a big mistake, that precedent has been used by the Trump administration to justify some of the things they’ve been doing. So of course, I feel an obligation to speak out against what’s happening as something very reminiscent of what happened to us 75 years ago.\u003c/p>\n\u003cp>It’s happened with the travel ban against Muslims, and this general discrimination against people of Muslim faith or people from the Middle East in general. It’s part of the current of racism that’s been part of our history from the very beginning, directed towards people of color. Now it’s against people from Central and South America who are not white people. It’s a language that our president uses to reemphasize this bias against people of color. He refers to us as infestations, or awful characterizations like rapists and murderers. It’s dehumanizing for him to be using this language.\u003c/p>\n\u003cp>Children being separated from their parents at the border is something that I don’t think any of us had contemplated. To take infants… what’s the purpose in doing this? There’s no rationale for it. If you’re going to ask people to stand up and be counted, how many people are for this? Why do they justify doing this thing?\u003c/p>\n\u003cp>I belong to a group called Nikkei Resisters. Our slogan is “Never Again.” Detention and internment are really un-American and we need to speak out and say “It happened to us. And we don’t want to see it happening again.”\u003c/p>\n\u003cfigure id=\"attachment_13835738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835738\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-800x533.jpg\" alt=\"Brian Moss teaches a student population that's 85-percent Latino; 'their fear has been validated,' he says.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Moss teaches a student population that’s 85-percent Latino; ‘their fear has been validated,’ he says. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Brian Moss\u003c/h2>\n\u003cp>\u003cem>San Francisco songwriter (Hanalei, Great Apes) and schoolteacher who \u003ca href=\"https://hanalei.bandcamp.com/track/cross-crossing\" target=\"_blank\" rel=\"noopener noreferrer\">released the song “Cross Crossing”\u003c/a> this week in reaction to abuses at the border\u003c/em>\u003c/p>\n\u003cp>Separating families and children seems so immoral and deplorable, it’s shocking, but with this presidency and this administration the bar has been so low it didn’t completely catch me off-guard. And being a teacher, and given the population of my school, which is 85-percent Latino, it’s something I’ve seen the effects of the whole time. For many of my students, the fear they were already facing rose drastically when he was elected, and now that fear has been validated. It’s happening to them. It’s disturbing and hard to witness.\u003c/p>\n\u003cp>The issue of separating families is so immoral to me that some sort of response, either though song, or \u003ca href=\"https://www.npr.org/2018/06/20/621890664/facebook-fundraiser-for-separated-immigrant-families-raises-12-million-in-5-days\" target=\"_blank\" rel=\"noopener noreferrer\">donating\u003c/a>, or protesting, or going down there volunteering with an organization that’s trying to provide legal aid—anything you can do is a start.\u003c/p>\n\u003cfigure id=\"attachment_13835800\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835800\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-800x527.jpg\" alt=\"Naima Shalhoub: 'we must cry out with each other through our art, together, to respond to this madness.'\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-520x342.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Naima Shalhoub: ‘we must cry out with each other through our art, together, to respond to this madness.’ \u003ccite>(Sarah Deragon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Naima Shalhoub\u003c/h2>\n\u003cp>\u003cem>Oakland songwriter whose song “\u003ca href=\"https://www.youtube.com/watch?v=I9TqmZPXJX8\" target=\"_blank\" rel=\"noopener noreferrer\">Borderlands\u003c/a>” tells of “\u003ca href=\"https://www.youtube.com/watch?v=I9TqmZPXJX8\" target=\"_blank\" rel=\"noopener noreferrer\">a constructed order of things that decides what and who is more valuable\u003c/a>”\u003c/em>\u003c/p>\n\u003cp>What strikes me the most is how conditioned we are becoming to see people through the lenses of our fear, our politics, our scarcity mindsets rather than insisting that all people under the sun are treated with dignity and love. We are forgetting that we have the power to create systems that reflect justice and love, not fear and confinement. We are becoming dismembered from any semblance of connection to land, to spirit, to honor, to respect and instead bowing down to new gods of greed, patriarchy, racism—so much so that a child’s cry does not waken the heart to compassion. Or at least, this is my worry. For our souls, collectively.\u003c/p>\n\u003cp>What is happening is a reflection of what has been buried under the soil of what is now called the United States. The sorrow, the unheard cries, and histories ghosts are truly rising until we all wake to its truth. We must do better by committing to our collective memory—all of it—and holding accountable the leaders who do not. The privilege of forgetting becomes manifest in institutions that create walls separating families, unable to share with the public where our girls and babies are. This is about our responsibility to our children’s future and their safety and dignity by allowing the past to speak.\u003c/p>\n\u003cp>If Nina Simone’s call to action was “it is an artist’s duty to reflect the times,” then we must cry out with each other through our art, together, to respond to this madness.\u003c/p>\n\u003cfigure id=\"attachment_13835934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-800x179.jpg\" alt=\"'Horizons,' by Najib Joe Hakim.\" width=\"800\" height=\"179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-800x179.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-160x36.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-768x172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-1020x228.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-960x215.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-240x54.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-375x84.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-520x116.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Horizons,’ by Najib Joe Hakim. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Najib Joe Hakim\u003c/h2>\n\u003cp>\u003cem>San Francisco photographer and YBCA fellow whose current project, ‘\u003ca href=\"https://electronicintifada.net/content/palestinian-america-najib-joe-hakims-home-away-home/14073\" target=\"_blank\" rel=\"noopener noreferrer\">Home Away From Home\u003c/a>,’ pairs oral histories of 26 Bay Area Palestinian Americans with their portraits\u003c/em>\u003c/p>\n\u003cp>My own family immigrated to the U.S. in the 1950s from Lebanon. Except for the details, ours is a very common story, which most Americans share. Refugees out of Palestine, my parents then left Beirut on a ship with two very young kids and $5 in their pocket. In the coming years, through hard work, education and uncountable sacrifices, we became thriving American citizens.\u003c/p>\n\u003cp>I hate to think what might have become of us had we not snared four of only 100 immigration visas. Would I be staring down a machine gun barrel held by a 20-year-old Israeli soldier? Would we have been caught up in one of the many massacres of the 20-year Lebanese Civil War? Would my kids now be desperately trying to leave Syria on a dinghy with their own children?\u003c/p>\n\u003cp>What I see happening today to immigrant families is the writing of yet another chapter of American history in which the country’s values do not line up with its reality. When people say “I don’t recognize this country anymore,” they are expressing the profound contradictions between what we’ve all been taught about this country and what we see being done in our name.\u003c/p>\n\u003cp>We live in a new dark age in which civilian lives are dehumanized; science and nature are scoffed at; and atavistic fears send us scurrying toward our basest natures. In such times, we artists are challenged to help remind us of our loftier, sacred and shared aspirations.\u003c/p>\n\u003cfigure id=\"attachment_13835745\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835745\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/YosimarReyes-800x450.jpg\" alt=\"Yosimar Reyes: 'If you’re standing in sidelines, you’re part of the problem.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yosimar Reyes: ‘If you’re standing in sidelines, you’re part of the problem.’ \u003ccite>(Courtesy Yosimar Reyes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yosimar Reyes\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"http://yosimarreyes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poet, educator, and founder of La Maricolectiva\u003c/a>, a community based performance group of queer undocumented poets\u003c/em>\u003c/p>\n\u003cp>This week has been a lot. I think it’s great that it’s getting national visibility and a lot of people are learning about these atrocities—I think it’s a really positive thing. People are blatantly stating that we need to abolish immigrant prisons. But for me, it’s more like, it’s always been like this so I’m not surprised. I’m just glad people are realizing the reality of how it is and people are mobilizing and opening their eyes to the fact that this is how it’s been for a lot of folks.\u003c/p>\n\u003cp>With immigration, everything moves so fast and it escalates after a short amount of time. I’m curious to see how it’s going to influence a lot of the writing that I’m doing, but I’m still processing. Organizations on the ground in Texas are doing really good work, they’re giving people legal aid, and I think people should support them. This is happening because we put this person in office and we’re accountable for these actions. If you’re standing in sidelines, you’re part of the problem.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lina Blanco, Claudia Escobar, Sarah Hotchkiss, Kevin L. Jones, Gabe Meline, Nastia Voynovskaya and Kelly Whalen contributed reporting to this story.\u003c/em>\u003c/p>\n\n",
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"excerpt": "After a tumultuous week, Bay Area artists working with immigration issues provide insight and advice.",
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"title": "'It's Horrifying': 11 Bay Area Artists Speak Out on Child Detainment at the Border | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, we learned that the U.S. has \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener noreferrer\">separated over 2,300 children from their parents\u003c/a> at the U.S.-Mexico border and placed them in \u003ca href=\"https://twitter.com/DavidBegnaud/status/1008704668816560128\" target=\"_blank\" rel=\"noopener noreferrer\">chain-link cages\u003c/a>, tent camps and other detainment centers. Audio circulated of \u003ca href=\"https://www.propublica.org/article/children-separated-from-parents-border-patrol-cbp-trump-immigration-policy\" target=\"_blank\" rel=\"noopener noreferrer\">crying children begging for their moms and dads\u003c/a>, and allegations surfaced of border patrol agents \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/23/613907893/aclu-report-detained-immigrant-children-subjected-to-widespread-abuse-by-officia\" target=\"_blank\" rel=\"noopener noreferrer\">kicking migrant children and threatening them with sexual abuse\u003c/a>.\u003c/p>\n\u003cp>Meanwhile, President Trump reversed course and signed an executive order for “\u003ca href=\"https://www.kqed.org/news/11675975/speaker-ryan-plans-immigration-votes-amid-doubts-that-bills-can-pass\" target=\"_blank\" rel=\"noopener noreferrer\">detaining alien families together\u003c/a>,” stopping his policy of family separations while allowing for indefinite detainment and providing \u003ca href=\"https://www.kqed.org/news/11675975/speaker-ryan-plans-immigration-votes-amid-doubts-that-bills-can-pass\" target=\"_blank\" rel=\"noopener noreferrer\">no plan for reuniting children\u003c/a> already separated from their parents. Those children include a \u003ca href=\"https://www.washingtonpost.com/world/the_americas/international-outrage-grows-over-separating-migrant-children-from-parents/2018/06/19/13d0332e-73cb-11e8-bda1-18e53a448a14_story.html?utm_term=.e66e009751b2\" target=\"_blank\" rel=\"noopener noreferrer\">10-year-old girl with Down syndrome\u003c/a>, and \u003ca href=\"https://www.nytimes.com/2018/06/20/us/tender-age-shelters-family-separation-immigration.html\" target=\"_blank\" rel=\"noopener noreferrer\">“tender age” detainees as young as 12 months old\u003c/a>. The Pentagon has been asked to prepare \u003ca href=\"https://www.kqed.org/news/11676360/military-asked-to-provide-20000-beds-for-detained-immigrant-children\" target=\"_blank\" rel=\"noopener noreferrer\">additional housing for up to 20,000 children\u003c/a>, while thus far, images of detainment camps show only boys. \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener noreferrer\">No one knows where the girls are\u003c/a>.\u003c/p>\n\u003cp>Which is to say: if you’re fatigued, you’re \u003ca href=\"https://twitter.com/edyong209/status/1009805404954615808\" target=\"_blank\" rel=\"noopener noreferrer\">not alone\u003c/a>. To get some clarity, catharsis and—yes—comfort on the subject, KQED Arts checked in with 11 different Bay Area artists who work with themes of immigration and detainment. They spend hours pondering borders, laws, family aspirations, deportations, and human rights in their art, music and other creative endeavors.\u003c/p>\n\u003cp>We knew they’d have insight, and advice. We were not wrong. Read below for their input.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13835776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835776\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-800x500.jpg\" alt=\"Guillermo Galindo, who makes instruments from objects found along the U.S.-Mexico border.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/GuillermoGalindo.CRED_.Miche_-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo Galindo, who makes instruments from objects found along the U.S.-Mexico border. \u003ccite>(Michelle Wetzler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Guillermo Galindo\u003c/h2>\n\u003cp>\u003cem>Musician and composer who \u003ca href=\"https://www.kqed.org/arts/11301274/guillermo-galindo-border-cantos-instruments-interview\" target=\"_blank\" rel=\"noopener noreferrer\">builds instruments from objects left behind by migrants along the border\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s been heartbreaking. Especially hearing the children crying in \u003ca href=\"https://www.propublica.org/article/children-separated-from-parents-border-patrol-cbp-trump-immigration-policy\" target=\"_blank\" rel=\"noopener noreferrer\">the recording\u003c/a>, it’s unbearable. It’s something that’s impossible to describe, the feeling it gave me. It brings so many images of suffering, and of the past, of history. I’m afraid that history could be repeating itself: we have the memories of the Jewish holocaust, and the indigenous holocaust, things that have happened to immigrants, black people, Japanese people in concentration camps.\u003c/p>\n\u003cp>But this is maybe one of the few times where it’s out in the open, where it’s visible what is happening. In general, as a society, we have become less sensitive to our intuition, and to our spirituality, and to our feelings of human beings. And I don’t know why that’s been happening. Seeing this so much in the open should bother anybody who’s a human being.\u003c/p>\n\u003cp>The thing now is talk to representatives in your government, taking into account that this is an emergency. This is not a joke. Worse and worse things will happen if you don’t talk to your government. Help \u003ca href=\"https://www.npr.org/2018/06/20/621890664/facebook-fundraiser-for-separated-immigrant-families-raises-12-million-in-5-days\" target=\"_blank\" rel=\"noopener noreferrer\">humanitarian organizations\u003c/a> that are supporting the children and the families. And to the artists: it’s about this, it’s about something that has a meaning. We’re not in a time when we’re supposed to do art about ourselves and nobody else. This is a time when art is supposed to speak the words that politics and religion are not speaking.\u003c/p>\n\u003cfigure id=\"attachment_13835748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-800x530.jpg\" alt=\"Flora Ninomiya was taken to a Japanese-American internment camp at age 7.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/FloraNinomiya.WEB_-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flora Ninomiya was taken to a Japanese-American internment camp at age 7. \u003ccite>(Courtesy Flora Ninomiya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Flora Ninomiya\u003c/h2>\n\u003cp>\u003cem>Survivor of the Granada Relocation Center, a Japanese-American internment camp, knitter, and \u003ca href=\"https://www.eastbaytimes.com/2017/02/10/richmond-japanese-american-incarceration-to-be-focus-of-special-presentation/\" target=\"_blank\" rel=\"noopener noreferrer\">docent at the Rosie the Riveter Museum\u003c/a> in Richmond\u003c/em>\u003c/p>\n\u003cp>I’m appalled that this is happening—that the president is so callous in how he is carrying out his programs. As a Japanese-American whose family was interned, we were powerless too, like those young children. I was 7 years old and I can still remember that long train trip going to this very isolated desert area and living in the barracks that were built by the United States Army. My father was sent to a separate prison camp from my mother and my siblings and I, and my mother was always sending letters to the government asking to release him. My father, it was really painful for him—he felt betrayed and ashamed.\u003c/p>\n\u003cp>During that time, there were people who helped us, the Quakers, our neighbors, but they had to do so quietly, or they would be marginalized. Today, it’s hopeful that we do see so many Americans speaking out against separating families. It took the American public’s pressure to get the president to issue an executive order.\u003c/p>\n\u003cp>I’m going to keep talking about my family’s experience, and to me it’s very important to support other groups that are being targeted by the government.\u003c/p>\n\u003cfigure id=\"attachment_13835747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835747\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-800x450.jpg\" alt=\"Diana Gameros' songs tell of her experience living in the U.S. as an immigrant from Juarez, Mexico.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/DianaGameros.computer.CRED_.Clau_.WEB_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diana Gameros’ songs tell of her experience living in the U.S. as an immigrant from Juarez, Mexico. \u003ccite>(Claudia Escobar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Diana Gameros\u003c/h2>\n\u003cp>\u003cem>Musician and songwriter from Juarez, Mexico, whose recent album, ‘Arrullo,’ \u003ca href=\"https://www.kqed.org/arts/11514186/women-to-watch-diana-gameros\" target=\"_blank\" rel=\"noopener noreferrer\">expresses the immigrant experience\u003c/a>\u003c/em>\u003c/p>\n\u003cp>My first reaction is to think that it is not possible that this is happening, but it is… it’s horrifying. I feel like in the past two years we get less surprised at what happens, and it’s sad that we are not getting surprised. It is alarming.\u003c/p>\n\u003cp>My advice for other artists is first to be informed, to really know what is happening, and reach out to organizations, and let them know that you are available, that you are willing to help. As artists we have such a visible platform that we can reach many people, and we should use those platforms, especially if you are a well known artist.\u003c/p>\n\u003cp>I can’t stop thinking about the children, and how every minute that goes by, they are in pain. I ask myself: what if that would have happened to me? I know the feeling of what it is to leave your homeland behind. I really hope that people know how much bravery is involved in this process, of leaving your home. I have so much admiration for the people who have this courage to leave their homeland, and carry all that sadness, and all that hope. They have so much love, and want the best for their kids, they are being good parents. It is disgusting that we are separating them, when we should be welcoming them.\u003c/p>\n\u003cfigure id=\"attachment_13835750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-800x540.jpg\" alt=\"Caleb Duarte at San Antonio Park in Oakland, leading a performance with youth who came to the U.S. without parents.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CalebDuarte.CRED_.Farrin.WEB_-520x351.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleb Duarte at San Antonio Park in Oakland, leading a performance with youth who came to the U.S. without parents. \u003ccite>(Farrin Abbott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caleb Duarte\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"http://www.calebduarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist and educator\u003c/a> who leads \u003ca href=\"https://www.kqed.org/arts/13375958/on-being-young-alone-and-crossing-into-the-united-states\" target=\"_blank\" rel=\"noopener noreferrer\">art workshops with undocumented Central American minors\u003c/a> at Fremont High School\u003c/em>\u003c/p>\n\u003cp>It’s the worst kind of nightmare for a parent. That journey is 3,000 miles of hardship. Knowing the back history and the violence these people face, only to reach the United States and have your children taken away by authorities—that is really hard to take in.\u003c/p>\n\u003cp>And social media is unleashing a lot of support for this kind of act. It leads me to reflect on how any country can support these kinds of actions. We need to step back and understand the suffering and fear of those who support these actions.\u003c/p>\n\u003cp>Art in different times has different purposes. At certain moments art is there to shake us up, and sometimes it’s there to gather us back. Right now I think art is there to create logic and reason rather than challenge it. More than anything, it’s important to speak out. We’d be surprised by who, in our immediate circles, our colleagues and family, think differently than us. I’m trying to find ways to have conversations with people who think otherwise.\u003c/p>\n\u003cfigure id=\"attachment_13835778\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-800x516.jpg\" alt=\"A detail from the Oakland Museum of California's 'Sent Away' exhibition, showing tools left behind by a man affected by Mexican repatriations in the 1930s.\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Erendina.OMCA_.CRED_800-520x335.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A detail from the Oakland Museum of California’s ‘Sent Away’ exhibition, showing tools left behind in the Mexican repatriations in the 1930s. \u003ccite>(Erendina Delgadillo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Erendina Delgadillo\u003c/h2>\n\u003cp>\u003cem>Associate Curator of History at the Oakland Museum of California, host of recent exhibitions on internment, ‘\u003ca href=\"https://www.kqed.org/arts/13156032/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothea Lange: Politics of Seeing\u003c/a>‘ and ‘\u003ca href=\"http://museumca.org/blog/sent-away-not-forgotten\" target=\"_blank\" rel=\"noopener noreferrer\">Sent Away\u003c/a>‘\u003c/em>\u003c/p>\n\u003cp>It’s been pretty horrifying. But one thing we know is family separations have happened before—with Native Americans, with Japanese families, or with Mexican repatriation in the 1930s. With the recent ‘Sent Away’ installation in our permanent history gallery, we’ve been paying attention to whether the visitors really understand, and if it’s properly conveying the trajectory of racialized communities in moments of political and social stress. In my social media circles, I see people saying, “This is insane! This is not America! This is not who we are!” And I wrestle with it, because the fact is that this has happened before.\u003c/p>\n\u003cp>In the deportations in the ’30s, people were responding to the depression. But the Mexican people deported were not relying on welfare as much as others thought they were. And today, when you hear that they’re causing unprecedented crime, or taking away jobs from “real” Americans, being a drain on the system—that’s not true, but turning them into a specter of those problems is easier than fixing the problem. It’s been very disheartening looking at the pattern of how easily people can be manipulated in very simple ways. You take a feeling, you blow it up, and it obscures the need to delve into really complex issues.\u003c/p>\n\u003cp>It’s a terrible moment. It’s too easy to despair. You’re only shooting yourself by despairing before the fight starts, so donate to organizations, and find those small moments to realize why humanity is valuable, and why we fight for humanity. Remind yourself why life is good.\u003c/p>\n\u003cfigure id=\"attachment_13835737\" class=\"wp-caption aligncenter\" style=\"max-width: 758px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835737\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_.jpg\" alt=\"Ani Rivera, bottom right, with Galería de la Raza'a curatorial staff in 2016.\" width=\"758\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_.jpg 758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AniRivera.withCuratorialStaff2016.CREO_-520x292.jpg 520w\" sizes=\"(max-width: 758px) 100vw, 758px\">\u003cfigcaption class=\"wp-caption-text\">Ani Rivera, bottom right, with Galería de la Raza’a curatorial staff in 2016. \u003ccite>(Creo Noveno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ani Rivera\u003c/h2>\n\u003cp>\u003cem>Executive Director for \u003ca href=\"https://kqed.org/arts/tag/galeria-de-la-raza\" target=\"_blank\" rel=\"noopener noreferrer\">Galería de La Raza\u003c/a> in the Mission District, hub for San Francisco’s Latino artist community\u003c/em>\u003c/p>\n\u003cp>It’s just appalling to see how the administration doesn’t value humanity, nor the families that are coming here searching for a better life. They’re being used as pawns to push an agenda. I think our work is not done yet. We need to keep demanding that they close the detention centers. I think that’s where we want to focus: ending the criminalization. We need to stop all profits made from keeping people in cages.\u003c/p>\n\u003cp>We’re definitely contributing to the organized marches and protests being planned for June 30. We will also be at this Friday’s rally in Embarcadero Plaza. We know that art plays a role in creating dialogue and engaging hearts, and we’ll be holding a series of screen-printing demonstrations at these events.\u003c/p>\n\u003cp>The legacy of Galería and René (Yañez, the gallery’s co-founder) and all of the individuals that have contributed and created this space was to address these issues. This is history repeating itself. We’ve been dealing with the criminalization of immigrants for decades. The goal of Galería as an institution is to be a platform for artists to organize. The founders needed to create a community that allowed and provided a path for self-determination. They expect us to be out there.\u003c/p>\n\u003cfigure id=\"attachment_13835744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835744\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-800x457.jpg\" alt=\"A still from 'Rabbit in the Moon' showing Emiko Omori and her mother in the Poston War Relocation Center in Arizona.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RabbitInThemoon.EmikoinPostonwMom.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Rabbit in the Moon’ showing Emiko Omori and her mother in the Poston War Relocation Center in Arizona. \u003ccite>(Courtesy Chizu Omori)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Chizu Omori\u003c/h2>\n\u003cp>\u003cem>Bay Area journalist and co-producer of the documentary ‘Rabbit in the Moon’ who, in 1942 at the age of 12, \u003ca href=\"https://caamedia.org/blog/2017/02/16/emiko-and-chizu-omori-on-lessons-from-wwii-incarceration/\" target=\"_blank\" rel=\"noopener noreferrer\">was sent with her sister Emiko Omori and their family to the Poston War Relocation Center\u003c/a> in Arizona \u003c/em>\u003c/p>\n\u003cp>The fact that they would implement this policy is so inhumane. There’s a great deal of interest now in what happened to us during WWII to us Japanese Americans. A precedent was set when Roosevelt issued EO 9066, and even though it’s been condemned as a big mistake, that precedent has been used by the Trump administration to justify some of the things they’ve been doing. So of course, I feel an obligation to speak out against what’s happening as something very reminiscent of what happened to us 75 years ago.\u003c/p>\n\u003cp>It’s happened with the travel ban against Muslims, and this general discrimination against people of Muslim faith or people from the Middle East in general. It’s part of the current of racism that’s been part of our history from the very beginning, directed towards people of color. Now it’s against people from Central and South America who are not white people. It’s a language that our president uses to reemphasize this bias against people of color. He refers to us as infestations, or awful characterizations like rapists and murderers. It’s dehumanizing for him to be using this language.\u003c/p>\n\u003cp>Children being separated from their parents at the border is something that I don’t think any of us had contemplated. To take infants… what’s the purpose in doing this? There’s no rationale for it. If you’re going to ask people to stand up and be counted, how many people are for this? Why do they justify doing this thing?\u003c/p>\n\u003cp>I belong to a group called Nikkei Resisters. Our slogan is “Never Again.” Detention and internment are really un-American and we need to speak out and say “It happened to us. And we don’t want to see it happening again.”\u003c/p>\n\u003cfigure id=\"attachment_13835738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835738\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-800x533.jpg\" alt=\"Brian Moss teaches a student population that's 85-percent Latino; 'their fear has been validated,' he says.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/BrianMoss.CRED_.GM_.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Moss teaches a student population that’s 85-percent Latino; ‘their fear has been validated,’ he says. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Brian Moss\u003c/h2>\n\u003cp>\u003cem>San Francisco songwriter (Hanalei, Great Apes) and schoolteacher who \u003ca href=\"https://hanalei.bandcamp.com/track/cross-crossing\" target=\"_blank\" rel=\"noopener noreferrer\">released the song “Cross Crossing”\u003c/a> this week in reaction to abuses at the border\u003c/em>\u003c/p>\n\u003cp>Separating families and children seems so immoral and deplorable, it’s shocking, but with this presidency and this administration the bar has been so low it didn’t completely catch me off-guard. And being a teacher, and given the population of my school, which is 85-percent Latino, it’s something I’ve seen the effects of the whole time. For many of my students, the fear they were already facing rose drastically when he was elected, and now that fear has been validated. It’s happening to them. It’s disturbing and hard to witness.\u003c/p>\n\u003cp>The issue of separating families is so immoral to me that some sort of response, either though song, or \u003ca href=\"https://www.npr.org/2018/06/20/621890664/facebook-fundraiser-for-separated-immigrant-families-raises-12-million-in-5-days\" target=\"_blank\" rel=\"noopener noreferrer\">donating\u003c/a>, or protesting, or going down there volunteering with an organization that’s trying to provide legal aid—anything you can do is a start.\u003c/p>\n\u003cfigure id=\"attachment_13835800\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835800\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-800x527.jpg\" alt=\"Naima Shalhoub: 'we must cry out with each other through our art, together, to respond to this madness.'\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline-520x342.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/NaimaShalhoub.Inline.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Naima Shalhoub: ‘we must cry out with each other through our art, together, to respond to this madness.’ \u003ccite>(Sarah Deragon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Naima Shalhoub\u003c/h2>\n\u003cp>\u003cem>Oakland songwriter whose song “\u003ca href=\"https://www.youtube.com/watch?v=I9TqmZPXJX8\" target=\"_blank\" rel=\"noopener noreferrer\">Borderlands\u003c/a>” tells of “\u003ca href=\"https://www.youtube.com/watch?v=I9TqmZPXJX8\" target=\"_blank\" rel=\"noopener noreferrer\">a constructed order of things that decides what and who is more valuable\u003c/a>”\u003c/em>\u003c/p>\n\u003cp>What strikes me the most is how conditioned we are becoming to see people through the lenses of our fear, our politics, our scarcity mindsets rather than insisting that all people under the sun are treated with dignity and love. We are forgetting that we have the power to create systems that reflect justice and love, not fear and confinement. We are becoming dismembered from any semblance of connection to land, to spirit, to honor, to respect and instead bowing down to new gods of greed, patriarchy, racism—so much so that a child’s cry does not waken the heart to compassion. Or at least, this is my worry. For our souls, collectively.\u003c/p>\n\u003cp>What is happening is a reflection of what has been buried under the soil of what is now called the United States. The sorrow, the unheard cries, and histories ghosts are truly rising until we all wake to its truth. We must do better by committing to our collective memory—all of it—and holding accountable the leaders who do not. The privilege of forgetting becomes manifest in institutions that create walls separating families, unable to share with the public where our girls and babies are. This is about our responsibility to our children’s future and their safety and dignity by allowing the past to speak.\u003c/p>\n\u003cp>If Nina Simone’s call to action was “it is an artist’s duty to reflect the times,” then we must cry out with each other through our art, together, to respond to this madness.\u003c/p>\n\u003cfigure id=\"attachment_13835934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-800x179.jpg\" alt=\"'Horizons,' by Najib Joe Hakim.\" width=\"800\" height=\"179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-800x179.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-160x36.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-768x172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-1020x228.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-960x215.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-240x54.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-375x84.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons-520x116.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/HAKIM-Horizons.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Horizons,’ by Najib Joe Hakim. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Najib Joe Hakim\u003c/h2>\n\u003cp>\u003cem>San Francisco photographer and YBCA fellow whose current project, ‘\u003ca href=\"https://electronicintifada.net/content/palestinian-america-najib-joe-hakims-home-away-home/14073\" target=\"_blank\" rel=\"noopener noreferrer\">Home Away From Home\u003c/a>,’ pairs oral histories of 26 Bay Area Palestinian Americans with their portraits\u003c/em>\u003c/p>\n\u003cp>My own family immigrated to the U.S. in the 1950s from Lebanon. Except for the details, ours is a very common story, which most Americans share. Refugees out of Palestine, my parents then left Beirut on a ship with two very young kids and $5 in their pocket. In the coming years, through hard work, education and uncountable sacrifices, we became thriving American citizens.\u003c/p>\n\u003cp>I hate to think what might have become of us had we not snared four of only 100 immigration visas. Would I be staring down a machine gun barrel held by a 20-year-old Israeli soldier? Would we have been caught up in one of the many massacres of the 20-year Lebanese Civil War? Would my kids now be desperately trying to leave Syria on a dinghy with their own children?\u003c/p>\n\u003cp>What I see happening today to immigrant families is the writing of yet another chapter of American history in which the country’s values do not line up with its reality. When people say “I don’t recognize this country anymore,” they are expressing the profound contradictions between what we’ve all been taught about this country and what we see being done in our name.\u003c/p>\n\u003cp>We live in a new dark age in which civilian lives are dehumanized; science and nature are scoffed at; and atavistic fears send us scurrying toward our basest natures. In such times, we artists are challenged to help remind us of our loftier, sacred and shared aspirations.\u003c/p>\n\u003cfigure id=\"attachment_13835745\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835745\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/YosimarReyes-800x450.jpg\" alt=\"Yosimar Reyes: 'If you’re standing in sidelines, you’re part of the problem.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/YosimarReyes.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yosimar Reyes: ‘If you’re standing in sidelines, you’re part of the problem.’ \u003ccite>(Courtesy Yosimar Reyes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yosimar Reyes\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"http://yosimarreyes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poet, educator, and founder of La Maricolectiva\u003c/a>, a community based performance group of queer undocumented poets\u003c/em>\u003c/p>\n\u003cp>This week has been a lot. I think it’s great that it’s getting national visibility and a lot of people are learning about these atrocities—I think it’s a really positive thing. People are blatantly stating that we need to abolish immigrant prisons. But for me, it’s more like, it’s always been like this so I’m not surprised. I’m just glad people are realizing the reality of how it is and people are mobilizing and opening their eyes to the fact that this is how it’s been for a lot of folks.\u003c/p>\n\u003cp>With immigration, everything moves so fast and it escalates after a short amount of time. I’m curious to see how it’s going to influence a lot of the writing that I’m doing, but I’m still processing. Organizations on the ground in Texas are doing really good work, they’re giving people legal aid, and I think people should support them. This is happening because we put this person in office and we’re accountable for these actions. If you’re standing in sidelines, you’re part of the problem.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A new study by the Directors Guild of America finds that despite high-profile releases like \u003cem>Get Out\u003c/em> and \u003cem>Wonder Woman\u003c/em>, film directors remained overwhelmingly white and male among the movies released last year.\u003c/p>\n\u003cp>The DGA examined all 651 feature films released theatrically in 2017. It found that among those films to make at least $250,000 at the box office, 12 percent of directors were women and 10 percent were people of color.\u003c/p>\n\u003cp>Those figures represent almost double the number of female directors in 2013, according to the DGA, but a downturn of 7 percent for minority filmmakers.\u003c/p>\n\u003cp>DGA President Thomas Schlamme said the results revealed that “discriminatory practices are still rampant across every corner of the feature film business.” He added that improved diversity in indie filmmaking is a “misconception.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
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