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"content": "\u003cp>I am a Vietnamese American, a refugee, and I grew up learning about the Vietnam War the same way most people do here: through movies like \u003cem>Platoon\u003c/em> and \u003cem>Born on the Fourth of July\u003c/em> and \u003cem>Forrest Gump\u003c/em>, and during the brief amount of time spent on the war in history classes. Everything I learned focused on American lives lost and on how the war divided America. No one dwelled on Vietnamese lives lost. People talked about Vietnam as an object, a strategy, a source of tragic upheaval. There was no idea of it without war.\u003c/p>\n\u003cp>My family had been refugees twice. The first time was in 1954, when they left Hanoi for Saigon. Then my father and his three brothers became soldiers in the South Vietnamese Army. They weren’t high-ranking officials who might have been promised evacuation (promises, we now know, that would have been hollow). Yet on April 29, 1975, the night before the end of Saigon, they found a way out — a boat on the river that would take them to a naval ship in the South China Seas.\u003c/p>\n\u003cp>We became refugees. I was 8 months old; my sister was 2 years old. We would grow up in the American Midwest, with another language and culture.\u003c/p>\n\u003cp>Imagine realizing you have to leave your country. Not just your house and home but your entire country. Imagine leaving in the night, in a city gripped with panic and chaos. You don’t know where you will go or if you will even survive. But you know that it is safer to try than it is to stay. So you leave everything you’ve known. You take what you can and you go.\u003c/p>\n\u003cfigure id=\"attachment_13811061\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/grandmother-children-800x1076.jpg\" alt=\"Nguyen's grandmother with her children, not too long after they moved from the north to the south in 1954\" width=\"800\" height=\"1076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-800x1076.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-160x215.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-768x1033.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-1020x1372.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-1180x1587.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-960x1291.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-240x323.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-375x504.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-520x699.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nguyen’s grandmother with her children, not too long after they moved from the north to the south in 1954 \u003ccite>(Courtesy of Beth Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I told myself I had to watch \u003cem>The Vietnam War\u003c/em> by Ken Burns and Lynn Novick because it would surely be hailed as “definitive” (which it has been by several reviewers) and because I needed to understand what much of America would think and see as “definitive.” I didn’t want to watch. I didn’t want to face what I knew would come: 18 hours that focused mainly on (white) American pain and relegated Vietnamese people, as ever, to being secondary in their own story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most people in the United States who, like me, have ideas of Vietnam informed by Hollywood, are used to seeing Vietnamese people depicted and referred to as gooks, violent guerillas, and whores. This is so expected that I fear it’s what people actually believe.\u003c/p>\n\u003cp>\u003cem>The Vietnam War\u003c/em> doesn’t quite dispel this notion, but Burns and Novick do bring in commentary from both North Vietnamese and South Vietnamese people. This inclusion of Vietnamese voices has been lauded, but maybe that’s because prior texts on the war are so lacking in Vietnamese voices that any inclusion is seen as a profound advancement. Still, the film heavily favors white American voices. And while it doesn’t avoid violence, it does try to avoid discussing inherent racism on the part of the Americans and, except for a section on My Lai, issues of sexual assault, rape, and the treatment of women. It mentions, in one sentence, the thousands of half-American children who were left in Vietnam after U.S. troops left.\u003c/p>\n\u003cp>I keep saying to people that the documentary should be subtitled “The American Experience” (or more accurately, “The Mostly White American Experience”). But perhaps that would be redundant. I do not think that the filmmakers intended offense, in the way that most good liberals never intend offense. It’s more that their perspective is so trenchant, so supported, that they seem to have had no need to reconsider it.\u003c/p>\n\u003cp>So I watched the first episode as it premiered. Within the first ten minutes, the filmmakers opt for a strange reverse-sequence of events. We see the famous image of the naked, napalmed Vietnamese girl, running backward instead of forward. We see helicopters coming up from the water instead of being pushed into it. I suppose these reversed moments could be seen as a literal notion of rewind, a way to start at the beginning. But the visual result is awkward and even accidentally mocking. The rest of the episode is worse. At first, it seems that the filmmakers will provide a history of Vietnam, possibly covering the complicated history of colonization. Yet the filmmakers interject this history with flash-forwards to images of combat in 1960s, when the U.S. is very much involved in Vietnam. The message is clear: the Americans think of the war as their experience; the history of Vietnam on its own doesn’t matter. To me, it feels like the same erasure or diminishment of the Vietnamese experience that we have always seen.\u003c/p>\n\u003cfigure id=\"attachment_13811060\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811060\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-800x1161.jpg\" alt=\"Nguyen's uncle in the United States\" width=\"800\" height=\"1161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-768x1115.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-1020x1481.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-960x1394.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-240x348.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-375x544.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-520x755.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nguyen’s uncle in the United States \u003ccite>(Courtesy of Beth Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, I had resolved to watch this entire series. I tried to focus on the footage and photos, which are extraordinary and prove once again how heroic and necessary journalists are. I tried to focus, too, on what I could learn. I found myself wanting to hear so much more from Bao Ninh, author of \u003cem>The Sorrow of War\u003c/em>, who provides beautiful and moving commentary throughout the series. I wanted to hear more from African American soldiers and non-white soldiers, who had to endure racism no matter their rank and no matter where they went. I wished for a more explicit discussion of how much U.S. involvement hinged on the fear of Communism spreading and its toxic masculinity, and how the Americans could not bear the thought of losing or surrendering, so they kept going even when they knew they shouldn’t. I tried to focus on all the now-iconic music that emerged from the Vietnam war era. (Much of it now seems cliché but that’s not the music’s fault.) I was glad to take a break from the violent images to consider presidential power, protest power, and Nixon’s idea of the “silent majority.”\u003c/p>\n\u003cp>Though no Vietnamese person in this 18-hour documentary gets a profile on a scale equal to any white American who is profiled, I tried to get as much as I could from their limited time on screen. What it was like to be North Vietnamese during the war? What it was like to be South Vietnamese during the war? I kept hoping to see more commentary from those who fought, especially on the South Vietnamese side, but that hope was not fulfilled.\u003c/p>\n\u003cp>It is painful to hear Lyndon Johnson saying, “There ain’t no daylight in Vietnam.” To hear Kissinger say to Nixon that soon Vietnam will be a backwater. To hear Maj. Charles Beckwith quoted as saying, “You can shoot the little brown men outside the wire. You may not shoot the little brown men inside the wire. They are mine.” It is difficult to hear a U.S. veteran say about those left dead after a battle: “I wouldn’t let the Vietnamese touch the Americans.”\u003c/p>\n\u003cp>This is not painful because it is new information but because the words, spoken out loud, confirm what I’ve always known — what I’ve always read in the faces of so many white Americans. As a Vietnamese refugee says in the documentary about the humiliation of loss: “I carry that humiliation with me to the United States, when I get in line to sign up for jobs. I remind them of the war in Vietnam, which the Americans hate.”\u003c/p>\n\u003cp>The Americans were not in Vietnam, fighting a war, for the love of Vietnamese people — the American soldiers were fighting because they’d been told to. In episode three, a screen image of a once-top secret plan of action document shows that 70 percent of U.S. aims were “to avoid a humiliating U.S. defeat (to our reputation).” To the Americans, the South Vietnamese will always be seen as incompetent and corrupt, while the Americans were supposed to be the providers and the saviors. And when that failed, they didn’t know what to do. Failure and retreat go against all the exceptionalism we are taught in American schools.\u003c/p>\n\u003cfigure id=\"attachment_13811058\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811058\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-800x1138.jpg\" alt=\"Nguyen's dad with a motorcycle in Vietnam\" width=\"800\" height=\"1138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-800x1138.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-160x228.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-768x1092.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-240x341.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-375x533.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-520x740.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nguyen: “My dad and the motorcycle he would end up using to get us to the Saigon river where we would find passage toward refugee life” \u003ccite>(Courtesy of Beth Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The last episode of the series spends fewer than 15 minutes on the refugee crisis and what life was in like in Vietnam after 1975. Any sense of reconciliation or “healing” — that old phrase “healing wounds” is invoked more than once — is for the Americans. You can do aerial shots of a country that is green again, the scorch of napalm replaced by new growth. You can do pans of a city in the midst of bustle. It can look like the present, the future — it can look like reconciliation. Plenty of time is given to the Vietnam Veterans Memorial in Washington DC and the experience of U.S. soldiers who visit it. More time is given to the stories of soldiers who returned to Vietnam, twenty years after the end of the war, to see former battlegrounds and to shake hands and smile with former enemies. It is beyond jarring, beyond disconcerting, to see this after so many hours of violence.\u003c/p>\n\u003cp>And so the Americans can get a little more healing. As for the Vietnamese… Well, it’s unclear. Their lives and experiences aren’t given as much space for viewers to find out. Vietnam may exist on its own now but the Americans still view it through their own lens: as a place for closure or tourism or commerce. The country, as ever, matters only in terms of what it can do for the Americans.\u003c/p>\n\u003cp>In \u003cem>The Vietnam War\u003c/em>, white American men get the first and last words in the film, and most of the profiles and words in between. In the United States, I grew up understanding that no Vietnamese life is worth the same as an American life; that over two million Vietnamese dead is always overshadowed by 58,000 U.S. soldiers dead. I grew up respecting U.S. veterans but seeing no respect given to Vietnamese veterans.\u003c/p>\n\u003cp>For years, even still, people have asked me what “side” my family was on. The question always baffles me. Isn’t it obvious that if we’re in the United States as refugees, having lost a war and a country — isn’t it obvious what “side” we were on? Somehow, many Americans still don’t know the history of what in Vietnam is called The American War. Burns and Novick had a chance to change that in a more substantial, equitable way, one that did not fall back on the same old assumption that the American perspective must be dominant.\u003c/p>\n\u003cp>My father, a veteran — a South Vietnamese who found a way for his family to leave Saigon, who has been here for decades now and has grown his family and his community, does not want to watch this documentary. I can’t blame him. The film tells us to feel sorry for the Vietnamese, but it demands that we feel for the Americans.\u003c/p>\n\u003cp>My father and my uncles and every Vietnamese refugee in America live with the shame that Americans feel about the war in Vietnam. We are seen as reminders of that shame, and we are asked to bear it with no word in return except gratitude. I remind them of the war in Vietnam, which the Americans hate. I have felt this my whole life.\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>\u003cem>\u003cbr>\n\u003ca href=\"http://www.bichminhnguyen.com/about-me/\" target=\"_blank\" rel=\"noopener noreferrer\">Beth Nguyen \u003c/a>is the author of three books, including ‘Stealing Buddha’s Dinner.’ She teaches in and directs the MFA in Writing Program at the University of San Francisco.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To see more stories and photographs from KQED’s series about the impact of the Vietnam War on the Bay Area and other communities in California, visit \u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\" target=\"_blank\" rel=\"noopener noreferrer\">kqed.org/vietnamwar\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "Definitive For Americans: A Refugee's Review of 'The Vietnam War' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I am a Vietnamese American, a refugee, and I grew up learning about the Vietnam War the same way most people do here: through movies like \u003cem>Platoon\u003c/em> and \u003cem>Born on the Fourth of July\u003c/em> and \u003cem>Forrest Gump\u003c/em>, and during the brief amount of time spent on the war in history classes. Everything I learned focused on American lives lost and on how the war divided America. No one dwelled on Vietnamese lives lost. People talked about Vietnam as an object, a strategy, a source of tragic upheaval. There was no idea of it without war.\u003c/p>\n\u003cp>My family had been refugees twice. The first time was in 1954, when they left Hanoi for Saigon. Then my father and his three brothers became soldiers in the South Vietnamese Army. They weren’t high-ranking officials who might have been promised evacuation (promises, we now know, that would have been hollow). Yet on April 29, 1975, the night before the end of Saigon, they found a way out — a boat on the river that would take them to a naval ship in the South China Seas.\u003c/p>\n\u003cp>We became refugees. I was 8 months old; my sister was 2 years old. We would grow up in the American Midwest, with another language and culture.\u003c/p>\n\u003cp>Imagine realizing you have to leave your country. Not just your house and home but your entire country. Imagine leaving in the night, in a city gripped with panic and chaos. You don’t know where you will go or if you will even survive. But you know that it is safer to try than it is to stay. So you leave everything you’ve known. You take what you can and you go.\u003c/p>\n\u003cfigure id=\"attachment_13811061\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/grandmother-children-800x1076.jpg\" alt=\"Nguyen's grandmother with her children, not too long after they moved from the north to the south in 1954\" width=\"800\" height=\"1076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-800x1076.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-160x215.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-768x1033.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-1020x1372.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-1180x1587.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-960x1291.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-240x323.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-375x504.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children-520x699.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/grandmother-children.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nguyen’s grandmother with her children, not too long after they moved from the north to the south in 1954 \u003ccite>(Courtesy of Beth Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I told myself I had to watch \u003cem>The Vietnam War\u003c/em> by Ken Burns and Lynn Novick because it would surely be hailed as “definitive” (which it has been by several reviewers) and because I needed to understand what much of America would think and see as “definitive.” I didn’t want to watch. I didn’t want to face what I knew would come: 18 hours that focused mainly on (white) American pain and relegated Vietnamese people, as ever, to being secondary in their own story.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most people in the United States who, like me, have ideas of Vietnam informed by Hollywood, are used to seeing Vietnamese people depicted and referred to as gooks, violent guerillas, and whores. This is so expected that I fear it’s what people actually believe.\u003c/p>\n\u003cp>\u003cem>The Vietnam War\u003c/em> doesn’t quite dispel this notion, but Burns and Novick do bring in commentary from both North Vietnamese and South Vietnamese people. This inclusion of Vietnamese voices has been lauded, but maybe that’s because prior texts on the war are so lacking in Vietnamese voices that any inclusion is seen as a profound advancement. Still, the film heavily favors white American voices. And while it doesn’t avoid violence, it does try to avoid discussing inherent racism on the part of the Americans and, except for a section on My Lai, issues of sexual assault, rape, and the treatment of women. It mentions, in one sentence, the thousands of half-American children who were left in Vietnam after U.S. troops left.\u003c/p>\n\u003cp>I keep saying to people that the documentary should be subtitled “The American Experience” (or more accurately, “The Mostly White American Experience”). But perhaps that would be redundant. I do not think that the filmmakers intended offense, in the way that most good liberals never intend offense. It’s more that their perspective is so trenchant, so supported, that they seem to have had no need to reconsider it.\u003c/p>\n\u003cp>So I watched the first episode as it premiered. Within the first ten minutes, the filmmakers opt for a strange reverse-sequence of events. We see the famous image of the naked, napalmed Vietnamese girl, running backward instead of forward. We see helicopters coming up from the water instead of being pushed into it. I suppose these reversed moments could be seen as a literal notion of rewind, a way to start at the beginning. But the visual result is awkward and even accidentally mocking. The rest of the episode is worse. At first, it seems that the filmmakers will provide a history of Vietnam, possibly covering the complicated history of colonization. Yet the filmmakers interject this history with flash-forwards to images of combat in 1960s, when the U.S. is very much involved in Vietnam. The message is clear: the Americans think of the war as their experience; the history of Vietnam on its own doesn’t matter. To me, it feels like the same erasure or diminishment of the Vietnamese experience that we have always seen.\u003c/p>\n\u003cfigure id=\"attachment_13811060\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811060\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-800x1161.jpg\" alt=\"Nguyen's uncle in the United States\" width=\"800\" height=\"1161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-768x1115.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-1020x1481.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-960x1394.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-240x348.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-375x544.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty-520x755.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Uncle-statueofliberty.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nguyen’s uncle in the United States \u003ccite>(Courtesy of Beth Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, I had resolved to watch this entire series. I tried to focus on the footage and photos, which are extraordinary and prove once again how heroic and necessary journalists are. I tried to focus, too, on what I could learn. I found myself wanting to hear so much more from Bao Ninh, author of \u003cem>The Sorrow of War\u003c/em>, who provides beautiful and moving commentary throughout the series. I wanted to hear more from African American soldiers and non-white soldiers, who had to endure racism no matter their rank and no matter where they went. I wished for a more explicit discussion of how much U.S. involvement hinged on the fear of Communism spreading and its toxic masculinity, and how the Americans could not bear the thought of losing or surrendering, so they kept going even when they knew they shouldn’t. I tried to focus on all the now-iconic music that emerged from the Vietnam war era. (Much of it now seems cliché but that’s not the music’s fault.) I was glad to take a break from the violent images to consider presidential power, protest power, and Nixon’s idea of the “silent majority.”\u003c/p>\n\u003cp>Though no Vietnamese person in this 18-hour documentary gets a profile on a scale equal to any white American who is profiled, I tried to get as much as I could from their limited time on screen. What it was like to be North Vietnamese during the war? What it was like to be South Vietnamese during the war? I kept hoping to see more commentary from those who fought, especially on the South Vietnamese side, but that hope was not fulfilled.\u003c/p>\n\u003cp>It is painful to hear Lyndon Johnson saying, “There ain’t no daylight in Vietnam.” To hear Kissinger say to Nixon that soon Vietnam will be a backwater. To hear Maj. Charles Beckwith quoted as saying, “You can shoot the little brown men outside the wire. You may not shoot the little brown men inside the wire. They are mine.” It is difficult to hear a U.S. veteran say about those left dead after a battle: “I wouldn’t let the Vietnamese touch the Americans.”\u003c/p>\n\u003cp>This is not painful because it is new information but because the words, spoken out loud, confirm what I’ve always known — what I’ve always read in the faces of so many white Americans. As a Vietnamese refugee says in the documentary about the humiliation of loss: “I carry that humiliation with me to the United States, when I get in line to sign up for jobs. I remind them of the war in Vietnam, which the Americans hate.”\u003c/p>\n\u003cp>The Americans were not in Vietnam, fighting a war, for the love of Vietnamese people — the American soldiers were fighting because they’d been told to. In episode three, a screen image of a once-top secret plan of action document shows that 70 percent of U.S. aims were “to avoid a humiliating U.S. defeat (to our reputation).” To the Americans, the South Vietnamese will always be seen as incompetent and corrupt, while the Americans were supposed to be the providers and the saviors. And when that failed, they didn’t know what to do. Failure and retreat go against all the exceptionalism we are taught in American schools.\u003c/p>\n\u003cfigure id=\"attachment_13811058\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811058\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-800x1138.jpg\" alt=\"Nguyen's dad with a motorcycle in Vietnam\" width=\"800\" height=\"1138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-800x1138.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-160x228.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-768x1092.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-240x341.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-375x533.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle-520x740.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dad-motorcycle.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nguyen: “My dad and the motorcycle he would end up using to get us to the Saigon river where we would find passage toward refugee life” \u003ccite>(Courtesy of Beth Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The last episode of the series spends fewer than 15 minutes on the refugee crisis and what life was in like in Vietnam after 1975. Any sense of reconciliation or “healing” — that old phrase “healing wounds” is invoked more than once — is for the Americans. You can do aerial shots of a country that is green again, the scorch of napalm replaced by new growth. You can do pans of a city in the midst of bustle. It can look like the present, the future — it can look like reconciliation. Plenty of time is given to the Vietnam Veterans Memorial in Washington DC and the experience of U.S. soldiers who visit it. More time is given to the stories of soldiers who returned to Vietnam, twenty years after the end of the war, to see former battlegrounds and to shake hands and smile with former enemies. It is beyond jarring, beyond disconcerting, to see this after so many hours of violence.\u003c/p>\n\u003cp>And so the Americans can get a little more healing. As for the Vietnamese… Well, it’s unclear. Their lives and experiences aren’t given as much space for viewers to find out. Vietnam may exist on its own now but the Americans still view it through their own lens: as a place for closure or tourism or commerce. The country, as ever, matters only in terms of what it can do for the Americans.\u003c/p>\n\u003cp>In \u003cem>The Vietnam War\u003c/em>, white American men get the first and last words in the film, and most of the profiles and words in between. In the United States, I grew up understanding that no Vietnamese life is worth the same as an American life; that over two million Vietnamese dead is always overshadowed by 58,000 U.S. soldiers dead. I grew up respecting U.S. veterans but seeing no respect given to Vietnamese veterans.\u003c/p>\n\u003cp>For years, even still, people have asked me what “side” my family was on. The question always baffles me. Isn’t it obvious that if we’re in the United States as refugees, having lost a war and a country — isn’t it obvious what “side” we were on? Somehow, many Americans still don’t know the history of what in Vietnam is called The American War. Burns and Novick had a chance to change that in a more substantial, equitable way, one that did not fall back on the same old assumption that the American perspective must be dominant.\u003c/p>\n\u003cp>My father, a veteran — a South Vietnamese who found a way for his family to leave Saigon, who has been here for decades now and has grown his family and his community, does not want to watch this documentary. I can’t blame him. The film tells us to feel sorry for the Vietnamese, but it demands that we feel for the Americans.\u003c/p>\n\u003cp>My father and my uncles and every Vietnamese refugee in America live with the shame that Americans feel about the war in Vietnam. We are seen as reminders of that shame, and we are asked to bear it with no word in return except gratitude. I remind them of the war in Vietnam, which the Americans hate. I have felt this my whole life.\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>\u003cem>\u003cbr>\n\u003ca href=\"http://www.bichminhnguyen.com/about-me/\" target=\"_blank\" rel=\"noopener noreferrer\">Beth Nguyen \u003c/a>is the author of three books, including ‘Stealing Buddha’s Dinner.’ She teaches in and directs the MFA in Writing Program at the University of San Francisco.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>To see more stories and photographs from KQED’s series about the impact of the Vietnam War on the Bay Area and other communities in California, visit \u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\" target=\"_blank\" rel=\"noopener noreferrer\">kqed.org/vietnamwar\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Attendees mingled in the lobby of San Francisco’s \u003ca href=\"http://www.sfwmpac.org/herbst-theatre\" rel=\"noopener\" target=\"_blank\">Herbst Theatre\u003c/a> before the Oct. 7 premiere of \u003ca href=\"https://sfperformances.org/performances/1718/KronosQuartet.html\" rel=\"noopener\" target=\"_blank\">\u003cem>Echoes\u003c/em>\u003c/a>, a new collaboration between spoken word poetry non-profit \u003ca href=\"http://youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Youth Speaks\u003c/a>, esteemed classical ensemble \u003ca href=\"http://www.kronosquartet.org/\" rel=\"noopener\" target=\"_blank\">Kronos Quartet\u003c/a>, and rock duo the \u003ca href=\"http://thelivingearthshow.com/\" rel=\"noopener\" target=\"_blank\">Living Earth Show\u003c/a>, directed by Sean San José of local theater troupe Campos Santos. As audience members waited for the theater doors to open, Youth Speaks poets suddenly burst into the crowd, bouncing around the marble hall and animatedly asking, “Where you from?”\u003c/p>\n\u003cp>Some people proudly shouted out their cities — Frisco, Richmond, Oakland — while others answered with more remote places like Omaha and Brooklyn. Although some audience members gladly played along, others visibly shifted in their seats when asked to call out their cities of origin. The night was, after all, billed as a performance about gentrification, and the poets’ seemingly innocuous question was also a loaded one.\u003c/p>\n\u003cfigure id=\"attachment_13811020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0302-800x634.jpg\" alt=\"Youth Speaks poets in the lobby of Herbst Theatre.\" width=\"800\" height=\"634\" class=\"size-medium wp-image-13811020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-768x609.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-375x297.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-520x412.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Youth Speaks poets in the lobby of Herbst Theatre. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This pre-show warm-up exercise illustrated the contrast between the young poets of color and the older, mostly white, well-to-do classical music audience presenter San Francisco Performances attracted. Set to the soundtrack of Kronos’ tense strings, much of Youth Speaks’ poetry was written in a sharp-tongued second person that implicated San Francisco’s well-meaning liberal elite in their complicity in gentrification and displacement — a cycle that has disenfranchised San Francisco’s immigrant communities and rendered its black population nearly nonexistent. \u003c/p>\n\u003cp>Here was a group of poets who came from the communities hit hardest by these forms of systemic inequality, bluntly addressing their struggles to an audience of gentrification’s beneficiaries. And yet, even though \u003cem>Echoes\u003c/em> confronted its audience with their place in this cycle, the show got a standing ovation — a hopeful sign that its urgent message was received.\u003c/p>\n\u003cfigure id=\"attachment_13811021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0034-800x583.jpg\" alt=\"Musicians from Kronos Quartet and the Living Earth Show. \" width=\"800\" height=\"583\" class=\"size-medium wp-image-13811021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-520x379.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musicians from Kronos Quartet and the Living Earth Show. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Echoes\u003c/em> anchored around the poetry, with the music, written by composer Danny Clay, mostly serving to amp up its emotional impact. While the poets read heartfelt passages, Kronos Quartet played drawn-out, sorrowful minor chords, sometimes coming to an abrupt halt to make space for particularly impactful lines. In between poets, Kronos Quartet’s cellist, violist, and two violinists jammed out with Living Earth Show’s guitarist and percussionist, creating a heavy metal-chamber music fusion that underscored the anger, frustration, and pain the poets expressed. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Much of the poetry in \u003cem>Echoes\u003c/em> dealt with emotional connections to geography, mapping out the poets’ coming-of-age experiences in a rapidly changing San Francisco. Tassiana Willis, a standout performer with aqua-blue hair, traced the walk from the Banneker housing projects to Herbst Theatre. “Ain’t no love here, just concrete,” she sighed, lamenting that her hometown now feels unfamiliar because most of the people she grew up with are gone. \u003c/p>\n\u003cfigure id=\"attachment_13811022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0089-800x529.jpg\" alt=\"Kronos Quartet's strings highlighted the emotional impact of Youth Speaks' poetry. \" width=\"800\" height=\"529\" class=\"size-medium wp-image-13811022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-520x344.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet’s strings highlighted the emotional impact of Youth Speaks’ poetry. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aimee Suzara, a Filipino-American poet, framed this experience of displacement in a broader context of colonialism: One of her most hard-hitting verses pointed out that immigrants fleeing poverty-stricken, colonized lands must now contend with a new breed of white settlers driving them out of their homes in San Francisco. \u003c/p>\n\u003cp>Meanwhile, Gabriel Cortez invoked the San Francisco War Memorial and Performing Arts Center — which houses Herbst Theatre — to address fallen soldiers and young lives lost to violence. “They say, ‘We give you our deaths, give them their meaning,’” he repeated, highlighting the importance of understanding and remembering history. \u003c/p>\n\u003cp>\u003cem>Echoes\u003c/em> was by all counts a tough pill to swallow, but the poets and musicians did a commendable job fusing their different mediums to create an emotionally impactful, timely, and original performance. And although a concert that combined spoken word poetry, rock, and chamber music might have seemed odd at a first glance, \u003cem>Echoes\u003c/em> did the important work of fostering a conversation across racial and class lines — one that rarely happens in an increasingly segregated Bay Area. \u003c/p>\n\u003cp>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Attendees mingled in the lobby of San Francisco’s \u003ca href=\"http://www.sfwmpac.org/herbst-theatre\" rel=\"noopener\" target=\"_blank\">Herbst Theatre\u003c/a> before the Oct. 7 premiere of \u003ca href=\"https://sfperformances.org/performances/1718/KronosQuartet.html\" rel=\"noopener\" target=\"_blank\">\u003cem>Echoes\u003c/em>\u003c/a>, a new collaboration between spoken word poetry non-profit \u003ca href=\"http://youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Youth Speaks\u003c/a>, esteemed classical ensemble \u003ca href=\"http://www.kronosquartet.org/\" rel=\"noopener\" target=\"_blank\">Kronos Quartet\u003c/a>, and rock duo the \u003ca href=\"http://thelivingearthshow.com/\" rel=\"noopener\" target=\"_blank\">Living Earth Show\u003c/a>, directed by Sean San José of local theater troupe Campos Santos. As audience members waited for the theater doors to open, Youth Speaks poets suddenly burst into the crowd, bouncing around the marble hall and animatedly asking, “Where you from?”\u003c/p>\n\u003cp>Some people proudly shouted out their cities — Frisco, Richmond, Oakland — while others answered with more remote places like Omaha and Brooklyn. Although some audience members gladly played along, others visibly shifted in their seats when asked to call out their cities of origin. The night was, after all, billed as a performance about gentrification, and the poets’ seemingly innocuous question was also a loaded one.\u003c/p>\n\u003cfigure id=\"attachment_13811020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0302-800x634.jpg\" alt=\"Youth Speaks poets in the lobby of Herbst Theatre.\" width=\"800\" height=\"634\" class=\"size-medium wp-image-13811020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-768x609.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-375x297.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-520x412.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Youth Speaks poets in the lobby of Herbst Theatre. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This pre-show warm-up exercise illustrated the contrast between the young poets of color and the older, mostly white, well-to-do classical music audience presenter San Francisco Performances attracted. Set to the soundtrack of Kronos’ tense strings, much of Youth Speaks’ poetry was written in a sharp-tongued second person that implicated San Francisco’s well-meaning liberal elite in their complicity in gentrification and displacement — a cycle that has disenfranchised San Francisco’s immigrant communities and rendered its black population nearly nonexistent. \u003c/p>\n\u003cp>Here was a group of poets who came from the communities hit hardest by these forms of systemic inequality, bluntly addressing their struggles to an audience of gentrification’s beneficiaries. And yet, even though \u003cem>Echoes\u003c/em> confronted its audience with their place in this cycle, the show got a standing ovation — a hopeful sign that its urgent message was received.\u003c/p>\n\u003cfigure id=\"attachment_13811021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0034-800x583.jpg\" alt=\"Musicians from Kronos Quartet and the Living Earth Show. \" width=\"800\" height=\"583\" class=\"size-medium wp-image-13811021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-520x379.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musicians from Kronos Quartet and the Living Earth Show. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Echoes\u003c/em> anchored around the poetry, with the music, written by composer Danny Clay, mostly serving to amp up its emotional impact. While the poets read heartfelt passages, Kronos Quartet played drawn-out, sorrowful minor chords, sometimes coming to an abrupt halt to make space for particularly impactful lines. In between poets, Kronos Quartet’s cellist, violist, and two violinists jammed out with Living Earth Show’s guitarist and percussionist, creating a heavy metal-chamber music fusion that underscored the anger, frustration, and pain the poets expressed. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much of the poetry in \u003cem>Echoes\u003c/em> dealt with emotional connections to geography, mapping out the poets’ coming-of-age experiences in a rapidly changing San Francisco. Tassiana Willis, a standout performer with aqua-blue hair, traced the walk from the Banneker housing projects to Herbst Theatre. “Ain’t no love here, just concrete,” she sighed, lamenting that her hometown now feels unfamiliar because most of the people she grew up with are gone. \u003c/p>\n\u003cfigure id=\"attachment_13811022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0089-800x529.jpg\" alt=\"Kronos Quartet's strings highlighted the emotional impact of Youth Speaks' poetry. \" width=\"800\" height=\"529\" class=\"size-medium wp-image-13811022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-520x344.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet’s strings highlighted the emotional impact of Youth Speaks’ poetry. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aimee Suzara, a Filipino-American poet, framed this experience of displacement in a broader context of colonialism: One of her most hard-hitting verses pointed out that immigrants fleeing poverty-stricken, colonized lands must now contend with a new breed of white settlers driving them out of their homes in San Francisco. \u003c/p>\n\u003cp>Meanwhile, Gabriel Cortez invoked the San Francisco War Memorial and Performing Arts Center — which houses Herbst Theatre — to address fallen soldiers and young lives lost to violence. “They say, ‘We give you our deaths, give them their meaning,’” he repeated, highlighting the importance of understanding and remembering history. \u003c/p>\n\u003cp>\u003cem>Echoes\u003c/em> was by all counts a tough pill to swallow, but the poets and musicians did a commendable job fusing their different mediums to create an emotionally impactful, timely, and original performance. And although a concert that combined spoken word poetry, rock, and chamber music might have seemed odd at a first glance, \u003cem>Echoes\u003c/em> did the important work of fostering a conversation across racial and class lines — one that rarely happens in an increasingly segregated Bay Area. \u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I saw it last night at midnight — the glow from the ridgeline. \u003cem>So that’s what the smell of smoke is from\u003c/em>, I thought. And then I turned on the radio.\u003c/p>\n\u003cp>Now, 12 hours later, my city is on fire. Santa Rosa, home to so many strong, wonderful people, my home where I was born and raised. The \u003ca href=\"https://twitter.com/alvinjornada/status/917442860483461120\" target=\"_blank\" rel=\"noopener noreferrer\">Luther Burbank Center\u003c/a>, where I went to kindergarten, my senior prom, countless concerts. \u003ca href=\"https://twitter.com/suzyesp/status/917500594570485760\" target=\"_blank\" rel=\"noopener noreferrer\">Cardinal Newman High School\u003c/a>, which I grew up next to, where I learned to skate. \u003ca href=\"https://twitter.com/davidrdowns/status/917508340745363456\" target=\"_blank\" rel=\"noopener noreferrer\">Coffey Park\u003c/a>, where my friends and I decided to start our first band. \u003ca href=\"https://twitter.com/mark_tarello/status/917401232632877056\" target=\"_blank\" rel=\"noopener noreferrer\">Kmart\u003c/a>, where my mom bought all my school clothes every year.\u003c/p>\n\u003cp>And hardest of all to fathom, \u003ca href=\"https://twitter.com/sonomaflyer/status/917515854144606208\" target=\"_blank\" rel=\"noopener noreferrer\">Wikiup\u003c/a>, where my dad’s house — a house he built himself, where he’s lived for almost 30 years — is in serious danger, with flames spreading rapidly all over the area.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13810995\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Driving-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Driving-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Driving-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Driving-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Driving-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Driving.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Driving-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Driving-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Driving-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Driving-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Driving-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>My dad is not alone. When we finally evacuated a few hours ago, my wife and daughter and I, we hastily threw things into the car. All those things run through your head: Grab photos. Letters. Clothes. The cat. Water. A 72-hour emergency kit. What else? A gas can. \u003cem>Will we really need to put gas in the car? Why didn’t I turn off the gas main at the house? What else did I forget?\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These thoughts come at a manic pace when you’re driving out of town with thousands of others, all wondering if they did the right thing, all worrying about their loved ones and homes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>A fire on this scale is completely unexpected. Santa Rosa doesn’t get natural disasters like this often. Before today, the most devastating one of the last 100 years came in 1969, when \u003ca href=\"http://www.pressdemocrat.com/news/2629497-181/lebaron-santa-rosas-69-earthquakes?artslide=0\" target=\"_blank\" rel=\"noopener noreferrer\">a pair of violent earthquakes\u003c/a> struck the city. Hit hardest was the downtown area, and the city has never been the same: ugly ’70s concrete brutalist architecture rose up from the rubble, and the downtown core was bisected by a giant imposing shopping mall, giving everybody something to constantly complain about ever since. You’re not a true Santa Rosan if you don’t.\u003c/p>\n\u003cp>This is different — far more destructive, far more unimaginable. Nobody will grouse about this one for style points. Hopefully nobody will politicize the \u003ca href=\"https://twitter.com/kentphotos/status/917389349754347520\" target=\"_blank\" rel=\"noopener noreferrer\">leveling of Fountaingrove\u003c/a>, the sprawling hillside neighborhood that’s home to the city’s wealthiest business owners, developers, lawyers, politicians and doctors, because just down the hill, Journey’s End Mobile Home park is reportedly gone too. Coffey Park is still burning. Hopefully nobody will use this as a springboard for whatever niche issue they push. There is no cachet of cool in celebrating any of this.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13810997\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Fire1-800x500.jpg\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire1-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire1-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire1-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire1-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire1-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire1-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire1-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire1-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire1-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Because today? Santa Rosa has taken a beating and as I write this, I’m not sure when we’ll be able to fully get back up. Whether you once climbed the hill with friends up to the \u003ca href=\"https://twitter.com/kentphotos/status/917391621838168064\" target=\"_blank\" rel=\"noopener noreferrer\">Fountaingrove Round Barn\u003c/a> to explore the inside at night, or you took a first date to \u003ca href=\"http://www.pressdemocrat.com/news/7507522-181/fire-destroys-fountaingrove-inn-willis?gallery=7508401&artslide=11\" target=\"_blank\" rel=\"noopener noreferrer\">Willi’s Wine Bar\u003c/a>, or you parked afterward at the city’s inspiration point make-out spot \u003ca href=\"http://www.pressdemocrat.com/news/7507522-181/fire-destroys-fountaingrove-inn-willis?gallery=7508401&artslide=12\" target=\"_blank\" rel=\"noopener noreferrer\">Altruria Drive\u003c/a> on a Saturday night, you know how this hurts. Even the things you love to hate, like \u003ca href=\"http://www.kzst.com/\" target=\"_blank\" rel=\"noopener noreferrer\">KZST\u003c/a>, the middle-of-the-road radio station which plays incessantly in every dentist’s office in town — when you hear even \u003cem>they\u003c/em> had to evacuate their studio, you can’t help but pause at the disrupt of it all. Santa Rosa without KZST means that something is seriously wrong.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>And today, I just have to say: this is how we do this. Gathering around \u003ca href=\"http://v6.player.abacast.net/961\" target=\"_blank\" rel=\"noopener noreferrer\">KSRO\u003c/a> for live updates from the great team there, following \u003ca href=\"https://twitter.com/kentphotos\" target=\"_blank\" rel=\"noopener noreferrer\">Kent Porter\u003c/a> for his stellar photos, listening to \u003ca href=\"https://ww2.kqed.org/forum/2017/10/09/napa-and-sonoma-fire-update/\" target=\"_blank\" rel=\"noopener noreferrer\">KQED \u003cem>Forum\u003c/em>\u003c/a> for the multitude of callers from all over the region, and of course, turning to social media to provide support, information, help with lost pets, offers of places to stay, and more. Giving out water and food. Opening up our homes. I have seen so many displays of togetherness from total strangers this morning that I’ve lost count. You hear this same exact thing about every community in the wake of every tragedy. But in Santa Rosa it really is true.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13810998\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Sun-800x550.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Sun-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Sun-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Sun-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Sun-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Sun.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Sun-1180x811.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Sun-960x660.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Sun-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Sun-375x258.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Sun-520x358.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In the time since I started writing this, amazingly, my dad’s house looks to be safe for now, as does mine. Safari West says \u003ca href=\"https://twitter.com/oakzoo/status/917452559534530561\" target=\"_blank\" rel=\"noopener noreferrer\">all their animals are OK\u003c/a>. The Luther Burbank Center’s main theater may \u003ca href=\"https://twitter.com/gmeline/status/917462331096932352\" target=\"_blank\" rel=\"noopener noreferrer\">actually be safe\u003c/a> after all.\u003c/p>\n\u003cp>But so many others have lost everything. Entire neighborhoods destroyed. Other cities like \u003ca href=\"https://twitter.com/BillSwindell/status/917451252325163009\" target=\"_blank\" rel=\"noopener noreferrer\">Kenwood\u003c/a>, \u003ca href=\"https://twitter.com/chelsconnors11/status/917366732250947585\" target=\"_blank\" rel=\"noopener noreferrer\">Glen Ellen\u003c/a>, \u003ca href=\"https://twitter.com/sourdoughgal/status/917427350823829504\" target=\"_blank\" rel=\"noopener noreferrer\">Sonoma\u003c/a> and others are hurting like we are. Now’s the time we do the work we do best — helping each other, listening to each other, and rebuilding.\u003c/p>\n\u003cp>A \u003ca href=\"http://www.parks.sonoma.net/burbstory.html\" target=\"_blank\" rel=\"noopener noreferrer\">famous resident of ours\u003c/a> once wrote that this is the chosen spot of all the Earth as far as nature is concerned. Let’s make sure that as we get through this, it’s the chosen spot for human nature too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/RDnews/2017/10/MelineSantaRosa.mp3\" title=\"Gabe Meline two-way\" program=\"The California Report\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Fire1-800x500.jpg\"]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I saw it last night at midnight — the glow from the ridgeline. \u003cem>So that’s what the smell of smoke is from\u003c/em>, I thought. And then I turned on the radio.\u003c/p>\n\u003cp>Now, 12 hours later, my city is on fire. Santa Rosa, home to so many strong, wonderful people, my home where I was born and raised. The \u003ca href=\"https://twitter.com/alvinjornada/status/917442860483461120\" target=\"_blank\" rel=\"noopener noreferrer\">Luther Burbank Center\u003c/a>, where I went to kindergarten, my senior prom, countless concerts. \u003ca href=\"https://twitter.com/suzyesp/status/917500594570485760\" target=\"_blank\" rel=\"noopener noreferrer\">Cardinal Newman High School\u003c/a>, which I grew up next to, where I learned to skate. \u003ca href=\"https://twitter.com/davidrdowns/status/917508340745363456\" target=\"_blank\" rel=\"noopener noreferrer\">Coffey Park\u003c/a>, where my friends and I decided to start our first band. \u003ca href=\"https://twitter.com/mark_tarello/status/917401232632877056\" target=\"_blank\" rel=\"noopener noreferrer\">Kmart\u003c/a>, where my mom bought all my school clothes every year.\u003c/p>\n\u003cp>And hardest of all to fathom, \u003ca href=\"https://twitter.com/sonomaflyer/status/917515854144606208\" target=\"_blank\" rel=\"noopener noreferrer\">Wikiup\u003c/a>, where my dad’s house — a house he built himself, where he’s lived for almost 30 years — is in serious danger, with flames spreading rapidly all over the area.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13810995\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Driving-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Driving-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Driving-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Driving-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Driving-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Driving.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Driving-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Driving-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Driving-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Driving-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Driving-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>My dad is not alone. When we finally evacuated a few hours ago, my wife and daughter and I, we hastily threw things into the car. All those things run through your head: Grab photos. Letters. Clothes. The cat. Water. A 72-hour emergency kit. What else? A gas can. \u003cem>Will we really need to put gas in the car? Why didn’t I turn off the gas main at the house? What else did I forget?\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These thoughts come at a manic pace when you’re driving out of town with thousands of others, all wondering if they did the right thing, all worrying about their loved ones and homes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>A fire on this scale is completely unexpected. Santa Rosa doesn’t get natural disasters like this often. Before today, the most devastating one of the last 100 years came in 1969, when \u003ca href=\"http://www.pressdemocrat.com/news/2629497-181/lebaron-santa-rosas-69-earthquakes?artslide=0\" target=\"_blank\" rel=\"noopener noreferrer\">a pair of violent earthquakes\u003c/a> struck the city. Hit hardest was the downtown area, and the city has never been the same: ugly ’70s concrete brutalist architecture rose up from the rubble, and the downtown core was bisected by a giant imposing shopping mall, giving everybody something to constantly complain about ever since. You’re not a true Santa Rosan if you don’t.\u003c/p>\n\u003cp>This is different — far more destructive, far more unimaginable. Nobody will grouse about this one for style points. Hopefully nobody will politicize the \u003ca href=\"https://twitter.com/kentphotos/status/917389349754347520\" target=\"_blank\" rel=\"noopener noreferrer\">leveling of Fountaingrove\u003c/a>, the sprawling hillside neighborhood that’s home to the city’s wealthiest business owners, developers, lawyers, politicians and doctors, because just down the hill, Journey’s End Mobile Home park is reportedly gone too. Coffey Park is still burning. Hopefully nobody will use this as a springboard for whatever niche issue they push. There is no cachet of cool in celebrating any of this.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13810997\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Fire1-800x500.jpg\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire1-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire1-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire1-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire1-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire1-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire1-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire1-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire1-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Fire1-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Because today? Santa Rosa has taken a beating and as I write this, I’m not sure when we’ll be able to fully get back up. Whether you once climbed the hill with friends up to the \u003ca href=\"https://twitter.com/kentphotos/status/917391621838168064\" target=\"_blank\" rel=\"noopener noreferrer\">Fountaingrove Round Barn\u003c/a> to explore the inside at night, or you took a first date to \u003ca href=\"http://www.pressdemocrat.com/news/7507522-181/fire-destroys-fountaingrove-inn-willis?gallery=7508401&artslide=11\" target=\"_blank\" rel=\"noopener noreferrer\">Willi’s Wine Bar\u003c/a>, or you parked afterward at the city’s inspiration point make-out spot \u003ca href=\"http://www.pressdemocrat.com/news/7507522-181/fire-destroys-fountaingrove-inn-willis?gallery=7508401&artslide=12\" target=\"_blank\" rel=\"noopener noreferrer\">Altruria Drive\u003c/a> on a Saturday night, you know how this hurts. Even the things you love to hate, like \u003ca href=\"http://www.kzst.com/\" target=\"_blank\" rel=\"noopener noreferrer\">KZST\u003c/a>, the middle-of-the-road radio station which plays incessantly in every dentist’s office in town — when you hear even \u003cem>they\u003c/em> had to evacuate their studio, you can’t help but pause at the disrupt of it all. Santa Rosa without KZST means that something is seriously wrong.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>And today, I just have to say: this is how we do this. Gathering around \u003ca href=\"http://v6.player.abacast.net/961\" target=\"_blank\" rel=\"noopener noreferrer\">KSRO\u003c/a> for live updates from the great team there, following \u003ca href=\"https://twitter.com/kentphotos\" target=\"_blank\" rel=\"noopener noreferrer\">Kent Porter\u003c/a> for his stellar photos, listening to \u003ca href=\"https://ww2.kqed.org/forum/2017/10/09/napa-and-sonoma-fire-update/\" target=\"_blank\" rel=\"noopener noreferrer\">KQED \u003cem>Forum\u003c/em>\u003c/a> for the multitude of callers from all over the region, and of course, turning to social media to provide support, information, help with lost pets, offers of places to stay, and more. Giving out water and food. Opening up our homes. I have seen so many displays of togetherness from total strangers this morning that I’ve lost count. You hear this same exact thing about every community in the wake of every tragedy. But in Santa Rosa it really is true.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13810998\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Sun-800x550.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Sun-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Sun-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Sun-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Sun-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Sun.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Sun-1180x811.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Sun-960x660.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Sun-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Sun-375x258.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Sun-520x358.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In the time since I started writing this, amazingly, my dad’s house looks to be safe for now, as does mine. Safari West says \u003ca href=\"https://twitter.com/oakzoo/status/917452559534530561\" target=\"_blank\" rel=\"noopener noreferrer\">all their animals are OK\u003c/a>. The Luther Burbank Center’s main theater may \u003ca href=\"https://twitter.com/gmeline/status/917462331096932352\" target=\"_blank\" rel=\"noopener noreferrer\">actually be safe\u003c/a> after all.\u003c/p>\n\u003cp>But so many others have lost everything. Entire neighborhoods destroyed. Other cities like \u003ca href=\"https://twitter.com/BillSwindell/status/917451252325163009\" target=\"_blank\" rel=\"noopener noreferrer\">Kenwood\u003c/a>, \u003ca href=\"https://twitter.com/chelsconnors11/status/917366732250947585\" target=\"_blank\" rel=\"noopener noreferrer\">Glen Ellen\u003c/a>, \u003ca href=\"https://twitter.com/sourdoughgal/status/917427350823829504\" target=\"_blank\" rel=\"noopener noreferrer\">Sonoma\u003c/a> and others are hurting like we are. Now’s the time we do the work we do best — helping each other, listening to each other, and rebuilding.\u003c/p>\n\u003cp>A \u003ca href=\"http://www.parks.sonoma.net/burbstory.html\" target=\"_blank\" rel=\"noopener noreferrer\">famous resident of ours\u003c/a> once wrote that this is the chosen spot of all the Earth as far as nature is concerned. Let’s make sure that as we get through this, it’s the chosen spot for human nature too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Wildfire Threatens NorCal Arts Organizations, Events Canceled",
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"content": "\u003cp>\u003cb>UPDATE:\u003c/b> The Sonoma County Sheriff confirms that ten people died in the fire. Officials say the death toll is expected to climb. Santa Rosa Police announced a 6:45pm curfew for the city. \u003c/p>\n\u003cp>https://twitter.com/KQEDnews/status/917544383955714048\u003c/p>\n\u003cp>Wildfires that burned over 58,000 acres in Napa and Sonoma counties and forced mass evacuations also destroyed several historic structures, including an entire wing of the Luther Burbank Center for the Arts in Santa Rosa. It’s also led to several events being canceled or delayed.\u003c/p>\n\u003cp>The fire began late Sunday night. By the following morning an estimated 1,500 structures had been burned and 20,000 residents had been evacuated overnight. As of noon Monday, between 45,000 and 50,000 customers in the area were without power. \u003c/p>\n\u003cp>Gov. Jerry Brown declared a state of emergency for much of the area in Northern California.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is really serious, it’s moving fast, the heat, lack of humidity and wind are all driving a very dangerous situation and making it worse,” \u003ca href=\"https://ww2.kqed.org/news/2017/10/09/wind-whipped-wildfires-forcing-evacuations-in-napa-and-sonoma-counties/\" rel=\"noopener\" target=\"_blank\">Brown said\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13811037\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/SMoking-Luther-800x450.jpg\" alt=\"The remains of the east end of the Luther Burbank Center for Arts\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SMoking-Luther-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SMoking-Luther-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SMoking-Luther-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SMoking-Luther-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SMoking-Luther.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SMoking-Luther-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SMoking-Luther-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SMoking-Luther-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SMoking-Luther-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SMoking-Luther-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The remains of the east end of the Luther Burbank Center for Arts \u003ccite>(Adam Grossberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Early reports noted that the Luther Burbank Center for the Arts had burned down, but at 11:30am the center’s representatives stated that only the center’s classrooms and east end had been destroyed. The center’s main building, which hosts its 1,400-seat theater, suffered only minimal damage.\u003c/p>\n\u003cp>https://www.facebook.com/lutherburbankcenter/posts/10155219364118472\u003c/p>\n\u003cp>At least two beloved restaurants reportedly burnt down: Cricklewood, which has been open since 1976; and Willi’s Wine Bar, one of the area’s first eateries to serve small plates.\u003c/p>\n\u003cp>https://www.facebook.com/WillisWineBar/photos/a.356717027685224.94791.116646821692247/1697865386903708\u003c/p>\n\u003cp>The wildfire came close to the \u003ca href=\"https://schulzmuseum.org\" rel=\"noopener\" target=\"_blank\">Charles Schulz Museum\u003c/a> but did not damage it. The museum lost power and was evacuated by early Monday morning. \u003c/p>\n\u003cp>https://twitter.com/peterhartlaub/status/917460524593377280\u003c/p>\n\u003cp>The fire also threatened the 6th Street Playhouse in Santa Rosa, spreading to a nearby house and an empty field next to the theater last night. But employees reportedly fought off the creeping flames and as of Monday afternoon, the theater was untouched and without power. The opening of the theater’s production of \u003ci>Steel Magnolias\u003c/i> has been postponed because so many actors were evacuated from their homes, executive director Jared Sakren told the \u003ca href=\"http://www.sfchronicle.com/art/article/Live-updates-North-Bay-fire-s-impact-on-arts-12264189.php\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle\u003c/a>. \u003c/p>\n\u003cp>https://www.facebook.com/6thStreetPlayhouse/posts/10155794498624721\u003c/p>\n\u003cp>The Santa Rosa Symphony’s Monday night performance at the Green Music Center also been canceled. The center is housed at Sonoma State University, which is closed until Wednesday.\u003c/p>\n\u003cp>https://www.facebook.com/greenmusiccenter/posts/1677743538945307 \u003c/p>\n\u003cp>As of Monday afternoon, there have been no reports of damage to the area’s local art galleries. The diRosa Center for Contemporary Art reported Monday morning that all of its galleries were safe and firefighters were in the area. diRosa’s spokesperson Danielle Smith told the \u003ca href=\"http://www.sfchronicle.com/art/article/Live-updates-North-Bay-fire-s-impact-on-arts-12264189.php\" rel=\"noopener\" target=\"_blank\">S.F. Chronicle\u003c/a> that “the fire had burned down to the picnic tables but was contained.”\u003c/p>\n\u003cp>https://www.facebook.com/dirosaart/posts/10154837999075493\u003c/p>\n\u003cp>In Petaluma, the Mystic Theater, the city’s historic music venue, is providing food and temporary shelter for those in need. \u003c/p>\n\u003cp>https://www.facebook.com/MysticTheatre/photos/a.10151914450477669.1073741826.52056022668/10155246388952669\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" link=\"none\" ids=\"13811049,13811050,13811047,13811046,13811045\"]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Follow this story for updates. For more information on the fire outside of the arts community, follow \u003ca href=\"https://ww2.kqed.org/news/2017/10/09/wind-whipped-wildfires-forcing-evacuations-in-napa-and-sonoma-counties/\" rel=\"noopener\" target=\"_blank\">KQED News’ coverage\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Wildfires that burned over 58,000 acres in Napa and Sonoma counties and forced mass evacuations also destroyed several historic structures, including an entire wing of the Luther Burbank Center for the Arts in Santa Rosa. It’s also led to several events being canceled or delayed.\u003c/p>\n\u003cp>The fire began late Sunday night. By the following morning an estimated 1,500 structures had been burned and 20,000 residents had been evacuated overnight. As of noon Monday, between 45,000 and 50,000 customers in the area were without power. \u003c/p>\n\u003cp>Gov. Jerry Brown declared a state of emergency for much of the area in Northern California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is really serious, it’s moving fast, the heat, lack of humidity and wind are all driving a very dangerous situation and making it worse,” \u003ca href=\"https://ww2.kqed.org/news/2017/10/09/wind-whipped-wildfires-forcing-evacuations-in-napa-and-sonoma-counties/\" rel=\"noopener\" target=\"_blank\">Brown said\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13811037\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/SMoking-Luther-800x450.jpg\" alt=\"The remains of the east end of the Luther Burbank Center for Arts\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SMoking-Luther-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SMoking-Luther-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SMoking-Luther-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SMoking-Luther-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SMoking-Luther.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SMoking-Luther-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SMoking-Luther-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SMoking-Luther-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SMoking-Luther-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SMoking-Luther-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The remains of the east end of the Luther Burbank Center for Arts \u003ccite>(Adam Grossberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Early reports noted that the Luther Burbank Center for the Arts had burned down, but at 11:30am the center’s representatives stated that only the center’s classrooms and east end had been destroyed. The center’s main building, which hosts its 1,400-seat theater, suffered only minimal damage.\u003c/p>\n\u003cp>https://www.facebook.com/lutherburbankcenter/posts/10155219364118472\u003c/p>\n\u003cp>At least two beloved restaurants reportedly burnt down: Cricklewood, which has been open since 1976; and Willi’s Wine Bar, one of the area’s first eateries to serve small plates.\u003c/p>\n\u003cp>https://www.facebook.com/WillisWineBar/photos/a.356717027685224.94791.116646821692247/1697865386903708\u003c/p>\n\u003cp>The wildfire came close to the \u003ca href=\"https://schulzmuseum.org\" rel=\"noopener\" target=\"_blank\">Charles Schulz Museum\u003c/a> but did not damage it. The museum lost power and was evacuated by early Monday morning. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The fire also threatened the 6th Street Playhouse in Santa Rosa, spreading to a nearby house and an empty field next to the theater last night. But employees reportedly fought off the creeping flames and as of Monday afternoon, the theater was untouched and without power. The opening of the theater’s production of \u003ci>Steel Magnolias\u003c/i> has been postponed because so many actors were evacuated from their homes, executive director Jared Sakren told the \u003ca href=\"http://www.sfchronicle.com/art/article/Live-updates-North-Bay-fire-s-impact-on-arts-12264189.php\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle\u003c/a>. \u003c/p>\n\u003cp>https://www.facebook.com/6thStreetPlayhouse/posts/10155794498624721\u003c/p>\n\u003cp>The Santa Rosa Symphony’s Monday night performance at the Green Music Center also been canceled. The center is housed at Sonoma State University, which is closed until Wednesday.\u003c/p>\n\u003cp>https://www.facebook.com/greenmusiccenter/posts/1677743538945307 \u003c/p>\n\u003cp>As of Monday afternoon, there have been no reports of damage to the area’s local art galleries. The diRosa Center for Contemporary Art reported Monday morning that all of its galleries were safe and firefighters were in the area. diRosa’s spokesperson Danielle Smith told the \u003ca href=\"http://www.sfchronicle.com/art/article/Live-updates-North-Bay-fire-s-impact-on-arts-12264189.php\" rel=\"noopener\" target=\"_blank\">S.F. Chronicle\u003c/a> that “the fire had burned down to the picnic tables but was contained.”\u003c/p>\n\u003cp>https://www.facebook.com/dirosaart/posts/10154837999075493\u003c/p>\n\u003cp>In Petaluma, the Mystic Theater, the city’s historic music venue, is providing food and temporary shelter for those in need. \u003c/p>\n\u003cp>https://www.facebook.com/MysticTheatre/photos/a.10151914450477669.1073741826.52056022668/10155246388952669\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Follow this story for updates. For more information on the fire outside of the arts community, follow \u003ca href=\"https://ww2.kqed.org/news/2017/10/09/wind-whipped-wildfires-forcing-evacuations-in-napa-and-sonoma-counties/\" rel=\"noopener\" target=\"_blank\">KQED News’ coverage\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Editorial Bias Exposed in Unpublished Gordon Parks Images",
"headTitle": "Editorial Bias Exposed in Unpublished Gordon Parks Images | KQED",
"content": "\u003cp>In 1948, Gordon Parks became the first Black photographer featured in \u003ci>Life\u003c/i> magazine. Already a seasoned professional with work in \u003ci>Vogue\u003c/i> and \u003ci>Glamour\u003c/i>, Parks chose \u003ci>Life\u003c/i> for a story he wanted to tell about Harlem’s gang wars after having spent some time in the systemically under-resourced borough. He found a subject in 17-year-old Harlem resident Leonard “Red” Jackson, leader of the Midtowners crew, and his story went on to be published under the title “Harlem Gang Leader.”\u003c/p>\n\u003cp>As was custom, Parks presented hundreds of negatives to his editors at \u003ci>Life\u003c/i>, who in turn selected and edited 21 images from that collection to tell the story of Jackson and his friends. \u003ci>\u003ca href=\"https://bampfa.org/program/gordon-parks-making-argument\" target=\"_blank\" rel=\"noopener\">Gordon Parks: The Making of an Argument\u003c/a>\u003c/i>, a touring exhibition making its final stop at BAMPFA, deconstructs the editorial process behind that photo essay while also proposing an alternative story about Jackson and his life in Harlem.\u003c/p>\n\u003cfigure id=\"attachment_13810687\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200.jpg\" alt=\"Gordon Parks, 'Untitled, Harlem, New York' (Contact Sheet), 1948.\" width=\"1200\" height=\"926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-1020x787.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-1180x911.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-960x741.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-240x185.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-375x289.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-520x401.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York’ (Contact Sheet), 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a medium, photography carries implicit values of accuracy and impartial documentation. But there is a dangerous deceitfulness to still images — so much can be left unseen.\u003c/p>\n\u003cp>Russell Lord, curator at the \u003ca href=\"https://noma.org/\" target=\"_blank\" rel=\"noopener\">New Orleans Museum of Art\u003c/a> and organizer of \u003ci>The Making of an Argument\u003c/i>, resists the notion of objectivity behind the photo essay. Instead, Lord presents a show that concentrates on the choices made by the editors at \u003ci>Life\u003c/i> magazine: What biases might they have had towards the sensational and stereotypical? Why did they darken or crop images to distort Jackson’s appearance? Were these choices and the messages they relayed in opposition with Parks’ intentions — or, even more importantly, to the truth of Jackson’s life?\u003c/p>\n\u003cp>Through contact sheets covered with notes from editors, Parks’ unpublished photos, and additional context, the exhibit makes a strong argument for the presence of racial bias in \u003ci>Life\u003c/i>’s “Harlem Gang Leader” story.\u003c/p>\n\u003cfigure id=\"attachment_13810686\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810686\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200.jpg\" alt=\"Gordon Parks, 'Untitled, Harlem, New York,' 1948.\" width=\"1200\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-800x802.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-768x770.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-1020x1023.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-1180x1183.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-960x962.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-520x521.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York,’ 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first display in the exhibit features enlarged prints of the published photographs, laid out on the wall to mimic the magazine’s version of the story. Notably missing is the text that Parks provided to his editors. At a talk following the exhibition’s BAMPFA opening, Lord argued that this is in fact how most folks consume photo essays — primarily through images and without much input from words. There lies the show’s first argument: the visual story holds the most weight.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the 21 images featured in \u003ci>Life\u003c/i>, we see the teenage Jackson looking out a window with a cigarette perched on his lips, play fighting with a friend, getting a scratch tended to by another, sitting with family, looking into an open casket at a funeral, and hiding in an abandoned building.\u003c/p>\n\u003cfigure id=\"attachment_13810683\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200.jpg\" alt=\"Gordon Parks, 'Red Jackson with His Mother and Brother, Harlem, New York,' 1948.\" width=\"1200\" height=\"1237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-160x165.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-800x825.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-768x792.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-1020x1051.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-1180x1216.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-960x990.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-240x247.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-375x387.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-520x536.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-32x32.jpg 32w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Red Jackson with His Mother and Brother, Harlem, New York,’ 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Further along in the exhibit, magazine excerpts and gallery wall text illuminate the stories behind photographs from \u003ci>Life\u003c/i> that are harder to decipher without context. These include images of a brawl between two crews, Jackson and the Midtowners painting repaired bikes to ride together, and the teenage leader receiving the honor of “boy mayor” after his mentor, police officer Jimmy Morrow, recommended him. In these pictures, the gang Jackson led is better understood as a unit that found safety in numbers and camaraderie in each other’s company.\u003c/p>\n\u003cp>Lord elaborates on Jackson’s life using photos the editors discarded. Many document quiet, domestic moments. In one, Parks shows the young man sweeping the home he shares with his mother and brother. In others, Jackson fidgets with a radio and combs his hair in the mirror. Parks intentionally documented these radically ordinary moments of Jackson’s life, but they were omitted from the magazine; they didn’t fit the \u003ci>Life\u003c/i> narrative of a Harlem gang leader.\u003c/p>\n\u003cfigure id=\"attachment_13810684\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810684\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200.jpg\" alt=\"Gordon Parks, 'Untitled, Harlem, New York,' 1948.\" width=\"1200\" height=\"1247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-800x831.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-768x798.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-1020x1060.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-1180x1226.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-960x998.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-240x249.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-375x390.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-520x540.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-32x32.jpg 32w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York,’ 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These revelations make the show unambiguously opinionated, but there’s still much in \u003ci>The Making of an Argument\u003c/i> for the audience to ponder. I came away thinking about the audience served by seeing a young Black man — who by Parks’ account was desperate to find legitimate work and a good life — solely as a violent gang member. I contemplated the consequences, at personal and policy levels, that such perceptions of young Black folks inform. \u003c/p>\n\u003cp>Jackson’s leadership, whether it be in the Midtowners or elsewhere (later in his life, he reached out to Parks, seeking opportunities to educate youth), is evident in the photographs Parks took. It’s impossible not to wonder what might have become of his life had he lived in a place with more abundant possibilities than post-World War II Harlem. Or if he hadn’t been a young Black man about which the world had already made up its mind. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Gordon Parks: The Making of an Argument’ is on view at the Berkeley Art Museum and Pacific Film Archive through Dec. 17. For more information, \u003ca href=\"https://bampfa.org/program/gordon-parks-making-argument\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1948, Gordon Parks became the first Black photographer featured in \u003ci>Life\u003c/i> magazine. Already a seasoned professional with work in \u003ci>Vogue\u003c/i> and \u003ci>Glamour\u003c/i>, Parks chose \u003ci>Life\u003c/i> for a story he wanted to tell about Harlem’s gang wars after having spent some time in the systemically under-resourced borough. He found a subject in 17-year-old Harlem resident Leonard “Red” Jackson, leader of the Midtowners crew, and his story went on to be published under the title “Harlem Gang Leader.”\u003c/p>\n\u003cp>As was custom, Parks presented hundreds of negatives to his editors at \u003ci>Life\u003c/i>, who in turn selected and edited 21 images from that collection to tell the story of Jackson and his friends. \u003ci>\u003ca href=\"https://bampfa.org/program/gordon-parks-making-argument\" target=\"_blank\" rel=\"noopener\">Gordon Parks: The Making of an Argument\u003c/a>\u003c/i>, a touring exhibition making its final stop at BAMPFA, deconstructs the editorial process behind that photo essay while also proposing an alternative story about Jackson and his life in Harlem.\u003c/p>\n\u003cfigure id=\"attachment_13810687\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200.jpg\" alt=\"Gordon Parks, 'Untitled, Harlem, New York' (Contact Sheet), 1948.\" width=\"1200\" height=\"926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-1020x787.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-1180x911.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-960x741.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-240x185.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-375x289.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_13_1200-520x401.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York’ (Contact Sheet), 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a medium, photography carries implicit values of accuracy and impartial documentation. But there is a dangerous deceitfulness to still images — so much can be left unseen.\u003c/p>\n\u003cp>Russell Lord, curator at the \u003ca href=\"https://noma.org/\" target=\"_blank\" rel=\"noopener\">New Orleans Museum of Art\u003c/a> and organizer of \u003ci>The Making of an Argument\u003c/i>, resists the notion of objectivity behind the photo essay. Instead, Lord presents a show that concentrates on the choices made by the editors at \u003ci>Life\u003c/i> magazine: What biases might they have had towards the sensational and stereotypical? Why did they darken or crop images to distort Jackson’s appearance? Were these choices and the messages they relayed in opposition with Parks’ intentions — or, even more importantly, to the truth of Jackson’s life?\u003c/p>\n\u003cp>Through contact sheets covered with notes from editors, Parks’ unpublished photos, and additional context, the exhibit makes a strong argument for the presence of racial bias in \u003ci>Life\u003c/i>’s “Harlem Gang Leader” story.\u003c/p>\n\u003cfigure id=\"attachment_13810686\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810686\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200.jpg\" alt=\"Gordon Parks, 'Untitled, Harlem, New York,' 1948.\" width=\"1200\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-800x802.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-768x770.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-1020x1023.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-1180x1183.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-960x962.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-520x521.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/NewOrleans_02_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York,’ 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first display in the exhibit features enlarged prints of the published photographs, laid out on the wall to mimic the magazine’s version of the story. Notably missing is the text that Parks provided to his editors. At a talk following the exhibition’s BAMPFA opening, Lord argued that this is in fact how most folks consume photo essays — primarily through images and without much input from words. There lies the show’s first argument: the visual story holds the most weight.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the 21 images featured in \u003ci>Life\u003c/i>, we see the teenage Jackson looking out a window with a cigarette perched on his lips, play fighting with a friend, getting a scratch tended to by another, sitting with family, looking into an open casket at a funeral, and hiding in an abandoned building.\u003c/p>\n\u003cfigure id=\"attachment_13810683\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200.jpg\" alt=\"Gordon Parks, 'Red Jackson with His Mother and Brother, Harlem, New York,' 1948.\" width=\"1200\" height=\"1237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-160x165.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-800x825.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-768x792.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-1020x1051.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-1180x1216.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-960x990.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-240x247.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-375x387.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-520x536.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/319_Parks_e_1200-32x32.jpg 32w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Red Jackson with His Mother and Brother, Harlem, New York,’ 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Further along in the exhibit, magazine excerpts and gallery wall text illuminate the stories behind photographs from \u003ci>Life\u003c/i> that are harder to decipher without context. These include images of a brawl between two crews, Jackson and the Midtowners painting repaired bikes to ride together, and the teenage leader receiving the honor of “boy mayor” after his mentor, police officer Jimmy Morrow, recommended him. In these pictures, the gang Jackson led is better understood as a unit that found safety in numbers and camaraderie in each other’s company.\u003c/p>\n\u003cp>Lord elaborates on Jackson’s life using photos the editors discarded. Many document quiet, domestic moments. In one, Parks shows the young man sweeping the home he shares with his mother and brother. In others, Jackson fidgets with a radio and combs his hair in the mirror. Parks intentionally documented these radically ordinary moments of Jackson’s life, but they were omitted from the magazine; they didn’t fit the \u003ci>Life\u003c/i> narrative of a Harlem gang leader.\u003c/p>\n\u003cfigure id=\"attachment_13810684\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13810684\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200.jpg\" alt=\"Gordon Parks, 'Untitled, Harlem, New York,' 1948.\" width=\"1200\" height=\"1247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-800x831.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-768x798.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-1020x1060.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-1180x1226.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-960x998.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-240x249.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-375x390.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-520x540.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1607_Parks_NewOrleans_1200-32x32.jpg 32w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Parks, ‘Untitled, Harlem, New York,’ 1948. \u003ccite>(Courtesy of and copyright The Gordon Parks Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These revelations make the show unambiguously opinionated, but there’s still much in \u003ci>The Making of an Argument\u003c/i> for the audience to ponder. I came away thinking about the audience served by seeing a young Black man — who by Parks’ account was desperate to find legitimate work and a good life — solely as a violent gang member. I contemplated the consequences, at personal and policy levels, that such perceptions of young Black folks inform. \u003c/p>\n\u003cp>Jackson’s leadership, whether it be in the Midtowners or elsewhere (later in his life, he reached out to Parks, seeking opportunities to educate youth), is evident in the photographs Parks took. It’s impossible not to wonder what might have become of his life had he lived in a place with more abundant possibilities than post-World War II Harlem. Or if he hadn’t been a young Black man about which the world had already made up its mind. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Gordon Parks: The Making of an Argument’ is on view at the Berkeley Art Museum and Pacific Film Archive through Dec. 17. For more information, \u003ca href=\"https://bampfa.org/program/gordon-parks-making-argument\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-choruses-sing-out-in-mississippi-against-anti-gay-bill",
"title": "Bay Area Choruses Sing Out in Mississippi Against Anti-Gay Bill",
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"headTitle": "Bay Area Choruses Sing Out in Mississippi Against Anti-Gay Bill | KQED",
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"content": "\u003cp>Around 200 members of the \u003ca href=\"http://www.sfgmc.org/tour-schedule\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus\u003c/a>, together with some 50 singers from the \u003ca href=\"http://www.oigc.org/\" target=\"_blank\" rel=\"noopener\">Oakland Interfaith Gospel Choir\u003c/a>, gathered on the steps of the State Capitol Building in Jackson, MS to sing a message of love and unity on Sunday.\u003c/p>\n\u003cp>https://www.kqed.org/.stream/anon/radio/RDnews/2017/10/GayMensChoruslongcut.mp3\u003c/p>\n\u003cp>The gesture kicked off a concert and outreach tour of five southern states — Mississippi, Alabama, Tennessee, South Carolina and North Carolina — and was intended as a powerful message to state legislators just days before a controversial law, \u003ca href=\"http://billstatus.ls.state.ms.us/documents/2016/html/HB/1500-1599/HB1523SG.htm\" target=\"_blank\" rel=\"noopener\">House Bill 1523\u003c/a>, takes effect across the state.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Also known as “The \u003c/span>Religious Liberty Accommodations Act\u003cspan style=\"font-weight: 400\">,” HB 1523\u003c/span>\u003cspan style=\"font-weight: 400\"> gives businesses the right to refuse service to LGBTQ people due to religious views or preferences.\u003c/span>\u003c/p>\n\u003cp>“As of this week it will be legal for any business owner in Mississippi to tell your pastor he can’t have lunch in their establishment, to tell me I can’t sleep in their inn, to tell me I can’t buy from their shelves,” said Robert Lowry, pastor of \u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.fondrenpcusa.org/\" target=\"_blank\" rel=\"noopener\">Fondren Presbyterian Church\u003c/a> in Jackson. Lowry spoke with passion about the bill during his Sunday morning sermon, at which select Gay Men’s Chorus members sang. Lowry is gay. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13810852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-800x450.jpg\" alt=\"Pastor Robert Lowry of Fondren Presbyterian Church in Jackson, MS.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pastor Robert Lowry of Fondren Presbyterian Church in Jackson, MS. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lowry said this week is a turning point for Mississippi because of the passing of the highly-contested bill, and that the Bay Area singers’ visit sends a powerful message.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The religious liberty law is really a law for discrimination,” Lowry said in an interview before the service. “It’s important the choir is visiting right now, coming and celebrating and sharing their gifts and bringing this message of wholeness and peace and community into our community.”\u003c/p>\n\u003cfigure id=\"attachment_13810853\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810853\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-800x696.jpg\" alt=\"A pair of SF Gay Mens Chorus members arrive at Fondrian Presbyterian Church to participate in the morning service, holding hands.\" width=\"800\" height=\"696\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-800x696.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-768x668.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-1020x887.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-1920x1670.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-1180x1026.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-960x835.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-240x209.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-375x326.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-520x452.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A pair of SF Gay Men’s Chorus members arrive at Fondrian Presbyterian Church to participate in the morning service, holding hands. \u003ccite>(Photo: Chloe Veltma)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Spreading a sense of hope and solidarity to some of the most vulnerable parts of the country’s LGBTQ community is one of the main goals of the Gay Men’s Chorus’s “Lavender Pen” tour. \u003cspan style=\"font-weight: 400\">The chorus canceled its 40th anniversary international tour plans a few days after last November’s presidential elections in order to undertake what the organization felt was a more pressing outreach mission at home. \u003c/span>\u003c/p>\n\u003cp>“We wanted to be more radically inclusive,” said Gay Men’s Chorus staffer and former singer with the group, Peter Zimmerman. (Zimmerman even dyed his hair lavender in honor of the tour’s title.)\u003c/p>\n\u003cfigure id=\"attachment_13810854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810854\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-800x450.jpg\" alt='SF Gay Mens Chorus staffer Peter Zimmerman died his hair lavender in honor of the \"Lavender Pen Tour.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Gay Mens Chorus staffer Peter Zimmerman dyed his hair lavender in honor of the “Lavender Pen Tour.” \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zimmerman said his organization expects around 800 people to attend Sunday evening’s concert at Jackson’s \u003ca href=\"http://www.jacksonms.gov/index.aspx?nid=534\" target=\"_blank\" rel=\"noopener\">Thalia Mara Hall\u003c/a>. All proceeds from ticket sales and donations will benefit non-profit, LGBTQ support organizations. These include \u003ca href=\"https://www.hrc.org/campaigns/project-one-america\" target=\"_blank\" rel=\"noopener\">Project One America\u003c/a>, the transgender education and advocacy program of the \u003ca href=\"https://www.aclu.org/\" target=\"_blank\" rel=\"noopener\">American Civil Liberties Union\u003c/a> (ACLU) and the \u003ca href=\"http://www.ascms.net/\" target=\"_blank\" rel=\"noopener\">AIDS Services Coalition\u003c/a> based in Hattiesburg.\u003c/p>\n\u003cp>The Gay Men’s Chorus has also offered some partner organizations free tickets. These include \u003ca href=\"http://mbkinc.org/\" target=\"_blank\" rel=\"noopener\">My Brother’s Keeper\u003c/a>, which provides health services to minority and marginalized communities in the region, and is bringing around 150 of its patients to the concert.\u003c/p>\n\u003cp>“Many of the patients that we serve have never been to a concert or even set foot in Thalia Mara Hall,” said Deja Abdul-Haqq, director of organizational development at My Brother’s Keeper. “So it’s a really exciting opportunity for us.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Bay Area Choirs in Jackson, MS\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/7HOf-j3YxzU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco Gay Men’s Chorus “Lavender Pen Tour” visits various locations in Alabama, Tennessee, Mississippi, North Carolina and South Carolina Oct. 8 – 14. More information \u003ca href=\"http://www.sfgmc.org/lavender-pen-tour/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Political gesture kicks off the SF Gay Men's Chorus and Oakland Interfaith Gospel Choir's tour of five southern states.",
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"title": "Bay Area Choruses Sing Out in Mississippi Against Anti-Gay Bill | KQED",
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"headline": "Bay Area Choruses Sing Out in Mississippi Against Anti-Gay Bill",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Around 200 members of the \u003ca href=\"http://www.sfgmc.org/tour-schedule\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus\u003c/a>, together with some 50 singers from the \u003ca href=\"http://www.oigc.org/\" target=\"_blank\" rel=\"noopener\">Oakland Interfaith Gospel Choir\u003c/a>, gathered on the steps of the State Capitol Building in Jackson, MS to sing a message of love and unity on Sunday.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The gesture kicked off a concert and outreach tour of five southern states — Mississippi, Alabama, Tennessee, South Carolina and North Carolina — and was intended as a powerful message to state legislators just days before a controversial law, \u003ca href=\"http://billstatus.ls.state.ms.us/documents/2016/html/HB/1500-1599/HB1523SG.htm\" target=\"_blank\" rel=\"noopener\">House Bill 1523\u003c/a>, takes effect across the state.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Also known as “The \u003c/span>Religious Liberty Accommodations Act\u003cspan style=\"font-weight: 400\">,” HB 1523\u003c/span>\u003cspan style=\"font-weight: 400\"> gives businesses the right to refuse service to LGBTQ people due to religious views or preferences.\u003c/span>\u003c/p>\n\u003cp>“As of this week it will be legal for any business owner in Mississippi to tell your pastor he can’t have lunch in their establishment, to tell me I can’t sleep in their inn, to tell me I can’t buy from their shelves,” said Robert Lowry, pastor of \u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.fondrenpcusa.org/\" target=\"_blank\" rel=\"noopener\">Fondren Presbyterian Church\u003c/a> in Jackson. Lowry spoke with passion about the bill during his Sunday morning sermon, at which select Gay Men’s Chorus members sang. Lowry is gay. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13810852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-800x450.jpg\" alt=\"Pastor Robert Lowry of Fondren Presbyterian Church in Jackson, MS.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pastor Robert Lowry of Fondren Presbyterian Church in Jackson, MS. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lowry said this week is a turning point for Mississippi because of the passing of the highly-contested bill, and that the Bay Area singers’ visit sends a powerful message.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The religious liberty law is really a law for discrimination,” Lowry said in an interview before the service. “It’s important the choir is visiting right now, coming and celebrating and sharing their gifts and bringing this message of wholeness and peace and community into our community.”\u003c/p>\n\u003cfigure id=\"attachment_13810853\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810853\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-800x696.jpg\" alt=\"A pair of SF Gay Mens Chorus members arrive at Fondrian Presbyterian Church to participate in the morning service, holding hands.\" width=\"800\" height=\"696\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-800x696.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-768x668.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-1020x887.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-1920x1670.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-1180x1026.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-960x835.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-240x209.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-375x326.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-520x452.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A pair of SF Gay Men’s Chorus members arrive at Fondrian Presbyterian Church to participate in the morning service, holding hands. \u003ccite>(Photo: Chloe Veltma)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Spreading a sense of hope and solidarity to some of the most vulnerable parts of the country’s LGBTQ community is one of the main goals of the Gay Men’s Chorus’s “Lavender Pen” tour. \u003cspan style=\"font-weight: 400\">The chorus canceled its 40th anniversary international tour plans a few days after last November’s presidential elections in order to undertake what the organization felt was a more pressing outreach mission at home. \u003c/span>\u003c/p>\n\u003cp>“We wanted to be more radically inclusive,” said Gay Men’s Chorus staffer and former singer with the group, Peter Zimmerman. (Zimmerman even dyed his hair lavender in honor of the tour’s title.)\u003c/p>\n\u003cfigure id=\"attachment_13810854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810854\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-800x450.jpg\" alt='SF Gay Mens Chorus staffer Peter Zimmerman died his hair lavender in honor of the \"Lavender Pen Tour.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Gay Mens Chorus staffer Peter Zimmerman dyed his hair lavender in honor of the “Lavender Pen Tour.” \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zimmerman said his organization expects around 800 people to attend Sunday evening’s concert at Jackson’s \u003ca href=\"http://www.jacksonms.gov/index.aspx?nid=534\" target=\"_blank\" rel=\"noopener\">Thalia Mara Hall\u003c/a>. All proceeds from ticket sales and donations will benefit non-profit, LGBTQ support organizations. These include \u003ca href=\"https://www.hrc.org/campaigns/project-one-america\" target=\"_blank\" rel=\"noopener\">Project One America\u003c/a>, the transgender education and advocacy program of the \u003ca href=\"https://www.aclu.org/\" target=\"_blank\" rel=\"noopener\">American Civil Liberties Union\u003c/a> (ACLU) and the \u003ca href=\"http://www.ascms.net/\" target=\"_blank\" rel=\"noopener\">AIDS Services Coalition\u003c/a> based in Hattiesburg.\u003c/p>\n\u003cp>The Gay Men’s Chorus has also offered some partner organizations free tickets. These include \u003ca href=\"http://mbkinc.org/\" target=\"_blank\" rel=\"noopener\">My Brother’s Keeper\u003c/a>, which provides health services to minority and marginalized communities in the region, and is bringing around 150 of its patients to the concert.\u003c/p>\n\u003cp>“Many of the patients that we serve have never been to a concert or even set foot in Thalia Mara Hall,” said Deja Abdul-Haqq, director of organizational development at My Brother’s Keeper. “So it’s a really exciting opportunity for us.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Bay Area Choirs in Jackson, MS\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/7HOf-j3YxzU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco Gay Men’s Chorus “Lavender Pen Tour” visits various locations in Alabama, Tennessee, Mississippi, North Carolina and South Carolina Oct. 8 – 14. More information \u003ca href=\"http://www.sfgmc.org/lavender-pen-tour/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hollywood mogul Harvey Weinstein is taking a leave of absence from his company following a \u003cem>New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=a-lede-package-region®ion=top-news&WT.nav=top-news\" target=\"_blank\" rel=\"noopener\">story\u003c/a> that he sexually harassed female assistants, executives and actresses for decades. The\u003cem> Times\u003c/em> report also says Weinstein settled complaints with at least eight women.\u003c/p>\n\u003cp>Weinstein is one of the most powerful men in Hollywood. He co-founded Miramax, which has produced such Academy Award-winning films as \u003cem>Pulp Fiction, Chicago, The English Patient\u003c/em> and \u003cem>Shakespeare in Love.\u003c/em> He and his brother, Bob, head The Weinstein Co. Along with movies, the Weinsteins have produced a number of Tony Award-winning shows on Broadway.\u003c/p>\n\u003cp>Harvey Weinstein is also known for his temper and, the \u003cem>Times\u003c/em> story says, his inappropriate behavior toward women has been discussed within his companies for years. The story begins with actress Ashley Judd being invited to what she thought was a business breakfast with Weinstein at the Peninsula Hotel in Los Angeles. Instead, she says, she was sent to his room where he asked her to give him a massage or watch him shower.\u003c/p>\n\u003cp>“How do I get out of the room as fast as possible without alienating Harvey Weinstein?” Judd is quoted as saying in the article.\u003c/p>\n\u003cp>Weinstein \u003ca href=\"https://www.nytimes.com/interactive/2017/10/05/us/statement-from-harvey-weinstein.html\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> in response to the allegations. He apologizes for some of his behavior by saying that times have changed since he began in the movie business:\u003c/p>\n\u003cblockquote>\n\u003cp>“I came of age in the 60’s and 70’s, when all the rules about behavior and workplaces were different. That was the culture then.\u003c/p>\n\u003cp>I have since learned it’s not an excuse, in the office — or out of it. To anyone.\u003c/p>\n\u003cp>I realized some time ago that I needed to be a better person and my interactions with the people I work with have changed.\u003c/p>\n\u003cp>I appreciate the way I’ve behaved with colleagues in the past has caused a lot of pain, and I sincerely apologize for it.”\u003c/p>\n\u003c/blockquote>\n\u003cp>At the same time, one of Weinstein’s lawyers, Lisa Bloom, released a statement saying “he denies many of the accusations as patently false.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Weinstein says he will take time to “conquer his demons.” He also says he will use the time to fight the National Rifle Association. Weinstein is a longtime donor to Democratic candidates and liberal causes. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Amid+Harassment+Reports%2C+Harvey+Weinstein+Takes+Leave+Of+Absence&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood mogul Harvey Weinstein is taking a leave of absence from his company following a \u003cem>New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=a-lede-package-region®ion=top-news&WT.nav=top-news\" target=\"_blank\" rel=\"noopener\">story\u003c/a> that he sexually harassed female assistants, executives and actresses for decades. The\u003cem> Times\u003c/em> report also says Weinstein settled complaints with at least eight women.\u003c/p>\n\u003cp>Weinstein is one of the most powerful men in Hollywood. He co-founded Miramax, which has produced such Academy Award-winning films as \u003cem>Pulp Fiction, Chicago, The English Patient\u003c/em> and \u003cem>Shakespeare in Love.\u003c/em> He and his brother, Bob, head The Weinstein Co. Along with movies, the Weinsteins have produced a number of Tony Award-winning shows on Broadway.\u003c/p>\n\u003cp>Harvey Weinstein is also known for his temper and, the \u003cem>Times\u003c/em> story says, his inappropriate behavior toward women has been discussed within his companies for years. The story begins with actress Ashley Judd being invited to what she thought was a business breakfast with Weinstein at the Peninsula Hotel in Los Angeles. Instead, she says, she was sent to his room where he asked her to give him a massage or watch him shower.\u003c/p>\n\u003cp>“How do I get out of the room as fast as possible without alienating Harvey Weinstein?” Judd is quoted as saying in the article.\u003c/p>\n\u003cp>Weinstein \u003ca href=\"https://www.nytimes.com/interactive/2017/10/05/us/statement-from-harvey-weinstein.html\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> in response to the allegations. He apologizes for some of his behavior by saying that times have changed since he began in the movie business:\u003c/p>\n\u003cblockquote>\n\u003cp>“I came of age in the 60’s and 70’s, when all the rules about behavior and workplaces were different. That was the culture then.\u003c/p>\n\u003cp>I have since learned it’s not an excuse, in the office — or out of it. To anyone.\u003c/p>\n\u003cp>I realized some time ago that I needed to be a better person and my interactions with the people I work with have changed.\u003c/p>\n\u003cp>I appreciate the way I’ve behaved with colleagues in the past has caused a lot of pain, and I sincerely apologize for it.”\u003c/p>\n\u003c/blockquote>\n\u003cp>At the same time, one of Weinstein’s lawyers, Lisa Bloom, released a statement saying “he denies many of the accusations as patently false.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "SF Gay Men's Chorus Inspires Political Action Ahead of Tour",
"headTitle": "SF Gay Men’s Chorus Inspires Political Action Ahead of Tour | KQED",
"content": "\u003cp>Thomas Kennard is among the handful of transgender singers in the \u003ca href=\"http://www.sfgmc.org/lavender-pen-tour/?gclid=Cj0KEQjwjdLOBRCkoYX9vtaFv-UBEiQAWPn4YEPNqWUskUGPO9mrb9Gjv9OgknXP1TKPCzo8KSDRQNYaAtON8P8HAQ\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus\u003c/a> — and proud to be one of its lowest basses.\u003c/p>\n\u003cp>“People say, ‘I thought you would be a tenor,'” Kennard says, demonstrating the guttural depths of his range.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcr/2017/10/20171006tcrveltmanchorustourversion2.mp3\" /]\u003c/p>\n\u003cp>Kennard is concerned about the anti-transgender ideologies of some regions the choir is visiting on its upcoming tour of the southern United States. Last year, the chorus decided to forego its scheduled 40th anniversary international tour to visit the South not long after the 2016 presidential elections.\u003c/p>\n\u003cp>Kennard is especially worried about states that have tried to implement \u003ca href=\"http://www.ncsl.org/research/education/-bathroom-bill-legislative-tracking635951130.aspx\" target=\"_blank\" rel=\"noopener\">restrictive policies\u003c/a> around whether a trans person can use the bathroom of his or her choice, like North Carolina. (One trans chorus member, Kasey Dunton, decided not to join the tour because he’s worried about being arrested for using the men’s bathroom.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kennard is hoping to use the tour as an opportunity to spark conversations. “I am going to bring a T-shirt that says, ‘You Can Pee Next To Me,'” Kennard says. “So hopefully that will make a statement. People will ask me about it.”\u003c/p>\n\u003cfigure id=\"attachment_13810545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810545\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-800x450.jpg\" alt=\"Thomas Kannard, a transgender member of the San Francisco Gay Men's Chorus.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Kennard, a transgender member of the San Francisco Gay Men’s Chorus. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around 200 members of the San Francisco Gay Men’s Chorus, 50 singers from the \u003ca href=\"http://www.oigc.org/\" target=\"_blank\" rel=\"noopener\">Oakland Interfaith Gospel Choir\u003c/a>, and around 50 additional supporters are set to board their buses and head out on the road this weekend. But the tour is already sparking political conversations in the South.\u003c/p>\n\u003cp>In Tennessee, one such conversation began in earnest a few months ago when the Gay Men’s Chorus approached \u003ca href=\"http://www.churchstreetumc.org/\" target=\"_blank\" rel=\"noopener\">Church Street United Methodist Church in Knoxville\u003c/a> about performing there. Knoxville’s own gay men’s choir rehearses in the building. The church has openly gay members of the congregation. And senior pastor Chuck Starks talks up his organization’s sense of inclusivity. “We speak of ourselves as having open doors, hearts and minds,” Starks says.\u003c/p>\n\u003cp>But the church turned the San Francisco Gay Men’s Chorus down.\u003c/p>\n\u003cfigure id=\"attachment_13810616\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810616\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_3871-1-800x1208.jpg\" alt=\"Church Street united Methodist Church in Knoxville\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-1180x1782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-960x1450.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-375x566.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-520x785.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1.jpg 1356w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Church Street united Methodist Church in Knoxville \u003ccite>(Photo: Caroline Lamar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Starks blames a scheduling conflict. “\u003cspan style=\"font-weight: 400\">As a variety of things were looked at on the calendar, this just was not the right time for the hosting of the event,” Starks says.\u003c/span>\u003c/p>\n\u003cp>But lay leader Patricia Bellingrath, one of the representatives of the church who met with delegates from the San Francisco Gay Men’s Chorus, has a different take.\u003c/p>\n\u003cp>“I think it boils down to fear of the unknown,” Bellingrath says. “\u003cspan style=\"font-weight: 400\">There are many many of us who would have been glad to welcome this chorus. B\u003c/span>\u003cspan style=\"font-weight: 400\">ut we also on the other side have several who would have been furious.”\u003c/span>\u003c/p>\n\u003cp>Bellingrath says that the United Methodist Church is currently in turmoil over how inclusive it can really be when it comes to matters of sexuality.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There are people that want to change our book of discipline which says homosexuality is incompatible with the teachings of Christ,” Bellingrath says. “And there are many who say it’s just written in stone and there’s no way that we will ever change it.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13810617\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810617 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-800x667.jpg\" alt=\"Pat Bellingrath is a lay leader at the United Methodist Church in Knoxville. She's part of a group trying to make her church more inclusive.\" width=\"800\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-800x667.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-768x640.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-1020x850.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-960x800.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-240x200.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-375x313.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-520x433.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pat Bellingrath is a lay leader at the United Methodist Church in Knoxville. She’s part of a group trying to make her church more inclusive. \u003ccite>(Photo: Aletha Garner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bellingrath is part of a group — “The Church Street Reconcilers” — that started trying to have open conversations about the topic around a year ago. Discussions were sporadic and slow. That is, until the San Francisco Gay Men’s Chorus came along.\u003c/p>\n\u003cp>It was the disagreement surrounding the decision not to allow the ensemble to perform at the church that spurred Bellingrath and her group into action. They created a \u003ca href=\"https://www.facebook.com/groups/271371673352550/\" target=\"_blank\" rel=\"noopener\">Facebook group\u003c/a>, which currently has around 120 members, to discuss issues of diversity in the congregation. And there’s a potluck planned for mid-October with the aim of making the church more inclusive.\u003c/p>\n\u003cfigure id=\"attachment_13810549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810549\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-800x575.png\" alt=\"Part of the Church Street Reconcilers Facebook page. The group was started to engage church members in discussions around sexuality.\" width=\"800\" height=\"575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-800x575.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-768x552.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-1020x734.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-1180x849.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-960x691.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-240x173.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-375x270.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-520x374.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers.png 1482w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the Church Street Reconcilers Facebook page. The group was started to engage church members in discussions around sexuality. \u003ccite>(Photo: Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When this happened with the Gay Men’s Chorus, it really did prompt us to move quicker to go ahead and do something,” Bellingrath says.\u003c/p>\n\u003cp>Bellingrath views the church’s decision to pass on the San Francisco Gay Men’s Chorus as a missed opportunity.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">I think it would have been a wonderful opportunity to hear some beautiful, beautiful music, and a chance to visit with some folks in the chorus,” she says. “I think relationships are what changes people’s minds and hearts. And I think it could have been an excellent opportunity for people at Church Street.”\u003c/span>\u003c/p>\n\u003cp>Change may be slow to come. But for now, around 40 members of her congregation will be attending at the choir’s Oct. 11 concert — at Knoxville Civic Auditorium, not at their church like they would have hoped.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco Gay Men’s Chorus “Lavender Pen Tour” visits various locations in Mississipi, Alabama, Tennessee, North Carolina and South Carolina Oct. 8 – 14. More information \u003ca href=\"http://www.sfgmc.org/lavender-pen-tour/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Debates around religion and sexuality emerge as the granddaddy of LGBTQ vocal ensembles prepares to visit Alabama, MIssissippi, North and South Carolina, Tennessee and Georgia. ",
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"description": "Debates around religion and sexuality emerge as the granddaddy of LGBTQ vocal ensembles prepares to visit Alabama, MIssissippi, North and South Carolina, Tennessee and Georgia. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thomas Kennard is among the handful of transgender singers in the \u003ca href=\"http://www.sfgmc.org/lavender-pen-tour/?gclid=Cj0KEQjwjdLOBRCkoYX9vtaFv-UBEiQAWPn4YEPNqWUskUGPO9mrb9Gjv9OgknXP1TKPCzo8KSDRQNYaAtON8P8HAQ\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus\u003c/a> — and proud to be one of its lowest basses.\u003c/p>\n\u003cp>“People say, ‘I thought you would be a tenor,'” Kennard says, demonstrating the guttural depths of his range.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kennard is concerned about the anti-transgender ideologies of some regions the choir is visiting on its upcoming tour of the southern United States. Last year, the chorus decided to forego its scheduled 40th anniversary international tour to visit the South not long after the 2016 presidential elections.\u003c/p>\n\u003cp>Kennard is especially worried about states that have tried to implement \u003ca href=\"http://www.ncsl.org/research/education/-bathroom-bill-legislative-tracking635951130.aspx\" target=\"_blank\" rel=\"noopener\">restrictive policies\u003c/a> around whether a trans person can use the bathroom of his or her choice, like North Carolina. (One trans chorus member, Kasey Dunton, decided not to join the tour because he’s worried about being arrested for using the men’s bathroom.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kennard is hoping to use the tour as an opportunity to spark conversations. “I am going to bring a T-shirt that says, ‘You Can Pee Next To Me,'” Kennard says. “So hopefully that will make a statement. People will ask me about it.”\u003c/p>\n\u003cfigure id=\"attachment_13810545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810545\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-800x450.jpg\" alt=\"Thomas Kannard, a transgender member of the San Francisco Gay Men's Chorus.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Kennard, a transgender member of the San Francisco Gay Men’s Chorus. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around 200 members of the San Francisco Gay Men’s Chorus, 50 singers from the \u003ca href=\"http://www.oigc.org/\" target=\"_blank\" rel=\"noopener\">Oakland Interfaith Gospel Choir\u003c/a>, and around 50 additional supporters are set to board their buses and head out on the road this weekend. But the tour is already sparking political conversations in the South.\u003c/p>\n\u003cp>In Tennessee, one such conversation began in earnest a few months ago when the Gay Men’s Chorus approached \u003ca href=\"http://www.churchstreetumc.org/\" target=\"_blank\" rel=\"noopener\">Church Street United Methodist Church in Knoxville\u003c/a> about performing there. Knoxville’s own gay men’s choir rehearses in the building. The church has openly gay members of the congregation. And senior pastor Chuck Starks talks up his organization’s sense of inclusivity. “We speak of ourselves as having open doors, hearts and minds,” Starks says.\u003c/p>\n\u003cp>But the church turned the San Francisco Gay Men’s Chorus down.\u003c/p>\n\u003cfigure id=\"attachment_13810616\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810616\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_3871-1-800x1208.jpg\" alt=\"Church Street united Methodist Church in Knoxville\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-1180x1782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-960x1450.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-375x566.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-520x785.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1.jpg 1356w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Church Street united Methodist Church in Knoxville \u003ccite>(Photo: Caroline Lamar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Starks blames a scheduling conflict. “\u003cspan style=\"font-weight: 400\">As a variety of things were looked at on the calendar, this just was not the right time for the hosting of the event,” Starks says.\u003c/span>\u003c/p>\n\u003cp>But lay leader Patricia Bellingrath, one of the representatives of the church who met with delegates from the San Francisco Gay Men’s Chorus, has a different take.\u003c/p>\n\u003cp>“I think it boils down to fear of the unknown,” Bellingrath says. “\u003cspan style=\"font-weight: 400\">There are many many of us who would have been glad to welcome this chorus. B\u003c/span>\u003cspan style=\"font-weight: 400\">ut we also on the other side have several who would have been furious.”\u003c/span>\u003c/p>\n\u003cp>Bellingrath says that the United Methodist Church is currently in turmoil over how inclusive it can really be when it comes to matters of sexuality.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There are people that want to change our book of discipline which says homosexuality is incompatible with the teachings of Christ,” Bellingrath says. “And there are many who say it’s just written in stone and there’s no way that we will ever change it.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13810617\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810617 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-800x667.jpg\" alt=\"Pat Bellingrath is a lay leader at the United Methodist Church in Knoxville. She's part of a group trying to make her church more inclusive.\" width=\"800\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-800x667.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-768x640.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-1020x850.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-960x800.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-240x200.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-375x313.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-520x433.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pat Bellingrath is a lay leader at the United Methodist Church in Knoxville. She’s part of a group trying to make her church more inclusive. \u003ccite>(Photo: Aletha Garner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bellingrath is part of a group — “The Church Street Reconcilers” — that started trying to have open conversations about the topic around a year ago. Discussions were sporadic and slow. That is, until the San Francisco Gay Men’s Chorus came along.\u003c/p>\n\u003cp>It was the disagreement surrounding the decision not to allow the ensemble to perform at the church that spurred Bellingrath and her group into action. They created a \u003ca href=\"https://www.facebook.com/groups/271371673352550/\" target=\"_blank\" rel=\"noopener\">Facebook group\u003c/a>, which currently has around 120 members, to discuss issues of diversity in the congregation. And there’s a potluck planned for mid-October with the aim of making the church more inclusive.\u003c/p>\n\u003cfigure id=\"attachment_13810549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810549\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-800x575.png\" alt=\"Part of the Church Street Reconcilers Facebook page. The group was started to engage church members in discussions around sexuality.\" width=\"800\" height=\"575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-800x575.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-768x552.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-1020x734.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-1180x849.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-960x691.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-240x173.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-375x270.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-520x374.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers.png 1482w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the Church Street Reconcilers Facebook page. The group was started to engage church members in discussions around sexuality. \u003ccite>(Photo: Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When this happened with the Gay Men’s Chorus, it really did prompt us to move quicker to go ahead and do something,” Bellingrath says.\u003c/p>\n\u003cp>Bellingrath views the church’s decision to pass on the San Francisco Gay Men’s Chorus as a missed opportunity.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">I think it would have been a wonderful opportunity to hear some beautiful, beautiful music, and a chance to visit with some folks in the chorus,” she says. “I think relationships are what changes people’s minds and hearts. And I think it could have been an excellent opportunity for people at Church Street.”\u003c/span>\u003c/p>\n\u003cp>Change may be slow to come. But for now, around 40 members of her congregation will be attending at the choir’s Oct. 11 concert — at Knoxville Civic Auditorium, not at their church like they would have hoped.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco Gay Men’s Chorus “Lavender Pen Tour” visits various locations in Mississipi, Alabama, Tennessee, North Carolina and South Carolina Oct. 8 – 14. More information \u003ca href=\"http://www.sfgmc.org/lavender-pen-tour/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "At Interface, Two Photographers Translate Light into Solid Forms | KQED",
"content": "\u003cp>“It was serendipitous.” That’s how Suzanne L’Heureux, founder and director of Oakland’s \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">Interface Gallery\u003c/a>, describes the studio visits and conversations that ultimately produced the exhibition \u003cem>The sun shot out from its silver side\u003c/em>. \u003c/p>\n\u003cp>The intimate installation, which pairs photographic work by \u003ca href=\"http://gregorykaplowitz.com/\" target=\"_blank\" rel=\"noopener\">Gregory Kaplowitz\u003c/a> and \u003ca href=\"http://elizabethbernsteinartist.com/\" target=\"_blank\" rel=\"noopener\">Elizabeth Bernstein\u003c/a>, captures the medium’s foundational tenet — translating light into solid forms — and explores its physical, psychological, and likewise serendipitous potential.\u003c/p>\n\u003cp>Both bodies of work demonstrate the artists’ interest in light and its effects, but the methods by which they arrive at those ends are notably different.\u003c/p>\n\u003cfigure id=\"attachment_13810671\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200.jpg\" alt=\"Installation view, Installation shot, 'The sun shot out from its silver side'\" width=\"1200\" height=\"726\" class=\"size-full wp-image-13810671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-800x484.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-1020x617.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-1180x714.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-960x581.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-520x315.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view, Installation shot, ‘The sun shot out from its silver side’ \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kaplowitz creates \u003ca href=\"http://photograms.org/\" target=\"_blank\" rel=\"noopener\">photograms\u003c/a>, a process actively explored by 19th-century photography enthusiasts in which objects are positioned on chemically treated, light-sensitive paper — or fabric in this case — and exposed to sunlight. \u003c/p>\n\u003cp>While completing a residency in upstate New York, Kaplowitz, who is interested in the aesthetic resonance between photography and abstract or non-objective painting, explored a nearby cemetery for the physical and spiritual inspiration it offered. He wrapped funerary plants he found there with treated mesh and muslin swaths and, after allowing the fabric to dry, stretched the textiles over frames or small wood supports. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The resulting images, \u003cem>Emanations\u003c/em> and \u003cem>Cemetery\u003c/em> specifically, convey a painterly quality that reminds me of \u003ca href=\"http://www.artic.edu/aic/collections/exhibitions/ApostlesBeauty/pictorialist\" target=\"_blank\" rel=\"noopener\">pictorialist\u003c/a> compositions (an early 20th-century photographic movement that promoted photography as a fine art, prioritizing tonality and creativity over hard documentation). \u003c/p>\n\u003cfigure id=\"attachment_13810674\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200.jpg\" alt=\"Left: Gregory Kaplowitz, 'Emanations,' 2017; Right: 'Martin Riley (6),' 2017.\" width=\"1200\" height=\"894\" class=\"size-full wp-image-13810674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-1180x879.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-960x715.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Gregory Kaplowitz, ‘Emanations,’ 2017; Right: ‘Martin Riley (6),’ 2017. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like \u003cem>Emanations\u003c/em>, in which the curving mesh ground and light passing through the fabric hint at movement, \u003cem>Martin Riley (6)\u003c/em> suggests dimensionality on an otherwise flat ground. In it, Kaplowitz stretches a photogram printed on strategically loosened burlap over a printed silk scarf, reflecting the artist’s interest in linear abstraction, as seen in the work of painters \u003ca href=\"https://www.moma.org/artists/3787\" target=\"_blank\" rel=\"noopener\">Agnes Martin\u003c/a> and \u003ca href=\"http://www.tate.org.uk/art/artists/bridget-riley-1845\" target=\"_blank\" rel=\"noopener\">Bridget Riley\u003c/a>.\u003c/p>\n\u003cp>Translated directly, to photograph means “to write with light,” and that visual transcription often strives to transmit experiences that are external, or history-making. Elizabeth Bernstein’s eye, however, is drawn to smaller yet no less significant personal moments — those that are likely to pass without recognition. Looking at the diminutive, often paired, shelf-bound compositions in which she features a quiet corner or a patch of sunlight progressing across an empty wall, we’re invited into the artist’s internal space, both physical and mental. \u003c/p>\n\u003cp>Bernstein describes her practice as one centered on human dynamics — love, fear, vulnerability, and a desire for connection. The close photographic observations exhibited here may suggest that what we see is the space or stage on which those dynamics unfold if, like the artist, we watch for them.\u003c/p>\n\u003cfigure id=\"attachment_13810673\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200.jpg\" alt=\"Elizabeth Bernstein, 'Something opened...' 2017.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13810673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Bernstein, ‘Something opened…’ 2017. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since opening Interface Gallery in 2012, L’Heureux has curated precisely staged installations that maximize the gallery’s limited space and showcase her selected artists’ most accomplished pieces. While she couldn’t forecast the content of the conversations she had with Kaplowitz and Bernstein, the result of that happy accident is a contemplative exhibition that instills a sense of calm in otherwise calamitous times.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The sun shot out from its silver side’ is on view at Interface Gallery in Oakland through Oct. 15. For more information, \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“It was serendipitous.” That’s how Suzanne L’Heureux, founder and director of Oakland’s \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">Interface Gallery\u003c/a>, describes the studio visits and conversations that ultimately produced the exhibition \u003cem>The sun shot out from its silver side\u003c/em>. \u003c/p>\n\u003cp>The intimate installation, which pairs photographic work by \u003ca href=\"http://gregorykaplowitz.com/\" target=\"_blank\" rel=\"noopener\">Gregory Kaplowitz\u003c/a> and \u003ca href=\"http://elizabethbernsteinartist.com/\" target=\"_blank\" rel=\"noopener\">Elizabeth Bernstein\u003c/a>, captures the medium’s foundational tenet — translating light into solid forms — and explores its physical, psychological, and likewise serendipitous potential.\u003c/p>\n\u003cp>Both bodies of work demonstrate the artists’ interest in light and its effects, but the methods by which they arrive at those ends are notably different.\u003c/p>\n\u003cfigure id=\"attachment_13810671\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200.jpg\" alt=\"Installation view, Installation shot, 'The sun shot out from its silver side'\" width=\"1200\" height=\"726\" class=\"size-full wp-image-13810671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-800x484.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-1020x617.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-1180x714.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-960x581.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/01_Interface_TheSunShotOutFromItsSilverSide_1200-520x315.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view, Installation shot, ‘The sun shot out from its silver side’ \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kaplowitz creates \u003ca href=\"http://photograms.org/\" target=\"_blank\" rel=\"noopener\">photograms\u003c/a>, a process actively explored by 19th-century photography enthusiasts in which objects are positioned on chemically treated, light-sensitive paper — or fabric in this case — and exposed to sunlight. \u003c/p>\n\u003cp>While completing a residency in upstate New York, Kaplowitz, who is interested in the aesthetic resonance between photography and abstract or non-objective painting, explored a nearby cemetery for the physical and spiritual inspiration it offered. He wrapped funerary plants he found there with treated mesh and muslin swaths and, after allowing the fabric to dry, stretched the textiles over frames or small wood supports. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The resulting images, \u003cem>Emanations\u003c/em> and \u003cem>Cemetery\u003c/em> specifically, convey a painterly quality that reminds me of \u003ca href=\"http://www.artic.edu/aic/collections/exhibitions/ApostlesBeauty/pictorialist\" target=\"_blank\" rel=\"noopener\">pictorialist\u003c/a> compositions (an early 20th-century photographic movement that promoted photography as a fine art, prioritizing tonality and creativity over hard documentation). \u003c/p>\n\u003cfigure id=\"attachment_13810674\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200.jpg\" alt=\"Left: Gregory Kaplowitz, 'Emanations,' 2017; Right: 'Martin Riley (6),' 2017.\" width=\"1200\" height=\"894\" class=\"size-full wp-image-13810674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-1180x879.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-960x715.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Kaplowitz_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Gregory Kaplowitz, ‘Emanations,’ 2017; Right: ‘Martin Riley (6),’ 2017. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like \u003cem>Emanations\u003c/em>, in which the curving mesh ground and light passing through the fabric hint at movement, \u003cem>Martin Riley (6)\u003c/em> suggests dimensionality on an otherwise flat ground. In it, Kaplowitz stretches a photogram printed on strategically loosened burlap over a printed silk scarf, reflecting the artist’s interest in linear abstraction, as seen in the work of painters \u003ca href=\"https://www.moma.org/artists/3787\" target=\"_blank\" rel=\"noopener\">Agnes Martin\u003c/a> and \u003ca href=\"http://www.tate.org.uk/art/artists/bridget-riley-1845\" target=\"_blank\" rel=\"noopener\">Bridget Riley\u003c/a>.\u003c/p>\n\u003cp>Translated directly, to photograph means “to write with light,” and that visual transcription often strives to transmit experiences that are external, or history-making. Elizabeth Bernstein’s eye, however, is drawn to smaller yet no less significant personal moments — those that are likely to pass without recognition. Looking at the diminutive, often paired, shelf-bound compositions in which she features a quiet corner or a patch of sunlight progressing across an empty wall, we’re invited into the artist’s internal space, both physical and mental. \u003c/p>\n\u003cp>Bernstein describes her practice as one centered on human dynamics — love, fear, vulnerability, and a desire for connection. The close photographic observations exhibited here may suggest that what we see is the space or stage on which those dynamics unfold if, like the artist, we watch for them.\u003c/p>\n\u003cfigure id=\"attachment_13810673\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200.jpg\" alt=\"Elizabeth Bernstein, 'Something opened...' 2017.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13810673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/15_Interface_TheSunShotOutFromItsSilverSide_Bernstein_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Bernstein, ‘Something opened…’ 2017. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since opening Interface Gallery in 2012, L’Heureux has curated precisely staged installations that maximize the gallery’s limited space and showcase her selected artists’ most accomplished pieces. While she couldn’t forecast the content of the conversations she had with Kaplowitz and Bernstein, the result of that happy accident is a contemplative exhibition that instills a sense of calm in otherwise calamitous times.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The sun shot out from its silver side’ is on view at Interface Gallery in Oakland through Oct. 15. For more information, \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Shotgun Players' 'Blasted' is a Complex Portrayal of Despair",
"headTitle": "Shotgun Players’ ‘Blasted’ is a Complex Portrayal of Despair | KQED",
"content": "\u003cp>The late British dramatist Sarah Kane’s infamous first play \u003cem>Blasted\u003c/em> begins under depressingly normal and rather crass circumstances.\u003c/p>\n\u003cp>Cate, a young woman, barely out of her teens, and Ian, a seasoned journalist barely in his fifties, enter an upscale hotel room for what looks like a tawdry good time. The pairing of his gun and her backpack might make us pause, but not enough to jar us from what we know of these types of liaisons.\u003c/p>\n\u003cp class=\"MsoNormal\">Kane shifts the focus from the mundane to the disconcerting almost immediately, as both Ian and Cate’s bodies appear to be in a state of permanent failure. He’s caught in some nether zone between coughing and vomiting, and her outbursts of stuttering feel closer to seizures than a speech defect. That she also occasionally falls into a narcoleptic trance is both terrifying — anything might happen while she’s unconscious — and a welcome respite for a mind in constant and overwhelming despair.\u003c/p>\n\u003cfigure id=\"attachment_13810138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810138\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-800x466.jpg\" alt=\"(L to R) Ian (Robert Parsons), the bouquet of flowers, and Cate (Adrienne Walters) negotiate a deadly dance in 'Blasted' by Sarah Kane.\" width=\"800\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-960x559.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-375x218.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-520x303.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Ian (Robert Parsons), the bouquet of flowers, and Cate (Adrienne Walters) negotiate a deadly dance in ‘Blasted’ by Sarah Kane. \u003ccite>(Photo: Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"MsoNormal\">How these two people negotiate and what they expect from this brief encounter is caught in a tangle of memories — not only of their past (which as you might guess is fraught), but also the fragments of our cultural past as well. Kane fills the stage with signs of what romance once was, even in its most illicit incarnations. There is champagne, a shower, room service meals, and of course the bed. But the most potent and simplest image is a bouquet of flowers.\u003c/p>\n\u003cp class=\"MsoNormal\">They are a constant reminder of where we — and they — need to return, a kind of path to the resurrection of normal relations. Watch the way Robert Parsons as Ian in \u003ca href=\"https://shotgunplayers.org/Online/blasted\" target=\"_blank\" rel=\"noopener\">Shotgun Players’ brilliant production\u003c/a> manipulates this simple image and you’ll get a sense of why so many writers, directors, and actors are entranced with \u003ci>Blasted\u003c/i> and Kane’s subsequent work. Each transformation of the bouquet is a masterpiece of dramatic concision, as you never quite know what’s going to become of those flowers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"MsoNormal\">To say that Kane takes the title of her play at its word is rather an understatement. Everything that follows Ian and Cate’s initial meeting is an attempt to give larger political meaning to their behavior and our understanding of it. One might say that nothing is as it seems, but perhaps, more accurately, everything turns out as it should. We just haven’t noticed what’s right in front of us yet, and this is a playwright who is going to make sure that happens, blast after blast after blast.\u003c/p>\n\u003cfigure id=\"attachment_13810099\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810099\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-800x455.jpg\" alt=\"A not so surprising entrance by a soldier (Joe Estlack) challenges Ian's sense of nihilist decorum in 'Blasted' by Sarah Kane.\" width=\"800\" height=\"455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540.jpg 917w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A not so surprising entrance by a soldier (Joe Estlack) challenges Ian’s sense of nihilist decorum in ‘Blasted’ by Sarah Kane. \u003ccite>(Photo: Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The then-24-year-old dramatist, four years shy of her suicide, shows what happens when our metaphors turn real, when everything is permitted and there’s no need for imagination. It’s an idea Dostoyevsky twists to pieces in \u003ci>The Brothers Karamazov\u003c/i>. Only here, there’s no break with Christianity or any other spiritual system, just a dazzling embrace of a reckless and blinding abandon. Is it any surprise, as with Jericho, the walls come tumbling down?\u003c/p>\n\u003cp class=\"MsoNormal\">I won’t even begin to hint at what happens. You deserve the pleasure of seeing the Shotgun Players’ version on its own terms and under your own guidance — this is a theater for adult souls, so go and follow your own compass.\u003c/p>\n\u003cp class=\"MsoNormal\">But I will add this caveat: I ultimately find Kane’s vision rather clichéd. Thrillingly so, but still caught in a false humanism that is at the root of the very violence she so deplores. We should all share her outrage at injustice. But outrage has limited aesthetic and political value. There’s nowhere for the play to go but intensely felt sentimentality. And as we’re learning in 21st century America, sentiment and righteousness are shaky, dangerous guides to a more humane world.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Shotgun Players’ production of ‘Blasted’ runs through Sunday, Oct. 22, at the Ashby Stage in Berkeley. For tickets and information \u003ca href=\"https://shotgunplayers.org/online/blasted\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The late British dramatist Sarah Kane’s infamous first play \u003cem>Blasted\u003c/em> begins under depressingly normal and rather crass circumstances.\u003c/p>\n\u003cp>Cate, a young woman, barely out of her teens, and Ian, a seasoned journalist barely in his fifties, enter an upscale hotel room for what looks like a tawdry good time. The pairing of his gun and her backpack might make us pause, but not enough to jar us from what we know of these types of liaisons.\u003c/p>\n\u003cp class=\"MsoNormal\">Kane shifts the focus from the mundane to the disconcerting almost immediately, as both Ian and Cate’s bodies appear to be in a state of permanent failure. He’s caught in some nether zone between coughing and vomiting, and her outbursts of stuttering feel closer to seizures than a speech defect. That she also occasionally falls into a narcoleptic trance is both terrifying — anything might happen while she’s unconscious — and a welcome respite for a mind in constant and overwhelming despair.\u003c/p>\n\u003cfigure id=\"attachment_13810138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810138\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-800x466.jpg\" alt=\"(L to R) Ian (Robert Parsons), the bouquet of flowers, and Cate (Adrienne Walters) negotiate a deadly dance in 'Blasted' by Sarah Kane.\" width=\"800\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-960x559.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-375x218.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-520x303.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Ian (Robert Parsons), the bouquet of flowers, and Cate (Adrienne Walters) negotiate a deadly dance in ‘Blasted’ by Sarah Kane. \u003ccite>(Photo: Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"MsoNormal\">How these two people negotiate and what they expect from this brief encounter is caught in a tangle of memories — not only of their past (which as you might guess is fraught), but also the fragments of our cultural past as well. Kane fills the stage with signs of what romance once was, even in its most illicit incarnations. There is champagne, a shower, room service meals, and of course the bed. But the most potent and simplest image is a bouquet of flowers.\u003c/p>\n\u003cp class=\"MsoNormal\">They are a constant reminder of where we — and they — need to return, a kind of path to the resurrection of normal relations. Watch the way Robert Parsons as Ian in \u003ca href=\"https://shotgunplayers.org/Online/blasted\" target=\"_blank\" rel=\"noopener\">Shotgun Players’ brilliant production\u003c/a> manipulates this simple image and you’ll get a sense of why so many writers, directors, and actors are entranced with \u003ci>Blasted\u003c/i> and Kane’s subsequent work. Each transformation of the bouquet is a masterpiece of dramatic concision, as you never quite know what’s going to become of those flowers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"MsoNormal\">To say that Kane takes the title of her play at its word is rather an understatement. Everything that follows Ian and Cate’s initial meeting is an attempt to give larger political meaning to their behavior and our understanding of it. One might say that nothing is as it seems, but perhaps, more accurately, everything turns out as it should. We just haven’t noticed what’s right in front of us yet, and this is a playwright who is going to make sure that happens, blast after blast after blast.\u003c/p>\n\u003cfigure id=\"attachment_13810099\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810099\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-800x455.jpg\" alt=\"A not so surprising entrance by a soldier (Joe Estlack) challenges Ian's sense of nihilist decorum in 'Blasted' by Sarah Kane.\" width=\"800\" height=\"455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540.jpg 917w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A not so surprising entrance by a soldier (Joe Estlack) challenges Ian’s sense of nihilist decorum in ‘Blasted’ by Sarah Kane. \u003ccite>(Photo: Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The then-24-year-old dramatist, four years shy of her suicide, shows what happens when our metaphors turn real, when everything is permitted and there’s no need for imagination. It’s an idea Dostoyevsky twists to pieces in \u003ci>The Brothers Karamazov\u003c/i>. Only here, there’s no break with Christianity or any other spiritual system, just a dazzling embrace of a reckless and blinding abandon. Is it any surprise, as with Jericho, the walls come tumbling down?\u003c/p>\n\u003cp class=\"MsoNormal\">I won’t even begin to hint at what happens. You deserve the pleasure of seeing the Shotgun Players’ version on its own terms and under your own guidance — this is a theater for adult souls, so go and follow your own compass.\u003c/p>\n\u003cp class=\"MsoNormal\">But I will add this caveat: I ultimately find Kane’s vision rather clichéd. Thrillingly so, but still caught in a false humanism that is at the root of the very violence she so deplores. We should all share her outrage at injustice. But outrage has limited aesthetic and political value. There’s nowhere for the play to go but intensely felt sentimentality. And as we’re learning in 21st century America, sentiment and righteousness are shaky, dangerous guides to a more humane world.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Shotgun Players’ production of ‘Blasted’ runs through Sunday, Oct. 22, at the Ashby Stage in Berkeley. For tickets and information \u003ca href=\"https://shotgunplayers.org/online/blasted\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Singer-songwriter and music producer (\u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">Tiny Telephone\u003c/a>) John Vanderslice returns to the show this week as co-host; he’s such a warm presence on the air, and he knows the local music scene cold. And don’t miss an event we didn’t get to — John’s hosting a party to celebrate Tiny Telephone’s 20th anniversary, with food, beer and music by Toro y Moi, Astronauts Etc. and others. \u003ca href=\"https://www.facebook.com/johnvanderslicemusic/photos/a.456020247811602.1073741826.115335001880130/1490638474349769/?type=1&theater\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>Now here’s the Do List:\u003c/p>\n\u003cp>\u003cstrong>Oct. 8–13:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWIy\" target=\"_blank\" rel=\"noopener\">Panamanian pianist Danilo Perez pays tribute to the genius of Thelonious Monk on the composer’s 100th birthday\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–15:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWII\" target=\"_blank\" rel=\"noopener\"> Oscar contenders aplenty at the Mill Valley Film Fest\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWJb\" target=\"_blank\" rel=\"noopener\">Poetry and chamber music tell a story about gentrification in San Francisco\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–14:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWK0\" target=\"_blank\" rel=\"noopener\">Where poetry, fiction, non-fiction, authors and drinking all mix beautifully\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 6–8: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWKt\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass returns with its much needed spirit of generosity and plenty of banjos\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13810407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg\" alt=\"Indie music producer John Vanderslice cohosts the Do List for Oct. 6, 2017 with KQED‘s Cy Musiker\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indie music producer John Vanderslice cohosts the Do List for Oct. 6, 2017 with KQED‘s Cy Musiker. \u003ccite>(Photo: Howard Gelman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer-songwriter and music producer (\u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">Tiny Telephone\u003c/a>) John Vanderslice returns to the show this week as co-host; he’s such a warm presence on the air, and he knows the local music scene cold. And don’t miss an event we didn’t get to — John’s hosting a party to celebrate Tiny Telephone’s 20th anniversary, with food, beer and music by Toro y Moi, Astronauts Etc. and others. \u003ca href=\"https://www.facebook.com/johnvanderslicemusic/photos/a.456020247811602.1073741826.115335001880130/1490638474349769/?type=1&theater\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>Now here’s the Do List:\u003c/p>\n\u003cp>\u003cstrong>Oct. 8–13:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWIy\" target=\"_blank\" rel=\"noopener\">Panamanian pianist Danilo Perez pays tribute to the genius of Thelonious Monk on the composer’s 100th birthday\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–15:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWII\" target=\"_blank\" rel=\"noopener\"> Oscar contenders aplenty at the Mill Valley Film Fest\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWJb\" target=\"_blank\" rel=\"noopener\">Poetry and chamber music tell a story about gentrification in San Francisco\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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