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"content": "\u003cp>I knew I was unconditionally, irrevocably in love with Martin Wong halfway through the very first room of \u003ci>\u003ca href=\"https://bampfa.org/program/martin-wong-human-instamatic\" rel=\"noopener\" target=\"_blank\">Human Instamatic\u003c/a>\u003c/i>, BAMPFA’s Martin Wong retrospective. I still had nearly an entire museum floor to go, but when you know, you know.\u003c/p>\n\u003cp>It was a piece of ephemera that finalized it. \u003ci>\u003ca href=\"https://www.moma.org/collection/works/156016?locale=en\" rel=\"noopener\" target=\"_blank\">First letter home from New York (also I joined The Museum of Modern Art)\u003c/a>\u003c/i> is a handwritten letter from Wong to his parents, describing his activities upon moving from San Francisco to New York in 1978. “Hello Mom & Pop,” it opens cheerfully, his rambling block letters fitting themselves around a line drawing of the Brooklyn Bridge (or the “Brookline Bridge,” as Wong charmingly misspells it). \u003c/p>\n\u003cfigure id=\"attachment_13810369\" 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/BAM_Wong_Letter_1200.jpg\" alt=\"Installation view with vitrine containing 'First letter home.'\" width=\"1200\" height=\"806\" class=\"size-full wp-image-13810369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-520x349.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view with vitrine containing ‘First letter home.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wong details his excitement about finding good cheap food in New York, getting a complimentary catalogue for his MoMA membership, and his plans to rent an additional room from Meyer’s Hotel (“one for sleeping, the other for painting”). \u003c/p>\n\u003cp>He was in his early 30s when he wrote the letter. He would spend nearly two decades in New York — specifically on the Lower East Side — making paintings of his neighbors and neighborhood (“brick by brick and storefront by storefront,” he wrote in another letter home).\u003c/p>\n\u003cfigure id=\"attachment_13810365\" 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/BAM_Wong_Storefronts_1200.jpg\" alt=\"Left: 'Iglesia Pentecostal,' 1986; Middle: 'La Iglesia de Dios,' 1986; Right: 'Untitled (Silver Storefront),' 1985.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13810365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: ‘Iglesia Pentecostal,’ 1986; Middle: ‘La Iglesia de Dios,’ 1986; Right: ‘Untitled (Silver Storefront),’ 1985. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to say what was so particularly moving about Wong’s letter. Perhaps it’s his openness and optimism. Or how he found the Chelsea Hotel “too artsy and too expensive.” The fact that the letter is addressed to his parents and contains all of the above captures a family relationship so supportive, so loving, it renders the “tortured artist” trope moot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s one thing to love the person an artist was (Wong died of AIDS-related causes in 1999), but Wong’s lovability is compounded by the virtuosity of his paintings. Born in Portland in 1946 and raised in San Francisco, Wong studied ceramics at Humboldt State, but switched to painting after college, developing a style marked by earthy tones and obsessive detail — part cartoon, part trompe l’oeil.\u003c/p>\n\u003cfigure id=\"attachment_13810367\" 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/Brainwashing-Cult-Cons-Top-TV-Star_1200.jpg\" alt=\"Martin Wong, 'Brainwashing Cult Cons Top TV Star,' 1981.\" width=\"1200\" height=\"909\" class=\"size-full wp-image-13810367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-768x582.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-1020x773.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-1180x894.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-960x727.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-240x182.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-375x284.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-520x394.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Brainwashing Cult Cons Top TV Stars,’ 1981. \u003ccite>(Courtesy of Bronx Museum of the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before he moved to the Lower East Side, Wong worked as the night porter at Meyer’s Hotel, living and painting without any real friends or artistic community — an isolation that caused him to identify with the city’s deaf-mute community. He incorporated the sign language alphabet into his paintings, rendering sensational news headlines like \u003ci>Psychiatrists Testify: Demon Dogs Drive Man to Murder\u003c/i> (a reference to serial-killer David Berkowitz) in rows of bubbly hieroglyphic hands. \u003c/p>\n\u003cp>Many of Wong’s paintings contain such systems of describing and mapping the world: constellation names, stacks of science books, a sign-language stop sign made with the Public Art Fund. He annotated life-sized canvases of closed storefronts and meticulously rendered miniature bricks with specific addresses, locating his paintings in time and space like a documentary photographer. \u003c/p>\n\u003cfigure id=\"attachment_13810360\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200.jpg\" alt=\"Martin Wong, 'Everything Must Go,' 1983.\" width=\"1200\" height=\"991\" class=\"size-full wp-image-13810360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-800x661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-768x634.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-1020x842.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-1180x974.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-960x793.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-240x198.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-375x310.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-520x429.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Everything Must Go,’ 1983. \u003ccite>(Courtesy of Second Ward Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the concentrated effort Wong put into his pieces, he wasn’t precious about them. Yet another thing to love. A \u003ci>New York\u003c/i> magazine piece describes how Wong, shortly before his 1984 solo show at Semaphore Gallery, “stood in front of his Ridge Street studio and started handing out his paintings.” \u003c/p>\n\u003cp>“I’m not used to all the money and attention, and I thought my paintings could brighten up some of my neighbors’ lives,” Wong says in the article. Semaphore scrambled to retrieve the works for their show, putting up fliers and offering reward money for their safe return. Wong was, according to \u003ci>New York\u003c/i> Magazine, “unrepentant.” \u003c/p>\n\u003cfigure id=\"attachment_13810361\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200.jpg\" alt=\"Martin Wong, 'Self Portrait,' 1993.\" width=\"1200\" height=\"1244\" class=\"size-full wp-image-13810361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-800x829.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-768x796.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-1020x1057.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-1180x1223.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-960x995.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-240x249.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-375x389.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-520x539.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-32x32.jpg 32w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Self Portrait,’ 1993. \u003ccite>(Courtesy of the estate and PPOW, NY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The circular self-portrait that opens the BAMPFA installation shows Wong with a mustache and flowing black hair, dressed in a Western-style shirt decorated with Chinese dragons, a cowboy hat on his head. He glows against a background of vibrant blue faces — all the details of his shirt, hat and hair outlined in gold.\u003c/p>\n\u003cp>“Martin’s way of presenting himself to the world was to make a bit of a spectacle of himself,” former New Museum curator Dan Cameron writes in the exhibition catalogue. “I had never seen anyone pull off that urban cowboy look before as successfully as he did, and being Chinese and gay just amped it up.” \u003c/p>\n\u003cfigure id=\"attachment_13810366\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Big-Heat_640.jpg\" alt=\"Martin Wong, 'Big Heat,' 1988.\" width=\"640\" height=\"806\" class=\"size-full wp-image-13810366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-240x302.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-375x472.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-520x655.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Big Heat,’ 1988. \u003ccite>(Courtesy of the Whitney Museum of American Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of Wong’s paintings are unapologetically erotic, whether they’re images of incarcerated men, uniformed firefighters kissing, or an ornately framed phallus made of his omnipresent bricks. \u003c/p>\n\u003cp>In the early ’90s he turned his attention from the rapidly gentrifying Lower East Side to the Chinatown scenes of his youth. An \u003ca href=\"https://vimeo.com/152493246\" rel=\"noopener\" target=\"_blank\">18-minute documentary by Charlie Ahearn\u003c/a> on view in \u003ci>Human Instamatic\u003c/i> captures Wong working shirtless on the mammoth painting \u003ci>Chinese New Year’s Parade\u003c/i>, made between ’92 and ’94. It’s thrilling to watch him paint the canvas and then see the canvas unmediated, in the final room of the BAMPFA exhibition.\u003c/p>\n\u003cp>What else can I say to explain my love for Martin Wong? That he ran for a while with San Francisco’s legendary theater troupe, the Cockettes. That he and his mother were collectors of antiques and tchotchkes, frequently corresponding about auctions and appraisals. That when his infatuation with firefighters came out, people started gifting him parts of firefighters’ uniforms. That after painting, he washed his hands in his apartment tub. That, when he was diagnosed with AIDS and moved home to live with his parents, he served as Grand Marshall of San Francisco’s Chinese New Year’s Parade.\u003c/p>\n\u003cfigure id=\"attachment_13810364\" 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/BAM_Wong_NewYear_1200.jpg\" alt=\"Left: 'Chinese New Year's Parade,' 1992-94; Right: 'Bruce Lee in the Afterworld,' 1991.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13810364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: ‘Chinese New Year’s Parade,’ 1992-94; Right: ‘Bruce Lee in the Afterworld,’ 1991. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s easy to mourn for and love someone who didn’t live as long as they should have. But I like to think that were he still alive, we would all know of and be in love with Martin Wong. For his unwavering, singular style, for his brave commitment to painting left-behind people in left-behind places, and for his spectacular fashion sense.\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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Martin Wong: Human Instamatic’ is on view at the Berkeley Art Museum and Pacific Film Archive through Dec. 10, 2017. For more information, \u003ca href=\"https://bampfa.org/program/martin-wong-human-instamatic\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "BAMPFA hosts 'Martin Wong: Human Instamatic,' a magnificent retrospective of the Chinese-American painter who captured city life in both New York and San Francisco.",
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"description": "BAMPFA hosts 'Martin Wong: Human Instamatic,' a magnificent retrospective of the Chinese-American painter who captured city life in both New York and San Francisco.",
"title": "Why You Should Join the Martin Wong Fan Club I Just Started | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I knew I was unconditionally, irrevocably in love with Martin Wong halfway through the very first room of \u003ci>\u003ca href=\"https://bampfa.org/program/martin-wong-human-instamatic\" rel=\"noopener\" target=\"_blank\">Human Instamatic\u003c/a>\u003c/i>, BAMPFA’s Martin Wong retrospective. I still had nearly an entire museum floor to go, but when you know, you know.\u003c/p>\n\u003cp>It was a piece of ephemera that finalized it. \u003ci>\u003ca href=\"https://www.moma.org/collection/works/156016?locale=en\" rel=\"noopener\" target=\"_blank\">First letter home from New York (also I joined The Museum of Modern Art)\u003c/a>\u003c/i> is a handwritten letter from Wong to his parents, describing his activities upon moving from San Francisco to New York in 1978. “Hello Mom & Pop,” it opens cheerfully, his rambling block letters fitting themselves around a line drawing of the Brooklyn Bridge (or the “Brookline Bridge,” as Wong charmingly misspells it). \u003c/p>\n\u003cfigure id=\"attachment_13810369\" 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/BAM_Wong_Letter_1200.jpg\" alt=\"Installation view with vitrine containing 'First letter home.'\" width=\"1200\" height=\"806\" class=\"size-full wp-image-13810369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Letter_1200-520x349.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view with vitrine containing ‘First letter home.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wong details his excitement about finding good cheap food in New York, getting a complimentary catalogue for his MoMA membership, and his plans to rent an additional room from Meyer’s Hotel (“one for sleeping, the other for painting”). \u003c/p>\n\u003cp>He was in his early 30s when he wrote the letter. He would spend nearly two decades in New York — specifically on the Lower East Side — making paintings of his neighbors and neighborhood (“brick by brick and storefront by storefront,” he wrote in another letter home).\u003c/p>\n\u003cfigure id=\"attachment_13810365\" 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/BAM_Wong_Storefronts_1200.jpg\" alt=\"Left: 'Iglesia Pentecostal,' 1986; Middle: 'La Iglesia de Dios,' 1986; Right: 'Untitled (Silver Storefront),' 1985.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13810365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_Storefronts_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: ‘Iglesia Pentecostal,’ 1986; Middle: ‘La Iglesia de Dios,’ 1986; Right: ‘Untitled (Silver Storefront),’ 1985. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to say what was so particularly moving about Wong’s letter. Perhaps it’s his openness and optimism. Or how he found the Chelsea Hotel “too artsy and too expensive.” The fact that the letter is addressed to his parents and contains all of the above captures a family relationship so supportive, so loving, it renders the “tortured artist” trope moot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s one thing to love the person an artist was (Wong died of AIDS-related causes in 1999), but Wong’s lovability is compounded by the virtuosity of his paintings. Born in Portland in 1946 and raised in San Francisco, Wong studied ceramics at Humboldt State, but switched to painting after college, developing a style marked by earthy tones and obsessive detail — part cartoon, part trompe l’oeil.\u003c/p>\n\u003cfigure id=\"attachment_13810367\" 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/Brainwashing-Cult-Cons-Top-TV-Star_1200.jpg\" alt=\"Martin Wong, 'Brainwashing Cult Cons Top TV Star,' 1981.\" width=\"1200\" height=\"909\" class=\"size-full wp-image-13810367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-768x582.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-1020x773.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-1180x894.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-960x727.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-240x182.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-375x284.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Brainwashing-Cult-Cons-Top-TV-Star_1200-520x394.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Brainwashing Cult Cons Top TV Stars,’ 1981. \u003ccite>(Courtesy of Bronx Museum of the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before he moved to the Lower East Side, Wong worked as the night porter at Meyer’s Hotel, living and painting without any real friends or artistic community — an isolation that caused him to identify with the city’s deaf-mute community. He incorporated the sign language alphabet into his paintings, rendering sensational news headlines like \u003ci>Psychiatrists Testify: Demon Dogs Drive Man to Murder\u003c/i> (a reference to serial-killer David Berkowitz) in rows of bubbly hieroglyphic hands. \u003c/p>\n\u003cp>Many of Wong’s paintings contain such systems of describing and mapping the world: constellation names, stacks of science books, a sign-language stop sign made with the Public Art Fund. He annotated life-sized canvases of closed storefronts and meticulously rendered miniature bricks with specific addresses, locating his paintings in time and space like a documentary photographer. \u003c/p>\n\u003cfigure id=\"attachment_13810360\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200.jpg\" alt=\"Martin Wong, 'Everything Must Go,' 1983.\" width=\"1200\" height=\"991\" class=\"size-full wp-image-13810360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-800x661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-768x634.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-1020x842.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-1180x974.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-960x793.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-240x198.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-375x310.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1983-everything-must-go_1200-520x429.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Everything Must Go,’ 1983. \u003ccite>(Courtesy of Second Ward Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the concentrated effort Wong put into his pieces, he wasn’t precious about them. Yet another thing to love. A \u003ci>New York\u003c/i> magazine piece describes how Wong, shortly before his 1984 solo show at Semaphore Gallery, “stood in front of his Ridge Street studio and started handing out his paintings.” \u003c/p>\n\u003cp>“I’m not used to all the money and attention, and I thought my paintings could brighten up some of my neighbors’ lives,” Wong says in the article. Semaphore scrambled to retrieve the works for their show, putting up fliers and offering reward money for their safe return. Wong was, according to \u003ci>New York\u003c/i> Magazine, “unrepentant.” \u003c/p>\n\u003cfigure id=\"attachment_13810361\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200.jpg\" alt=\"Martin Wong, 'Self Portrait,' 1993.\" width=\"1200\" height=\"1244\" class=\"size-full wp-image-13810361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-800x829.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-768x796.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-1020x1057.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-1180x1223.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-960x995.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-240x249.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-375x389.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-520x539.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/1993-Self-Portrait_1200-32x32.jpg 32w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Self Portrait,’ 1993. \u003ccite>(Courtesy of the estate and PPOW, NY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The circular self-portrait that opens the BAMPFA installation shows Wong with a mustache and flowing black hair, dressed in a Western-style shirt decorated with Chinese dragons, a cowboy hat on his head. He glows against a background of vibrant blue faces — all the details of his shirt, hat and hair outlined in gold.\u003c/p>\n\u003cp>“Martin’s way of presenting himself to the world was to make a bit of a spectacle of himself,” former New Museum curator Dan Cameron writes in the exhibition catalogue. “I had never seen anyone pull off that urban cowboy look before as successfully as he did, and being Chinese and gay just amped it up.” \u003c/p>\n\u003cfigure id=\"attachment_13810366\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Big-Heat_640.jpg\" alt=\"Martin Wong, 'Big Heat,' 1988.\" width=\"640\" height=\"806\" class=\"size-full wp-image-13810366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-240x302.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-375x472.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Big-Heat_640-520x655.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wong, ‘Big Heat,’ 1988. \u003ccite>(Courtesy of the Whitney Museum of American Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of Wong’s paintings are unapologetically erotic, whether they’re images of incarcerated men, uniformed firefighters kissing, or an ornately framed phallus made of his omnipresent bricks. \u003c/p>\n\u003cp>In the early ’90s he turned his attention from the rapidly gentrifying Lower East Side to the Chinatown scenes of his youth. An \u003ca href=\"https://vimeo.com/152493246\" rel=\"noopener\" target=\"_blank\">18-minute documentary by Charlie Ahearn\u003c/a> on view in \u003ci>Human Instamatic\u003c/i> captures Wong working shirtless on the mammoth painting \u003ci>Chinese New Year’s Parade\u003c/i>, made between ’92 and ’94. It’s thrilling to watch him paint the canvas and then see the canvas unmediated, in the final room of the BAMPFA exhibition.\u003c/p>\n\u003cp>What else can I say to explain my love for Martin Wong? That he ran for a while with San Francisco’s legendary theater troupe, the Cockettes. That he and his mother were collectors of antiques and tchotchkes, frequently corresponding about auctions and appraisals. That when his infatuation with firefighters came out, people started gifting him parts of firefighters’ uniforms. That after painting, he washed his hands in his apartment tub. That, when he was diagnosed with AIDS and moved home to live with his parents, he served as Grand Marshall of San Francisco’s Chinese New Year’s Parade.\u003c/p>\n\u003cfigure id=\"attachment_13810364\" 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/BAM_Wong_NewYear_1200.jpg\" alt=\"Left: 'Chinese New Year's Parade,' 1992-94; Right: 'Bruce Lee in the Afterworld,' 1991.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13810364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/BAM_Wong_NewYear_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: ‘Chinese New Year’s Parade,’ 1992-94; Right: ‘Bruce Lee in the Afterworld,’ 1991. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s easy to mourn for and love someone who didn’t live as long as they should have. But I like to think that were he still alive, we would all know of and be in love with Martin Wong. For his unwavering, singular style, for his brave commitment to painting left-behind people in left-behind places, and for his spectacular fashion sense.\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Martin Wong: Human Instamatic’ is on view at the Berkeley Art Museum and Pacific Film Archive through Dec. 10, 2017. For more information, \u003ca href=\"https://bampfa.org/program/martin-wong-human-instamatic\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lost Mural by Secret Communist Unearthed in Richmond Basement",
"headTitle": "Lost Mural by Secret Communist Unearthed in Richmond Basement | KQED",
"content": "\u003cp>The \u003ca href=\"https://richmondmuseum.org/\" target=\"_blank\" rel=\"noopener\">Richmond Museum of History\u003c/a> is a one-room gallery, housed in an old brick library. Just two part-time staff keep the doors open. One of them is Melinda McCrary, the museum’s director.\u003c/p>\n\u003cp>“I do everything,” says McCrary, shutting off the hose in the front garden. “I take out the trash. I’m the main fundraiser. I do all the programming.”\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/RDnews/2017/10/WirtschafterMuralDiscovery.mp3\" /]\u003c/p>\n\u003cp>When McCrary came on board in 2014, she got to chatting with a long-time Richmond resident who asked, “‘Have you heard of this post office mural that has been lost?'”\u003c/p>\n\u003cp>He told her that the artist Victor Arnautoff — a protégé of Diego Rivera, and the lead artist for the murals inside the lobby of Coit Tower — had painted a beautiful mural on a canvas the size of the side of a U-Haul trailer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For 35 years, it was displayed over the postmaster’s window at Richmond’s main post office.\u003c/p>\n\u003cp>But the mural was taken down during a renovation in 1976. “It was just forgotten,” says McCrary. “It just got lost in the shuffle.”\u003c/p>\n\u003cp>She decided she had to find it.\u003c/p>\n\u003cfigure id=\"attachment_13810140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810140\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-800x507.jpg\" alt=\"\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-1180x747.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-960x608.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-520x329.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melinda McCrary, director of the Richmond Museum of History, points to where the mural once adorned Richmond’s main post office. \u003ccite>(Eli Wirtschafter/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A snapshot of Richmond before the war\u003c/h2>\n\u003cp>Arnautoff painted his mural in 1941, just months before the U.S. entered World War II, and Richmond transformed into an epicenter for wartime ship building.\u003c/p>\n\u003cp>Historian Robert Cherny, an emeritus professor at San Francisco State University (SFSU), says Arnautoff followed a process he used for other post office murals in the New Deal era: He started by talking to locals.\u003c/p>\n\u003cp>“Arnautoff talked to the local postmaster, the local newspaper editor,” Cherny says. “He walked around the streets.”\u003c/p>\n\u003cfigure id=\"attachment_13810153\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810153\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Newspaper-image-160x227.jpg\" alt=\"\" width=\"250\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-800x1134.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-768x1089.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-1020x1446.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-1180x1673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-960x1361.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-240x340.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-375x532.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-520x737.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image.jpg 1311w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">A local newspaper clipping from when the mural was first installed in 1941. \u003ccite>(Courtesy Richmond Museum of History/Melinda McCrary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Richmond captured on canvas is a quiet town on its way to becoming an industrial city. There’s a woman in a yellow dress, buying fruit. There’s a boy with his bicycle. In the background, a freight train passes by oil tanks and a refinery spouting black smoke.\u003c/p>\n\u003cp>Arnautoff, who at that time was a secret member of the Communist party, dropped subtle political messages into his mural. He depicts four dock workers on their (union-guaranteed) lunch break, discussing the news of the day.\u003c/p>\n\u003cp>Catherine Powell, director of the Labor Archives and Research Center at SFSU noticed that two of the workers have round pins on their hats, indicating membership of the longshoremen’s union.\u003c/p>\n\u003cp>And one of the four is black — a significant gesture at a time when African-Americans made up just 1% of the city’s population.\u003c/p>\n\u003cp>Cherny says the local longshoremen’s union was one of the first to promote an a racially integrated workforce. The union “stood for the equality of all of its workers,” Cherny says.\u003c/p>\n\u003cfigure id=\"attachment_13810143\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810143\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Historians Catherine Powell and Robert Cherny with a life-size reproduction of the mural at San Francisco State University \u003ccite>(Eli Wirtschafter/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Into the basement\u003c/h2>\n\u003cp>When McCrary asked postal employees about the mural, they hadn’t heard of it, and they wouldn’t let her conduct a search for the long lost work around their building.\u003c/p>\n\u003cp>So she asked a member of her board to help — a former city council member who happened to know Richmond’s former postmaster. The former postmaster knew a janitor who worked at the post office. And the janitor agreed to look for the mural.\u003c/p>\n\u003cp>One day, after the post office closed, the janitor let McCrary into the basement.\u003c/p>\n\u003cp>“It was totally sneaky,” McCrary says. “I was not supposed to be down there.”\u003c/p>\n\u003cp>Deep underground, he opened a pair of double doors to a small dusty room. There was only one thing in the room: a large, wooden crate with a handwritten label that said “Victor Arnotoff” [sic].\u003c/p>\n\u003cfigure id=\"attachment_13810152\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810152\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321.jpg\" alt=\"\" width=\"250\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321.jpg 611w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-240x338.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-375x528.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-520x732.jpg 520w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">The label on the crate from when the mural was removed in 1976. \u003ccite>(Courtesy Richmond Museum of History/Melinda McCrary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McCrary couldn’t verify that the mural was in the box, let alone run off with it. She had to spend a year persuading the postal service to approve a loan to her museum.\u003c/p>\n\u003cp>Then, just weeks after the deal was signed, McCrary found out that the basement of the post office was flooded.\u003c/p>\n\u003cp>She panicked, and rushed to the post office basement with a couple of art handlers. There, they saw a waterline six inches from the bottom of the crate.\u003c/p>\n\u003cp>“We were all convinced that the mural was ruined,” McCrary says.\u003c/p>\n\u003cp>They whisked the crate out of the post office, pried it open with a crowbar, and discovered that the mural had been stored on a set of stilts.\u003c/p>\n\u003cp>“It was an absolutely exhilarating feeling to know that it didn’t get wet,” McCrary says.\u003c/p>\n\u003cp>A life-size reproduction of the mural is now \u003ca href=\"https://library.sfsu.edu/exhibit/victor-arnautoff-and-politics-art\">on exhibit at SFSU\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13810148\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810148\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melinda McCrary with the mural, now in storage at the Richmond Museum of History \u003ccite>(Eli Wirtschafter/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McCrary is trying to raise funds to restore the original painting, which is wrinkled and has bits of lead-based adhesive stuck to it. Nathan Zakheim, the same art preservationist who took down the mural in 1976, may be the one to restore it.\u003c/p>\n\u003cp>McCrary hopes to display the restored original at the Richmond Museum of History, located just a few blocks away from the post office. “I want to put the Richmond museum on the map,” McCrary says.\u003c/p>\n\u003cp>For now, the mural is wrapped up in plastic at the museum — in a basement.\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>\u003ca href=\"https://library.sfsu.edu/exhibit/victor-arnautoff-and-politics-art\" target=\"_blank\" rel=\"noopener\">\u003cem>Victor Arnautoff and the Politics of Art\u003c/em>\u003c/a> runs through Tuesday, Dec. 12 at the Labor Archives and Research Center at San Francisco State University.\u003c/p>\n\n",
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"excerpt": "The large-scale work by Diego Rivera protégé and lead Coit Tower muralist Victor Arnautoff shows his Communist leanings. No one knew its whereabouts for nearly 40 years.",
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"description": "The large-scale work by Diego Rivera protégé and lead Coit Tower muralist Victor Arnautoff shows his Communist leanings. No one knew its whereabouts for nearly 40 years.",
"title": "Lost Mural by Secret Communist Unearthed in Richmond Basement | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://richmondmuseum.org/\" target=\"_blank\" rel=\"noopener\">Richmond Museum of History\u003c/a> is a one-room gallery, housed in an old brick library. Just two part-time staff keep the doors open. One of them is Melinda McCrary, the museum’s director.\u003c/p>\n\u003cp>“I do everything,” says McCrary, shutting off the hose in the front garden. “I take out the trash. I’m the main fundraiser. I do all the programming.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When McCrary came on board in 2014, she got to chatting with a long-time Richmond resident who asked, “‘Have you heard of this post office mural that has been lost?'”\u003c/p>\n\u003cp>He told her that the artist Victor Arnautoff — a protégé of Diego Rivera, and the lead artist for the murals inside the lobby of Coit Tower — had painted a beautiful mural on a canvas the size of the side of a U-Haul trailer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For 35 years, it was displayed over the postmaster’s window at Richmond’s main post office.\u003c/p>\n\u003cp>But the mural was taken down during a renovation in 1976. “It was just forgotten,” says McCrary. “It just got lost in the shuffle.”\u003c/p>\n\u003cp>She decided she had to find it.\u003c/p>\n\u003cfigure id=\"attachment_13810140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810140\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-800x507.jpg\" alt=\"\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-1180x747.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-960x608.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-520x329.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melinda McCrary, director of the Richmond Museum of History, points to where the mural once adorned Richmond’s main post office. \u003ccite>(Eli Wirtschafter/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A snapshot of Richmond before the war\u003c/h2>\n\u003cp>Arnautoff painted his mural in 1941, just months before the U.S. entered World War II, and Richmond transformed into an epicenter for wartime ship building.\u003c/p>\n\u003cp>Historian Robert Cherny, an emeritus professor at San Francisco State University (SFSU), says Arnautoff followed a process he used for other post office murals in the New Deal era: He started by talking to locals.\u003c/p>\n\u003cp>“Arnautoff talked to the local postmaster, the local newspaper editor,” Cherny says. “He walked around the streets.”\u003c/p>\n\u003cfigure id=\"attachment_13810153\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810153\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Newspaper-image-160x227.jpg\" alt=\"\" width=\"250\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-800x1134.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-768x1089.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-1020x1446.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-1180x1673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-960x1361.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-240x340.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-375x532.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-520x737.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image.jpg 1311w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">A local newspaper clipping from when the mural was first installed in 1941. \u003ccite>(Courtesy Richmond Museum of History/Melinda McCrary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Richmond captured on canvas is a quiet town on its way to becoming an industrial city. There’s a woman in a yellow dress, buying fruit. There’s a boy with his bicycle. In the background, a freight train passes by oil tanks and a refinery spouting black smoke.\u003c/p>\n\u003cp>Arnautoff, who at that time was a secret member of the Communist party, dropped subtle political messages into his mural. He depicts four dock workers on their (union-guaranteed) lunch break, discussing the news of the day.\u003c/p>\n\u003cp>Catherine Powell, director of the Labor Archives and Research Center at SFSU noticed that two of the workers have round pins on their hats, indicating membership of the longshoremen’s union.\u003c/p>\n\u003cp>And one of the four is black — a significant gesture at a time when African-Americans made up just 1% of the city’s population.\u003c/p>\n\u003cp>Cherny says the local longshoremen’s union was one of the first to promote an a racially integrated workforce. The union “stood for the equality of all of its workers,” Cherny says.\u003c/p>\n\u003cfigure id=\"attachment_13810143\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810143\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Historians Catherine Powell and Robert Cherny with a life-size reproduction of the mural at San Francisco State University \u003ccite>(Eli Wirtschafter/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Into the basement\u003c/h2>\n\u003cp>When McCrary asked postal employees about the mural, they hadn’t heard of it, and they wouldn’t let her conduct a search for the long lost work around their building.\u003c/p>\n\u003cp>So she asked a member of her board to help — a former city council member who happened to know Richmond’s former postmaster. The former postmaster knew a janitor who worked at the post office. And the janitor agreed to look for the mural.\u003c/p>\n\u003cp>One day, after the post office closed, the janitor let McCrary into the basement.\u003c/p>\n\u003cp>“It was totally sneaky,” McCrary says. “I was not supposed to be down there.”\u003c/p>\n\u003cp>Deep underground, he opened a pair of double doors to a small dusty room. There was only one thing in the room: a large, wooden crate with a handwritten label that said “Victor Arnotoff” [sic].\u003c/p>\n\u003cfigure id=\"attachment_13810152\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810152\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321.jpg\" alt=\"\" width=\"250\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321.jpg 611w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-240x338.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-375x528.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-520x732.jpg 520w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">The label on the crate from when the mural was removed in 1976. \u003ccite>(Courtesy Richmond Museum of History/Melinda McCrary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McCrary couldn’t verify that the mural was in the box, let alone run off with it. She had to spend a year persuading the postal service to approve a loan to her museum.\u003c/p>\n\u003cp>Then, just weeks after the deal was signed, McCrary found out that the basement of the post office was flooded.\u003c/p>\n\u003cp>She panicked, and rushed to the post office basement with a couple of art handlers. There, they saw a waterline six inches from the bottom of the crate.\u003c/p>\n\u003cp>“We were all convinced that the mural was ruined,” McCrary says.\u003c/p>\n\u003cp>They whisked the crate out of the post office, pried it open with a crowbar, and discovered that the mural had been stored on a set of stilts.\u003c/p>\n\u003cp>“It was an absolutely exhilarating feeling to know that it didn’t get wet,” McCrary says.\u003c/p>\n\u003cp>A life-size reproduction of the mural is now \u003ca href=\"https://library.sfsu.edu/exhibit/victor-arnautoff-and-politics-art\">on exhibit at SFSU\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13810148\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810148\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melinda McCrary with the mural, now in storage at the Richmond Museum of History \u003ccite>(Eli Wirtschafter/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McCrary is trying to raise funds to restore the original painting, which is wrinkled and has bits of lead-based adhesive stuck to it. Nathan Zakheim, the same art preservationist who took down the mural in 1976, may be the one to restore it.\u003c/p>\n\u003cp>McCrary hopes to display the restored original at the Richmond Museum of History, located just a few blocks away from the post office. “I want to put the Richmond museum on the map,” McCrary says.\u003c/p>\n\u003cp>For now, the mural is wrapped up in plastic at the museum — in a basement.\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>\u003ca href=\"https://library.sfsu.edu/exhibit/victor-arnautoff-and-politics-art\" target=\"_blank\" rel=\"noopener\">\u003cem>Victor Arnautoff and the Politics of Art\u003c/em>\u003c/a> runs through Tuesday, Dec. 12 at the Labor Archives and Research Center at San Francisco State University.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco Begins Process of Removing \"Early Days\" Statue",
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"content": "\u003cp>As the campaign to remove Confederate monuments continues throughout the country, the San Francisco Arts Commission voted this week to consider eliminating a controversial statue within the Civic Center’s Pioneer Monument.\u003c/p>\n\u003cp>In a meeting Monday, the Arts Commission voted unanimously to initiate the review process that would lead to the removal of the “Early Days” statue. It currently stands in the northeast side of the Pioneer Monument.\u003c/p>\n\u003cp>“Early Days,” a bronze statue that depicts a \u003cem>vaquero\u003c/em> and a Catholic missionary imposed upon a Native American, was originally designed by sculptor Frank Happersberger as a posthumous gift from city tycoon James Lick. It was completed in 1897.\u003c/p>\n\u003cp>Since its installation, the Native community in San Francisco has critiqued the statue for its anachronistic, troubling portrayal of the Ohlone people — the Native tribe indigenous to San Francisco and the larger Bay Area.\u003c/p>\n\u003cp>In 1991, activists demanded the removal of the statue, which was set to be shifted to open up space for a renovated Main Library building. The demands were met with a compromise: a plaque that addressed the subjugation of Native people by Spanish missionaries and settlers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Members of the Native community argue that the plaque is an inadequate solution to the underlying issue at hand.\u003c/p>\n\u003cp>“This plaque has been covered up by plants for many years, and does not offer an explanation of the historical context of these racist images, and does not extend any apology for the theft of land, colonization, subjugation, and near-annihilation of Native American people,” the group \u003ca href=\"https://www.facebook.com/takedownthepioneerstatue/\" target=\"_blank\" rel=\"noopener\">Take Down the ‘Pioneer’ Statue in San Francisco Now\u003c/a> wrote in a press release.\u003c/p>\n\u003cp>Protests demanding the removal of the “Early Days” statue mounted again in August amid the turmoil of Confederate statues being removed in places such as Charlottesville. \u003ca href=\"https://ww2.kqed.org/news/2017/08/22/debate-reignites-over-removal-of-s-f-monument/\" target=\"_blank\" rel=\"noopener\">Mayor Ed Lee and City Supervisor Jane Kim\u003c/a> have expressed their support for the removal of the statue from city grounds.\u003c/p>\n\u003cp>Representatives from the San Francisco Arts Committee declined to comment, but stated that the removal of the “Early Days” statue is in the preliminary stages.\u003c/p>\n\u003cp>Once the Commission concludes its review process, the city’s Historic Preservation Commission will need to grant the Arts Commission a Certificate of Appropriateness to remove an artifact within the Civic Center — a designated historic landmark.\u003c/p>\n\u003cp>“To one extent, the statue tells a story that is not inaccurate in that Native Americans were treated terribly,” said Andrew Wolfram, who presides over the Historic Preservation Commission. “With that said, the history that is conveyed is not portrayed accurately. We don’t want to whitewash historical facts.”\u003c/p>\n\u003cp>Then the vote will return to the Arts Commission’s Visual Arts Committee for another hearing. It will boomerang back to the full Commission for a final vote based on the committee’s recommendation.\u003c/p>\n\u003cp>The removal of the statue will cost up to $200,000 upon final approval by the Commission, according to the \u003ca href=\"http://www.sfweekly.com/news/sf-rallies-to-remove-racist-pioneer-statue/\" target=\"_blank\" rel=\"noopener\">SF Weekly\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, the commission will post a sign in front of the “Early Days” statue with information about its history and the removal process.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the campaign to remove Confederate monuments continues throughout the country, the San Francisco Arts Commission voted this week to consider eliminating a controversial statue within the Civic Center’s Pioneer Monument.\u003c/p>\n\u003cp>In a meeting Monday, the Arts Commission voted unanimously to initiate the review process that would lead to the removal of the “Early Days” statue. It currently stands in the northeast side of the Pioneer Monument.\u003c/p>\n\u003cp>“Early Days,” a bronze statue that depicts a \u003cem>vaquero\u003c/em> and a Catholic missionary imposed upon a Native American, was originally designed by sculptor Frank Happersberger as a posthumous gift from city tycoon James Lick. It was completed in 1897.\u003c/p>\n\u003cp>Since its installation, the Native community in San Francisco has critiqued the statue for its anachronistic, troubling portrayal of the Ohlone people — the Native tribe indigenous to San Francisco and the larger Bay Area.\u003c/p>\n\u003cp>In 1991, activists demanded the removal of the statue, which was set to be shifted to open up space for a renovated Main Library building. The demands were met with a compromise: a plaque that addressed the subjugation of Native people by Spanish missionaries and settlers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Members of the Native community argue that the plaque is an inadequate solution to the underlying issue at hand.\u003c/p>\n\u003cp>“This plaque has been covered up by plants for many years, and does not offer an explanation of the historical context of these racist images, and does not extend any apology for the theft of land, colonization, subjugation, and near-annihilation of Native American people,” the group \u003ca href=\"https://www.facebook.com/takedownthepioneerstatue/\" target=\"_blank\" rel=\"noopener\">Take Down the ‘Pioneer’ Statue in San Francisco Now\u003c/a> wrote in a press release.\u003c/p>\n\u003cp>Protests demanding the removal of the “Early Days” statue mounted again in August amid the turmoil of Confederate statues being removed in places such as Charlottesville. \u003ca href=\"https://ww2.kqed.org/news/2017/08/22/debate-reignites-over-removal-of-s-f-monument/\" target=\"_blank\" rel=\"noopener\">Mayor Ed Lee and City Supervisor Jane Kim\u003c/a> have expressed their support for the removal of the statue from city grounds.\u003c/p>\n\u003cp>Representatives from the San Francisco Arts Committee declined to comment, but stated that the removal of the “Early Days” statue is in the preliminary stages.\u003c/p>\n\u003cp>Once the Commission concludes its review process, the city’s Historic Preservation Commission will need to grant the Arts Commission a Certificate of Appropriateness to remove an artifact within the Civic Center — a designated historic landmark.\u003c/p>\n\u003cp>“To one extent, the statue tells a story that is not inaccurate in that Native Americans were treated terribly,” said Andrew Wolfram, who presides over the Historic Preservation Commission. “With that said, the history that is conveyed is not portrayed accurately. We don’t want to whitewash historical facts.”\u003c/p>\n\u003cp>Then the vote will return to the Arts Commission’s Visual Arts Committee for another hearing. It will boomerang back to the full Commission for a final vote based on the committee’s recommendation.\u003c/p>\n\u003cp>The removal of the statue will cost up to $200,000 upon final approval by the Commission, according to the \u003ca href=\"http://www.sfweekly.com/news/sf-rallies-to-remove-racist-pioneer-statue/\" target=\"_blank\" rel=\"noopener\">SF Weekly\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, the commission will post a sign in front of the “Early Days” statue with information about its history and the removal process.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For such an unassuming rock star, \u003ca href=\"http://www.npr.org/artists/15300677/tom-petty\" target=\"_blank\" rel=\"noopener\">Tom Petty\u003c/a> sure got to live a lot of lives.\u003c/p>\n\u003cp>He was a chart-topping fire hose of hits whose late-’70s and early-’80s singles — “Refugee,” “The Waiting,” “Stop Draggin’ My Heart Around,” et al — have etched themselves into the classic-rock firmament.\u003c/p>\n\u003cp>He was an influential Rock and Roll Hall of Famer and standard-bearer who formed a key bridge between the jangly folk-rock of \u003ca href=\"http://www.npr.org/artists/15786738/the-byrds\" target=\"_blank\" rel=\"noopener\">The Byrds\u003c/a> and the singer-songwriters of the present day.\u003c/p>\n\u003cp>He was an MTV star whose videos — most notably his creepy turn as the Mad Hatter in 1985’s “\u003ca href=\"https://www.youtube.com/watch?v=h0JvF9vpqx8\" target=\"_blank\" rel=\"noopener\">Don’t Come Around Here No More\u003c/a>” — can be conjured from memory 30-plus years later.\u003c/p>\n\u003cp>He was an everyday kid in Florida who dropped out of high school to join a short-lived band called Mudcrutch — only to re-form it and release a pair of albums late in his career, just because he could.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And he was a member of the Traveling Wilburys, the one dubbed “Muddy Wilbury” and “Charlie T. Wilbury Jr.” — part of a true supergroup with rock legends \u003ca href=\"http://www.npr.org/artists/15193203/bob-dylan\" target=\"_blank\" rel=\"noopener\">Bob Dylan\u003c/a>, \u003ca href=\"http://www.npr.org/artists/17079284/roy-orbison\" target=\"_blank\" rel=\"noopener\">Roy Orbison\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15774029/george-harrison\" target=\"_blank\" rel=\"noopener\">George Harrison\u003c/a> and \u003ca href=\"http://www.npr.org/artists/454311471/jeff-lynnes-elo\" target=\"_blank\" rel=\"noopener\">Jeff Lynne\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cwqhdRs4jyA\u003c/p>\n\u003cp>Petty’s place in the Wilburys said much about the man’s fascinating career. Think about those other Wilburys: Dylan brought gravitas and a kind of unknowable otherworldiness; Orbison brought a soaring, spectral quality; Harrison brought an air of mischief and mysticism; Lynne brought a certain immaculateness, befitting a producer with a perfectionist’s touch. Petty, by comparison, was a plainspoken workingman’s rocker whose approachable but unmistakable croak helped keep the band’s songs grounded.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nMusic is probably the only real magic I have encountered in my life. There’s not some trick involved with it. It’s pure and it’s real. It moves, it heals, it communicates and does all these incredible things.\u003cbr>\n\u003ccite>Tom Petty\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>In the Traveling Wilburys, as with the rest of the rock and roll world, Tom Petty was surrounded by mystique. But his humanity provided a humble, centering force. Petty could be curmudgeonly, and he could project an air of distance in interviews, and he’d battled the music industry when he deemed it necessary. But he also crafted dozens of the sturdiest, most indelible rock and roll songs ever played — decades’ worth of them, from 1976’s “American Girl” to 1982’s “You Got Lucky” to 1989’s “Free Fallin'” and “I Won’t Back Down” to 1994’s “Wildflowers” and beyond.\u003c/p>\n\u003cp>In that last song, you can hear what makes the music of Petty distinct and eternal. His songs could sound tortured, weary, angry, knowing, defiant. But Petty also possessed a great capacity for hard-won warmth — for having sounded so tortured, weary, angry, knowing and defiant that his moments of grace, when they came around, rang all the more true. Petty wasn’t one for dense wordcraft or obtuse metaphor, opting instead for clarity and directness; for clear, bright chord progressions and words that spoke to human resilience and desire.\u003c/p>\n\u003cp>In “Wildflowers,” Petty sang of a freedom we all deserve:\u003c/p>\n\u003cblockquote>\n\u003cp>You belong among the wildflowers\u003cbr>You belong in a boat out at sea\u003cbr>Sail away, kill off the hours\u003cbr>You belong somewhere you feel free\u003c/p>\n\u003c/blockquote>\n\u003cp>There’s so much simple beauty and generosity in those words, which have helped lend a soundtrack to countless major life changes — everything from graduations to breakups to funerals. They’ve served every terrifying milestone; all those occasions in which our greatest wish is for someone we love to find comfort and contentment. Petty, an everyman for everyone, had words for them all. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ozgmyx919a4\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=Tom+Petty+Was+Rock%27s+Everyman&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For such an unassuming rock star, \u003ca href=\"http://www.npr.org/artists/15300677/tom-petty\" target=\"_blank\" rel=\"noopener\">Tom Petty\u003c/a> sure got to live a lot of lives.\u003c/p>\n\u003cp>He was a chart-topping fire hose of hits whose late-’70s and early-’80s singles — “Refugee,” “The Waiting,” “Stop Draggin’ My Heart Around,” et al — have etched themselves into the classic-rock firmament.\u003c/p>\n\u003cp>He was an influential Rock and Roll Hall of Famer and standard-bearer who formed a key bridge between the jangly folk-rock of \u003ca href=\"http://www.npr.org/artists/15786738/the-byrds\" target=\"_blank\" rel=\"noopener\">The Byrds\u003c/a> and the singer-songwriters of the present day.\u003c/p>\n\u003cp>He was an MTV star whose videos — most notably his creepy turn as the Mad Hatter in 1985’s “\u003ca href=\"https://www.youtube.com/watch?v=h0JvF9vpqx8\" target=\"_blank\" rel=\"noopener\">Don’t Come Around Here No More\u003c/a>” — can be conjured from memory 30-plus years later.\u003c/p>\n\u003cp>He was an everyday kid in Florida who dropped out of high school to join a short-lived band called Mudcrutch — only to re-form it and release a pair of albums late in his career, just because he could.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And he was a member of the Traveling Wilburys, the one dubbed “Muddy Wilbury” and “Charlie T. Wilbury Jr.” — part of a true supergroup with rock legends \u003ca href=\"http://www.npr.org/artists/15193203/bob-dylan\" target=\"_blank\" rel=\"noopener\">Bob Dylan\u003c/a>, \u003ca href=\"http://www.npr.org/artists/17079284/roy-orbison\" target=\"_blank\" rel=\"noopener\">Roy Orbison\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15774029/george-harrison\" target=\"_blank\" rel=\"noopener\">George Harrison\u003c/a> and \u003ca href=\"http://www.npr.org/artists/454311471/jeff-lynnes-elo\" target=\"_blank\" rel=\"noopener\">Jeff Lynne\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cwqhdRs4jyA'\n title='//www.youtube.com/embed/cwqhdRs4jyA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Petty’s place in the Wilburys said much about the man’s fascinating career. Think about those other Wilburys: Dylan brought gravitas and a kind of unknowable otherworldiness; Orbison brought a soaring, spectral quality; Harrison brought an air of mischief and mysticism; Lynne brought a certain immaculateness, befitting a producer with a perfectionist’s touch. Petty, by comparison, was a plainspoken workingman’s rocker whose approachable but unmistakable croak helped keep the band’s songs grounded.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nMusic is probably the only real magic I have encountered in my life. There’s not some trick involved with it. It’s pure and it’s real. It moves, it heals, it communicates and does all these incredible things.\u003cbr>\n\u003ccite>Tom Petty\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>In the Traveling Wilburys, as with the rest of the rock and roll world, Tom Petty was surrounded by mystique. But his humanity provided a humble, centering force. Petty could be curmudgeonly, and he could project an air of distance in interviews, and he’d battled the music industry when he deemed it necessary. But he also crafted dozens of the sturdiest, most indelible rock and roll songs ever played — decades’ worth of them, from 1976’s “American Girl” to 1982’s “You Got Lucky” to 1989’s “Free Fallin'” and “I Won’t Back Down” to 1994’s “Wildflowers” and beyond.\u003c/p>\n\u003cp>In that last song, you can hear what makes the music of Petty distinct and eternal. His songs could sound tortured, weary, angry, knowing, defiant. But Petty also possessed a great capacity for hard-won warmth — for having sounded so tortured, weary, angry, knowing and defiant that his moments of grace, when they came around, rang all the more true. Petty wasn’t one for dense wordcraft or obtuse metaphor, opting instead for clarity and directness; for clear, bright chord progressions and words that spoke to human resilience and desire.\u003c/p>\n\u003cp>In “Wildflowers,” Petty sang of a freedom we all deserve:\u003c/p>\n\u003cblockquote>\n\u003cp>You belong among the wildflowers\u003cbr>You belong in a boat out at sea\u003cbr>Sail away, kill off the hours\u003cbr>You belong somewhere you feel free\u003c/p>\n\u003c/blockquote>\n\u003cp>There’s so much simple beauty and generosity in those words, which have helped lend a soundtrack to countless major life changes — everything from graduations to breakups to funerals. They’ve served every terrifying milestone; all those occasions in which our greatest wish is for someone we love to find comfort and contentment. Petty, an everyman for everyone, had words for them all. \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Ozgmyx919a4'\n title='//www.youtube.com/embed/Ozgmyx919a4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Tom+Petty+Was+Rock%27s+Everyman&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The deadliest mass shooting in recent U.S. history has renewed conversations about America’s gun laws, after one man strafed a country music festival from a high-rise hotel in Las Vegas on Sunday. The attack prompted a musician who played at the festival to say he’s changed his mind — and that the U.S. needs new gun control.\u003c/p>\n\u003cp>“I’ve been a proponent of the 2nd Amendment my whole life,” guitarist Caleb Keeter \u003ca href=\"https://twitter.com/Calebkeeter/status/914872808110510080\">said in a tweeted statement\u003c/a> on Monday. “Until the events of last night. I cannot express how wrong I was.”\u003c/p>\n\u003cp>Keeter said that one man — who police identified as Stephen Craig Paddock — “laid waste to a city with dedicated, fearless police officers desperately trying to help, because of access to an insane amount of fire power.”\u003c/p>\n\u003cp>He added, “Enough is enough” before adding later, “We need gun control RIGHT. NOW.”\u003c/p>\n\u003cp>https://twitter.com/Calebkeeter/status/914872808110510080\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Keeter is a guitarist for the Josh Abbott Band. Hours before Jason Aldean’s show \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/02/554976369/section-of-las-vegas-strip-is-closed-after-music-festival-shooting\">was shattered by gunfire and bullets rained\u003c/a> on a crowd of some 22,000 people, Keeter had played on the same stage. He and his bandmates and crew members were trapped by the violence, and Keeter says he wasn’t sure if he would survive.\u003c/p>\n\u003cp>His response is one of \u003ca href=\"http://www.npr.org/sections/therecord/2017/10/02/555021039/country-stars-react-to-las-vegas-mass-shooting\">many in the country music community\u003c/a> after Sunday’s attack; it seems to be the first to announce a shift in thinking about gun control.\u003c/p>\n\u003cp>Some of the band’s crew members suffered shrapnel wounds, Keeter said, because of the power of the weapons being used. They had been standing close to someone who was shot. And despite having their own weapons, they were unable to defend themselves.\u003c/p>\n\u003cp>“We actually have members of our crew with CHL [concealed handgun license] licenses, and legal firearms on the bus,” Keeter said. “They were useless. We couldn’t touch them for fear the police might think that we were part of the massacre and shoot us.”\u003c/p>\n\u003cp>He described writing to his loved ones and creating a living will, as performers, fans, and staff tried to find safety during the prolonged assault.\u003c/p>\n\u003cp>Sunday night’s attack left 527 people injured and 59 people dead. Police say Stephen Paddock brought a small arsenal to the Mandalay Bay Resort and Casino so he could carry out an attack on thousands of people.\u003c/p>\n\u003cp>“We have recovered 23 firearms at Mandalay Bay, and 19 firearms at his home in Mesquite,” Las Vegas Assistant Sheriff Todd Fasulo said.\u003c/p>\n\u003cp>Paddock is known to have bought some of his firearms at the Guns and Guitars store near where he lived in Mesquite, Nevada. The store has said via a statement, “All necessary background checks and procedures were followed” in Paddock’s purchases. It’s one of several gun shops or firing ranges that have acknowledged having contact with investigators about Paddock, \u003ca href=\"https://www.nbcnews.com/storyline/las-vegas-shooting/two-nevada-gun-shops-say-stephen-paddock-passed-background-checks-n806921\">NBC News reports\u003c/a>.\u003c/p>\n\u003cp>Keeter’s message found a large audience. It was liked more than 100,000 times and retweeted more than 50,000 times.\u003c/p>\n\u003cp>The message sparked a number of replies, from people asking why other tragedies — such as the \u003ca href=\"http://www.npr.org/series/167276841/shootings-in-newtown-conn\">Sandy Hook elementary school shooting in 2012\u003c/a> — hadn’t changed Keeter’s views. Some responses accused him of lacking empathy and changing his stance only because he was personally affected. Others chastised those reactions, and for criticizing someone who now agrees with them.\u003c/p>\n\u003cp>“It’s frustrating that some don’t call the fire dept until the blaze is at their own front door,” a Twitter user named Heather Maravola wrote. “But we need more ppl on our side. Welcome.”\u003c/p>\n\u003cp>In response, \u003ca href=\"https://twitter.com/Calebkeeter/status/914941713180917765\">Keeter wrote\u003c/a>, “You are all absolutely correct. I saw this happening for years and did nothing. But I’d like to do what I can now.”\u003c/p>\n\u003cp>In speaking out, Keeter also raised the hopes of a Twitter user who said they hope the issue can move from a left vs. right dynamic “to actually enacting common sense gun laws.”\u003c/p>\n\u003cp>Opinion polls have shown \u003ca href=\"http://www.npr.org/2017/06/22/533792054/americans-agree-on-some-gun-restrictions-pew-survey-finds\">large majorities of Americans agree\u003c/a> on making several changes to gun control laws, from restricting people with mental illnesses from buying guns to requiring background checks for private gun sales and at gun shows.\u003c/p>\n\u003cp>“Congress has not made a concerted effort to pass gun legislation since 2013,” \u003ca href=\"http://www.npr.org/2017/10/02/555099794/a-familiar-partisan-response-in-congress-to-las-vegas-massacre\">NPR’s Susan Davis reports\u003c/a>, “when the Senate tried and failed to overcome GOP opposition to expand background checks for gun purchases.”\u003c/p>\n\u003cp>Susan adds that so far in 2017, Republicans’ action on guns “has focused on expanding gun rights” — including making it easier to buy silencers and to nationalize concealed-carry laws.\u003c/p>\n\u003cp>And then there are the financial angles. After Sunday’s shooting, the stock prices of large gun makers rose sharply. As \u003ca href=\"https://www.marketplace.org/2017/10/02/business/las-vegas-58-dead-mass-shooting-gun-control-stocks-donald-trump\">Marketplace reported\u003c/a>, on Monday morning the “value of Sturm Ruger shares went up by as much as 7.7 percent and shares of American Outdoor Brands Corp, manufacturer of Smith & Wesson firearms, went up by as much as 6 percent.”\u003c/p>\n\u003cp>Those price hikes are part of a cycle that’s fueled by mass shootings, Rob Cox, global editor at\u003ca href=\"https://www.breakingviews.com/journalist/rob-cox/\"> Reuters Breakingviews\u003c/a>, told Marketplace:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Largely in response to concerns there may be new tightening of regulations on buying the guns, or on gun ownership. And that has actually driven a lot of the buying that actually has given these guys a lift over the past eight years.” \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=Las+Vegas+Massacre+Prompts+Musician+To+Call+For+Gun+Control%3A+%27Enough+Is+Enough%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The deadliest mass shooting in recent U.S. history has renewed conversations about America’s gun laws, after one man strafed a country music festival from a high-rise hotel in Las Vegas on Sunday. The attack prompted a musician who played at the festival to say he’s changed his mind — and that the U.S. needs new gun control.\u003c/p>\n\u003cp>“I’ve been a proponent of the 2nd Amendment my whole life,” guitarist Caleb Keeter \u003ca href=\"https://twitter.com/Calebkeeter/status/914872808110510080\">said in a tweeted statement\u003c/a> on Monday. “Until the events of last night. I cannot express how wrong I was.”\u003c/p>\n\u003cp>Keeter said that one man — who police identified as Stephen Craig Paddock — “laid waste to a city with dedicated, fearless police officers desperately trying to help, because of access to an insane amount of fire power.”\u003c/p>\n\u003cp>He added, “Enough is enough” before adding later, “We need gun control RIGHT. NOW.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Keeter is a guitarist for the Josh Abbott Band. Hours before Jason Aldean’s show \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/02/554976369/section-of-las-vegas-strip-is-closed-after-music-festival-shooting\">was shattered by gunfire and bullets rained\u003c/a> on a crowd of some 22,000 people, Keeter had played on the same stage. He and his bandmates and crew members were trapped by the violence, and Keeter says he wasn’t sure if he would survive.\u003c/p>\n\u003cp>His response is one of \u003ca href=\"http://www.npr.org/sections/therecord/2017/10/02/555021039/country-stars-react-to-las-vegas-mass-shooting\">many in the country music community\u003c/a> after Sunday’s attack; it seems to be the first to announce a shift in thinking about gun control.\u003c/p>\n\u003cp>Some of the band’s crew members suffered shrapnel wounds, Keeter said, because of the power of the weapons being used. They had been standing close to someone who was shot. And despite having their own weapons, they were unable to defend themselves.\u003c/p>\n\u003cp>“We actually have members of our crew with CHL [concealed handgun license] licenses, and legal firearms on the bus,” Keeter said. “They were useless. We couldn’t touch them for fear the police might think that we were part of the massacre and shoot us.”\u003c/p>\n\u003cp>He described writing to his loved ones and creating a living will, as performers, fans, and staff tried to find safety during the prolonged assault.\u003c/p>\n\u003cp>Sunday night’s attack left 527 people injured and 59 people dead. Police say Stephen Paddock brought a small arsenal to the Mandalay Bay Resort and Casino so he could carry out an attack on thousands of people.\u003c/p>\n\u003cp>“We have recovered 23 firearms at Mandalay Bay, and 19 firearms at his home in Mesquite,” Las Vegas Assistant Sheriff Todd Fasulo said.\u003c/p>\n\u003cp>Paddock is known to have bought some of his firearms at the Guns and Guitars store near where he lived in Mesquite, Nevada. The store has said via a statement, “All necessary background checks and procedures were followed” in Paddock’s purchases. It’s one of several gun shops or firing ranges that have acknowledged having contact with investigators about Paddock, \u003ca href=\"https://www.nbcnews.com/storyline/las-vegas-shooting/two-nevada-gun-shops-say-stephen-paddock-passed-background-checks-n806921\">NBC News reports\u003c/a>.\u003c/p>\n\u003cp>Keeter’s message found a large audience. It was liked more than 100,000 times and retweeted more than 50,000 times.\u003c/p>\n\u003cp>The message sparked a number of replies, from people asking why other tragedies — such as the \u003ca href=\"http://www.npr.org/series/167276841/shootings-in-newtown-conn\">Sandy Hook elementary school shooting in 2012\u003c/a> — hadn’t changed Keeter’s views. Some responses accused him of lacking empathy and changing his stance only because he was personally affected. Others chastised those reactions, and for criticizing someone who now agrees with them.\u003c/p>\n\u003cp>“It’s frustrating that some don’t call the fire dept until the blaze is at their own front door,” a Twitter user named Heather Maravola wrote. “But we need more ppl on our side. Welcome.”\u003c/p>\n\u003cp>In response, \u003ca href=\"https://twitter.com/Calebkeeter/status/914941713180917765\">Keeter wrote\u003c/a>, “You are all absolutely correct. I saw this happening for years and did nothing. But I’d like to do what I can now.”\u003c/p>\n\u003cp>In speaking out, Keeter also raised the hopes of a Twitter user who said they hope the issue can move from a left vs. right dynamic “to actually enacting common sense gun laws.”\u003c/p>\n\u003cp>Opinion polls have shown \u003ca href=\"http://www.npr.org/2017/06/22/533792054/americans-agree-on-some-gun-restrictions-pew-survey-finds\">large majorities of Americans agree\u003c/a> on making several changes to gun control laws, from restricting people with mental illnesses from buying guns to requiring background checks for private gun sales and at gun shows.\u003c/p>\n\u003cp>“Congress has not made a concerted effort to pass gun legislation since 2013,” \u003ca href=\"http://www.npr.org/2017/10/02/555099794/a-familiar-partisan-response-in-congress-to-las-vegas-massacre\">NPR’s Susan Davis reports\u003c/a>, “when the Senate tried and failed to overcome GOP opposition to expand background checks for gun purchases.”\u003c/p>\n\u003cp>Susan adds that so far in 2017, Republicans’ action on guns “has focused on expanding gun rights” — including making it easier to buy silencers and to nationalize concealed-carry laws.\u003c/p>\n\u003cp>And then there are the financial angles. After Sunday’s shooting, the stock prices of large gun makers rose sharply. As \u003ca href=\"https://www.marketplace.org/2017/10/02/business/las-vegas-58-dead-mass-shooting-gun-control-stocks-donald-trump\">Marketplace reported\u003c/a>, on Monday morning the “value of Sturm Ruger shares went up by as much as 7.7 percent and shares of American Outdoor Brands Corp, manufacturer of Smith & Wesson firearms, went up by as much as 6 percent.”\u003c/p>\n\u003cp>Those price hikes are part of a cycle that’s fueled by mass shootings, Rob Cox, global editor at\u003ca href=\"https://www.breakingviews.com/journalist/rob-cox/\"> Reuters Breakingviews\u003c/a>, told Marketplace:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Largely in response to concerns there may be new tightening of regulations on buying the guns, or on gun ownership. And that has actually driven a lot of the buying that actually has given these guys a lift over the past eight years.” \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=Las+Vegas+Massacre+Prompts+Musician+To+Call+For+Gun+Control%3A+%27Enough+Is+Enough%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Women of SFFD' Celebrates 30 Years of Female Firefighters",
"headTitle": "‘Women of SFFD’ Celebrates 30 Years of Female Firefighters | KQED",
"content": "\u003cp>In August 1987, Shelia Hunter was one of the first seven women hired into the San Francisco Fire Department. Now, thirty years later, she still serves — as a Lieutenant at Station 33 in Oceanview. Photographed by \u003ca href=\"http://christiehemmklok.com/\" target=\"_blank\" rel=\"noopener\">Christie Hemm Klok\u003c/a> for a new series and self-published book called \u003ci>\u003ca href=\"http://www.blurb.com/b/8246153-the-women-of-the-sffd\" target=\"_blank\" rel=\"noopener\">The Women of SFFD\u003c/a>\u003c/i>, Hunter sits on a wooden bench in full gear, elbows resting on her thighs, helmet at her side. She looks strong, experienced and ready.\u003c/p>\n\u003cp>For Hemm Klok, who photographed as many of San Francisco’s female firefighters as she could over the past year (including a giant group portrait at Crissy Field), the series was both a labor of love and a professional challenge.\u003c/p>\n\u003cfigure id=\"attachment_13809945\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809945\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/CF3A1547-2_640.jpg\" alt=\"Christie Hemm Klok, firefighters during the group photo at Crissy Field. \" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/CF3A1547-2_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/CF3A1547-2_640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/CF3A1547-2_640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/CF3A1547-2_640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/CF3A1547-2_640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Christie Hemm Klok, firefighters during the group photo at Crissy Field.\u003c/figcaption>\u003c/figure>\n\u003cp>“A lot of times I would show up to a firehouse and we’d get to know each other and find places to shoot — and they’d get called away,” Hemm Klok says. “There were a number of times when I was just left in a firehouse with my gear.”\u003c/p>\n\u003cp>Before she started the project, Hemm Klok had no personal relationship to the fire department, let alone female firefighters. As a freelance photographer in the Bay Area, she gets a lot of work photographing start-up founders in their sleek, open-air offices. “I shoot mostly tech and I do generally like it and like what I do, but I needed something else, you know? As fulfilling as tech can be, I needed something to be passionate about and reignite the fire,” she says, no pun intended.\u003c/p>\n\u003cp>She contacted \u003ca href=\"http://ufsw.org/\" rel=\"noopener\" target=\"_blank\">United Fire Service Women\u003c/a> (an organization founded to help women enter the SFFD) with her idea and heard back from them immediately — it turned out they were preparing to celebrate their 30-year anniversary in the department. They’d just started looking for a photographer to document their members.\u003c/p>\n\u003cfigure id=\"attachment_13809947\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_0042_LR_white_1200.jpg\" alt=\"Christie Hemm Klok, 'The Women of SFFD' book.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13809947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_0042_LR_white_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_0042_LR_white_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_0042_LR_white_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_0042_LR_white_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_0042_LR_white_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_0042_LR_white_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_0042_LR_white_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_0042_LR_white_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_0042_LR_white_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_0042_LR_white_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Christie Hemm Klok, ‘The Women of SFFD’ book. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to UFSW, the SFFD has one of the largest populations of female firefighters in the country. Women currently comprise about 15.3 percent (229 individuals) of the uniformed members of the SFFD. By extreme comparison, in 2016 \u003ca href=\"http://www.nydailynews.com/new-york/fdny-welcomes-women-ranks-article-1.2623738\" target=\"_blank\" rel=\"noopener\">the New York City Fire Department had 52 women on a force of roughly 10,500\u003c/a> — about 0.5 percent — making it among the least gender diverse fire departments in the nation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>San Francisco is a city where you actually see female firefighters out and about, Hemm Klok says. And this, in turn, has brought even more women into the department.\u003c/p>\n\u003cfigure id=\"attachment_13809952\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809952\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Willa-Ortega-Firefighter-24-years_1200.jpg\" alt=\"Christie Hemm Klok, 'Willa Ortega - Firefighter, 24 years.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Willa-Ortega-Firefighter-24-years_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Willa-Ortega-Firefighter-24-years_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Willa-Ortega-Firefighter-24-years_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Willa-Ortega-Firefighter-24-years_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Willa-Ortega-Firefighter-24-years_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Willa-Ortega-Firefighter-24-years_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Willa-Ortega-Firefighter-24-years_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Willa-Ortega-Firefighter-24-years_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Willa-Ortega-Firefighter-24-years_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Willa-Ortega-Firefighter-24-years_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Christie Hemm Klok, ‘Willa Ortega – Firefighter, 24 years.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Camille Wofford-Howard, four years into her career, says, “I knew I wanted to be a San Francisco firefighter when I started seeing female firefighters around town working on the engines and trucks. It hadn’t occurred to me until I saw other women doing the job that it might be a good fit for me as well.”\u003c/p>\n\u003cp>Hemm Klok’s portraits take that visibility a step further, holding the women in rare stillness — with proud stances and serious faces — and allowing for a moment of reflection on their many contributions to the both the department and the people of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13809943\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Angela-Romero-Lieutenant-19-years_1200.jpg\" alt=\"Christie Hemm Klok, 'Angela Romero - Lieutenant, 19 years.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13809943\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Angela-Romero-Lieutenant-19-years_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Angela-Romero-Lieutenant-19-years_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Angela-Romero-Lieutenant-19-years_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Angela-Romero-Lieutenant-19-years_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Angela-Romero-Lieutenant-19-years_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Angela-Romero-Lieutenant-19-years_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Angela-Romero-Lieutenant-19-years_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Angela-Romero-Lieutenant-19-years_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Angela-Romero-Lieutenant-19-years_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Angela-Romero-Lieutenant-19-years_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Christie Hemm Klok, ‘Angela Romero – Lieutenant, 19 years.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Getting those shots was hard, Hemm Klok says, and not just because her subjects could be called away by an emergency at any moment. Firehouses have a utilitarian sameness to them, so she had to get creative with backdrops. “We tried our absolute best to make them look different, because the women are all different,” she says.\u003c/p>\n\u003cp>And then there was the struggle of photographing a group unused to posing. “I tend to shoot in a little bit of a stoic, don’t-smile-at-the-camera way, so that was really hard for a lot of them, because they’re a smiley group.” While shooting each portrait, Hemm Klok says, “Behind me are seven firefighters making fun of them.”\u003c/p>\n\u003cfigure id=\"attachment_13809948\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809948\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Joanne-Hayes-Chief-of-the-San-Francisco-Fire-Department-27-years_1200.jpg\" alt=\"Christie Hemm Klok, 'Joanne Hayes - Chief of the San Francisco Fire Department, 27 years.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Joanne-Hayes-Chief-of-the-San-Francisco-Fire-Department-27-years_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Joanne-Hayes-Chief-of-the-San-Francisco-Fire-Department-27-years_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Joanne-Hayes-Chief-of-the-San-Francisco-Fire-Department-27-years_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Joanne-Hayes-Chief-of-the-San-Francisco-Fire-Department-27-years_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Joanne-Hayes-Chief-of-the-San-Francisco-Fire-Department-27-years_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Joanne-Hayes-Chief-of-the-San-Francisco-Fire-Department-27-years_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Joanne-Hayes-Chief-of-the-San-Francisco-Fire-Department-27-years_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Joanne-Hayes-Chief-of-the-San-Francisco-Fire-Department-27-years_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Joanne-Hayes-Chief-of-the-San-Francisco-Fire-Department-27-years_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Joanne-Hayes-Chief-of-the-San-Francisco-Fire-Department-27-years_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Christie Hemm Klok, ‘Joanne Hayes – Chief of the San Francisco Fire Department, 27 years.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just two of the women were photographed in offices — Joanne Hayes-White, the 25th Chief of the SFFD (and the first woman to hold the position) and Raemona Williams, Deputy Chief of the SFFD. In Hayes-White’s portrait, she sits behind a desk overflowing with phones, paperwork and various mementos from her 27 years in the department.\u003c/p>\n\u003cp>“I’m humbled by being in this position,” Hayes-White says. “Women have added greatly to the rich blend of members making up our department. It is important and value added to have a workforce that reflects the community we serve.”\u003c/p>\n\u003cfigure id=\"attachment_13809950\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Shelia-Hunter-Lieutenant-30-years_COVER.jpg\" alt=\"Christie Hemm Klok, 'Shelia Hunter - Lieutenant, 30 years.'\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13809950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Shelia-Hunter-Lieutenant-30-years_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Shelia-Hunter-Lieutenant-30-years_COVER-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Shelia-Hunter-Lieutenant-30-years_COVER-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Shelia-Hunter-Lieutenant-30-years_COVER-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Shelia-Hunter-Lieutenant-30-years_COVER-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Shelia-Hunter-Lieutenant-30-years_COVER-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Shelia-Hunter-Lieutenant-30-years_COVER-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Shelia-Hunter-Lieutenant-30-years_COVER-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Shelia-Hunter-Lieutenant-30-years_COVER-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Shelia-Hunter-Lieutenant-30-years_COVER-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Christie Hemm Klok, ‘Shelia Hunter – Lieutenant, 30 years.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Hemm Klok, this project has taken her places she never thought she’d see and created relationships she never expected. “The amount of love and friendship I’ve gotten out of this is so surprising. My point of contact [Mary Minogue-Reidy] has become someone I talk to on a daily basis. Mary’s like a sister to me now,” she says. “It’s been a totally different way to get to know this city.”\u003c/p>\n\u003cp>As for Shelia Hunter, she’s not only one of the first women in the SFFD, she’s also the first mother to have her daughter join the department. Hemm Klok captured them in a close-up double portrait. “I definitely see her as a role model for all women,” Khristina says of her mother.\u003c/p>\n\u003cp>This family legacy is the start of a new chapter for the women of the SFFD. As Lieutenant Angie Romero, a nearly 20-year veteran of the department says, the 30-year anniversary is “the beginning of an era that will not end.”\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>‘The Women of SFFD’ hardcover book is available for order on Blurb. For more information, \u003ca href=\"http://www.blurb.com/b/8246153-the-women-of-the-sffd7\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Christie Hemm Klok's new series captures portraits of the hard-working women of the San Francisco Fire Department, 30 years after the city finally opened the department's doors to women.",
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"description": "Christie Hemm Klok's new series captures portraits of the hard-working women of the San Francisco Fire Department, 30 years after the city finally opened the department's doors to women.",
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"headline": "'Women of SFFD' Celebrates 30 Years of Female Firefighters",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In August 1987, Shelia Hunter was one of the first seven women hired into the San Francisco Fire Department. Now, thirty years later, she still serves — as a Lieutenant at Station 33 in Oceanview. Photographed by \u003ca href=\"http://christiehemmklok.com/\" target=\"_blank\" rel=\"noopener\">Christie Hemm Klok\u003c/a> for a new series and self-published book called \u003ci>\u003ca href=\"http://www.blurb.com/b/8246153-the-women-of-the-sffd\" target=\"_blank\" rel=\"noopener\">The Women of SFFD\u003c/a>\u003c/i>, Hunter sits on a wooden bench in full gear, elbows resting on her thighs, helmet at her side. She looks strong, experienced and ready.\u003c/p>\n\u003cp>For Hemm Klok, who photographed as many of San Francisco’s female firefighters as she could over the past year (including a giant group portrait at Crissy Field), the series was both a labor of love and a professional challenge.\u003c/p>\n\u003cfigure id=\"attachment_13809945\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809945\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/CF3A1547-2_640.jpg\" alt=\"Christie Hemm Klok, firefighters during the group photo at Crissy Field. \" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/CF3A1547-2_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/CF3A1547-2_640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/CF3A1547-2_640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/CF3A1547-2_640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/CF3A1547-2_640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Christie Hemm Klok, firefighters during the group photo at Crissy Field.\u003c/figcaption>\u003c/figure>\n\u003cp>“A lot of times I would show up to a firehouse and we’d get to know each other and find places to shoot — and they’d get called away,” Hemm Klok says. “There were a number of times when I was just left in a firehouse with my gear.”\u003c/p>\n\u003cp>Before she started the project, Hemm Klok had no personal relationship to the fire department, let alone female firefighters. As a freelance photographer in the Bay Area, she gets a lot of work photographing start-up founders in their sleek, open-air offices. “I shoot mostly tech and I do generally like it and like what I do, but I needed something else, you know? As fulfilling as tech can be, I needed something to be passionate about and reignite the fire,” she says, no pun intended.\u003c/p>\n\u003cp>She contacted \u003ca href=\"http://ufsw.org/\" rel=\"noopener\" target=\"_blank\">United Fire Service Women\u003c/a> (an organization founded to help women enter the SFFD) with her idea and heard back from them immediately — it turned out they were preparing to celebrate their 30-year anniversary in the department. They’d just started looking for a photographer to document their members.\u003c/p>\n\u003cfigure id=\"attachment_13809947\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_0042_LR_white_1200.jpg\" alt=\"Christie Hemm Klok, 'The Women of SFFD' book.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13809947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_0042_LR_white_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_0042_LR_white_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_0042_LR_white_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_0042_LR_white_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_0042_LR_white_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_0042_LR_white_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_0042_LR_white_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_0042_LR_white_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_0042_LR_white_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_0042_LR_white_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Christie Hemm Klok, ‘The Women of SFFD’ book. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to UFSW, the SFFD has one of the largest populations of female firefighters in the country. Women currently comprise about 15.3 percent (229 individuals) of the uniformed members of the SFFD. By extreme comparison, in 2016 \u003ca href=\"http://www.nydailynews.com/new-york/fdny-welcomes-women-ranks-article-1.2623738\" target=\"_blank\" rel=\"noopener\">the New York City Fire Department had 52 women on a force of roughly 10,500\u003c/a> — about 0.5 percent — making it among the least gender diverse fire departments in the nation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>San Francisco is a city where you actually see female firefighters out and about, Hemm Klok says. And this, in turn, has brought even more women into the department.\u003c/p>\n\u003cfigure id=\"attachment_13809952\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809952\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Willa-Ortega-Firefighter-24-years_1200.jpg\" alt=\"Christie Hemm Klok, 'Willa Ortega - Firefighter, 24 years.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Willa-Ortega-Firefighter-24-years_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Willa-Ortega-Firefighter-24-years_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Willa-Ortega-Firefighter-24-years_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Willa-Ortega-Firefighter-24-years_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Willa-Ortega-Firefighter-24-years_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Willa-Ortega-Firefighter-24-years_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Willa-Ortega-Firefighter-24-years_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Willa-Ortega-Firefighter-24-years_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Willa-Ortega-Firefighter-24-years_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Willa-Ortega-Firefighter-24-years_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Christie Hemm Klok, ‘Willa Ortega – Firefighter, 24 years.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Camille Wofford-Howard, four years into her career, says, “I knew I wanted to be a San Francisco firefighter when I started seeing female firefighters around town working on the engines and trucks. It hadn’t occurred to me until I saw other women doing the job that it might be a good fit for me as well.”\u003c/p>\n\u003cp>Hemm Klok’s portraits take that visibility a step further, holding the women in rare stillness — with proud stances and serious faces — and allowing for a moment of reflection on their many contributions to the both the department and the people of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13809943\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Angela-Romero-Lieutenant-19-years_1200.jpg\" alt=\"Christie Hemm Klok, 'Angela Romero - Lieutenant, 19 years.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13809943\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Angela-Romero-Lieutenant-19-years_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Angela-Romero-Lieutenant-19-years_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Angela-Romero-Lieutenant-19-years_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Angela-Romero-Lieutenant-19-years_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Angela-Romero-Lieutenant-19-years_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Angela-Romero-Lieutenant-19-years_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Angela-Romero-Lieutenant-19-years_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Angela-Romero-Lieutenant-19-years_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Angela-Romero-Lieutenant-19-years_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Angela-Romero-Lieutenant-19-years_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Christie Hemm Klok, ‘Angela Romero – Lieutenant, 19 years.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Getting those shots was hard, Hemm Klok says, and not just because her subjects could be called away by an emergency at any moment. Firehouses have a utilitarian sameness to them, so she had to get creative with backdrops. “We tried our absolute best to make them look different, because the women are all different,” she says.\u003c/p>\n\u003cp>And then there was the struggle of photographing a group unused to posing. “I tend to shoot in a little bit of a stoic, don’t-smile-at-the-camera way, so that was really hard for a lot of them, because they’re a smiley group.” While shooting each portrait, Hemm Klok says, “Behind me are seven firefighters making fun of them.”\u003c/p>\n\u003cfigure id=\"attachment_13809948\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809948\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Joanne-Hayes-Chief-of-the-San-Francisco-Fire-Department-27-years_1200.jpg\" alt=\"Christie Hemm Klok, 'Joanne Hayes - Chief of the San Francisco Fire Department, 27 years.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Joanne-Hayes-Chief-of-the-San-Francisco-Fire-Department-27-years_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Joanne-Hayes-Chief-of-the-San-Francisco-Fire-Department-27-years_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Joanne-Hayes-Chief-of-the-San-Francisco-Fire-Department-27-years_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Joanne-Hayes-Chief-of-the-San-Francisco-Fire-Department-27-years_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Joanne-Hayes-Chief-of-the-San-Francisco-Fire-Department-27-years_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Joanne-Hayes-Chief-of-the-San-Francisco-Fire-Department-27-years_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Joanne-Hayes-Chief-of-the-San-Francisco-Fire-Department-27-years_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Joanne-Hayes-Chief-of-the-San-Francisco-Fire-Department-27-years_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Joanne-Hayes-Chief-of-the-San-Francisco-Fire-Department-27-years_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Joanne-Hayes-Chief-of-the-San-Francisco-Fire-Department-27-years_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Christie Hemm Klok, ‘Joanne Hayes – Chief of the San Francisco Fire Department, 27 years.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just two of the women were photographed in offices — Joanne Hayes-White, the 25th Chief of the SFFD (and the first woman to hold the position) and Raemona Williams, Deputy Chief of the SFFD. In Hayes-White’s portrait, she sits behind a desk overflowing with phones, paperwork and various mementos from her 27 years in the department.\u003c/p>\n\u003cp>“I’m humbled by being in this position,” Hayes-White says. “Women have added greatly to the rich blend of members making up our department. It is important and value added to have a workforce that reflects the community we serve.”\u003c/p>\n\u003cfigure id=\"attachment_13809950\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Shelia-Hunter-Lieutenant-30-years_COVER.jpg\" alt=\"Christie Hemm Klok, 'Shelia Hunter - Lieutenant, 30 years.'\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13809950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Shelia-Hunter-Lieutenant-30-years_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Shelia-Hunter-Lieutenant-30-years_COVER-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Shelia-Hunter-Lieutenant-30-years_COVER-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Shelia-Hunter-Lieutenant-30-years_COVER-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Shelia-Hunter-Lieutenant-30-years_COVER-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Shelia-Hunter-Lieutenant-30-years_COVER-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Shelia-Hunter-Lieutenant-30-years_COVER-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Shelia-Hunter-Lieutenant-30-years_COVER-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Shelia-Hunter-Lieutenant-30-years_COVER-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Shelia-Hunter-Lieutenant-30-years_COVER-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Christie Hemm Klok, ‘Shelia Hunter – Lieutenant, 30 years.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Hemm Klok, this project has taken her places she never thought she’d see and created relationships she never expected. “The amount of love and friendship I’ve gotten out of this is so surprising. My point of contact [Mary Minogue-Reidy] has become someone I talk to on a daily basis. Mary’s like a sister to me now,” she says. “It’s been a totally different way to get to know this city.”\u003c/p>\n\u003cp>As for Shelia Hunter, she’s not only one of the first women in the SFFD, she’s also the first mother to have her daughter join the department. Hemm Klok captured them in a close-up double portrait. “I definitely see her as a role model for all women,” Khristina says of her mother.\u003c/p>\n\u003cp>This family legacy is the start of a new chapter for the women of the SFFD. As Lieutenant Angie Romero, a nearly 20-year veteran of the department says, the 30-year anniversary is “the beginning of an era that will not end.”\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>‘The Women of SFFD’ hardcover book is available for order on Blurb. For more information, \u003ca href=\"http://www.blurb.com/b/8246153-the-women-of-the-sffd7\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>UPDATE:\u003c/b> Tom Petty’s manager has confirmed that the singer died Monday night.\u003c/p>\n\u003cp>His family posted this statement:\u003cbr>\nhttps://twitter.com/tompetty/status/915071679109357568\u003c/p>\n\u003cp>Tom Petty, a prolific rock ‘n’ roll bard who wrote and sang decades of hit songs with his band Tom Petty and the Heatbreakers, was pulled off life support Monday after experiencing a heart attack. He is 66.\u003c/p>\n\u003cp>Celebrity news source \u003ca href=\"http://www.tmz.com/2017/10/02/tom-petty-found-unconscious-full-cardiac-arrest/\" rel=\"noopener\" target=\"_blank\">TMZ first reported\u003c/a> Petty having been rushed to the hospital by EMTs Sunday evening after he was discovered unconscious and in cardiac arrest in his Malibu home. TMZ’s sources later updated that because Petty showed no sign of brain activity after arriving at the hospital, he was removed from life support. The Los Angeles Police Department initially stated that Petty died Monday afternoon, but has since rescinded its statement.\u003c/p>\n\u003cp>https://twitter.com/nycjim/status/914960364894326788\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born and raised in Gainesville, Florida, Petty founded the Heartbreakers in 1976 after the breakup of previous band Mudcrutch. The Heartbreakers would go on to release 13 albums, five of which went platinum. Petty also released three solo albums, two of which went multi-platinum.\u003c/p>\n\u003cp>Among the hits Petty penned over his 41-year career were “Refugee,” “Free Fallin'” and “Mary Jane’s Last Dance.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aowSGxim_O8\u003c/p>\n\u003cp>His band also won a Grammy as the backing band for Johnny Cash’s \u003ci>Unchained\u003c/i> album in 1996.\u003c/p>\n\u003cp>The band recently finished their 40th Anniversary Tour, which concluded with a show at the Hollywood Bowl. One of Petty’s last performances was at UC Berkeley’s Greek Theater. Music journalist Dave Pehling attended the show, and he says that the tour was rumored to be one of band’s last and Petty showed no signs of slowing down. \u003c/p>\n\u003cp>“It was hard to imagine that he was going to stop playing altogether,” Pehling said. “He seemed to be having too much of a good time.”\u003c/p>\n\u003cp>Petty and the Heartbreakers played several shows in the Bay Area, including multiple appearances at the outdoor festival Outside Lands. The band released the recording of their 1999 show at the Fillmore as a DVD called \u003cem>High Grass Dogs\u003c/em>. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1IC9PrlQZkM\u003c/p>\n\u003cp>Plenty of musicians have shared condolences after Petty was hospitalized, including Bob Dylan and John Mayer. After Petty’s manager Tony Dimitriades shared the news of his death, local comedian W. Kamau Bell tweets showed the influence of Petty’s work, beyond its musicality:\u003c/p>\n\u003cp>https://twitter.com/wkamaubell/status/915070481870524416\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Follow this story for updates.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born and raised in Gainesville, Florida, Petty founded the Heartbreakers in 1976 after the breakup of previous band Mudcrutch. The Heartbreakers would go on to release 13 albums, five of which went platinum. Petty also released three solo albums, two of which went multi-platinum.\u003c/p>\n\u003cp>Among the hits Petty penned over his 41-year career were “Refugee,” “Free Fallin'” and “Mary Jane’s Last Dance.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aowSGxim_O8'\n title='//www.youtube.com/embed/aowSGxim_O8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>His band also won a Grammy as the backing band for Johnny Cash’s \u003ci>Unchained\u003c/i> album in 1996.\u003c/p>\n\u003cp>The band recently finished their 40th Anniversary Tour, which concluded with a show at the Hollywood Bowl. One of Petty’s last performances was at UC Berkeley’s Greek Theater. Music journalist Dave Pehling attended the show, and he says that the tour was rumored to be one of band’s last and Petty showed no signs of slowing down. \u003c/p>\n\u003cp>“It was hard to imagine that he was going to stop playing altogether,” Pehling said. “He seemed to be having too much of a good time.”\u003c/p>\n\u003cp>Petty and the Heartbreakers played several shows in the Bay Area, including multiple appearances at the outdoor festival Outside Lands. The band released the recording of their 1999 show at the Fillmore as a DVD called \u003cem>High Grass Dogs\u003c/em>. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1IC9PrlQZkM'\n title='//www.youtube.com/embed/1IC9PrlQZkM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Plenty of musicians have shared condolences after Petty was hospitalized, including Bob Dylan and John Mayer. After Petty’s manager Tony Dimitriades shared the news of his death, local comedian W. Kamau Bell tweets showed the influence of Petty’s work, beyond its musicality:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>The mass shooting in Las Vegas, which according to the police has killed 58 and wounded 515 people, took place during the last night of the Route 91 Harvest Festival. The festival featured many of country music’s current top stars, including singer Jason Aldean (during whose set, the last of the festival, shots were first fired), Eric Church, Sam Hunt and the duo Big & Rich.\u003c/p>\n\u003cp>Overnight, Aldean posted an anguished note to Instagram: “Tonight has been beyond horrific,” he wrote. “I still dont [\u003cem>sic\u003c/em>] know what to say but wanted to let everyone know that Me and my Crew are safe. My Thoughts and prayers go out to everyone involved tonight. It hurts my heart that this would happen to anyone who was just coming out to enjoy what should have been a fun night. \u003ca href=\"https://www.instagram.com/explore/tags/heartbroken/\">#heartbroken\u003c/a> \u003ca href=\"https://www.instagram.com/explore/tags/stopthehate/\">#stopthehate\u003c/a>”\u003c/p>\n\u003cp>https://www.instagram.com/p/BZvRZnogBrI/\u003c/p>\n\u003cp>Within the close-knit country music community, many other artists have reached to social media to express their shock and sorrow.\u003c/p>\n\u003cp>Singer-songwriter Ryan Hurd is engaged to singer Maren Morris, who performed at the Route 91 Harvest Festival on Saturday evening. On Instagram, Hurd posted a picture of the T-shirt his fiancee brought home for him from this year’s event. “We are so terribly heartbroken this morning, for our community,” he wrote, “for those who have lost their loved ones in the most unimaginable way, for our neighbors and for our country.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/BZvrXAVFp1-/\u003c/p>\n\u003cp>Singer Reba McEntire wrote on Instagram: “My heart goes out to all our friends, Jason Aldean, our music family and fans in Las Vegas. I’m praying for your healing. I pray God puts his arms around you.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BZvu85ihMEV/\u003c/p>\n\u003cp>On Twitter, singer Blake Shelton was reflective: “My deepest sympathies and prayers to anyone has been affected by the Vegas shooting last night. I don’t even know anymore… Why?”\u003c/p>\n\u003cp>https://twitter.com/blakeshelton/status/914856208435212288\u003c/p>\n\u003cp>Singer Carrie Underwood wrote on Twitter, “We are praying for the victims and their families. May the Lord bring some comfort to them.”\u003c/p>\n\u003cp>https://twitter.com/carrieunderwood/status/914829592132800513\u003c/p>\n\u003cp>Singer-songwriter Thomas Rhett — who has been \u003ca href=\"https://www.nracountry.com/featured/thomas-rhett\">featured\u003c/a> as part of a National Rifle Association publicity campaign — wrote on Facebook: “I just can’t even fathom what happened in Vegas. My heart is broken.”\u003c/p>\n\u003cp>https://www.facebook.com/thomasrhettmusic/photos/a.585845218124537.1073741856.198584476850615/1692207374154977/?type=3\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cem>Los Angeles Times\u003c/em> \u003ca href=\"http://www.latimes.com/nation/la-na-las-vegas-mandalay-bay-20171001-story.html\">spoke\u003c/a> to Dan Ball, a former broadcast journalist who had been backstage at the festival as a guest of the duo Big & Rich. Ball told the newspaper that while he was backstage, he was thrilled by the diversity of the crowd, thinking: “Isn’t it great to look out there? We saw white, black, straight, gay, males, females, everyone out there having a good time. Moments later, these cowards commit a heinous act like this. It’s unbelievable. Unbelievable.” \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=Country+Stars+React+To+Las+Vegas+Mass+Shooting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>“Did you hear that the Beaver got killed in Vietnam?” \u003c/p>\n\u003cp>I was visiting Amherst College in Massachusetts in the late ’60s, attending some sort of anti-war gathering, and this older student took me aside to give me the bad news. In those days I didn’t like talking about my past as a child actor, including my years on TV playing Beaver’s best friend, Gilbert, on \u003cem>Leave it to Beaver\u003c/em>. It seemed too superficial and irrelevant and just plain embarrassing when the country was at war, and cities and campuses were on fire. \u003c/p>\n\u003cp>But this guy knew my secret and he wanted to tell me the awful truth. \u003c/p>\n\u003cp>His words stopped me cold. I didn’t believe him, or at least I didn’t want to. Even though I was living in Connecticut while I was going to Wesleyan University, far from my family and friends in Los Angeles, surely I would have heard if my TV buddy had died. Then again, there had been so many deaths, assassinations and shocking events in the 1960s that maybe this was just one more surreal, tragic loss. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/TheVietnamWar_web_banners-1180x177-Ver_3-e1506839982941.png\" alt=\"\" width=\"301\" height=\"301\" class=\"alignright size-full wp-image-13810077\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was in the papers,” he said, “people are talking about it on the radio.”\u003c/p>\n\u003cp>“Maybe,” he added, “this will wake people up. Nobody’s safe anymore, even Beaver Cleaver.”\u003c/p>\n\u003cp>He was right. The death of a TV icon in Vietnam would probably strike home with many Americans, especially those in suburbia and the heartland. Just the people we needed to reach. Maybe more would turn against the war.\u003c/p>\n\u003cp>But it was hard to think that way at the moment. \u003c/p>\n\u003cp>I felt sick. I was stung by guilt. Jerry and I had become friends in the course of the five years and more than 50 episodes of TV we’d worked on together. After the show was cancelled in the summer of 1963, we’d stayed in touch. I’d spent the night at his family’s house. We’d gone to a “Twist” party when that dance was all the rage. We ate lunch at Bob’s Big Boy. But when we went to different high schools in the San Fernando Valley, we drifted apart. By the time I left for college back East, I hadn’t seen him for several years. \u003c/p>\n\u003cfigure id=\"attachment_13810037\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jerry_Mathers.jpg\" alt=\" Jerry Mathers in his Air Force Reserve uniform\" width=\"600\" height=\"648\" class=\"size-full wp-image-13810037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-240x259.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-375x405.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-520x562.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mathers in his Air Force Reserve uniform \u003ccite>(Public Domain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’d known he’d signed up for some sort of military service. In 1967 he handed out an Emmy to Gene Kelly, and I saw him in a newspaper wearing his Air Force uniform and sporting a shaved head. Now he was dead? Why hadn’t I reached out to him, and tried to convince him not to put his life at risk in what I had come to regard as an immoral, unjust, unnecessary conflict? \u003c/p>\n\u003cp>Back in my dorm, I made some calls and wrote some letters. No one seemed to know for sure if he was dead. It was all so depressing, so “heavy,” as we used to say, and it felt almost too symbolic. For my baby boomer TV generation, the character of the Beaver was nearly as iconic as Tom Sawyer. He was the all-American suburban kid, constantly getting into scrapes and mishaps, often misled by his prankish pal Gilbert (played by me), and yet thanks to his basic goodness and loving (if sometimes clueless) parents he always emerged unscathed, perhaps even having learned a lesson or two. Now he’d grown up only to be killed in Vietnam? \u003c/p>\n\u003cp>You might say the Beaver was a symbol of late 1950s, early ’60s American innocence — cute, freckled, playful, a little gullible. Just a few months after the last episode of “Beaver” aired on ABC, President John Kennedy was assassinated. The innocence of the \u003cem>Leave it to Beaver\u003c/em> era was shattered. Now the war in Vietnam was tearing the country asunder and Beaver was its latest victim. Things were falling apart. I was an English major and I kept hearing those lines of Yeats: “The blood-dimmed tide is loosed, and everywhere / The ceremony of innocence is drowned.” \u003c/p>\n\u003cfigure id=\"attachment_13810035\" class=\"wp-caption aligncenter\" style=\"max-width: 632px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/GILBERT-beaver.jpg\" alt=\"Scene from a TV episode of 'Leave it to Beaver' -- the regular trio of friends (left to right): Beaver (Jerry Mathers), Gilbert (Stephen Talbot) and Whitey (Stanley Fafara)\" width=\"632\" height=\"383\" class=\"size-full wp-image-13810035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-520x315.jpg 520w\" sizes=\"(max-width: 632px) 100vw, 632px\">\u003cfigcaption class=\"wp-caption-text\">Scene from a TV episode of ‘Leave it to Beaver’ — the regular trio of friends (left to right): Beaver (Jerry Mathers), Gilbert (Stephen Talbot) and Whitey (Stanley Fafara) \u003ccite>(Courtesy of Stephen Talbot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, it wasn’t true. Beaver was alive, much to my relief. \u003c/p>\n\u003cp>Jerry Mathers had joined the Air Force Reserves, but he never left the United States. He never fought in Vietnam. But the rumor of his death lived on. It became an urban myth. (Weirdly, the “Beaver” series generated more than its share of these myths. For example, \u003ca href=\"https://en.wikipedia.org/wiki/Ken_Osmond\" rel=\"noopener\" target=\"_blank\">Ken Osmond\u003c/a>, who played the famously two-faced Eddie Haskell character, did not grow up to be a porn star like the urban legend said. He actually became an LAPD motorcycle cop.)\u003c/p>\n\u003cp>Tracing back the origins of Beaver’s alleged death, it turns out there was a 21-year-old Sgt. Steven Mathers who was killed in Vietnam in October of ’68. Associated Press and UPI stories erroneously reported this was the Beaver, and the case of mistaken identity spread from there — actress Shelly Winters even announced it to Johnny Carson on \u003cem>The Tonight Show\u003c/em>. Jerry Mathers said later the rumor was so prevalent that his good friend Tony Dow, who played his TV brother Wally, actually sent bereavement flowers to his parents’ home.\u003c/p>\n\u003cfigure id=\"attachment_13810036\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-800x1071.jpg\" alt=\"Stephen Talbot in his high school yearbook, 1965-1966, in my Jr. ROTC uniform\" width=\"800\" height=\"1071\" class=\"size-medium wp-image-13810036\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-800x1071.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-768x1028.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-1020x1366.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-1920x2571.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-1180x1580.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-960x1285.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-240x321.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-375x502.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-520x696.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66.jpg 1936w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Talbot in his high school yearbook, 1965-1966, in my Jr. ROTC uniform \u003ccite>(Courtesy of Stephen Talbot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grateful that Jerry was really alive, I redoubled my efforts in the anti-war movement. Others I knew were being drafted. Everyone seemed to know someone who had been wounded or killed in Vietnam. In a few short years I’d gone from being a cadet in a military school (the all-boys Harvard School in North Hollywood) to becoming an anti-war activist, who would be teargassed and arrested in protests, and worked closely with groups like Vietnam Veterans Against the War. Thankfully Nixon’s lottery system, installed just as I graduated from college in 1970, randomly gave me such a low number that I escaped the draft. Watching the lottery picks on TV felt like a surreal episode of \u003cem>You Bet Your Life\u003c/em>.\u003c/p>\n\u003cp>The violent death in a controversial war of a cherished TV star was a difficult rumor to put to rest. But that’s all it was, just a nightmare rumor. Unfortunately, the Vietnam War itself was all too real. Somewhere between 2.5 and 3.5 million Vietnamese soldiers and civilians perished in that conflict, as well as some 58,000 Americans. My friend Jerry was fortunately not one those casualties. But the widespread rumor of his death reflected something very real about the anxiety and despair that had settled over the United States during the Vietnam War. My generation’s innocence was dead, replaced with anger and cynicism.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\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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"excerpt": "Former child TV star Stephen Talbot remembers the time his good buddy from 'Leave It To Beaver' was reportedly killed in Vietnam.",
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"title": "The Day the Beaver Died: Reflections on Becoming an Anti-War Activist | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Did you hear that the Beaver got killed in Vietnam?” \u003c/p>\n\u003cp>I was visiting Amherst College in Massachusetts in the late ’60s, attending some sort of anti-war gathering, and this older student took me aside to give me the bad news. In those days I didn’t like talking about my past as a child actor, including my years on TV playing Beaver’s best friend, Gilbert, on \u003cem>Leave it to Beaver\u003c/em>. It seemed too superficial and irrelevant and just plain embarrassing when the country was at war, and cities and campuses were on fire. \u003c/p>\n\u003cp>But this guy knew my secret and he wanted to tell me the awful truth. \u003c/p>\n\u003cp>His words stopped me cold. I didn’t believe him, or at least I didn’t want to. Even though I was living in Connecticut while I was going to Wesleyan University, far from my family and friends in Los Angeles, surely I would have heard if my TV buddy had died. Then again, there had been so many deaths, assassinations and shocking events in the 1960s that maybe this was just one more surreal, tragic loss. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/TheVietnamWar_web_banners-1180x177-Ver_3-e1506839982941.png\" alt=\"\" width=\"301\" height=\"301\" class=\"alignright size-full wp-image-13810077\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was in the papers,” he said, “people are talking about it on the radio.”\u003c/p>\n\u003cp>“Maybe,” he added, “this will wake people up. Nobody’s safe anymore, even Beaver Cleaver.”\u003c/p>\n\u003cp>He was right. The death of a TV icon in Vietnam would probably strike home with many Americans, especially those in suburbia and the heartland. Just the people we needed to reach. Maybe more would turn against the war.\u003c/p>\n\u003cp>But it was hard to think that way at the moment. \u003c/p>\n\u003cp>I felt sick. I was stung by guilt. Jerry and I had become friends in the course of the five years and more than 50 episodes of TV we’d worked on together. After the show was cancelled in the summer of 1963, we’d stayed in touch. I’d spent the night at his family’s house. We’d gone to a “Twist” party when that dance was all the rage. We ate lunch at Bob’s Big Boy. But when we went to different high schools in the San Fernando Valley, we drifted apart. By the time I left for college back East, I hadn’t seen him for several years. \u003c/p>\n\u003cfigure id=\"attachment_13810037\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jerry_Mathers.jpg\" alt=\" Jerry Mathers in his Air Force Reserve uniform\" width=\"600\" height=\"648\" class=\"size-full wp-image-13810037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-240x259.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-375x405.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jerry_Mathers-520x562.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mathers in his Air Force Reserve uniform \u003ccite>(Public Domain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’d known he’d signed up for some sort of military service. In 1967 he handed out an Emmy to Gene Kelly, and I saw him in a newspaper wearing his Air Force uniform and sporting a shaved head. Now he was dead? Why hadn’t I reached out to him, and tried to convince him not to put his life at risk in what I had come to regard as an immoral, unjust, unnecessary conflict? \u003c/p>\n\u003cp>Back in my dorm, I made some calls and wrote some letters. No one seemed to know for sure if he was dead. It was all so depressing, so “heavy,” as we used to say, and it felt almost too symbolic. For my baby boomer TV generation, the character of the Beaver was nearly as iconic as Tom Sawyer. He was the all-American suburban kid, constantly getting into scrapes and mishaps, often misled by his prankish pal Gilbert (played by me), and yet thanks to his basic goodness and loving (if sometimes clueless) parents he always emerged unscathed, perhaps even having learned a lesson or two. Now he’d grown up only to be killed in Vietnam? \u003c/p>\n\u003cp>You might say the Beaver was a symbol of late 1950s, early ’60s American innocence — cute, freckled, playful, a little gullible. Just a few months after the last episode of “Beaver” aired on ABC, President John Kennedy was assassinated. The innocence of the \u003cem>Leave it to Beaver\u003c/em> era was shattered. Now the war in Vietnam was tearing the country asunder and Beaver was its latest victim. Things were falling apart. I was an English major and I kept hearing those lines of Yeats: “The blood-dimmed tide is loosed, and everywhere / The ceremony of innocence is drowned.” \u003c/p>\n\u003cfigure id=\"attachment_13810035\" class=\"wp-caption aligncenter\" style=\"max-width: 632px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/GILBERT-beaver.jpg\" alt=\"Scene from a TV episode of 'Leave it to Beaver' -- the regular trio of friends (left to right): Beaver (Jerry Mathers), Gilbert (Stephen Talbot) and Whitey (Stanley Fafara)\" width=\"632\" height=\"383\" class=\"size-full wp-image-13810035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/GILBERT-beaver-520x315.jpg 520w\" sizes=\"(max-width: 632px) 100vw, 632px\">\u003cfigcaption class=\"wp-caption-text\">Scene from a TV episode of ‘Leave it to Beaver’ — the regular trio of friends (left to right): Beaver (Jerry Mathers), Gilbert (Stephen Talbot) and Whitey (Stanley Fafara) \u003ccite>(Courtesy of Stephen Talbot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, it wasn’t true. Beaver was alive, much to my relief. \u003c/p>\n\u003cp>Jerry Mathers had joined the Air Force Reserves, but he never left the United States. He never fought in Vietnam. But the rumor of his death lived on. It became an urban myth. (Weirdly, the “Beaver” series generated more than its share of these myths. For example, \u003ca href=\"https://en.wikipedia.org/wiki/Ken_Osmond\" rel=\"noopener\" target=\"_blank\">Ken Osmond\u003c/a>, who played the famously two-faced Eddie Haskell character, did not grow up to be a porn star like the urban legend said. He actually became an LAPD motorcycle cop.)\u003c/p>\n\u003cp>Tracing back the origins of Beaver’s alleged death, it turns out there was a 21-year-old Sgt. Steven Mathers who was killed in Vietnam in October of ’68. Associated Press and UPI stories erroneously reported this was the Beaver, and the case of mistaken identity spread from there — actress Shelly Winters even announced it to Johnny Carson on \u003cem>The Tonight Show\u003c/em>. Jerry Mathers said later the rumor was so prevalent that his good friend Tony Dow, who played his TV brother Wally, actually sent bereavement flowers to his parents’ home.\u003c/p>\n\u003cfigure id=\"attachment_13810036\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-800x1071.jpg\" alt=\"Stephen Talbot in his high school yearbook, 1965-1966, in my Jr. ROTC uniform\" width=\"800\" height=\"1071\" class=\"size-medium wp-image-13810036\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-800x1071.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-768x1028.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-1020x1366.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-1920x2571.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-1180x1580.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-960x1285.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-240x321.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-375x502.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66-520x696.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Steve-at-Harvard-1965-66.jpg 1936w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Talbot in his high school yearbook, 1965-1966, in my Jr. ROTC uniform \u003ccite>(Courtesy of Stephen Talbot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grateful that Jerry was really alive, I redoubled my efforts in the anti-war movement. Others I knew were being drafted. Everyone seemed to know someone who had been wounded or killed in Vietnam. In a few short years I’d gone from being a cadet in a military school (the all-boys Harvard School in North Hollywood) to becoming an anti-war activist, who would be teargassed and arrested in protests, and worked closely with groups like Vietnam Veterans Against the War. Thankfully Nixon’s lottery system, installed just as I graduated from college in 1970, randomly gave me such a low number that I escaped the draft. Watching the lottery picks on TV felt like a surreal episode of \u003cem>You Bet Your Life\u003c/em>.\u003c/p>\n\u003cp>The violent death in a controversial war of a cherished TV star was a difficult rumor to put to rest. But that’s all it was, just a nightmare rumor. Unfortunately, the Vietnam War itself was all too real. Somewhere between 2.5 and 3.5 million Vietnamese soldiers and civilians perished in that conflict, as well as some 58,000 Americans. My friend Jerry was fortunately not one those casualties. But the widespread rumor of his death reflected something very real about the anxiety and despair that had settled over the United States during the Vietnam War. My generation’s innocence was dead, replaced with anger and cynicism.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\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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"slug": "comfort-women-statue-strains-60-year-san-francisco-osaka-alliance",
"title": "'Comfort Women' Statue Strains 60-Year San Francisco-Osaka Alliance",
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"headTitle": "‘Comfort Women’ Statue Strains 60-Year San Francisco-Osaka Alliance | KQED",
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"content": "\u003cp>This year, San Francisco and the Japanese city of Osaka celebrate 60 years of their sister city alliance. But a new statue in San Francisco has angered Osaka officials, and endangers the cities’ long friendship. \u003c/p>\n\u003cp>Last Friday, a statue memorializing the “comfort women” of the Imperial Japanese Army was unveiled in San Francisco’s Chinatown. The statue, called \u003ci>Column of Strength,\u003c/i> features three girls standing on a pedestal, holding hands. They represent the hundreds of thousands of young women from China, Korea, the Philippines, and other countries that were forced into sex slavery by the Japanese military in the ’30 and ’40s. A fourth, much older woman stands before the column looking up at the girls, exemplifying the age at which the surviving comfort women finally began talking publicly about the horrors they experienced. \u003c/p>\n\u003cp>Calling the statue “Japan-bashing,” Osaka mayor Hirofumi Yoshimura said this week that if San Francisco officials continue with plans to integrate the statue into a public park, he will push to end Osaka’s sister city relationship with San Francisco. \u003c/p>\n\u003cp>“If San Francisco were to accept the donation, it will mean the city has expressed its wish to accept it in a public space,” \u003ca href=\"https://japantoday.com/category/politics/Osaka-may-end-San-Francisco-sister-city-ties-over-%27comfort-woman%27-statue\" rel=\"noopener\" target=\"_blank\">Yoshimura told reporters\u003c/a> at a press conference earlier this week. “It would be the same as the city erecting it. Therefore, I will terminate our sister city relations.”\u003c/p>\n\u003cp>[contextly_sidebar id=”nO1Yiy29IOpgLRVsXSjtBCtNZegBLMkC”]\u003c/p>\n\u003cp>Many conservatives in Japan dispute the prevailing narrative of comfort women, and many others feel the continuing campaign to recognize these atrocities is divisive — including Jun Yamada, the Consul General of Japan in San Francisco. In a public statement released the day the San Francisco memorial was unveiled, Yamada released a statement \u003ca href=\"http://www.sf.us.emb-japan.go.jp/itpr_en/17_0921.html\" rel=\"noopener\" target=\"_blank\">condemning the campaign\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>The difficulty of this issue lies in the fact that there are wildly conflicting views, even today, as to what actually happened. Unfortunately, the aim of current comfort women memorial movements seems to perpetuate and fixate on certain one-sided interpretations, without presenting credible evidence, in the form of physical statues.\n\u003c/p>\u003c/blockquote>\n\u003cp>But activists like Lillian Sing and Julie Tang of the \u003ca href=\"http://remembercomfortwomen.org/\" rel=\"noopener\" target=\"_blank\">Comfort Women Justice Coalition\u003c/a> don’t see their work as being one-sided. They spent over two years raising money and pushing for the installation of the \u003ci>Column of Strength\u003c/i> in San Francisco’s St. Mary’s Square. To them, the statue represents a truth that won’t be denied.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The more Japan wants to tear down memorials, the more I want to put them up,” Sing said.\u003c/p>\n\u003ch3>Comfort Women — the Secret No One Wanted to Recognize\u003c/h3>\n\u003cp>\u003ca href=\"http://www.unc.edu/news/archives/feb97/comfort.html\" rel=\"noopener\" target=\"_blank\">Documents show\u003c/a> that in 1932, Japanese Gen. Okamura Yasuji ordered the army to establish comfort stations to alleviate the growing incidents of rape and sexually transmitted diseases amongst units fighting in China. Initially, the women were Japanese prostitutes and locals who were tricked into the work with promises of a factory job. But as the invasion of China and Korea ramped up, women were abducted and taken to stations by soldiers guided by the “Three Alls Policy”: kill all, burn all, loot all. At the comfort stations, the women were raped dozens of times a day. If they did not submit, they were beaten and tortured.\u003c/p>\n\u003cfigure id=\"attachment_13809835\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Kim-memorial1-800x1067.jpg\" alt=\"'Column of Strength,' taken at the unveiling ceremony on Sept. 22, 2017\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13809835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Column of Strength,’ taken at the unveiling ceremony on Sept. 22, 2017. \u003ccite>(Phyllis Kim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exact number of stationed comfort women is unknown. The most commonly accepted estimate is around 200,000, but researchers at \u003ca href=\"http://news.xinhuanet.com/english/2017-07/05/c_136419954.htm\" rel=\"noopener\" target=\"_blank\">Shanghai Normal University\u003c/a> updated the number in 2012 to between 360,000 and 410,000 women. They were mostly Korean and Chinese, but some were Filipina and Dutch. Their average age was 15 years old. \u003c/p>\n\u003cp>Stories of the comfort women and the horrors they faced didn’t reach the rest of the world until the early ’90s, when some Korean survivors began speaking out. But there were few survivors. Tang says that around 87 percent of comfort women died while in captivity, mostly from suicide.\u003c/p>\n\u003cp>“If I were a 15-year-old girl in captivity, being raped 30 to 40 times a day, I would die in a week,” Tang said. “They were commodities; they were not human beings. They were provisions that the Japanese military required.”\u003c/p>\n\u003cp>Those surviving and able to speak out about their experiences had to first overcome the shame that came from living as comfort women. Lee Yong-Soo, who was kidnapped at the age of 16 and forced into sexual slavery for two years, said she couldn’t talk about it until others began speaking out.\u003c/p>\n\u003cp>“I thought I was worthless. I didn’t talk about it, and nobody asked me,” Lee told the \u003ca href=\"https://www.washingtonpost.com/local/70-years-later-a-korean-comfort-woman-demands-apology-from-japan/2015/04/22/d1cf8794-e7ab-11e4-9767-6276fc9b0ada_story.html?utm_term=.bc9412260c3d\" rel=\"noopener\" target=\"_blank\">\u003cem>Washington Post\u003c/em> in 2015\u003c/a>. “My right to be happy, to marry, to have a family, it was all taken from me.”\u003c/p>\n\u003cp>For decades, Japan denied forcing women into sexual slavery. In 1991, Lee and other remaining comfort women demanded recognition and an apology from the Japanese government. Two years later, following a study confirming reports of coercion, Yōhei Kōno, Japan’s Chief Cabinet Secretary, \u003ca href=\"http://www.nytimes.com/1993/08/05/world/japan-admits-army-forced-women-into-war-brothels.html\" rel=\"noopener\" target=\"_blank\">released a statement\u003c/a> acknowledging the study’s findings, along with an official apology. \u003c/p>\n\u003cfigure id=\"attachment_13809919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-800x512.jpg\" alt='South Korean former \"comfort women\" Lee Yong-Soo (R) and Gil Won-Ok (C), who were forced into wartime sexual slavery for Japanese soldiers, shout slogans during an anti-Japanese rally commemorating the death of nine former sex slaves this year in front of the Japanese embassy in Seoul on December 30, 2015. South Korean \"comfort women\" and supporters vowed to step up protests against a deal between Seoul and Tokyo on resolving a long-running row over the comfort women. ' width=\"800\" height=\"512\" class=\"size-medium wp-image-13809919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-960x614.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-520x333.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">South Korean former “comfort women” Lee Yong-Soo (R) and Gil Won-Ok (C), who were forced into wartime sexual slavery for Japanese soldiers, shout slogans during an anti-Japanese rally commemorating the death of nine former sex slaves this year in front of the Japanese embassy in Seoul on December 30, 2015. South Korean “comfort women” and supporters vowed to step up protests against a deal between Seoul and Tokyo on resolving a long-running row over the comfort women. \u003ccite>(Jung Yeon-Je/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, both a conservative backlash against the Kono Statement and empathetic attempts to memorialize the comfort women have gained momentum. In 2007, while serving his first term as Japan’s Prime Minister, Shinzō Abe \u003ca href=\"http://www.telegraph.co.uk/news/worldnews/1544471/Japanese-PM-denies-wartime-comfort-women-were-forced.html\" rel=\"noopener\" target=\"_blank\">refuted the Kono Statement\u003c/a> and continues to do so today. And though it was Abe who reached an \u003ca href=\"http://www.bbc.com/news/world-asia-35188135\" rel=\"noopener\" target=\"_blank\">agreement with South Korea\u003c/a> to provide financial support to the 46 comfort women still living there, the Korean Government was made to remove a statue near the Japanese embassy in Seoul as part of the settlement.\u003c/p>\n\u003cp>“Japan and South Korea are now entering a new era,” Abe said at the time. “We should not drag this problem into the next generation.”\u003c/p>\n\u003cp>Now, the revisionist backlash has come the United States. In 2014, the pro-Japan \u003ca href=\"http://gaht.jp/\" rel=\"noopener\" target=\"_blank\">Global Alliance for Historical Truth\u003c/a> (GAHT) sued the southern California city of Glendale to stop the installation of a comfort women memorial. The legal battle went on for three years and finally ended when the U.S. Supreme Court \u003ca href=\"https://www.nbcnews.com/news/asian-america/supreme-court-declines-case-over-lawsuit-remove-comfort-women-memorial-n740996\" rel=\"noopener\" target=\"_blank\">refused to hear the case.\u003c/a>\u003c/p>\n\u003cp>Tang later said that the Glendale suit was “to intimidate and chill the local grassroots efforts to build ‘comfort women’ peace memorials.” But the opposition hasn’t succeeded. Since 2010, eight comfort women memorials have been erected in the United States, in smaller cities like Southfield, Michigan; Union City, New Jersey; and Fairfax, Virginia. On Sept. 22, San Francisco became the first major city to host a comfort women memorial. \u003c/p>\n\u003ch3>San Francisco Versus Osaka\u003c/h3>\n\u003cfigure id=\"attachment_13809833\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_1116-800x1067.jpg\" alt=\"The fourth woman in San Francisco's comfort women memorial, 'Column of Strength.'\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13809833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The fourth woman in San Francisco’s comfort women memorial, ‘Column of Strength.’ \u003ccite>(Phyllis Kim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of its 18 sister city alliances, San Francisco’s relationship with Osaka is its oldest. Established in 1957 under San Francisco Mayor George Christopher, the alliance not only allowed the fostering of commercial relationships but cultural ones as well, such as a long-running \u003ca href=\"http://www.sf-osaka.org/modules/scholarship/index.php?content_id=3\" rel=\"noopener\" target=\"_blank\">student ambassadorship\u003c/a>. In 2007, San Francisco celebrated the 50th anniversary of the alliance by re-naming a block of Buchanan Street “Osaka Way.”\u003c/p>\n\u003cp>The relationship began to fray in 2013, after Tōru Hashimoto, then mayor of Osaka, \u003ca href=\"https://www.japantimes.co.jp/news/2012/08/23/news/no-evidence-sex-slaves-were-taken-by-military-hashimoto/#.Wc1B7bKGOM8\" rel=\"noopener\" target=\"_blank\">declared that\u003c/a> “there is no evidence that people called comfort women were taken away by violence or threat by the [Japanese] military.” After an international uproar, Hashimoto \u003ca href=\"https://web.archive.org/web/20130609070505/http://ajw.asahi.com/article/behind_news/politics/AJ201305130131\" rel=\"noopener\" target=\"_blank\">updated his statement\u003c/a> to admit that there were comfort women, but that they were “necessary” so the soldiers could “rest” during the war. \u003c/p>\n\u003cp>In response, an unnamed San Francisco city official \u003ca href=\"https://www.japantimes.co.jp/news/2013/06/12/national/san-francisco-spurned-hashimoto-amid-sex-slave-outrage/#.Wc1DxrKGOM-\" rel=\"noopener\" target=\"_blank\">sent a message\u003c/a> to Hashimoto asking him to cancel a scheduled visit to the city, stating, “The people of San Francisco do not, at present, welcome Hashimoto’s trip to the U.S.” Hashimoto abandoned his travel plans. The San Francisco Board of Supervisors followed up with a resolution \u003ca href=\"http://www.nichibei.org/2013/06/s-f-board-of-supervisors-condemns-hashimotos-remarks-about-wwii-brothels/\" rel=\"noopener\" target=\"_blank\">condemning Hashimoto’s statement\u003c/a> a month later. \u003c/p>\n\u003cp>In 2015, San Francisco reignited the debate when it \u003ca href=\"https://www.japantimes.co.jp/news/2015/09/23/national/politics-diplomacy/san-francisco-unanimously-adopts-measure-to-build-comfort-women-memorial/#.WcxL-bKGOM8\" rel=\"noopener\" target=\"_blank\">unanimously approved\u003c/a> the installation of a comfort women memorial in the city’s Chinatown area. \u003c/p>\n\u003cp>With each major step in the two-year process to design and build the memorial, the city endured pushback from Osaka officials and others. For example, when the Board of Supervisors approved sculptor \u003ca href=\"https://www.facebook.com/stevenwhytecarmel/\" rel=\"noopener\" target=\"_blank\">Steven Whyte\u003c/a>‘s design for the memorial back in January, Osaka Mayor Yoshimura \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Ltr-of-Osaka-mayor-opposing-CWM-2-1-2017.pdf\">sent a letter\u003c/a> to San Francisco Mayor Ed Lee expressing concern “whether the [the statue] will negatively affect the exchange between our cities.” \u003c/p>\n\u003cp>Whyte later told the \u003ca href=\"http://www.sfchronicle.com/news/article/Memorialize-wartime-sex-slaves-known-as-12189721.php\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle\u003c/a> that he’s received over 1,000 emails demanding the project be aborted.\u003c/p>\n\u003cfigure id=\"attachment_13809933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Column-plans-800x545.jpg\" alt=\"Steven Whyte's drawings for 'Column of Strength'\" width=\"800\" height=\"545\" class=\"size-medium wp-image-13809933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-520x354.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Whyte’s drawings for ‘Column of Strength.’ \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Battle Continues\u003c/h3>\n\u003cp>This week, when asked by reporters about plans to have San Francisco representatives visit Osaka in celebration of the 60th anniversary of the sister city alliance, \u003ca href=\"http://www.scmp.com/news/asia/diplomacy/article/2113015/it-japan-bashing-osaka-may-sever-sister-city-ties-san-francisco\" rel=\"noopener\" target=\"_blank\">Yoshimura responded\u003c/a>, “If San Francisco accepts [the statue] at the municipal government level, then we cannot shake hands with them and smile.”\u003c/p>\n\u003cp>On Tuesday, the Osaka City Assembly \u003ca href=\"https://headlines.yahoo.co.jp/hl?a=20170927-00000057-mbsnewsv-l27\" rel=\"noopener\" target=\"_blank\">considered a resolution\u003c/a> ending the sister city alliance, but rejected it. For Sing and Tang, the rejection was not surprising. \u003c/p>\n\u003cfigure id=\"attachment_13809934\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-800x449.jpg\" alt=\"Lillian Sing and Julie Tang celebrate the unveiling of the 'Column of Strength'\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13809934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lillian Sing and Julie Tang celebrate the unveiling of the ‘Column of Strength’ \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The people of Osaka are our greatest supporters,” Sing said. Tang says that over 25 organizations based in Osaka support their work.\u003c/p>\n\u003cp>For Sing and Tang, the San Francisco memorial is just the beginning. Both are former judges who retired from their jobs to dedicate their time to the Comfort Women Justice Coalition. They plan to push for more memorials honoring the comfort women, in the hopes that rape will stop being accepted as an inevitable result of war. \u003c/p>\n\u003cp>“I look forward to the day when there’s a memorial to the comfort women in Tokyo, Japan,” Sing said.\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"excerpt": "San Francisco's memorial to 'comfort women' — young girls forced into sexual slavery during the 1930s and 1940s — has angered the city's allies in Japan.",
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"title": "'Comfort Women' Statue Strains 60-Year San Francisco-Osaka Alliance | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year, San Francisco and the Japanese city of Osaka celebrate 60 years of their sister city alliance. But a new statue in San Francisco has angered Osaka officials, and endangers the cities’ long friendship. \u003c/p>\n\u003cp>Last Friday, a statue memorializing the “comfort women” of the Imperial Japanese Army was unveiled in San Francisco’s Chinatown. The statue, called \u003ci>Column of Strength,\u003c/i> features three girls standing on a pedestal, holding hands. They represent the hundreds of thousands of young women from China, Korea, the Philippines, and other countries that were forced into sex slavery by the Japanese military in the ’30 and ’40s. A fourth, much older woman stands before the column looking up at the girls, exemplifying the age at which the surviving comfort women finally began talking publicly about the horrors they experienced. \u003c/p>\n\u003cp>Calling the statue “Japan-bashing,” Osaka mayor Hirofumi Yoshimura said this week that if San Francisco officials continue with plans to integrate the statue into a public park, he will push to end Osaka’s sister city relationship with San Francisco. \u003c/p>\n\u003cp>“If San Francisco were to accept the donation, it will mean the city has expressed its wish to accept it in a public space,” \u003ca href=\"https://japantoday.com/category/politics/Osaka-may-end-San-Francisco-sister-city-ties-over-%27comfort-woman%27-statue\" rel=\"noopener\" target=\"_blank\">Yoshimura told reporters\u003c/a> at a press conference earlier this week. “It would be the same as the city erecting it. Therefore, I will terminate our sister city relations.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Many conservatives in Japan dispute the prevailing narrative of comfort women, and many others feel the continuing campaign to recognize these atrocities is divisive — including Jun Yamada, the Consul General of Japan in San Francisco. In a public statement released the day the San Francisco memorial was unveiled, Yamada released a statement \u003ca href=\"http://www.sf.us.emb-japan.go.jp/itpr_en/17_0921.html\" rel=\"noopener\" target=\"_blank\">condemning the campaign\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>The difficulty of this issue lies in the fact that there are wildly conflicting views, even today, as to what actually happened. Unfortunately, the aim of current comfort women memorial movements seems to perpetuate and fixate on certain one-sided interpretations, without presenting credible evidence, in the form of physical statues.\n\u003c/p>\u003c/blockquote>\n\u003cp>But activists like Lillian Sing and Julie Tang of the \u003ca href=\"http://remembercomfortwomen.org/\" rel=\"noopener\" target=\"_blank\">Comfort Women Justice Coalition\u003c/a> don’t see their work as being one-sided. They spent over two years raising money and pushing for the installation of the \u003ci>Column of Strength\u003c/i> in San Francisco’s St. Mary’s Square. To them, the statue represents a truth that won’t be denied.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The more Japan wants to tear down memorials, the more I want to put them up,” Sing said.\u003c/p>\n\u003ch3>Comfort Women — the Secret No One Wanted to Recognize\u003c/h3>\n\u003cp>\u003ca href=\"http://www.unc.edu/news/archives/feb97/comfort.html\" rel=\"noopener\" target=\"_blank\">Documents show\u003c/a> that in 1932, Japanese Gen. Okamura Yasuji ordered the army to establish comfort stations to alleviate the growing incidents of rape and sexually transmitted diseases amongst units fighting in China. Initially, the women were Japanese prostitutes and locals who were tricked into the work with promises of a factory job. But as the invasion of China and Korea ramped up, women were abducted and taken to stations by soldiers guided by the “Three Alls Policy”: kill all, burn all, loot all. At the comfort stations, the women were raped dozens of times a day. If they did not submit, they were beaten and tortured.\u003c/p>\n\u003cfigure id=\"attachment_13809835\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Kim-memorial1-800x1067.jpg\" alt=\"'Column of Strength,' taken at the unveiling ceremony on Sept. 22, 2017\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13809835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Column of Strength,’ taken at the unveiling ceremony on Sept. 22, 2017. \u003ccite>(Phyllis Kim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exact number of stationed comfort women is unknown. The most commonly accepted estimate is around 200,000, but researchers at \u003ca href=\"http://news.xinhuanet.com/english/2017-07/05/c_136419954.htm\" rel=\"noopener\" target=\"_blank\">Shanghai Normal University\u003c/a> updated the number in 2012 to between 360,000 and 410,000 women. They were mostly Korean and Chinese, but some were Filipina and Dutch. Their average age was 15 years old. \u003c/p>\n\u003cp>Stories of the comfort women and the horrors they faced didn’t reach the rest of the world until the early ’90s, when some Korean survivors began speaking out. But there were few survivors. Tang says that around 87 percent of comfort women died while in captivity, mostly from suicide.\u003c/p>\n\u003cp>“If I were a 15-year-old girl in captivity, being raped 30 to 40 times a day, I would die in a week,” Tang said. “They were commodities; they were not human beings. They were provisions that the Japanese military required.”\u003c/p>\n\u003cp>Those surviving and able to speak out about their experiences had to first overcome the shame that came from living as comfort women. Lee Yong-Soo, who was kidnapped at the age of 16 and forced into sexual slavery for two years, said she couldn’t talk about it until others began speaking out.\u003c/p>\n\u003cp>“I thought I was worthless. I didn’t talk about it, and nobody asked me,” Lee told the \u003ca href=\"https://www.washingtonpost.com/local/70-years-later-a-korean-comfort-woman-demands-apology-from-japan/2015/04/22/d1cf8794-e7ab-11e4-9767-6276fc9b0ada_story.html?utm_term=.bc9412260c3d\" rel=\"noopener\" target=\"_blank\">\u003cem>Washington Post\u003c/em> in 2015\u003c/a>. “My right to be happy, to marry, to have a family, it was all taken from me.”\u003c/p>\n\u003cp>For decades, Japan denied forcing women into sexual slavery. In 1991, Lee and other remaining comfort women demanded recognition and an apology from the Japanese government. Two years later, following a study confirming reports of coercion, Yōhei Kōno, Japan’s Chief Cabinet Secretary, \u003ca href=\"http://www.nytimes.com/1993/08/05/world/japan-admits-army-forced-women-into-war-brothels.html\" rel=\"noopener\" target=\"_blank\">released a statement\u003c/a> acknowledging the study’s findings, along with an official apology. \u003c/p>\n\u003cfigure id=\"attachment_13809919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-800x512.jpg\" alt='South Korean former \"comfort women\" Lee Yong-Soo (R) and Gil Won-Ok (C), who were forced into wartime sexual slavery for Japanese soldiers, shout slogans during an anti-Japanese rally commemorating the death of nine former sex slaves this year in front of the Japanese embassy in Seoul on December 30, 2015. South Korean \"comfort women\" and supporters vowed to step up protests against a deal between Seoul and Tokyo on resolving a long-running row over the comfort women. ' width=\"800\" height=\"512\" class=\"size-medium wp-image-13809919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-960x614.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-520x333.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">South Korean former “comfort women” Lee Yong-Soo (R) and Gil Won-Ok (C), who were forced into wartime sexual slavery for Japanese soldiers, shout slogans during an anti-Japanese rally commemorating the death of nine former sex slaves this year in front of the Japanese embassy in Seoul on December 30, 2015. South Korean “comfort women” and supporters vowed to step up protests against a deal between Seoul and Tokyo on resolving a long-running row over the comfort women. \u003ccite>(Jung Yeon-Je/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, both a conservative backlash against the Kono Statement and empathetic attempts to memorialize the comfort women have gained momentum. In 2007, while serving his first term as Japan’s Prime Minister, Shinzō Abe \u003ca href=\"http://www.telegraph.co.uk/news/worldnews/1544471/Japanese-PM-denies-wartime-comfort-women-were-forced.html\" rel=\"noopener\" target=\"_blank\">refuted the Kono Statement\u003c/a> and continues to do so today. And though it was Abe who reached an \u003ca href=\"http://www.bbc.com/news/world-asia-35188135\" rel=\"noopener\" target=\"_blank\">agreement with South Korea\u003c/a> to provide financial support to the 46 comfort women still living there, the Korean Government was made to remove a statue near the Japanese embassy in Seoul as part of the settlement.\u003c/p>\n\u003cp>“Japan and South Korea are now entering a new era,” Abe said at the time. “We should not drag this problem into the next generation.”\u003c/p>\n\u003cp>Now, the revisionist backlash has come the United States. In 2014, the pro-Japan \u003ca href=\"http://gaht.jp/\" rel=\"noopener\" target=\"_blank\">Global Alliance for Historical Truth\u003c/a> (GAHT) sued the southern California city of Glendale to stop the installation of a comfort women memorial. The legal battle went on for three years and finally ended when the U.S. Supreme Court \u003ca href=\"https://www.nbcnews.com/news/asian-america/supreme-court-declines-case-over-lawsuit-remove-comfort-women-memorial-n740996\" rel=\"noopener\" target=\"_blank\">refused to hear the case.\u003c/a>\u003c/p>\n\u003cp>Tang later said that the Glendale suit was “to intimidate and chill the local grassroots efforts to build ‘comfort women’ peace memorials.” But the opposition hasn’t succeeded. Since 2010, eight comfort women memorials have been erected in the United States, in smaller cities like Southfield, Michigan; Union City, New Jersey; and Fairfax, Virginia. On Sept. 22, San Francisco became the first major city to host a comfort women memorial. \u003c/p>\n\u003ch3>San Francisco Versus Osaka\u003c/h3>\n\u003cfigure id=\"attachment_13809833\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_1116-800x1067.jpg\" alt=\"The fourth woman in San Francisco's comfort women memorial, 'Column of Strength.'\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13809833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The fourth woman in San Francisco’s comfort women memorial, ‘Column of Strength.’ \u003ccite>(Phyllis Kim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of its 18 sister city alliances, San Francisco’s relationship with Osaka is its oldest. Established in 1957 under San Francisco Mayor George Christopher, the alliance not only allowed the fostering of commercial relationships but cultural ones as well, such as a long-running \u003ca href=\"http://www.sf-osaka.org/modules/scholarship/index.php?content_id=3\" rel=\"noopener\" target=\"_blank\">student ambassadorship\u003c/a>. In 2007, San Francisco celebrated the 50th anniversary of the alliance by re-naming a block of Buchanan Street “Osaka Way.”\u003c/p>\n\u003cp>The relationship began to fray in 2013, after Tōru Hashimoto, then mayor of Osaka, \u003ca href=\"https://www.japantimes.co.jp/news/2012/08/23/news/no-evidence-sex-slaves-were-taken-by-military-hashimoto/#.Wc1B7bKGOM8\" rel=\"noopener\" target=\"_blank\">declared that\u003c/a> “there is no evidence that people called comfort women were taken away by violence or threat by the [Japanese] military.” After an international uproar, Hashimoto \u003ca href=\"https://web.archive.org/web/20130609070505/http://ajw.asahi.com/article/behind_news/politics/AJ201305130131\" rel=\"noopener\" target=\"_blank\">updated his statement\u003c/a> to admit that there were comfort women, but that they were “necessary” so the soldiers could “rest” during the war. \u003c/p>\n\u003cp>In response, an unnamed San Francisco city official \u003ca href=\"https://www.japantimes.co.jp/news/2013/06/12/national/san-francisco-spurned-hashimoto-amid-sex-slave-outrage/#.Wc1DxrKGOM-\" rel=\"noopener\" target=\"_blank\">sent a message\u003c/a> to Hashimoto asking him to cancel a scheduled visit to the city, stating, “The people of San Francisco do not, at present, welcome Hashimoto’s trip to the U.S.” Hashimoto abandoned his travel plans. The San Francisco Board of Supervisors followed up with a resolution \u003ca href=\"http://www.nichibei.org/2013/06/s-f-board-of-supervisors-condemns-hashimotos-remarks-about-wwii-brothels/\" rel=\"noopener\" target=\"_blank\">condemning Hashimoto’s statement\u003c/a> a month later. \u003c/p>\n\u003cp>In 2015, San Francisco reignited the debate when it \u003ca href=\"https://www.japantimes.co.jp/news/2015/09/23/national/politics-diplomacy/san-francisco-unanimously-adopts-measure-to-build-comfort-women-memorial/#.WcxL-bKGOM8\" rel=\"noopener\" target=\"_blank\">unanimously approved\u003c/a> the installation of a comfort women memorial in the city’s Chinatown area. \u003c/p>\n\u003cp>With each major step in the two-year process to design and build the memorial, the city endured pushback from Osaka officials and others. For example, when the Board of Supervisors approved sculptor \u003ca href=\"https://www.facebook.com/stevenwhytecarmel/\" rel=\"noopener\" target=\"_blank\">Steven Whyte\u003c/a>‘s design for the memorial back in January, Osaka Mayor Yoshimura \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Ltr-of-Osaka-mayor-opposing-CWM-2-1-2017.pdf\">sent a letter\u003c/a> to San Francisco Mayor Ed Lee expressing concern “whether the [the statue] will negatively affect the exchange between our cities.” \u003c/p>\n\u003cp>Whyte later told the \u003ca href=\"http://www.sfchronicle.com/news/article/Memorialize-wartime-sex-slaves-known-as-12189721.php\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle\u003c/a> that he’s received over 1,000 emails demanding the project be aborted.\u003c/p>\n\u003cfigure id=\"attachment_13809933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Column-plans-800x545.jpg\" alt=\"Steven Whyte's drawings for 'Column of Strength'\" width=\"800\" height=\"545\" class=\"size-medium wp-image-13809933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-520x354.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Whyte’s drawings for ‘Column of Strength.’ \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Battle Continues\u003c/h3>\n\u003cp>This week, when asked by reporters about plans to have San Francisco representatives visit Osaka in celebration of the 60th anniversary of the sister city alliance, \u003ca href=\"http://www.scmp.com/news/asia/diplomacy/article/2113015/it-japan-bashing-osaka-may-sever-sister-city-ties-san-francisco\" rel=\"noopener\" target=\"_blank\">Yoshimura responded\u003c/a>, “If San Francisco accepts [the statue] at the municipal government level, then we cannot shake hands with them and smile.”\u003c/p>\n\u003cp>On Tuesday, the Osaka City Assembly \u003ca href=\"https://headlines.yahoo.co.jp/hl?a=20170927-00000057-mbsnewsv-l27\" rel=\"noopener\" target=\"_blank\">considered a resolution\u003c/a> ending the sister city alliance, but rejected it. For Sing and Tang, the rejection was not surprising. \u003c/p>\n\u003cfigure id=\"attachment_13809934\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-800x449.jpg\" alt=\"Lillian Sing and Julie Tang celebrate the unveiling of the 'Column of Strength'\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13809934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lillian Sing and Julie Tang celebrate the unveiling of the ‘Column of Strength’ \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The people of Osaka are our greatest supporters,” Sing said. Tang says that over 25 organizations based in Osaka support their work.\u003c/p>\n\u003cp>For Sing and Tang, the San Francisco memorial is just the beginning. Both are former judges who retired from their jobs to dedicate their time to the Comfort Women Justice Coalition. They plan to push for more memorials honoring the comfort women, in the hopes that rape will stop being accepted as an inevitable result of war. \u003c/p>\n\u003cp>“I look forward to the day when there’s a memorial to the comfort women in Tokyo, Japan,” Sing said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Ain't Too Proud' Desecrates the Temptations at Berkeley Rep",
"headTitle": "‘Ain’t Too Proud’ Desecrates the Temptations at Berkeley Rep | KQED",
"content": "\u003cp>This isn’t so much a review as a lament. It concerns the Berkeley Repertory Theatre’s world premiere of \u003ca href=\"https://www.berkeleyrep.org/season/1718/12025.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Ain’t Too Proud – The Life and Times of the Temptations\u003c/em>\u003c/a>, or as people have been calling it, “The Temptations musical.”\u003c/p>\n\u003cp>As theater it’s awful, a desecration of the spirit and otherworldly talent that coursed through the legendary R&B group over its long history — qualities most notably embodied in singers David Ruffin and Eddie Kendricks, and songwriters Smokey Robinson and Norman Whitfield.\u003c/p>\n\u003cp>But it is as entertainment that the musical is most worrying. High on sensationalism and low in intelligence, the almost three-hour-long production doesn’t leave space for us to think, reflect, or feel in any way. Instead, we must submit to a vision of theater that would rather have an audience of trained seals than human beings interested in other human beings.\u003c/p>\n\u003cfigure id=\"attachment_13809409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809409\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-800x451.jpg\" alt=\"Otis Williams (Derrick Baskin) explains and explains the many predicaments of being the sane Temptation.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Otis Williams (Derrick Baskin) explains and explains the many predicaments of being the sane, steady Temptation. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crux of the problem is how playwright Dominique Morisseau, and director Des McAnuff imagine other people. In many ways, there is only one character in the play, and that’s Otis Williams, the last surviving member of the original Temptations. Williams serves as our narrator for the evening. His book, \u003cem>The Temptations\u003c/em>, provides the basic blueprint for the script.\u003c/p>\n\u003cp>Everything we feel and understand in the show filters through Williams. He was the least talented of the Temptations, but blessed with a knack for moving projects along, whether assembling a group, keeping rehearsals going, or firing problematic members no matter how talented. You could say he’s a man with an iron-clad — though rather self-serving — thesis that he repeats to the point of insanity: The individual is always expendable and the group must be maintained at all costs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s an appropriate philosophy for a minor-league talent, or as the Ruffin character rightfully puts it: “No one screams when Otis Williams takes the stage.” And right there is the germ of a tragedy: an ordinarily talented man shares the stage with astounding artists, and is simultaneously seduced by their genius and revolted by their unpredictability. He survives, but the talent doesn’t.\u003c/p>\n\u003cfigure id=\"attachment_13809412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809412\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-800x458.jpg\" alt=\"Otis Williams (Derrick Baskin) seeks to control the legacy of all the Temptations.\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1020x584.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1920x1099.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-520x298.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Otis Williams (Derrick Baskin) seeks to control the legacy of all the Temptations. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Ain’t Too Proud\u003c/em> should have been a crazed, searing, R&B \u003cem>Amadeus\u003c/em>. The material is rich and promising. Yet Morisseau, McAnuff, and the producers refuse to let it loose. Instead, they tie the story of the maniacal Williams and the Temptations’ music to the dead aesthetics of the biopic and the jukebox musical, not to mention the false uplift of showbiz success.\u003c/p>\n\u003cp>Every last moment of the group’s long history is noted, as if a play were nothing more than a particularly detailed Wikipedia entry. Each hit song is delivered with maximum effect, but with little of the subtle spirit so present in the original recordings. And the last lines (as I remember them) are something about the Temptations being the most successful R&B group in history, for which the audience dutifully cheered both nights I attended.\u003c/p>\n\u003cp>But the most grievous and telling sin is how the musical adopts Williams’ limited perspective and reduces the many talented and fascinating people around him to buffoonish, cartoon characters.\u003c/p>\n\u003cp>Motown founder Barry Gordy and singer Diana Ross, as well as Robinson, Ruffin and Kendricks, all come across as little more than children. In innumerable scenes, the creative team portrays these greats as simpletons, conniving hucksters, and angry fools.\u003c/p>\n\u003cfigure id=\"attachment_13809415\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809415\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-800x450.jpg\" alt=\"In 'Ain't Too Proud' Otis Williams (Derrick Baskin), Eddie Kendricks (Jeremy Pope), Melvin Frankling (Jared Joseph), David Ruffin (Ephraim Sykes), and Paul Williams (James Harkness) are real people who don't particularly come to life on stage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In ‘Ain’t Too Proud’ Otis Williams (Derrick Baskin), Eddie Kendricks (Jeremy Pope), Melvin Franklin (Jared Joseph), David Ruffin (Ephraim Sykes), and Paul Williams (James Harkness) are real people who don’t particularly come to life on stage. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What they’re never allowed to be is recognizably human. Even when the show expresses empathy and a sense of loss, the aesthetics are pure soap opera and eschew the bitter complexities of tragedy. When Martin Luther King Jr.’s assassination breezes by, you realize how terrified the musical’s creators are of letting the audience rest and stay in a moment. Why couldn’t the night of the assassination be the whole piece?\u003c/p>\n\u003cp>None of this is the fault of the exceptionally talented performers. They’re a wonder and should be applauded for everything they bring to the stage.\u003c/p>\n\u003cp>What we should lament is the sheer waste of time, energy, and talent, and the way the Temptations’ music has been hijacked for what is clearly a brazen attempt at a Broadway hit. This is the only way \u003cem>Ain’t Too Proud\u003c/em> makes sense — not as art, but as a money trap for Times Square tourists.\u003c/p>\n\u003cfigure id=\"attachment_13809417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809417\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-800x450.jpg\" alt=\"The Temptations, (L to R) David Ruffin (Ephraim Sykes), Eddie Kendricks (Jeremy Pope) Paul Williams (James Harkness), Otis Williams (Derrick Baskin) and Melvin Franklin (Jared Joseph) were hitmakers who made art.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Temptations, (L to R) David Ruffin (Ephraim Sykes), Eddie Kendricks (Jeremy Pope), Paul Williams (James Harkness), Otis Williams (Derrick Baskin), and Melvin Franklin (Jared Joseph) were hitmakers who also made art. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley Rep has amazing theatrical resources. The institution’s stagecraft and technicians are exceptional. The talent and tools are all on display here, from the rotating sets, to the complex video projections, to the sound design worthy of a stadium concert.\u003c/p>\n\u003cp>But with \u003cem>Ain’t Too Proud\u003c/em>, it’s all in the service of the theatrical equivalent of baby food laced with sugar.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ain’t Too Proud’ runs through Sunday, Nov. 5. For tickets and information, \u003ca href=\"https://www.berkeleyrep.org/index.asp\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Berkeley Repertory Theatre’s world premiere of the Temptations musical 'Ain’t Too Proud' is high on sensationalism and low in intelligence.",
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"description": "Berkeley Repertory Theatre’s world premiere of the Temptations musical 'Ain’t Too Proud' is high on sensationalism and low in intelligence.",
"title": "'Ain't Too Proud' Desecrates the Temptations at Berkeley Rep | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This isn’t so much a review as a lament. It concerns the Berkeley Repertory Theatre’s world premiere of \u003ca href=\"https://www.berkeleyrep.org/season/1718/12025.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Ain’t Too Proud – The Life and Times of the Temptations\u003c/em>\u003c/a>, or as people have been calling it, “The Temptations musical.”\u003c/p>\n\u003cp>As theater it’s awful, a desecration of the spirit and otherworldly talent that coursed through the legendary R&B group over its long history — qualities most notably embodied in singers David Ruffin and Eddie Kendricks, and songwriters Smokey Robinson and Norman Whitfield.\u003c/p>\n\u003cp>But it is as entertainment that the musical is most worrying. High on sensationalism and low in intelligence, the almost three-hour-long production doesn’t leave space for us to think, reflect, or feel in any way. Instead, we must submit to a vision of theater that would rather have an audience of trained seals than human beings interested in other human beings.\u003c/p>\n\u003cfigure id=\"attachment_13809409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809409\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-800x451.jpg\" alt=\"Otis Williams (Derrick Baskin) explains and explains the many predicaments of being the sane Temptation.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Otis Williams (Derrick Baskin) explains and explains the many predicaments of being the sane, steady Temptation. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crux of the problem is how playwright Dominique Morisseau, and director Des McAnuff imagine other people. In many ways, there is only one character in the play, and that’s Otis Williams, the last surviving member of the original Temptations. Williams serves as our narrator for the evening. His book, \u003cem>The Temptations\u003c/em>, provides the basic blueprint for the script.\u003c/p>\n\u003cp>Everything we feel and understand in the show filters through Williams. He was the least talented of the Temptations, but blessed with a knack for moving projects along, whether assembling a group, keeping rehearsals going, or firing problematic members no matter how talented. You could say he’s a man with an iron-clad — though rather self-serving — thesis that he repeats to the point of insanity: The individual is always expendable and the group must be maintained at all costs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s an appropriate philosophy for a minor-league talent, or as the Ruffin character rightfully puts it: “No one screams when Otis Williams takes the stage.” And right there is the germ of a tragedy: an ordinarily talented man shares the stage with astounding artists, and is simultaneously seduced by their genius and revolted by their unpredictability. He survives, but the talent doesn’t.\u003c/p>\n\u003cfigure id=\"attachment_13809412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809412\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-800x458.jpg\" alt=\"Otis Williams (Derrick Baskin) seeks to control the legacy of all the Temptations.\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1020x584.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1920x1099.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-520x298.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Otis Williams (Derrick Baskin) seeks to control the legacy of all the Temptations. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Ain’t Too Proud\u003c/em> should have been a crazed, searing, R&B \u003cem>Amadeus\u003c/em>. The material is rich and promising. Yet Morisseau, McAnuff, and the producers refuse to let it loose. Instead, they tie the story of the maniacal Williams and the Temptations’ music to the dead aesthetics of the biopic and the jukebox musical, not to mention the false uplift of showbiz success.\u003c/p>\n\u003cp>Every last moment of the group’s long history is noted, as if a play were nothing more than a particularly detailed Wikipedia entry. Each hit song is delivered with maximum effect, but with little of the subtle spirit so present in the original recordings. And the last lines (as I remember them) are something about the Temptations being the most successful R&B group in history, for which the audience dutifully cheered both nights I attended.\u003c/p>\n\u003cp>But the most grievous and telling sin is how the musical adopts Williams’ limited perspective and reduces the many talented and fascinating people around him to buffoonish, cartoon characters.\u003c/p>\n\u003cp>Motown founder Barry Gordy and singer Diana Ross, as well as Robinson, Ruffin and Kendricks, all come across as little more than children. In innumerable scenes, the creative team portrays these greats as simpletons, conniving hucksters, and angry fools.\u003c/p>\n\u003cfigure id=\"attachment_13809415\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809415\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-800x450.jpg\" alt=\"In 'Ain't Too Proud' Otis Williams (Derrick Baskin), Eddie Kendricks (Jeremy Pope), Melvin Frankling (Jared Joseph), David Ruffin (Ephraim Sykes), and Paul Williams (James Harkness) are real people who don't particularly come to life on stage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In ‘Ain’t Too Proud’ Otis Williams (Derrick Baskin), Eddie Kendricks (Jeremy Pope), Melvin Franklin (Jared Joseph), David Ruffin (Ephraim Sykes), and Paul Williams (James Harkness) are real people who don’t particularly come to life on stage. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What they’re never allowed to be is recognizably human. Even when the show expresses empathy and a sense of loss, the aesthetics are pure soap opera and eschew the bitter complexities of tragedy. When Martin Luther King Jr.’s assassination breezes by, you realize how terrified the musical’s creators are of letting the audience rest and stay in a moment. Why couldn’t the night of the assassination be the whole piece?\u003c/p>\n\u003cp>None of this is the fault of the exceptionally talented performers. They’re a wonder and should be applauded for everything they bring to the stage.\u003c/p>\n\u003cp>What we should lament is the sheer waste of time, energy, and talent, and the way the Temptations’ music has been hijacked for what is clearly a brazen attempt at a Broadway hit. This is the only way \u003cem>Ain’t Too Proud\u003c/em> makes sense — not as art, but as a money trap for Times Square tourists.\u003c/p>\n\u003cfigure id=\"attachment_13809417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809417\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-800x450.jpg\" alt=\"The Temptations, (L to R) David Ruffin (Ephraim Sykes), Eddie Kendricks (Jeremy Pope) Paul Williams (James Harkness), Otis Williams (Derrick Baskin) and Melvin Franklin (Jared Joseph) were hitmakers who made art.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Temptations, (L to R) David Ruffin (Ephraim Sykes), Eddie Kendricks (Jeremy Pope), Paul Williams (James Harkness), Otis Williams (Derrick Baskin), and Melvin Franklin (Jared Joseph) were hitmakers who also made art. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley Rep has amazing theatrical resources. The institution’s stagecraft and technicians are exceptional. The talent and tools are all on display here, from the rotating sets, to the complex video projections, to the sound design worthy of a stadium concert.\u003c/p>\n\u003cp>But with \u003cem>Ain’t Too Proud\u003c/em>, it’s all in the service of the theatrical equivalent of baby food laced with sugar.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ain’t Too Proud’ runs through Sunday, Nov. 5. For tickets and information, \u003ca href=\"https://www.berkeleyrep.org/index.asp\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Once a month at the Berkeley Art Museum and Pacific Film Archive, visitors will find themselves in the presence of an unusually expansive range of cultural practitioners, from poets to pastors — and those who do a little of both. These guests are part of a new monthly series of public programs called \u003cem>\u003ca href=\"https://bampfa.org/program/black-life-2017\" target=\"_blank\" rel=\"noopener noreferrer\">Black Life\u003c/a>\u003c/em>, organized by freelance curators Chika Okoye and David Brazil, that focuses on the cultural production of the African diaspora.\u003c/p>\n\u003cp>Untied to the exhibition or film calendar at BAMPFA, the list of performers and speakers for \u003cem>Black Life\u003c/em> is necessarily broad, and intentionally hard to pin down. The lack of discipline-based constraints allows Okoye and Brazil to explore black epistemology, a core idea behind the series.\u003c/p>\n\u003cfigure id=\"attachment_13809677\" class=\"wp-caption aligncenter\" style=\"max-width: 1210px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809677\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Curators.jpg\" alt=\"Curators Chika Okoye and David Brazil.\" width=\"1210\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators.jpg 1210w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-520x309.jpg 520w\" sizes=\"(max-width: 1210px) 100vw, 1210px\">\u003cfigcaption class=\"wp-caption-text\">Curators Chika Okoye and David Brazil. \u003ccite>(Courtesy of Chika Okoye; Russell W. Southall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Epistemology, according to the \u003ca href=\"https://plato.stanford.edu/entries/epistemology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Stanford Encyclopedia of Philosophy\u003c/i>\u003c/a>, is “the study of knowledge and justified belief.” It’s a way of looking at what beliefs are held to be true, and exploring the factors that enable those beliefs.\u003c/p>\n\u003cp>Okoye explains, “Our dominant cultural epistemologies have segmented and sedimented categories — like how museum spaces typically show and value only certain types of cultural production, work that [figuratively] you can look at under a microscope. The idea of black life is more alive than that, and we’re interested in showing different types of knowledge.”\u003c/p>\n\u003cp>The history of museums as collecting institutions inherently carries the torch of “disembodied” study, a way of seeing that is distinctly white and European in origin; this has affected what are considered “intellectual” and, thus, valid cultural forms and beliefs. In contrast, \u003cem>Black Life\u003c/em> takes on cultural production from the point of view of \u003cem>embodied knowledge\u003c/em> — and opens space for work created in resistance to, or in spite of, the dominant ways of knowing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The name of the series comes from \u003ca href=\"https://vimeo.com/116111740\" target=\"_blank\" rel=\"noopener noreferrer\">a talk with professors Fred Moten and Robin D.G. Kelly\u003c/a>. “To paraphrase Moten, people talk a lot about how black lives matter in this moment, but he says it’s also important to talk about how black \u003cem>life\u003c/em> matters, too,” Brazil explains. That is, the continuous survival — the day-to-day existing, and also thriving — of black people in America is an act of resistance, given that black presence in itself is perceived to be threatening by a white-dominated social order.\u003c/p>\n\u003cp>“We’re speaking against some of the dominant norms of what is knowledge and what is valued in a white supremacist society. [We are featuring] this vibrance and aliveness, even in a time of attempted subjugation and attempted denigration; this is indefatigable life,” says Okoye.\u003c/p>\n\u003cfigure id=\"attachment_13809680\" class=\"wp-caption aligncenter\" style=\"max-width: 850px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809680\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850.jpg\" alt=\"Phavia Kujichagulia\" width=\"850\" height=\"638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850.jpg 850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-520x390.jpg 520w\" sizes=\"(max-width: 850px) 100vw, 850px\">\u003cfigcaption class=\"wp-caption-text\">Phavia Kujichagulia \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music and dance are readily obvious forms of embodied knowing. The series has included a participatory \u003ca href=\"https://bampfa.org/event/black-life-afia-walking-tree\" target=\"_blank\" rel=\"noopener noreferrer\">drumming workshop\u003c/a> with \u003ca href=\"https://www.afiawalkingtree.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Afia Walking Tree\u003c/a>, as well as a \u003ca href=\"https://bampfa.org/event/black-life-rashad-pridgen\" target=\"_blank\" rel=\"noopener noreferrer\">multidisciplinary dance-performance and masquerade\u003c/a> by artist and creative director \u003ca href=\"https://www.usfca.edu/faculty/rashad-pridgen\">Rashad Pridgen\u003c/a>.\u003c/p>\n\u003cp>Brazil notes that another part of black epistemology included in the series is the cultural production stemming from black church communities, including poet and preacher \u003ca href=\"http://www.marvinkwhite.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marvin K. White\u003c/a>. “Working with leaders from black churches is not normal for an art museum, and not normal for all kinds of white spaces. We’re consciously trying to push against the force of white space.”\u003c/p>\n\u003cp>The series highlights black artists, thinkers and creatives living and working in the Bay Area, all without needing to loudly proclaim its local-centric programming. To the curators, it is a natural choice to feature and uplift black artists and thinkers living here now, though they’re interested in expanding beyond the region in the future.\u003c/p>\n\u003cp>The next installment of the series, on \u003ca href=\"https://bampfa.org/event/black-life-phavia-kujichagulia\" target=\"_blank\" rel=\"noopener noreferrer\">Oct. 15\u003c/a>, \u003ca href=\"http://www.kujichaguliaphavia.com/\">Phavia Kujichagulia & Ma’at\u003c/a> presents an interdisciplinary musical event blending spoken word with traditional African music, African-American classical music/jazz, pop and rap.\u003c/p>\n\u003cfigure id=\"attachment_13809682\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/TBA_1200.jpg\" alt=\"Top (L-R): Jamal Batts, Christian Johnson, Leila Weefur; Middle: Ryanaustin Dennis, Yetunde Olagbaju (Black Mail Collective); Front: Malika Imhotep, Zoé Samudzi, Soleil Summer (Black Mail Collective)\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Top (L-R): Jamal Batts, Christian Johnson, Leila Weefur; Middle: Ryanaustin Dennis, Yetunde Olagbaju (Black Mail Collective); Front: Malika Imhotep, Zoé Samudzi, Soleil Summer (Black Mail Collective) \u003ccite>(Photo by Ed Ntiri)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On \u003ca href=\"https://bampfa.org/event/black-life-black-aesthetic\" target=\"_blank\" rel=\"noopener noreferrer\">Nov. 10\u003c/a>, \u003cem>Black Life\u003c/em> intersects with another East Bay creative organization, \u003ca href=\"https://www.theblkaesthetic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Black Aesthetic\u003c/a> (TBA). \u003ca href=\"https://ww2.kqed.org/arts/2017/04/10/oakland-film-series-asks-is-there-a-black-aesthetic/\">Founded by Christian Johnson and Ryannaustin Dennis\u003c/a> in 2016, TBA now includes Leila Weefur, Zoé Samudzi, Jamal Batts, and Malika “Ra” Imhotep; they also work closely with other groups, such as \u003ca href=\"https://www.blackmailcollective.com/\">Black Mail Collective\u003c/a>. The group has already presented two seasons of screenings by and about black filmmakers, each with a culminating publication, and \u003ca href=\"http://mailchi.mp/5558afcba5a7/tba-season-iii-is-almost-here\" target=\"_blank\" rel=\"noopener noreferrer\">the third season\u003c/a>, which begins on Oct. 5, concludes at BAMPFA.\u003c/p>\n\u003cp>This upcoming event features filmmaker Johnson’s first film, with cinematography by Weefur. \u003cem>A Moment of Truth + Sin\u003c/em>, is, according to them, a “pseudo-autobiographical, racially and politically charged thriller.” Johnson, who grew up in the Bay Area learning about film — in part by studying Pacific Film Archive program calendars — notes that premiering his work at BAMPFA is both “exciting and terrifying.”\u003c/p>\n\u003cp>For both TBA and \u003cem>Black Life\u003c/em>, the curators operate from a sense of abundance. Rather than curating with a focus on the issues of under-representation (though the topic is omnipresent), both series emphasize elevating what’s happening \u003ci>now\u003c/i> and what it is that black creatives are \u003cem>doing\u003c/em>. There is an open-ended sense to the programming, as though \u003cem>Black Life\u003c/em> is in a constant state of unfolding without a definable road map — and that’s because it is.\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>\u003cem>‘Black Life’ takes place on Oct. 15, Nov. 11, and Dec. 9 at the Berkeley Art Museum and Pacific Film Archive. For more information, \u003ca href=\"https://bampfa.org/program/black-life-2017\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Once a month at the Berkeley Art Museum and Pacific Film Archive, visitors will find themselves in the presence of an unusually expansive range of cultural practitioners, from poets to pastors — and those who do a little of both. These guests are part of a new monthly series of public programs called \u003cem>\u003ca href=\"https://bampfa.org/program/black-life-2017\" target=\"_blank\" rel=\"noopener noreferrer\">Black Life\u003c/a>\u003c/em>, organized by freelance curators Chika Okoye and David Brazil, that focuses on the cultural production of the African diaspora.\u003c/p>\n\u003cp>Untied to the exhibition or film calendar at BAMPFA, the list of performers and speakers for \u003cem>Black Life\u003c/em> is necessarily broad, and intentionally hard to pin down. The lack of discipline-based constraints allows Okoye and Brazil to explore black epistemology, a core idea behind the series.\u003c/p>\n\u003cfigure id=\"attachment_13809677\" class=\"wp-caption aligncenter\" style=\"max-width: 1210px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809677\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Curators.jpg\" alt=\"Curators Chika Okoye and David Brazil.\" width=\"1210\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators.jpg 1210w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Curators-520x309.jpg 520w\" sizes=\"(max-width: 1210px) 100vw, 1210px\">\u003cfigcaption class=\"wp-caption-text\">Curators Chika Okoye and David Brazil. \u003ccite>(Courtesy of Chika Okoye; Russell W. Southall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Epistemology, according to the \u003ca href=\"https://plato.stanford.edu/entries/epistemology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Stanford Encyclopedia of Philosophy\u003c/i>\u003c/a>, is “the study of knowledge and justified belief.” It’s a way of looking at what beliefs are held to be true, and exploring the factors that enable those beliefs.\u003c/p>\n\u003cp>Okoye explains, “Our dominant cultural epistemologies have segmented and sedimented categories — like how museum spaces typically show and value only certain types of cultural production, work that [figuratively] you can look at under a microscope. The idea of black life is more alive than that, and we’re interested in showing different types of knowledge.”\u003c/p>\n\u003cp>The history of museums as collecting institutions inherently carries the torch of “disembodied” study, a way of seeing that is distinctly white and European in origin; this has affected what are considered “intellectual” and, thus, valid cultural forms and beliefs. In contrast, \u003cem>Black Life\u003c/em> takes on cultural production from the point of view of \u003cem>embodied knowledge\u003c/em> — and opens space for work created in resistance to, or in spite of, the dominant ways of knowing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The name of the series comes from \u003ca href=\"https://vimeo.com/116111740\" target=\"_blank\" rel=\"noopener noreferrer\">a talk with professors Fred Moten and Robin D.G. Kelly\u003c/a>. “To paraphrase Moten, people talk a lot about how black lives matter in this moment, but he says it’s also important to talk about how black \u003cem>life\u003c/em> matters, too,” Brazil explains. That is, the continuous survival — the day-to-day existing, and also thriving — of black people in America is an act of resistance, given that black presence in itself is perceived to be threatening by a white-dominated social order.\u003c/p>\n\u003cp>“We’re speaking against some of the dominant norms of what is knowledge and what is valued in a white supremacist society. [We are featuring] this vibrance and aliveness, even in a time of attempted subjugation and attempted denigration; this is indefatigable life,” says Okoye.\u003c/p>\n\u003cfigure id=\"attachment_13809680\" class=\"wp-caption aligncenter\" style=\"max-width: 850px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809680\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850.jpg\" alt=\"Phavia Kujichagulia\" width=\"850\" height=\"638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850.jpg 850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Event_Black-Life-Phavia-Kujichagulia_2017-10-15_Phavia-Kujichagulia_001_850-520x390.jpg 520w\" sizes=\"(max-width: 850px) 100vw, 850px\">\u003cfigcaption class=\"wp-caption-text\">Phavia Kujichagulia \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music and dance are readily obvious forms of embodied knowing. The series has included a participatory \u003ca href=\"https://bampfa.org/event/black-life-afia-walking-tree\" target=\"_blank\" rel=\"noopener noreferrer\">drumming workshop\u003c/a> with \u003ca href=\"https://www.afiawalkingtree.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Afia Walking Tree\u003c/a>, as well as a \u003ca href=\"https://bampfa.org/event/black-life-rashad-pridgen\" target=\"_blank\" rel=\"noopener noreferrer\">multidisciplinary dance-performance and masquerade\u003c/a> by artist and creative director \u003ca href=\"https://www.usfca.edu/faculty/rashad-pridgen\">Rashad Pridgen\u003c/a>.\u003c/p>\n\u003cp>Brazil notes that another part of black epistemology included in the series is the cultural production stemming from black church communities, including poet and preacher \u003ca href=\"http://www.marvinkwhite.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marvin K. White\u003c/a>. “Working with leaders from black churches is not normal for an art museum, and not normal for all kinds of white spaces. We’re consciously trying to push against the force of white space.”\u003c/p>\n\u003cp>The series highlights black artists, thinkers and creatives living and working in the Bay Area, all without needing to loudly proclaim its local-centric programming. To the curators, it is a natural choice to feature and uplift black artists and thinkers living here now, though they’re interested in expanding beyond the region in the future.\u003c/p>\n\u003cp>The next installment of the series, on \u003ca href=\"https://bampfa.org/event/black-life-phavia-kujichagulia\" target=\"_blank\" rel=\"noopener noreferrer\">Oct. 15\u003c/a>, \u003ca href=\"http://www.kujichaguliaphavia.com/\">Phavia Kujichagulia & Ma’at\u003c/a> presents an interdisciplinary musical event blending spoken word with traditional African music, African-American classical music/jazz, pop and rap.\u003c/p>\n\u003cfigure id=\"attachment_13809682\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/TBA_1200.jpg\" alt=\"Top (L-R): Jamal Batts, Christian Johnson, Leila Weefur; Middle: Ryanaustin Dennis, Yetunde Olagbaju (Black Mail Collective); Front: Malika Imhotep, Zoé Samudzi, Soleil Summer (Black Mail Collective)\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/TBA_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Top (L-R): Jamal Batts, Christian Johnson, Leila Weefur; Middle: Ryanaustin Dennis, Yetunde Olagbaju (Black Mail Collective); Front: Malika Imhotep, Zoé Samudzi, Soleil Summer (Black Mail Collective) \u003ccite>(Photo by Ed Ntiri)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On \u003ca href=\"https://bampfa.org/event/black-life-black-aesthetic\" target=\"_blank\" rel=\"noopener noreferrer\">Nov. 10\u003c/a>, \u003cem>Black Life\u003c/em> intersects with another East Bay creative organization, \u003ca href=\"https://www.theblkaesthetic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Black Aesthetic\u003c/a> (TBA). \u003ca href=\"https://ww2.kqed.org/arts/2017/04/10/oakland-film-series-asks-is-there-a-black-aesthetic/\">Founded by Christian Johnson and Ryannaustin Dennis\u003c/a> in 2016, TBA now includes Leila Weefur, Zoé Samudzi, Jamal Batts, and Malika “Ra” Imhotep; they also work closely with other groups, such as \u003ca href=\"https://www.blackmailcollective.com/\">Black Mail Collective\u003c/a>. The group has already presented two seasons of screenings by and about black filmmakers, each with a culminating publication, and \u003ca href=\"http://mailchi.mp/5558afcba5a7/tba-season-iii-is-almost-here\" target=\"_blank\" rel=\"noopener noreferrer\">the third season\u003c/a>, which begins on Oct. 5, concludes at BAMPFA.\u003c/p>\n\u003cp>This upcoming event features filmmaker Johnson’s first film, with cinematography by Weefur. \u003cem>A Moment of Truth + Sin\u003c/em>, is, according to them, a “pseudo-autobiographical, racially and politically charged thriller.” Johnson, who grew up in the Bay Area learning about film — in part by studying Pacific Film Archive program calendars — notes that premiering his work at BAMPFA is both “exciting and terrifying.”\u003c/p>\n\u003cp>For both TBA and \u003cem>Black Life\u003c/em>, the curators operate from a sense of abundance. Rather than curating with a focus on the issues of under-representation (though the topic is omnipresent), both series emphasize elevating what’s happening \u003ci>now\u003c/i> and what it is that black creatives are \u003cem>doing\u003c/em>. There is an open-ended sense to the programming, as though \u003cem>Black Life\u003c/em> is in a constant state of unfolding without a definable road map — and that’s because it is.\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>\u003cem>‘Black Life’ takes place on Oct. 15, Nov. 11, and Dec. 9 at the Berkeley Art Museum and Pacific Film Archive. For more information, \u003ca href=\"https://bampfa.org/program/black-life-2017\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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.",
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"onourwatch": {
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"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?",
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"on-the-media": {
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"order": 14
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"planet-money": {
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"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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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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