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"title": "Cy and David's Picks: Rare Opera, a Theater Alliance, and Revisiting the Summer of Love",
"headTitle": "Cy and David’s Picks: Rare Opera, a Theater Alliance, and Revisiting the Summer of Love | KQED",
"content": "\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>We’ve got rockers young and old on this edition of The Do List, but first our Shoutouts! I’m highlighting the Monday Apr. 10 comedy fundraiser for \u003ca href=\"https://www.prochoiceamerica.org/\" target=\"_blank\" rel=\"noopener\">NARAL Pro-Choice America\u003c/a>, featuring \u003ca href=\"http://www.natogreen.com/\" target=\"_blank\" rel=\"noopener\">Nato Green\u003c/a>, \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener\">Zahra Noorbaksh\u003c/a>, Will Durst and others at the \u003ca href=\"http://www.punchlinecomedyclub.com/EventDetail?tmeventid=1C005263A52769A9&offerid=43155\" target=\"_blank\" rel=\"noopener\">Punch Line in San Francisco\u003c/a>. Funny for a good cause. David’s pick is the closing night, Saturday, Apr. 9 of the 15th annual \u003ca href=\"http://www.oiff.org/\" target=\"_blank\" rel=\"noopener\">Oakland International Film Festival\u003c/a>, which features a reunion of some of the cast of the original \u003cem>Roots \u003c/em>TV series, including Louis Gossett Jr., Melvin Van Peebles, Danny Glover and others a\u003ca href=\"http://www.oiff.org/roots/\" target=\"_blank\" rel=\"noopener\">t the Scottish Rite Temple in Oakland\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uN_88I-2HDM&t=392s\u003c/p>\n\u003cp>\u003cstrong>April 9\u003c/strong>: A great alternative to watching the Rock and Roll Hall of Fame ceremony on Sunday on HBO, \u003ca href=\"http://www.southsidejohnny.com/index.html\" target=\"_blank\" rel=\"noopener\">S\u003c/a>\u003ca href=\"http://www.southsidejohnny.com/index.html\" target=\"_blank\" rel=\"noopener\">outhside Johnny and the Asbury Jukes\u003c/a> are touring the West Coast for the first time in 10 years. This “rock and roll circus” co-founded by John Lyons in 1976 is closely associated with — and sounds a bit like — Bruce Springsteen and his E Street Band, though maybe with more R&B in its genes. Worth it just for the Miami Horns. Details for Southside Johnny’s two shows Sunday at \u003ca href=\"http://www.yoshis.com/calendar/\" target=\"_blank\" rel=\"noopener\">Yoshi’s in Oakland are here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>A Summer of Love Trio:\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13013290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13013290 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Embroidered-hospital-scrub-top-ca.-1968.-Cotton-plain-weave-with-cotton-embroidery-e1491514583758-800x522.jpg\" alt=\"Embroidered hospital scrub top, ca. 1968. Cotton plain weave with cotton embroidery\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Embroidered-hospital-scrub-top-ca.-1968.-Cotton-plain-weave-with-cotton-embroidery-e1491514583758-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Embroidered-hospital-scrub-top-ca.-1968.-Cotton-plain-weave-with-cotton-embroidery-e1491514583758-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Embroidered-hospital-scrub-top-ca.-1968.-Cotton-plain-weave-with-cotton-embroidery-e1491514583758-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Embroidered-hospital-scrub-top-ca.-1968.-Cotton-plain-weave-with-cotton-embroidery-e1491514583758-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Embroidered-hospital-scrub-top-ca.-1968.-Cotton-plain-weave-with-cotton-embroidery-e1491514583758-960x626.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Embroidered-hospital-scrub-top-ca.-1968.-Cotton-plain-weave-with-cotton-embroidery-e1491514583758-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Embroidered-hospital-scrub-top-ca.-1968.-Cotton-plain-weave-with-cotton-embroidery-e1491514583758-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Embroidered-hospital-scrub-top-ca.-1968.-Cotton-plain-weave-with-cotton-embroidery-e1491514583758-520x339.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Embroidered-hospital-scrub-top-ca.-1968.-Cotton-plain-weave-with-cotton-embroidery-e1491514583758.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Embroidered hospital scrub top, ca. 1968. Cotton plain weave with cotton embroidery \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 8- Aug. 20:\u003c/strong> The world is indulging its fascination with anniversaries this year, with celebrations of the Summer of Love at three local museums. June 1967 is when hippies descended by the tens of thousands on San Francisco’s Haight Ashbury, even though the real action, the Trips Festival and the Human Be-In, had happened months before. \u003cem>The Summer of Love: Art, Fashion, and Rock & Roll\u003c/em> at the de Young museum in San Francisco features rock posters, photographs, music and light shows, costumes (I got rid of all my paisley years ago), and avant-garde films. Details for the de Young’s show are \u003ca href=\"https://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13013285\" class=\"wp-caption alignright\" style=\"max-width: 347px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13013285\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Lavender02-e1491516227276.jpg\" alt=\"Poet Allen Ginsberg dancing to the grateful dead at the Gathering of the Tribes for a Human Be-In at Golden Gate Park in San Francisco (1967).\" width=\"347\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Lavender02-e1491516227276.jpg 347w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Lavender02-e1491516227276-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Lavender02-e1491516227276-240x318.jpg 240w\" sizes=\"(max-width: 347px) 100vw, 347px\">\u003cfigcaption class=\"wp-caption-text\">Poet Allen Ginsberg dancing to the grateful dead at the Gathering of the Tribes for a Human Be-In at Golden Gate Park in San Francisco (1967). \u003ccite>( Photo:Lisa Law/GLBT History Museum )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 7-Sept. 27\u003c/strong>: Meanwhile, the GLBT History Museum\u003cbr>\nopens its show \u003cem>Lavender-tinted Glasses: A Groovy, Gay Look at the ‘Summer of Love’,\u003c/em> which highlights the roles of four queers who helped make the Summer of Love, including poet Allen Ginsberg and singer Janis Joplin. Details for that show are\u003ca href=\"http://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Through May 21:\u003c/strong> The Berkeley Art Museum got a head start on everyone with its show\u003cem> Hippie Modernism: The Search for Utopia, \u003c/em>which looks at the impact of hippie culture on architecture and design. Details for the exhibit are \u003ca href=\"http://www.bampfa.berkeley.edu/program/hippie-modernism-struggle-utopia\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MpZM5ZZrSEQ\u003c/p>\n\u003cp>\u003cstrong>April 7-9\u003c/strong>: Gioachino Rossini wrote a lot of operas. “Give me the laundress’ bill and I will even set that to music,” he once joked off his prolific career. The sheer size of his musical portfolio also means some of his work doesn’t get produced, like the one-act romantic farce, \u003cem>La Scala di Seta\u003c/em>, or \u003cem>The Silken Ladder\u003c/em>. The \u003ca href=\"http://phenixopera.com/index.html\" target=\"_blank\" rel=\"noopener\">Phènix Opera Company\u003c/a> is promising a fully staged production of this charming comedy, with piano accompaniment. This little company is a labor of love for \u003ca href=\"https://www.facebook.com/osvaldopiano/\" target=\"_blank\" rel=\"noopener\">Osvaldo de Leon\u003c/a>, a pianist and music teacher based on the Peninsula. Details for the performances Friday through Sunday at the Black Box Theater at the \u003ca href=\"http://spindriftschool.org/\" target=\"_blank\" rel=\"noopener\">Spindrift School of Performing Arts \u003c/a>in Pacifica are\u003ca href=\"http://phenixopera.com/upcoming-shows.html\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13013293\" class=\"wp-caption aligncenter\" style=\"max-width: 569px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13013293\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Flight-Deck-in-Oakland-e1491515397788.jpg\" alt=\"Four theater companies join on a play about gentrification at The Flight Deck in Oakland\" width=\"569\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Flight-Deck-in-Oakland-e1491515397788.jpg 569w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Flight-Deck-in-Oakland-e1491515397788-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Flight-Deck-in-Oakland-e1491515397788-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Flight-Deck-in-Oakland-e1491515397788-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Flight-Deck-in-Oakland-e1491515397788-520x292.jpg 520w\" sizes=\"(max-width: 569px) 100vw, 569px\">\u003cfigcaption class=\"wp-caption-text\">Four theater companies join on a play about gentrification at The Flight Deck in Oakland \u003ccite>(Photo: Courtesy of The Flight Deck)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 7-22: \u003c/strong>Here’s more on scrappy theater groups: \u003ca href=\"http://www.raggedwing.org/\" target=\"_blank\" rel=\"noopener\">Ragged Wing Ensemble,\u003c/a> \u003ca href=\"http://Gritty%20City%20Repertory%20Youth%20Theatre\" target=\"_blank\" rel=\"noopener\">Gritty City Repertory Youth Theatre\u003c/a>, \u003ca href=\"https://www.google.com/search?q=Lower+bottoms+playaz&oq=Lower+bottoms+playaz&aqs=chrome..69i57j0.7034j0j4&sourceid=chrome&ie=UTF-8\" target=\"_blank\" rel=\"noopener\">The Lower Bottom Playaz\u003c/a>, and\u003ca href=\"https://www.facebook.com/Aluminous/\" target=\"_blank\" rel=\"noopener\"> Theatre Aluminous\u003c/a> are all resident companies at \u003ca href=\"http://www.theflightdeck.org/\" target=\"_blank\" rel=\"noopener\">The Flight Deck\u003c/a> in Oakland. They’ve come together to put on a play about gentrification, called \u003cem>Overnight, \u003c/em>with music by the terrific pianist and composer Kev Choice. Ragged Wing co-founder Anna Scheiderman says the show is based on this premise: what if a huge apartment tower sprang up on your block overnight. “There’s a question that one of the characters asks in this show,” Schneiderman told me, “‘How do you get people to take action.’ And the other character answers, ‘you get them to realize they’re not standing still.’ So not doing something is a choice as well.” Details for \u003cem>Overnight\u003c/em> at the Flight Deck are \u003ca href=\"http://WWW.RAGGEDWING.ORG/OVERNIGHT/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u_hDHm9MD0I\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 11-13:\u003c/strong> \u003ca href=\"https://mitski.com/\" target=\"_blank\" rel=\"noopener\">Mitski Miyawaki \u003c/a>— known simply as Mitski — is among the hottest indie-rockers around, named recently by \u003cem>The New York Times\u003c/em> as one of the artists making songs that tell us where music is going. Mitski’s lyrics are smart satires on race in America, and she also writes hard driving music to get you hooked. She is headed to \u003ca href=\"https://www.coachella.com/\" target=\"_blank\" rel=\"noopener\">Coachella \u003c/a>with stops in the Bay Area first. Details for her show at Harlow’s in Sacramento on Tuesday are \u003ca href=\"http://www.harlows.com/event/1413738-mitski-sacramento/\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>The performer is at the Catalyst in Santa Cruz on Wednesday — details \u003ca href=\"http://www.catalystclub.com/event/1410216-mitski-santa-cruz/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And then she’s at The Fillmore in San Francisco on Thursday, with details \u003ca href=\"http://thefillmore.com/event/mitski-with-kadhja-bonet-and-mal-devisa/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"title": "Cy and David's Picks: Rare Opera, a Theater Alliance, and Revisiting the Summer of Love | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>We’ve got rockers young and old on this edition of The Do List, but first our Shoutouts! I’m highlighting the Monday Apr. 10 comedy fundraiser for \u003ca href=\"https://www.prochoiceamerica.org/\" target=\"_blank\" rel=\"noopener\">NARAL Pro-Choice America\u003c/a>, featuring \u003ca href=\"http://www.natogreen.com/\" target=\"_blank\" rel=\"noopener\">Nato Green\u003c/a>, \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener\">Zahra Noorbaksh\u003c/a>, Will Durst and others at the \u003ca href=\"http://www.punchlinecomedyclub.com/EventDetail?tmeventid=1C005263A52769A9&offerid=43155\" target=\"_blank\" rel=\"noopener\">Punch Line in San Francisco\u003c/a>. Funny for a good cause. David’s pick is the closing night, Saturday, Apr. 9 of the 15th annual \u003ca href=\"http://www.oiff.org/\" target=\"_blank\" rel=\"noopener\">Oakland International Film Festival\u003c/a>, which features a reunion of some of the cast of the original \u003cem>Roots \u003c/em>TV series, including Louis Gossett Jr., Melvin Van Peebles, Danny Glover and others a\u003ca href=\"http://www.oiff.org/roots/\" target=\"_blank\" rel=\"noopener\">t the Scottish Rite Temple in Oakland\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/uN_88I-2HDM'\n title='//www.youtube.com/embed/uN_88I-2HDM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 9\u003c/strong>: A great alternative to watching the Rock and Roll Hall of Fame ceremony on Sunday on HBO, \u003ca href=\"http://www.southsidejohnny.com/index.html\" target=\"_blank\" rel=\"noopener\">S\u003c/a>\u003ca href=\"http://www.southsidejohnny.com/index.html\" target=\"_blank\" rel=\"noopener\">outhside Johnny and the Asbury Jukes\u003c/a> are touring the West Coast for the first time in 10 years. This “rock and roll circus” co-founded by John Lyons in 1976 is closely associated with — and sounds a bit like — Bruce Springsteen and his E Street Band, though maybe with more R&B in its genes. Worth it just for the Miami Horns. Details for Southside Johnny’s two shows Sunday at \u003ca href=\"http://www.yoshis.com/calendar/\" target=\"_blank\" rel=\"noopener\">Yoshi’s in Oakland are here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>A Summer of Love Trio:\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13013290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13013290 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Embroidered-hospital-scrub-top-ca.-1968.-Cotton-plain-weave-with-cotton-embroidery-e1491514583758-800x522.jpg\" alt=\"Embroidered hospital scrub top, ca. 1968. Cotton plain weave with cotton embroidery\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Embroidered-hospital-scrub-top-ca.-1968.-Cotton-plain-weave-with-cotton-embroidery-e1491514583758-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Embroidered-hospital-scrub-top-ca.-1968.-Cotton-plain-weave-with-cotton-embroidery-e1491514583758-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Embroidered-hospital-scrub-top-ca.-1968.-Cotton-plain-weave-with-cotton-embroidery-e1491514583758-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Embroidered-hospital-scrub-top-ca.-1968.-Cotton-plain-weave-with-cotton-embroidery-e1491514583758-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Embroidered-hospital-scrub-top-ca.-1968.-Cotton-plain-weave-with-cotton-embroidery-e1491514583758-960x626.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Embroidered-hospital-scrub-top-ca.-1968.-Cotton-plain-weave-with-cotton-embroidery-e1491514583758-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Embroidered-hospital-scrub-top-ca.-1968.-Cotton-plain-weave-with-cotton-embroidery-e1491514583758-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Embroidered-hospital-scrub-top-ca.-1968.-Cotton-plain-weave-with-cotton-embroidery-e1491514583758-520x339.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Embroidered-hospital-scrub-top-ca.-1968.-Cotton-plain-weave-with-cotton-embroidery-e1491514583758.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Embroidered hospital scrub top, ca. 1968. Cotton plain weave with cotton embroidery \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 8- Aug. 20:\u003c/strong> The world is indulging its fascination with anniversaries this year, with celebrations of the Summer of Love at three local museums. June 1967 is when hippies descended by the tens of thousands on San Francisco’s Haight Ashbury, even though the real action, the Trips Festival and the Human Be-In, had happened months before. \u003cem>The Summer of Love: Art, Fashion, and Rock & Roll\u003c/em> at the de Young museum in San Francisco features rock posters, photographs, music and light shows, costumes (I got rid of all my paisley years ago), and avant-garde films. Details for the de Young’s show are \u003ca href=\"https://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13013285\" class=\"wp-caption alignright\" style=\"max-width: 347px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13013285\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Lavender02-e1491516227276.jpg\" alt=\"Poet Allen Ginsberg dancing to the grateful dead at the Gathering of the Tribes for a Human Be-In at Golden Gate Park in San Francisco (1967).\" width=\"347\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Lavender02-e1491516227276.jpg 347w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Lavender02-e1491516227276-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Lavender02-e1491516227276-240x318.jpg 240w\" sizes=\"(max-width: 347px) 100vw, 347px\">\u003cfigcaption class=\"wp-caption-text\">Poet Allen Ginsberg dancing to the grateful dead at the Gathering of the Tribes for a Human Be-In at Golden Gate Park in San Francisco (1967). \u003ccite>( Photo:Lisa Law/GLBT History Museum )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 7-Sept. 27\u003c/strong>: Meanwhile, the GLBT History Museum\u003cbr>\nopens its show \u003cem>Lavender-tinted Glasses: A Groovy, Gay Look at the ‘Summer of Love’,\u003c/em> which highlights the roles of four queers who helped make the Summer of Love, including poet Allen Ginsberg and singer Janis Joplin. Details for that show are\u003ca href=\"http://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Through May 21:\u003c/strong> The Berkeley Art Museum got a head start on everyone with its show\u003cem> Hippie Modernism: The Search for Utopia, \u003c/em>which looks at the impact of hippie culture on architecture and design. Details for the exhibit are \u003ca href=\"http://www.bampfa.berkeley.edu/program/hippie-modernism-struggle-utopia\" target=\"_blank\" rel=\"noopener\">here.\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/MpZM5ZZrSEQ'\n title='//www.youtube.com/embed/MpZM5ZZrSEQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 7-9\u003c/strong>: Gioachino Rossini wrote a lot of operas. “Give me the laundress’ bill and I will even set that to music,” he once joked off his prolific career. The sheer size of his musical portfolio also means some of his work doesn’t get produced, like the one-act romantic farce, \u003cem>La Scala di Seta\u003c/em>, or \u003cem>The Silken Ladder\u003c/em>. The \u003ca href=\"http://phenixopera.com/index.html\" target=\"_blank\" rel=\"noopener\">Phènix Opera Company\u003c/a> is promising a fully staged production of this charming comedy, with piano accompaniment. This little company is a labor of love for \u003ca href=\"https://www.facebook.com/osvaldopiano/\" target=\"_blank\" rel=\"noopener\">Osvaldo de Leon\u003c/a>, a pianist and music teacher based on the Peninsula. Details for the performances Friday through Sunday at the Black Box Theater at the \u003ca href=\"http://spindriftschool.org/\" target=\"_blank\" rel=\"noopener\">Spindrift School of Performing Arts \u003c/a>in Pacifica are\u003ca href=\"http://phenixopera.com/upcoming-shows.html\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13013293\" class=\"wp-caption aligncenter\" style=\"max-width: 569px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13013293\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Flight-Deck-in-Oakland-e1491515397788.jpg\" alt=\"Four theater companies join on a play about gentrification at The Flight Deck in Oakland\" width=\"569\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Flight-Deck-in-Oakland-e1491515397788.jpg 569w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Flight-Deck-in-Oakland-e1491515397788-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Flight-Deck-in-Oakland-e1491515397788-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Flight-Deck-in-Oakland-e1491515397788-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Flight-Deck-in-Oakland-e1491515397788-520x292.jpg 520w\" sizes=\"(max-width: 569px) 100vw, 569px\">\u003cfigcaption class=\"wp-caption-text\">Four theater companies join on a play about gentrification at The Flight Deck in Oakland \u003ccite>(Photo: Courtesy of The Flight Deck)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 7-22: \u003c/strong>Here’s more on scrappy theater groups: \u003ca href=\"http://www.raggedwing.org/\" target=\"_blank\" rel=\"noopener\">Ragged Wing Ensemble,\u003c/a> \u003ca href=\"http://Gritty%20City%20Repertory%20Youth%20Theatre\" target=\"_blank\" rel=\"noopener\">Gritty City Repertory Youth Theatre\u003c/a>, \u003ca href=\"https://www.google.com/search?q=Lower+bottoms+playaz&oq=Lower+bottoms+playaz&aqs=chrome..69i57j0.7034j0j4&sourceid=chrome&ie=UTF-8\" target=\"_blank\" rel=\"noopener\">The Lower Bottom Playaz\u003c/a>, and\u003ca href=\"https://www.facebook.com/Aluminous/\" target=\"_blank\" rel=\"noopener\"> Theatre Aluminous\u003c/a> are all resident companies at \u003ca href=\"http://www.theflightdeck.org/\" target=\"_blank\" rel=\"noopener\">The Flight Deck\u003c/a> in Oakland. They’ve come together to put on a play about gentrification, called \u003cem>Overnight, \u003c/em>with music by the terrific pianist and composer Kev Choice. Ragged Wing co-founder Anna Scheiderman says the show is based on this premise: what if a huge apartment tower sprang up on your block overnight. “There’s a question that one of the characters asks in this show,” Schneiderman told me, “‘How do you get people to take action.’ And the other character answers, ‘you get them to realize they’re not standing still.’ So not doing something is a choice as well.” Details for \u003cem>Overnight\u003c/em> at the Flight Deck are \u003ca href=\"http://WWW.RAGGEDWING.ORG/OVERNIGHT/\" target=\"_blank\" rel=\"noopener\">here.\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/u_hDHm9MD0I'\n title='//www.youtube.com/embed/u_hDHm9MD0I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 11-13:\u003c/strong> \u003ca href=\"https://mitski.com/\" target=\"_blank\" rel=\"noopener\">Mitski Miyawaki \u003c/a>— known simply as Mitski — is among the hottest indie-rockers around, named recently by \u003cem>The New York Times\u003c/em> as one of the artists making songs that tell us where music is going. Mitski’s lyrics are smart satires on race in America, and she also writes hard driving music to get you hooked. She is headed to \u003ca href=\"https://www.coachella.com/\" target=\"_blank\" rel=\"noopener\">Coachella \u003c/a>with stops in the Bay Area first. Details for her show at Harlow’s in Sacramento on Tuesday are \u003ca href=\"http://www.harlows.com/event/1413738-mitski-sacramento/\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>The performer is at the Catalyst in Santa Cruz on Wednesday — details \u003ca href=\"http://www.catalystclub.com/event/1410216-mitski-santa-cruz/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And then she’s at The Fillmore in San Francisco on Thursday, with details \u003ca href=\"http://thefillmore.com/event/mitski-with-kadhja-bonet-and-mal-devisa/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Chicanx Artists Mobilize Community in Age of Trump",
"headTitle": "Chicanx Artists Mobilize Community in Age of Trump | KQED",
"content": "\u003cp>At any number of anti-authoritarian protests around the world, you’ll see people carrying posters printed off the Internet, designed by or distributed by Melanie Cervantes and her partner Jesus Barraza. Together, Cervantes and Barraza operate the arts collective \u003ca href=\"http://dignidadrebelde.com/\" target=\"_blank\" rel=\"noopener\">Dignidad Rebelde\u003c/a>. Their West Oakland studio is tightly packed with the materials of their trade — screen printing.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>The collective licenses its work under a creative commons license to make the amplification of their work easy. “What we’re doing is amplifying the voices of people in our communities,” Cervantes says. “Part of what’s powerful about the reproducible work is that you have a message that’s consistently being mobilized.”\u003c/p>\n\u003cp>The California native says she’s following in a long line of graphic collectives whose work has existed as much to educate people and fight colonialism as it has to produce art.\u003c/p>\n\u003cp>Cervantes cites outfits like \u003ca href=\"https://www.facebook.com/selfhelpgraphics\" target=\"_blank\" rel=\"noopener\">Self Help Graphics\u003c/a>, active in Los Angeles since the early 1970s, and Taller de Gráfica Popular, a Mexico City group that fought fascism in the 1930s. Cervantes finds this group’s efforts particularly relevant today, given the current divisive political climate.\u003c/p>\n\u003cfigure id=\"attachment_13008905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13008905\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-800x600.jpg\" alt='\"Domestic Workers,\" a poster by Melanie Cervantes.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Domestic Workers,” a poster by Melanie Cervantes. \u003ccite>(Photo: Courtesy of Melanie Cervantes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her view, the Trump Administration is not really a political outlier “You know, the Obama Administration built a very effective deportation machine,” she says. “We’ve been fighting colonialism for, what, 520 some odd years.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But if Cervantes doesn’t see herself as doing anything new, it’s also true that her talents as an art and history educator are heavily in demand right now. So much so, that you’d be hard-pressed to find her at her studio.\u003c/p>\n\u003cp>Cervantes’ calendar is packed with screen-printing workshops, which she teaches all over the country. She’s busy growing the Chicano art movement (or “Chicanx” as it’s commonly called these days in an effort to de-gender the masculine “Chicano”) with the mass distribution of her art and the know-how to produce art like it.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/316310247″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Chicanx art covers a wide range of political issues. These include immigration and labor rights, the militarization of the police force, mass incarceration, and environmental injustice.\u003c/p>\n\u003cp>“This is a conversation that was happening when I was a child,” says Joey Reyes, who along with Cervantes co-curated the last \u003cem>Chicano/a Biennial\u003c/em> at San Jose’s \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener\">Movimiento de Arte y Cultura Latino American\u003c/a>a (MACLA.) “This is a conversation that happens right now. The tension is real.”\u003c/p>\n\u003cp>The tension is also growing, as the Trump Administration makes good on promises to peel back civil rights enforcement and crackdown on illegal immigration.\u003c/p>\n\u003cfigure id=\"attachment_13008904\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13008904 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-800x451.jpg\" alt=\"Detail of "Institutionally Trapped," by <a href="http://www.aarondestrada.com/" target="_blank">Aaron Estrada</a>. It was in a recent exhibition at San Jose's MACLA. Curator Joey Reye says "It’s something very personal, looking at the history of incarceration within Estrada's own family and friends that he’s grown up with in Los Angeles."\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Institutionally Trapped,” by \u003ca href=\"http://www.aarondestrada.com/\" target=\"_blank\" rel=\"noopener\">Aaron Estrada\u003c/a>. It was in a recent exhibition at San Jose’s MACLA. Curator Joey Reye says “It’s something very personal, looking at the history of incarceration within Estrada’s own family and friends that he’s grown up with in Los Angeles.” \u003ccite>(Photo: Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You know, it’s easy to say, ‘let’s kick out 11 million people,’ but that is 11 million fathers, mothers, and children,” says \u003ca href=\"http://www.ericalmanza.com/\" target=\"_blank\" rel=\"noopener\">Eric Almanza\u003c/a>, one of the artists featured in MACLA’s \u003cem>Chicana/o Biennial\u003c/em>. “My goal is to put a face to these people, so that you can no longer say, ‘hey, let’s treat them all the same and kick them out.”‘\u003c/p>\n\u003cp>Almanza says he and fellow Chicanx artists are hoping their work can cultivate a stronger sense of compassion for the people being evicted from the U.S.\u003c/p>\n\u003cfigure id=\"attachment_13009113\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13009113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-800x637.jpg\" alt='\"In Search of a New Home,\" by Long Beach artist Eric Almanza. \"I have pieces that preach to the choir,\" he says, \"but I ’m also working on the more narrative, subtle pieces that try to strike a chord with people’s emotions and their hearts.\" ' width=\"800\" height=\"637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-800x637.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-1020x813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-1180x940.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-960x765.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-240x191.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-375x299.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-520x414.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“In Search of a New Home,” by Long Beach artist Eric Almanza. “I have pieces that preach to the choir,” he says, “but I ’m also working on the more narrative, subtle pieces that try to strike a chord with people’s emotions and their hearts.” \u003ccite>(Photo: Courtesy of Eric Almanza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Art of Resistance\u003c/strong>\u003c/p>\n\u003cp>For a number of years, Almanza has included a logo in his work that he imagines will prove handy in a post-apocalyptic world. It’s a circular dream catcher with a triangle in the center that looks like the “\u003ca href=\"https://en.wikipedia.org/wiki/Triforce\" target=\"_blank\" rel=\"noopener\">triforce” \u003c/a>from \u003cem>\u003ca href=\"http://www.zelda.com/\" target=\"_blank\" rel=\"noopener\">Legend of Zelda\u003c/a>\u003c/em>. “It’s for the resistance, because every great resistance needs some kind of logo,” he says.\u003c/p>\n\u003cp>At the time he first developed the logo, Almanza thought it was a piece of apocalyptic science fiction. Now, he says, some kind of political apocalypse seems imminent under the Trump Administration. “Wow, these guys are for real,” Almanza says. “They have their agenda, and they’re going through with it. I always imagined it would take place 50 years from now, but it almost seems like time has fast-forwarded, and we’re just about to enter this post apocalyptic society that I’ve been painting and writing about.”\u003c/p>\n\u003cfigure id=\"attachment_13009114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13009114 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-800x656.jpg\" alt='Detail of \"Frida,\" an oil painting by Eric Almanza. Note the symbol of resistance he includes in many of his more recent paintings.' width=\"800\" height=\"656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-800x656.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-768x630.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-240x197.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-375x307.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-520x426.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut.jpg 893w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Frida,” an oil painting by Eric Almanza. Note the symbol of resistance he includes in many of his more recent paintings. \u003ccite>(Photo: Courtesy of Eric Almanza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Almanza is organizing an exhibition titled \u003cem>Art of Resistance: Paintings\u003c/em> \u003cem>in Protest to a Trump Presidency\u003c/em>. Featuring 17 artists, including himself, the show is scheduled to open next month in Los Angeles. “I’ve started on a piece that takes a section of the border wall and it’s being set on fire,” Almanza says of his contribution. The logo of resistance is emblazoned on that wall.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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\">\u003cem>“Art of Resistance: Paintings in Protest to a Trump Presidency” opens Saturday, May 13th at Ave 50 Studios in Highland Park, Los Angeles. More information \u003ca href=\"http://avenue50studio.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Some artists in the movement are responding to the current political climate by creating new art; others, by ramping up production of socially conscious images.",
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"title": "Chicanx Artists Mobilize Community in Age of Trump | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At any number of anti-authoritarian protests around the world, you’ll see people carrying posters printed off the Internet, designed by or distributed by Melanie Cervantes and her partner Jesus Barraza. Together, Cervantes and Barraza operate the arts collective \u003ca href=\"http://dignidadrebelde.com/\" target=\"_blank\" rel=\"noopener\">Dignidad Rebelde\u003c/a>. Their West Oakland studio is tightly packed with the materials of their trade — screen printing.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>The collective licenses its work under a creative commons license to make the amplification of their work easy. “What we’re doing is amplifying the voices of people in our communities,” Cervantes says. “Part of what’s powerful about the reproducible work is that you have a message that’s consistently being mobilized.”\u003c/p>\n\u003cp>The California native says she’s following in a long line of graphic collectives whose work has existed as much to educate people and fight colonialism as it has to produce art.\u003c/p>\n\u003cp>Cervantes cites outfits like \u003ca href=\"https://www.facebook.com/selfhelpgraphics\" target=\"_blank\" rel=\"noopener\">Self Help Graphics\u003c/a>, active in Los Angeles since the early 1970s, and Taller de Gráfica Popular, a Mexico City group that fought fascism in the 1930s. Cervantes finds this group’s efforts particularly relevant today, given the current divisive political climate.\u003c/p>\n\u003cfigure id=\"attachment_13008905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13008905\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-800x600.jpg\" alt='\"Domestic Workers,\" a poster by Melanie Cervantes.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24866_Domestic-Workers-Poster-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Domestic Workers,” a poster by Melanie Cervantes. \u003ccite>(Photo: Courtesy of Melanie Cervantes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her view, the Trump Administration is not really a political outlier “You know, the Obama Administration built a very effective deportation machine,” she says. “We’ve been fighting colonialism for, what, 520 some odd years.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But if Cervantes doesn’t see herself as doing anything new, it’s also true that her talents as an art and history educator are heavily in demand right now. So much so, that you’d be hard-pressed to find her at her studio.\u003c/p>\n\u003cp>Cervantes’ calendar is packed with screen-printing workshops, which she teaches all over the country. She’s busy growing the Chicano art movement (or “Chicanx” as it’s commonly called these days in an effort to de-gender the masculine “Chicano”) with the mass distribution of her art and the know-how to produce art like it.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/316310247″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/316310247″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Chicanx art covers a wide range of political issues. These include immigration and labor rights, the militarization of the police force, mass incarceration, and environmental injustice.\u003c/p>\n\u003cp>“This is a conversation that was happening when I was a child,” says Joey Reyes, who along with Cervantes co-curated the last \u003cem>Chicano/a Biennial\u003c/em> at San Jose’s \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener\">Movimiento de Arte y Cultura Latino American\u003c/a>a (MACLA.) “This is a conversation that happens right now. The tension is real.”\u003c/p>\n\u003cp>The tension is also growing, as the Trump Administration makes good on promises to peel back civil rights enforcement and crackdown on illegal immigration.\u003c/p>\n\u003cfigure id=\"attachment_13008904\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13008904 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-800x451.jpg\" alt=\"Detail of "Institutionally Trapped," by <a href="http://www.aarondestrada.com/" target="_blank">Aaron Estrada</a>. It was in a recent exhibition at San Jose's MACLA. Curator Joey Reye says "It’s something very personal, looking at the history of incarceration within Estrada's own family and friends that he’s grown up with in Los Angeles."\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24865_DSC_0314-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Institutionally Trapped,” by \u003ca href=\"http://www.aarondestrada.com/\" target=\"_blank\" rel=\"noopener\">Aaron Estrada\u003c/a>. It was in a recent exhibition at San Jose’s MACLA. Curator Joey Reye says “It’s something very personal, looking at the history of incarceration within Estrada’s own family and friends that he’s grown up with in Los Angeles.” \u003ccite>(Photo: Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You know, it’s easy to say, ‘let’s kick out 11 million people,’ but that is 11 million fathers, mothers, and children,” says \u003ca href=\"http://www.ericalmanza.com/\" target=\"_blank\" rel=\"noopener\">Eric Almanza\u003c/a>, one of the artists featured in MACLA’s \u003cem>Chicana/o Biennial\u003c/em>. “My goal is to put a face to these people, so that you can no longer say, ‘hey, let’s treat them all the same and kick them out.”‘\u003c/p>\n\u003cp>Almanza says he and fellow Chicanx artists are hoping their work can cultivate a stronger sense of compassion for the people being evicted from the U.S.\u003c/p>\n\u003cfigure id=\"attachment_13009113\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13009113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-800x637.jpg\" alt='\"In Search of a New Home,\" by Long Beach artist Eric Almanza. \"I have pieces that preach to the choir,\" he says, \"but I ’m also working on the more narrative, subtle pieces that try to strike a chord with people’s emotions and their hearts.\" ' width=\"800\" height=\"637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-800x637.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-1020x813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-1180x940.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-960x765.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-240x191.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-375x299.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut-520x414.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24645_LR-In-Search-of-a-New-Home-qut.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“In Search of a New Home,” by Long Beach artist Eric Almanza. “I have pieces that preach to the choir,” he says, “but I ’m also working on the more narrative, subtle pieces that try to strike a chord with people’s emotions and their hearts.” \u003ccite>(Photo: Courtesy of Eric Almanza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Art of Resistance\u003c/strong>\u003c/p>\n\u003cp>For a number of years, Almanza has included a logo in his work that he imagines will prove handy in a post-apocalyptic world. It’s a circular dream catcher with a triangle in the center that looks like the “\u003ca href=\"https://en.wikipedia.org/wiki/Triforce\" target=\"_blank\" rel=\"noopener\">triforce” \u003c/a>from \u003cem>\u003ca href=\"http://www.zelda.com/\" target=\"_blank\" rel=\"noopener\">Legend of Zelda\u003c/a>\u003c/em>. “It’s for the resistance, because every great resistance needs some kind of logo,” he says.\u003c/p>\n\u003cp>At the time he first developed the logo, Almanza thought it was a piece of apocalyptic science fiction. Now, he says, some kind of political apocalypse seems imminent under the Trump Administration. “Wow, these guys are for real,” Almanza says. “They have their agenda, and they’re going through with it. I always imagined it would take place 50 years from now, but it almost seems like time has fast-forwarded, and we’re just about to enter this post apocalyptic society that I’ve been painting and writing about.”\u003c/p>\n\u003cfigure id=\"attachment_13009114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13009114 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-800x656.jpg\" alt='Detail of \"Frida,\" an oil painting by Eric Almanza. Note the symbol of resistance he includes in many of his more recent paintings.' width=\"800\" height=\"656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-800x656.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-768x630.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-240x197.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-375x307.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut-520x426.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24867_LR-Frida-001-qut.jpg 893w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Frida,” an oil painting by Eric Almanza. Note the symbol of resistance he includes in many of his more recent paintings. \u003ccite>(Photo: Courtesy of Eric Almanza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Almanza is organizing an exhibition titled \u003cem>Art of Resistance: Paintings\u003c/em> \u003cem>in Protest to a Trump Presidency\u003c/em>. Featuring 17 artists, including himself, the show is scheduled to open next month in Los Angeles. “I’ve started on a piece that takes a section of the border wall and it’s being set on fire,” Almanza says of his contribution. The logo of resistance is emblazoned on that wall.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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\">\u003cem>“Art of Resistance: Paintings in Protest to a Trump Presidency” opens Saturday, May 13th at Ave 50 Studios in Highland Park, Los Angeles. More information \u003ca href=\"http://avenue50studio.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "oakland-grassroots-groups-unite-to-purchase-23rd-avenue-building",
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"headTitle": "Oakland Grassroots Groups Unite to Purchase 23rd Avenue Building | KQED",
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"content": "\u003cp>A building on the corner of 23rd Avenue and International Boulevard has long been a stronghold of grassroots activism in East Oakland: Its tenants include \u003ca href=\"http://thebikery.weebly.com/\" target=\"_blank\" rel=\"noopener\">The Bikery\u003c/a>, the brick-and-mortar bike shop of the nonprofit \u003ca href=\"http://www.cyclesofchange.org/\" target=\"_blank\" rel=\"noopener\">Cycles of Change\u003c/a>; \u003ca href=\"http://oaklandsol.weebly.com/\" target=\"_blank\" rel=\"noopener\">Sustaining Ourselves Locally\u003c/a> (SOL), an organization that teaches gardening skills and offers a low-cost event space; \u003ca href=\"https://oaklandmakerspace.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Liberating Ourselves Locally\u003c/a> (LOL), a maker lab that offers equipment like industrial sewing machines and 3D printers on a donation basis; \u003ca href=\"http://shaolinlife.org/\" target=\"_blank\" rel=\"noopener\">Shaolin Life\u003c/a>, a martial arts studio; and \u003ca href=\"http://www.peacockrebellion.org/\" target=\"_blank\" rel=\"noopener\">Peacock Rebellion\u003c/a>, an arts nonprofit that offers performance workshops to trans people of color.\u003c/p>\n\u003cp>“A lot of grassroots group organizing is happening on this block,” says Devi Peacock, the founder of Peacock Rebellion, adding that the tenants regularly collaborate on projects. Peacock Rebellion, for instance, hosts its performance workshops inside LOL. And the young people who come to fix their bikes at Cycles of Change are also welcome to hang out in SOL’s community garden. \u003c/p>\n\u003cp>The oldest of these organizations, Cycles of Change, has been a tenant in the building since 1998 and SOL, since 2003. SOL’s event space hosts meetings and events for organizations such as support groups for sex trafficking survivors and young women migrants from Central and South America. On the second and third floor of the building are eight low-cost residential apartments.\u003c/p>\n\u003cfigure id=\"attachment_13008665\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Exterior1200.jpg\" alt=\"A mural on the building's exterior, at the corner of 23rd Avenue and International in Oakland.\" width=\"1200\" height=\"803\" class=\"size-full wp-image-13008665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Exterior1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Exterior1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Exterior1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Exterior1200-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Exterior1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Exterior1200-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Exterior1200-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Exterior1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Exterior1200-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Exterior1200-520x348.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A mural on the building’s exterior, at the corner of 23rd Avenue and International in Oakland. \u003ccite>(Photo: Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s definitely folks, individuals who are overlapping in the spaces, like me,” says Eri Oura, one of the tenants leading the efforts to purchase the building. “I work for Cycles [of Change] and I live here. There’s other folks at Cycles who do a lot of projects in the building and on the block.” \u003c/p>\n\u003cp>The landlord of the 23rd Avenue building, Ming Cheung, wants to sell the 10,784-square-foot building and its adjacent 5,000-square-foot community garden, which the Alameda County Assessor’s Office values at $974,025 and $216,450 respectively. But according to Peacock, Cheung supports these organizations’ missions so much that she gave them the right of first refusal — meaning that if the tenants can raise funds for a $75,000 down payment by May 1, Cheung won’t put the building on the market. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The tenants are currently working towards this goal with via a \u003ca href=\"https://www.youcaring.com/thetenantsandthecommunity-773671\" target=\"_blank\" rel=\"noopener\">crowdfunding campaign\u003c/a>. They are also pursuing loans and working with the \u003ca href=\"http://oakclt.org/\" target=\"_blank\" rel=\"noopener\">Oakland Community Land Trust\u003c/a>, a nonprofit that holds land in trust for the benefit of low-income residents, to come up with additional funding. \u003ca href=\"https://www.ncclf.org/\" target=\"_blank\" rel=\"noopener\">Northern California Community Loan Fund\u003c/a> and several other economic justice nonprofits are also providing consulting services. \u003c/p>\n\u003cp>“We met with her and her broker and it took a minute for her broker to get it,” says Peacock. “He was like, ‘You could charge a lot more for this.’ And she was like, ‘No, no, I want you all to have this.’”\u003c/p>\n\u003cp>“But,” Peacock adds, “we have to put in an offer letter by May 1 or else that’s it.” \u003c/p>\n\u003cfigure id=\"attachment_13008659\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Garden1200.jpg\" alt=\"The building's adjacent community garden.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13008659\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Garden1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Garden1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Garden1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Garden1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Garden1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Garden1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Garden1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Garden1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Garden1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Garden1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The building’s adjacent community garden. \u003ccite>(Photo: Alan Palaez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the tenants are still negotiating with Cheung, Peacock says her asking price will most likely be somewhere around $1.75 million — which is close to market rate. Similarly sized, multi-family buildings in Oakland are going for $1.5 to $1.7 million according to listings on the real estate website Loopnet. And according to Steve King, the executive director of Oakland Community Land Trust, it’s unclear how much the undeveloped community garden could add to the property’s value.\u003c/p>\n\u003cp>“Values in the current market are incredibly problematic, as I’m sure you can imagine,” he wrote in an email. “Often multi-family properties are specifically marketed with the recognition that the only way to realize their market value is to ‘reposition’ the property — which is generally code for evicting all the tenants and bringing in higher paying renters.”\u003c/p>\n\u003cp>Peacock and Oura say they’ve fielded accusations from skeptics who think they might be trying to flip the property themselves. “Bigger nonprofits think of [purchasing property] as an asset,” said Peacock. “But for us, what it actually means to be an asset is to stay here in the community and be invested in the actual neighbors who have been there for a long time.”\u003c/p>\n\u003cp>The tenants’ collective efforts to buy the building could become a model for low-income people and grassroots groups fighting displacement. Currently, the commercial tenants and the residents of the eight upstairs apartments are working together to come up with a plan for a collective ownership model that will likely entail creating separate co-ops for residential and commercial tenants. \u003c/p>\n\u003cfigure id=\"attachment_13008661\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Interior1200.jpg\" alt=\"A crowd inside Sustaining Ourselves Locally (SOL) during a recent party to launch the fundraiser.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13008661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Interior1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Interior1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Interior1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Interior1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Interior1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Interior1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Interior1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Interior1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Interior1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Interior1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A crowd inside Sustaining Ourselves Locally (SOL) during a recent party to launch the fundraiser. \u003ccite>(Photo: Eugene Kang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>King says that Oakland Community Land Trust is still calculating how much they will put towards the project. “All the financing is still coming together, so that’s a moving target,” he says. “It’s a real community effort to finance the whole thing.” He adds that it’s unprecedented in Oakland for a group of residential and commercial tenants to come together to purchase a building.\u003c/p>\n\u003cp>With Google leasing commercial space in the Fruitvale Transit Village for their \u003ca href=\"https://www.blog.google/topics/diversity/code-next-commitment-cultivating-young-black-and-hispanic-tech-leaders/\" target=\"_blank\" rel=\"noopener\">Code Next Academy\u003c/a>, a coding school that serves lower-income youth, the 23rd Avenue tenants fear that other tech companies might soon take interest in the neighborhood. Peacock also expressed concerns about AC Transit’s Bus Rapid Transit plan, which will create a bus-only lane down International Boulevard intended to make public transit more efficient. They say they fear it could attract more developer interest to the area. \u003c/p>\n\u003cfigure id=\"attachment_13008666\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Table1200.jpg\" alt=\"In the garden, during a recent party to launch the fundraiser.\" width=\"900\" height=\"1200\" class=\"size-full wp-image-13008666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Table1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Table1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Table1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Table1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Table1200-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Table1200-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Table1200-520x693.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">In the garden, during a recent party to launch the fundraiser. \u003ccite>(Photo: Eugene Kang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland city council member Noel Gallo, whose district includes Fruitvale and the Lower San Antonio, has been supportive of the tenants’ mission. He said in a phone interview that his office has been meeting with Oakland’s Economic Development department to help the current tenants secure loans and work with the owner to ensure a collaboration with the Oakland Community Land Trust.\u003c/p>\n\u003cp>“We have a housing shortage in the city of Oakland, and what’s exciting is we have residents who are interested in taking ownership of the places they live in,” he says. “I’m excited that the community would take interest in securing this facility that does need some improvements, but at the same time, they want to live there and make it the place to raise their children.”\u003c/p>\n\u003cp>“Hopefully we can grow the housing supply and keep our young people in Oakland.”\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=\"Q.Logo.Break\" 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": "Cycles of Change, Peacock Rebellion and other tenants envision a permanent social justice center led by queer and trans people of color.",
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"headline": "Oakland Grassroots Groups Unite to Purchase 23rd Avenue Building",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A building on the corner of 23rd Avenue and International Boulevard has long been a stronghold of grassroots activism in East Oakland: Its tenants include \u003ca href=\"http://thebikery.weebly.com/\" target=\"_blank\" rel=\"noopener\">The Bikery\u003c/a>, the brick-and-mortar bike shop of the nonprofit \u003ca href=\"http://www.cyclesofchange.org/\" target=\"_blank\" rel=\"noopener\">Cycles of Change\u003c/a>; \u003ca href=\"http://oaklandsol.weebly.com/\" target=\"_blank\" rel=\"noopener\">Sustaining Ourselves Locally\u003c/a> (SOL), an organization that teaches gardening skills and offers a low-cost event space; \u003ca href=\"https://oaklandmakerspace.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Liberating Ourselves Locally\u003c/a> (LOL), a maker lab that offers equipment like industrial sewing machines and 3D printers on a donation basis; \u003ca href=\"http://shaolinlife.org/\" target=\"_blank\" rel=\"noopener\">Shaolin Life\u003c/a>, a martial arts studio; and \u003ca href=\"http://www.peacockrebellion.org/\" target=\"_blank\" rel=\"noopener\">Peacock Rebellion\u003c/a>, an arts nonprofit that offers performance workshops to trans people of color.\u003c/p>\n\u003cp>“A lot of grassroots group organizing is happening on this block,” says Devi Peacock, the founder of Peacock Rebellion, adding that the tenants regularly collaborate on projects. Peacock Rebellion, for instance, hosts its performance workshops inside LOL. And the young people who come to fix their bikes at Cycles of Change are also welcome to hang out in SOL’s community garden. \u003c/p>\n\u003cp>The oldest of these organizations, Cycles of Change, has been a tenant in the building since 1998 and SOL, since 2003. SOL’s event space hosts meetings and events for organizations such as support groups for sex trafficking survivors and young women migrants from Central and South America. On the second and third floor of the building are eight low-cost residential apartments.\u003c/p>\n\u003cfigure id=\"attachment_13008665\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Exterior1200.jpg\" alt=\"A mural on the building's exterior, at the corner of 23rd Avenue and International in Oakland.\" width=\"1200\" height=\"803\" class=\"size-full wp-image-13008665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Exterior1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Exterior1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Exterior1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Exterior1200-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Exterior1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Exterior1200-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Exterior1200-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Exterior1200-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Exterior1200-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Exterior1200-520x348.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A mural on the building’s exterior, at the corner of 23rd Avenue and International in Oakland. \u003ccite>(Photo: Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s definitely folks, individuals who are overlapping in the spaces, like me,” says Eri Oura, one of the tenants leading the efforts to purchase the building. “I work for Cycles [of Change] and I live here. There’s other folks at Cycles who do a lot of projects in the building and on the block.” \u003c/p>\n\u003cp>The landlord of the 23rd Avenue building, Ming Cheung, wants to sell the 10,784-square-foot building and its adjacent 5,000-square-foot community garden, which the Alameda County Assessor’s Office values at $974,025 and $216,450 respectively. But according to Peacock, Cheung supports these organizations’ missions so much that she gave them the right of first refusal — meaning that if the tenants can raise funds for a $75,000 down payment by May 1, Cheung won’t put the building on the market. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The tenants are currently working towards this goal with via a \u003ca href=\"https://www.youcaring.com/thetenantsandthecommunity-773671\" target=\"_blank\" rel=\"noopener\">crowdfunding campaign\u003c/a>. They are also pursuing loans and working with the \u003ca href=\"http://oakclt.org/\" target=\"_blank\" rel=\"noopener\">Oakland Community Land Trust\u003c/a>, a nonprofit that holds land in trust for the benefit of low-income residents, to come up with additional funding. \u003ca href=\"https://www.ncclf.org/\" target=\"_blank\" rel=\"noopener\">Northern California Community Loan Fund\u003c/a> and several other economic justice nonprofits are also providing consulting services. \u003c/p>\n\u003cp>“We met with her and her broker and it took a minute for her broker to get it,” says Peacock. “He was like, ‘You could charge a lot more for this.’ And she was like, ‘No, no, I want you all to have this.’”\u003c/p>\n\u003cp>“But,” Peacock adds, “we have to put in an offer letter by May 1 or else that’s it.” \u003c/p>\n\u003cfigure id=\"attachment_13008659\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Garden1200.jpg\" alt=\"The building's adjacent community garden.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13008659\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Garden1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Garden1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Garden1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Garden1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Garden1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Garden1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Garden1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Garden1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Garden1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Garden1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The building’s adjacent community garden. \u003ccite>(Photo: Alan Palaez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the tenants are still negotiating with Cheung, Peacock says her asking price will most likely be somewhere around $1.75 million — which is close to market rate. Similarly sized, multi-family buildings in Oakland are going for $1.5 to $1.7 million according to listings on the real estate website Loopnet. And according to Steve King, the executive director of Oakland Community Land Trust, it’s unclear how much the undeveloped community garden could add to the property’s value.\u003c/p>\n\u003cp>“Values in the current market are incredibly problematic, as I’m sure you can imagine,” he wrote in an email. “Often multi-family properties are specifically marketed with the recognition that the only way to realize their market value is to ‘reposition’ the property — which is generally code for evicting all the tenants and bringing in higher paying renters.”\u003c/p>\n\u003cp>Peacock and Oura say they’ve fielded accusations from skeptics who think they might be trying to flip the property themselves. “Bigger nonprofits think of [purchasing property] as an asset,” said Peacock. “But for us, what it actually means to be an asset is to stay here in the community and be invested in the actual neighbors who have been there for a long time.”\u003c/p>\n\u003cp>The tenants’ collective efforts to buy the building could become a model for low-income people and grassroots groups fighting displacement. Currently, the commercial tenants and the residents of the eight upstairs apartments are working together to come up with a plan for a collective ownership model that will likely entail creating separate co-ops for residential and commercial tenants. \u003c/p>\n\u003cfigure id=\"attachment_13008661\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Interior1200.jpg\" alt=\"A crowd inside Sustaining Ourselves Locally (SOL) during a recent party to launch the fundraiser.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13008661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Interior1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Interior1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Interior1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Interior1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Interior1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Interior1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Interior1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Interior1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Interior1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Interior1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A crowd inside Sustaining Ourselves Locally (SOL) during a recent party to launch the fundraiser. \u003ccite>(Photo: Eugene Kang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>King says that Oakland Community Land Trust is still calculating how much they will put towards the project. “All the financing is still coming together, so that’s a moving target,” he says. “It’s a real community effort to finance the whole thing.” He adds that it’s unprecedented in Oakland for a group of residential and commercial tenants to come together to purchase a building.\u003c/p>\n\u003cp>With Google leasing commercial space in the Fruitvale Transit Village for their \u003ca href=\"https://www.blog.google/topics/diversity/code-next-commitment-cultivating-young-black-and-hispanic-tech-leaders/\" target=\"_blank\" rel=\"noopener\">Code Next Academy\u003c/a>, a coding school that serves lower-income youth, the 23rd Avenue tenants fear that other tech companies might soon take interest in the neighborhood. Peacock also expressed concerns about AC Transit’s Bus Rapid Transit plan, which will create a bus-only lane down International Boulevard intended to make public transit more efficient. They say they fear it could attract more developer interest to the area. \u003c/p>\n\u003cfigure id=\"attachment_13008666\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Table1200.jpg\" alt=\"In the garden, during a recent party to launch the fundraiser.\" width=\"900\" height=\"1200\" class=\"size-full wp-image-13008666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Table1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Table1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Table1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Table1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Table1200-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Table1200-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Table1200-520x693.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">In the garden, during a recent party to launch the fundraiser. \u003ccite>(Photo: Eugene Kang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland city council member Noel Gallo, whose district includes Fruitvale and the Lower San Antonio, has been supportive of the tenants’ mission. He said in a phone interview that his office has been meeting with Oakland’s Economic Development department to help the current tenants secure loans and work with the owner to ensure a collaboration with the Oakland Community Land Trust.\u003c/p>\n\u003cp>“We have a housing shortage in the city of Oakland, and what’s exciting is we have residents who are interested in taking ownership of the places they live in,” he says. “I’m excited that the community would take interest in securing this facility that does need some improvements, but at the same time, they want to live there and make it the place to raise their children.”\u003c/p>\n\u003cp>“Hopefully we can grow the housing supply and keep our young people in Oakland.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Palo Alto Judge LaDoris Cordell to Preside on Fox's 'You the Jury'",
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"content": "\u003cp>Retired California Superior Court Judge LaDoris Cordell is already a Bay Area legal celebrity. She was the first black woman judge on any court in Northern California when Gov. Jerry Brown appointed her to the Municipal Court in 1982. When Cordell won an open election to a seat on the Superior Court in 1988, she became the first black judge on the Superior Court in Santa Clara County.\u003c/p>\n\u003cp>Now Cordell is going national, as the presiding judge on \u003ca href=\"http://www.fox.com/you-the-jury\" target=\"_blank\" rel=\"noopener noreferrer\">You the Jury\u003c/a>, a court reality drama premiering Friday, Apr. 7 on \u003cem>Fox TV\u003c/em>. The show delivers real civil trials, with the added frisson of viewers getting to serve as jurors and deciding the cases.\u003c/p>\n\u003cp>“Believe me, it was the last thing I would ever think of,” Cordell says. “Even now, I see the commercial on the TV and I think ‘Is this for real? This is for real!'”\u003c/p>\n\u003cp>Cordell had initial misgivings about participating in the project. “I worked so long and hard to establish a solid reputation, I didn’t want to get involved in anything stupid or silly,” she says. But after talking with the show’s producers, Cordell felt assured they wanted someone with serious credentials to preside over an orderly courtroom, even if it’s on a Hollywood sound stage with a live audience.\u003c/p>\n\u003cp>Cordell isn’t the only “real” legal eagle in \u003cem>You the Jury. \u003c/em>The prosecutors and defenders are high-profile attorneys like Jose Baez, who defended Casey Anthony, a Florida woman who was accused of killing her two-year-old daughter in 2008, and Benjamin Crump, who represented the family of African-American teenager Trayvon Martin.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Here’s the first episode, involving civil culpability for the alleged murder of \u003ca href=\"http://people.com/crime/robyn-gardner-missing-in-aruba/\" target=\"_blank\" rel=\"noopener noreferrer\">Robyn Gardner\u003c/a>:\u003c/b>\u003cbr>\nhttp://www.fox.com/watch/916799555835/7833819648\u003c/p>\n\u003cp>\u003cem>Fox\u003c/em> taped eight weekly episodes with Cordell last year. In each, the team edited down an eight-hour trial to fit into a one-hour show. “The lawyers were so well prepared. They’re sharp,” Cordell says, acknowledging that wasn’t always the case during her time on the bench.\u003c/p>\n\u003cp>It’s Cordell’s job to keep things moving along, instruct the audience/jury, and announce the verdict on live TV. “Whatever viewing America votes, that’s going to be it, the verdict, in real cases,” Cordell says.\u003c/p>\n\u003cp>Viewers weigh in, \u003cem>American Idol\u003c/em>-style, via text or the \u003cem>Fox Now\u003c/em> app, for around five minutes after the episode ends in their respective time zones. Fox taped two endings for each segment. Conceivably, a decision rendered on the East Coast could be overturned three hours later on the West Coast. But whatever happens, the decisions are legally binding.\u003c/p>\n\u003cfigure id=\"attachment_13008447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13008447\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/kim-kardashian-commonwealth-cordell-800x450.jpg\" alt=\"Judge LaDoris Cordell, at ease in front of a camera, even sitting next to Kim Kardashian.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/kim-kardashian-commonwealth-cordell.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/kim-kardashian-commonwealth-cordell-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/kim-kardashian-commonwealth-cordell-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/kim-kardashian-commonwealth-cordell-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/kim-kardashian-commonwealth-cordell-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/kim-kardashian-commonwealth-cordell-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Judge LaDoris Cordell, at ease in front of a camera, even sitting next to Kim Kardashian. \u003ccite>(Photo: Courtesy of Sonya Abrams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cordell, 67, left her seat on the Superior Court bench after almost 19 years. That was in February 2001. “I got very bored sometimes, sitting in court,” Cordell says of her years on the bench. This was especially true, she says, when the cases were about mundane issues.\u003c/p>\n\u003cp>Involving free speech, gay rights, religious freedom, and wrongful death, the cases on \u003cem>You the Jury \u003c/em>promise to hold the judge’s full attention. “These are grander issues,” Cordell says. “They’re not clear cut, which is what makes the show so interesting.”\u003c/p>\n\u003cp>Cordell has taken on some high-profile roles in recent years, legally speaking. She led a three-judge panel on racism at the San Francisco Police Department and recently finished chairing a commission that evaluated the jails in Santa Clara County after an inmate was allegedly beaten to death by guards.\u003c/p>\n\u003cp>She’s also a huge fan of the televised legal drama genre. “I love it!” she says. Her favorites include \u003cem>Law & Order\u003c/em> — “I watch the reruns all the time” — and \u003cem>The Good Wife\u003c/em>.\u003c/p>\n\u003cp>But when an independent talent search company contacted her via email about being on TV herself, Cordell had serious doubts. It was her partner who urged her to hit reply.\u003c/p>\n\u003cp>She was impressed with the initial conversation she had with the talent firm. “I need to tell you I’m gay,” Cordell says she told her interviewer. “And he said, ‘That’s great!’ Five, ten years ago, it would have been a deal killer. It’s amazing how things have changed.”\u003c/p>\n\u003cp>The interviewer also asked Cordell why she should be the judge on \u003cem>You the Jury\u003c/em>. “Because my teeth are white, and I have good posture,” she replied. As the saying goes, case closed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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\">\u003cem>‘You the Jury,’ presided over by LaDoris Cordell, premieres at 9 p.m. Friday, Ap. 7, 2017 on Fox TV. More information \u003ca href=\"http://www.fox.com/you-the-jury\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Retired California Superior Court Judge LaDoris Cordell is already a Bay Area legal celebrity. She was the first black woman judge on any court in Northern California when Gov. Jerry Brown appointed her to the Municipal Court in 1982. When Cordell won an open election to a seat on the Superior Court in 1988, she became the first black judge on the Superior Court in Santa Clara County.\u003c/p>\n\u003cp>Now Cordell is going national, as the presiding judge on \u003ca href=\"http://www.fox.com/you-the-jury\" target=\"_blank\" rel=\"noopener noreferrer\">You the Jury\u003c/a>, a court reality drama premiering Friday, Apr. 7 on \u003cem>Fox TV\u003c/em>. The show delivers real civil trials, with the added frisson of viewers getting to serve as jurors and deciding the cases.\u003c/p>\n\u003cp>“Believe me, it was the last thing I would ever think of,” Cordell says. “Even now, I see the commercial on the TV and I think ‘Is this for real? This is for real!'”\u003c/p>\n\u003cp>Cordell had initial misgivings about participating in the project. “I worked so long and hard to establish a solid reputation, I didn’t want to get involved in anything stupid or silly,” she says. But after talking with the show’s producers, Cordell felt assured they wanted someone with serious credentials to preside over an orderly courtroom, even if it’s on a Hollywood sound stage with a live audience.\u003c/p>\n\u003cp>Cordell isn’t the only “real” legal eagle in \u003cem>You the Jury. \u003c/em>The prosecutors and defenders are high-profile attorneys like Jose Baez, who defended Casey Anthony, a Florida woman who was accused of killing her two-year-old daughter in 2008, and Benjamin Crump, who represented the family of African-American teenager Trayvon Martin.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Here’s the first episode, involving civil culpability for the alleged murder of \u003ca href=\"http://people.com/crime/robyn-gardner-missing-in-aruba/\" target=\"_blank\" rel=\"noopener noreferrer\">Robyn Gardner\u003c/a>:\u003c/b>\u003cbr>\nhttp://www.fox.com/watch/916799555835/7833819648\u003c/p>\n\u003cp>\u003cem>Fox\u003c/em> taped eight weekly episodes with Cordell last year. In each, the team edited down an eight-hour trial to fit into a one-hour show. “The lawyers were so well prepared. They’re sharp,” Cordell says, acknowledging that wasn’t always the case during her time on the bench.\u003c/p>\n\u003cp>It’s Cordell’s job to keep things moving along, instruct the audience/jury, and announce the verdict on live TV. “Whatever viewing America votes, that’s going to be it, the verdict, in real cases,” Cordell says.\u003c/p>\n\u003cp>Viewers weigh in, \u003cem>American Idol\u003c/em>-style, via text or the \u003cem>Fox Now\u003c/em> app, for around five minutes after the episode ends in their respective time zones. Fox taped two endings for each segment. Conceivably, a decision rendered on the East Coast could be overturned three hours later on the West Coast. But whatever happens, the decisions are legally binding.\u003c/p>\n\u003cfigure id=\"attachment_13008447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13008447\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/kim-kardashian-commonwealth-cordell-800x450.jpg\" alt=\"Judge LaDoris Cordell, at ease in front of a camera, even sitting next to Kim Kardashian.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/kim-kardashian-commonwealth-cordell.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/kim-kardashian-commonwealth-cordell-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/kim-kardashian-commonwealth-cordell-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/kim-kardashian-commonwealth-cordell-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/kim-kardashian-commonwealth-cordell-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/kim-kardashian-commonwealth-cordell-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Judge LaDoris Cordell, at ease in front of a camera, even sitting next to Kim Kardashian. \u003ccite>(Photo: Courtesy of Sonya Abrams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cordell, 67, left her seat on the Superior Court bench after almost 19 years. That was in February 2001. “I got very bored sometimes, sitting in court,” Cordell says of her years on the bench. This was especially true, she says, when the cases were about mundane issues.\u003c/p>\n\u003cp>Involving free speech, gay rights, religious freedom, and wrongful death, the cases on \u003cem>You the Jury \u003c/em>promise to hold the judge’s full attention. “These are grander issues,” Cordell says. “They’re not clear cut, which is what makes the show so interesting.”\u003c/p>\n\u003cp>Cordell has taken on some high-profile roles in recent years, legally speaking. She led a three-judge panel on racism at the San Francisco Police Department and recently finished chairing a commission that evaluated the jails in Santa Clara County after an inmate was allegedly beaten to death by guards.\u003c/p>\n\u003cp>She’s also a huge fan of the televised legal drama genre. “I love it!” she says. Her favorites include \u003cem>Law & Order\u003c/em> — “I watch the reruns all the time” — and \u003cem>The Good Wife\u003c/em>.\u003c/p>\n\u003cp>But when an independent talent search company contacted her via email about being on TV herself, Cordell had serious doubts. It was her partner who urged her to hit reply.\u003c/p>\n\u003cp>She was impressed with the initial conversation she had with the talent firm. “I need to tell you I’m gay,” Cordell says she told her interviewer. “And he said, ‘That’s great!’ Five, ten years ago, it would have been a deal killer. It’s amazing how things have changed.”\u003c/p>\n\u003cp>The interviewer also asked Cordell why she should be the judge on \u003cem>You the Jury\u003c/em>. “Because my teeth are white, and I have good posture,” she replied. As the saying goes, case closed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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\">\u003cem>‘You the Jury,’ presided over by LaDoris Cordell, premieres at 9 p.m. Friday, Ap. 7, 2017 on Fox TV. More information \u003ca href=\"http://www.fox.com/you-the-jury\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Baez, Shakur & Journey Make Odd Trio for Rock Hall of Fame",
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"content": "\u003cp>The Bay Area is sending three of its best to the \u003ca href=\"https://www.rockhall.com/2017-induction-class\" target=\"_blank\" rel=\"noopener\">Rock and Roll Hall of Fame on Friday, Apr. 7.\u003c/a> Joan Baez, Tupac Shakur, and the band Journey will be inducted in a ceremony in Brooklyn. It’s a trio from three very different corners of the rock universe.\u003c/p>\n\u003cp>\u003cstrong>Joan Baez: A folk singer with pop star reach \u003c/strong>\u003c/p>\n\u003cp>Baez, who lives in Woodside, debuted at the Newport Folk Festival at 18 in 1959, around the time she earned the nickname “The Barefoot Madonna,” because she often performed without shoes. The 60s were a time when folk music was just as big as rock and roll, and far more political. So Baez, her mentor Pete Seeger, and her onetime boyfriend Bob Dylan (whose career she boosted), among others, could score pop hits. This was possible even as they protested the Vietnam War, or, as Baez did, lead hundreds of thousands in singing “We Shall Overcome” at the March on Washington in 1963.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7akuOFp-ET8\u003c/p>\n\u003cp>Baez \u003ca href=\"http://www.sfchronicle.com/music/article/Joan-Baez-opens-up-on-retirement-Rock-Hall-11044107.php\" target=\"_blank\" rel=\"noopener\">told the San Francisco Chronicle\u003c/a> recently she’s issuing one last album, \u003cem>Fare Thee Well\u003c/em>, before retiring after 58 years of performing and recording.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Tupac Shakur: A contradictory character\u003c/strong>\u003c/p>\n\u003cp>Politics is one point of similarity between Baez and Oakland’s Tupac Shakur. He was the son of Black Panther parents, and wrote smart lyrics about racial injustice and the perils of gangster life. Shakur was convicted on sexual assault charges, and he became a player in an infamous East coast-West coast rivalry that probably got him killed in a drive-by shooting in 1996, when he was just 25 years old.\u003c/p>\n\u003cp>You can hear some of the contradictions in Shakur’s life and work in a song like “Dear Mama,” added a few years ago to the National Recording Registry in the Library of Congress. Shakur wrote it for his mother Afeni Shakur, with lyrics that both extolled her and called her out for being a crackhead.\u003c/p>\n\u003cblockquote>\u003cp>“For a woman it ain’t easy trying to raise a man\u003cbr>\nYou always was committed\u003cbr>\nA poor single mother on welfare, tell me how ya did it\u003cbr>\nThere’s no way I can pay you back\u003cbr>\nBut the plan is to show you that I understand\u003cbr>\nYou are appreciated.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mb1ZvUDvLDY\u003c/p>\u003c/blockquote>\n\u003cp>\u003cstrong>Journey: A controversial choice?\u003c/strong>\u003c/p>\n\u003cp>In some ways, San Francisco’s Journey is the most controversial choice for the Rock and Roll Hall of Fame. People have strong feelings about a band that’s synonymous with bombastic arena rock. There’s an \u003ca href=\"https://www.facebook.com/groups/2205093643/\" target=\"_blank\" rel=\"noopener\">“I Hate Journey”\u003c/a> Facebook page, where comments include, “A lot of their music came across as insincere corporate pap.”\u003c/p>\n\u003cp>Still, the band has remained enormously popular for decades. Before co-founding Journey, lead guitarist Neil Schon was a member of Santana, and during Journey’s heyday in the 1970’s and 1980’s, the band wrote and recorded songs with easy-to-like lyrics and great musical hooks, like “Wheel in the Sky,” and “Don’t Stop Believin’,” a song that reached a new generation after it was featured on the TV show \u003cem>Glee\u003c/em> in 2009.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VcjzHMhBtf0\u003c/p>\n\u003cp>Journey’s personnel has changed a lot over the years, with only Schon surviving from the band’s first gig in 1973. This is another cause of controversy regarding the band’s induction into the Rock and Roll Hall of Fame. \u003ca href=\"https://consequenceofsound.net/2017/03/sorry-journey-fans-steve-perry-will-skedaddle-before-the-bands-rock-and-roll-hall-of-fame-performance/\" target=\"_blank\" rel=\"noopener\">Former lead singer Steve Perry is scheduled to appear at the induction ceremony, but Schon has said Perry won’t sing with the band. \u003c/a>That honor will go to Arnel Pineda, who has been touring and recording with Journey since 2007.\u003c/p>\n\u003cp>\u003cstrong>Past Bay Area Hall of Famers\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.hbo.com/2017-rock-and-roll-hall-of-fame-induction-ceremony/about/index.html\" target=\"_blank\" rel=\"noopener\">The induction ceremony will air on HBO\u003c/a>. Another way to honor the Bay Area’s current and \u003ca href=\"http://www.sfgate.com/music/article/Rock-Roll-Hall-of-Fame-inductees-with-Bay-Area-5960478.php\" target=\"_blank\" rel=\"noopener\">former\u003c/a> Hall of Fame members is to visit Oakland’s Chapel of the Chimes, \u003ca href=\"https://ww2.kqed.org/news/2014/07/05/chapel_of_the_chimes_oakland/\" target=\"_blank\" rel=\"noopener\">where inductee (1991) John Lee Hooker has a crypt\u003c/a> inscribed with the words “King of the Boogie.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area is sending three of its best to the \u003ca href=\"https://www.rockhall.com/2017-induction-class\" target=\"_blank\" rel=\"noopener\">Rock and Roll Hall of Fame on Friday, Apr. 7.\u003c/a> Joan Baez, Tupac Shakur, and the band Journey will be inducted in a ceremony in Brooklyn. It’s a trio from three very different corners of the rock universe.\u003c/p>\n\u003cp>\u003cstrong>Joan Baez: A folk singer with pop star reach \u003c/strong>\u003c/p>\n\u003cp>Baez, who lives in Woodside, debuted at the Newport Folk Festival at 18 in 1959, around the time she earned the nickname “The Barefoot Madonna,” because she often performed without shoes. The 60s were a time when folk music was just as big as rock and roll, and far more political. So Baez, her mentor Pete Seeger, and her onetime boyfriend Bob Dylan (whose career she boosted), among others, could score pop hits. This was possible even as they protested the Vietnam War, or, as Baez did, lead hundreds of thousands in singing “We Shall Overcome” at the March on Washington in 1963.\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/7akuOFp-ET8'\n title='//www.youtube.com/embed/7akuOFp-ET8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Baez \u003ca href=\"http://www.sfchronicle.com/music/article/Joan-Baez-opens-up-on-retirement-Rock-Hall-11044107.php\" target=\"_blank\" rel=\"noopener\">told the San Francisco Chronicle\u003c/a> recently she’s issuing one last album, \u003cem>Fare Thee Well\u003c/em>, before retiring after 58 years of performing and recording.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Tupac Shakur: A contradictory character\u003c/strong>\u003c/p>\n\u003cp>Politics is one point of similarity between Baez and Oakland’s Tupac Shakur. He was the son of Black Panther parents, and wrote smart lyrics about racial injustice and the perils of gangster life. Shakur was convicted on sexual assault charges, and he became a player in an infamous East coast-West coast rivalry that probably got him killed in a drive-by shooting in 1996, when he was just 25 years old.\u003c/p>\n\u003cp>You can hear some of the contradictions in Shakur’s life and work in a song like “Dear Mama,” added a few years ago to the National Recording Registry in the Library of Congress. Shakur wrote it for his mother Afeni Shakur, with lyrics that both extolled her and called her out for being a crackhead.\u003c/p>\n\u003cblockquote>\u003cp>“For a woman it ain’t easy trying to raise a man\u003cbr>\nYou always was committed\u003cbr>\nA poor single mother on welfare, tell me how ya did it\u003cbr>\nThere’s no way I can pay you back\u003cbr>\nBut the plan is to show you that I understand\u003cbr>\nYou are appreciated.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mb1ZvUDvLDY\u003c/p>\u003c/blockquote>\n\u003cp>\u003cstrong>Journey: A controversial choice?\u003c/strong>\u003c/p>\n\u003cp>In some ways, San Francisco’s Journey is the most controversial choice for the Rock and Roll Hall of Fame. People have strong feelings about a band that’s synonymous with bombastic arena rock. There’s an \u003ca href=\"https://www.facebook.com/groups/2205093643/\" target=\"_blank\" rel=\"noopener\">“I Hate Journey”\u003c/a> Facebook page, where comments include, “A lot of their music came across as insincere corporate pap.”\u003c/p>\n\u003cp>Still, the band has remained enormously popular for decades. Before co-founding Journey, lead guitarist Neil Schon was a member of Santana, and during Journey’s heyday in the 1970’s and 1980’s, the band wrote and recorded songs with easy-to-like lyrics and great musical hooks, like “Wheel in the Sky,” and “Don’t Stop Believin’,” a song that reached a new generation after it was featured on the TV show \u003cem>Glee\u003c/em> in 2009.\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/VcjzHMhBtf0'\n title='//www.youtube.com/embed/VcjzHMhBtf0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Journey’s personnel has changed a lot over the years, with only Schon surviving from the band’s first gig in 1973. This is another cause of controversy regarding the band’s induction into the Rock and Roll Hall of Fame. \u003ca href=\"https://consequenceofsound.net/2017/03/sorry-journey-fans-steve-perry-will-skedaddle-before-the-bands-rock-and-roll-hall-of-fame-performance/\" target=\"_blank\" rel=\"noopener\">Former lead singer Steve Perry is scheduled to appear at the induction ceremony, but Schon has said Perry won’t sing with the band. \u003c/a>That honor will go to Arnel Pineda, who has been touring and recording with Journey since 2007.\u003c/p>\n\u003cp>\u003cstrong>Past Bay Area Hall of Famers\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.hbo.com/2017-rock-and-roll-hall-of-fame-induction-ceremony/about/index.html\" target=\"_blank\" rel=\"noopener\">The induction ceremony will air on HBO\u003c/a>. Another way to honor the Bay Area’s current and \u003ca href=\"http://www.sfgate.com/music/article/Rock-Roll-Hall-of-Fame-inductees-with-Bay-Area-5960478.php\" target=\"_blank\" rel=\"noopener\">former\u003c/a> Hall of Fame members is to visit Oakland’s Chapel of the Chimes, \u003ca href=\"https://ww2.kqed.org/news/2014/07/05/chapel_of_the_chimes_oakland/\" target=\"_blank\" rel=\"noopener\">where inductee (1991) John Lee Hooker has a crypt\u003c/a> inscribed with the words “King of the Boogie.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Creating radical visibility — for artists of color, queer artists, undocumented artists — is hard work. And people doing hard work need to eat well. Over chilaquiles, a traditional Mexican dish of fried corn tortillas covered in sauce and queso fresco, \u003ca href=\"http://www.culturestrike.org/\" target=\"_blank\" rel=\"noopener\">CultureStrike\u003c/a> co-founder \u003ca href=\"http://favianna.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Favianna Rodriguez\u003c/a> and queer undocumented artist and cartoonist \u003ca href=\"http://juliosalgadoart.com/\" target=\"_blank\" rel=\"noopener\">Julio Salgado\u003c/a> dish out more than just a delicious meal.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>“The entire ecosystem of the arts does not have enough of us in it,” Rodriguez says of artists of color. “It’s not just about being represented, it’s about us having real power.”\u003c/p>\n\u003cp>For Salgado, whose work is informed by his various identities, but not defined by them, the current political climate makes him question his decision to be out — both as a queer man and an undocumented immigrant. But, he says, “The artist in me is like, ‘No.’”\u003c/p>\n\u003cp>“We definitely need to have stories — especially now,” Rodriguez says “of joy and pleasure and just our complicated humanity.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So cook up some chilaquiles with your friends and loved ones, tell stories of joy and pleasure and buen provecho!\u003c/p>\n\u003ch3>Favi and Julio’s Chilaquiles and Kale Salad\u003c/h3>\n\u003cp>\u003cstrong>Cook time:\u003c/strong> 15 minutes\u003c/p>\n\u003cp>\u003cstrong>Ingredients:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>onions\u003c/li>\n\u003cli>corn tortillas\u003c/li>\n\u003cli>olive oil\u003c/li>\n\u003cli>tomato sauce\u003c/li>\n\u003cli>queso fresco\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Salad directions:\u003c/strong> Mix miso, olive oil, rice vinegar and soy sauce together for the dressing, add to kale salad and let it sit to soften the leaves.\u003c/p>\n\u003cp>\u003cstrong>Chilaquiles directions:\u003c/strong> Cut the onions and saute them in oil. Add more oil, cut the tortillas into quarters and fry them to taste. (Rodriguez recommends “a little soft and a little crispy.”) Add the tomato sauce (or red or green salsa, or mole), stir and serve. Top with queso fresco and as Rodriguez says, “Boom you got chilaquiles!”\u003c/p>\n\u003cp>\u003ci>Text by Sarah Hotchkiss\u003c/i>\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=\"Q.Logo.Break\" 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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>Watch more from the Represent Video Collection\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" class=\"hzframe\" src=\"https://huzzaz.com/proembed/represent-2?layout=grid&vpp=12&search=1&titleoverlay=1\" height=\"0\" width=\"100%\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\">\u003c/iframe>\u003cbr>\n[huzzaz_js]\u003c/p>\n\n",
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"excerpt": "Favianna Rodriguez and queer undocumented artist Julio Salgado talk about representation, power, identity and art, all over a delicious meal.\r\n\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Creating radical visibility — for artists of color, queer artists, undocumented artists — is hard work. And people doing hard work need to eat well. Over chilaquiles, a traditional Mexican dish of fried corn tortillas covered in sauce and queso fresco, \u003ca href=\"http://www.culturestrike.org/\" target=\"_blank\" rel=\"noopener\">CultureStrike\u003c/a> co-founder \u003ca href=\"http://favianna.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Favianna Rodriguez\u003c/a> and queer undocumented artist and cartoonist \u003ca href=\"http://juliosalgadoart.com/\" target=\"_blank\" rel=\"noopener\">Julio Salgado\u003c/a> dish out more than just a delicious meal.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>“The entire ecosystem of the arts does not have enough of us in it,” Rodriguez says of artists of color. “It’s not just about being represented, it’s about us having real power.”\u003c/p>\n\u003cp>For Salgado, whose work is informed by his various identities, but not defined by them, the current political climate makes him question his decision to be out — both as a queer man and an undocumented immigrant. But, he says, “The artist in me is like, ‘No.’”\u003c/p>\n\u003cp>“We definitely need to have stories — especially now,” Rodriguez says “of joy and pleasure and just our complicated humanity.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So cook up some chilaquiles with your friends and loved ones, tell stories of joy and pleasure and buen provecho!\u003c/p>\n\u003ch3>Favi and Julio’s Chilaquiles and Kale Salad\u003c/h3>\n\u003cp>\u003cstrong>Cook time:\u003c/strong> 15 minutes\u003c/p>\n\u003cp>\u003cstrong>Ingredients:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>onions\u003c/li>\n\u003cli>corn tortillas\u003c/li>\n\u003cli>olive oil\u003c/li>\n\u003cli>tomato sauce\u003c/li>\n\u003cli>queso fresco\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Salad directions:\u003c/strong> Mix miso, olive oil, rice vinegar and soy sauce together for the dressing, add to kale salad and let it sit to soften the leaves.\u003c/p>\n\u003cp>\u003cstrong>Chilaquiles directions:\u003c/strong> Cut the onions and saute them in oil. Add more oil, cut the tortillas into quarters and fry them to taste. (Rodriguez recommends “a little soft and a little crispy.”) Add the tomato sauce (or red or green salsa, or mole), stir and serve. Top with queso fresco and as Rodriguez says, “Boom you got chilaquiles!”\u003c/p>\n\u003cp>\u003ci>Text by Sarah Hotchkiss\u003c/i>\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=\"Q.Logo.Break\" 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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>Watch more from the Represent Video Collection\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" class=\"hzframe\" src=\"https://huzzaz.com/proembed/represent-2?layout=grid&vpp=12&search=1&titleoverlay=1\" height=\"0\" width=\"100%\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\">\u003c/iframe>\u003cbr>\n[huzzaz_js]\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Public Safety or Racial Profiling? Mistah F.A.B. Alleges Harassment by the OPD",
"headTitle": "Public Safety or Racial Profiling? Mistah F.A.B. Alleges Harassment by the OPD | KQED",
"content": "\u003cp>When Mistah F.A.B. opened a storefront for his clothing line, \u003ca href=\"https://www.facebook.com/pages/Dope-Era-Clothing-Store/636396006536099\" target=\"_blank\" rel=\"noopener\">Dope Era\u003c/a>, on the 4500 block of Market Street in North Oakland nearly a year ago, he was realizing a lifelong dream.\u003c/p>\n\u003cp>The \u003ca href=\"https://ww2.kqed.org/arts/2010/09/22/mistah_fab_gets_real/\" target=\"_blank\" rel=\"noopener\">rapper and activist, whose real name is Stanley Cox\u003c/a>, grew up in the neighborhood; he’s made giving back to the community his mission since he first rose to fame during the Hyphy movement of the early aughts. For the past 10 years, he’s hosted backpack giveaways for kids, handed out turkeys at Thanksgiving, and organized \u003ca href=\"https://ww2.kqed.org/arts/2016/03/25/hip-hop-lending-a-hand-mistah-fabs-egg-hunt-philthy-richs-peace-rally/\" target=\"_blank\" rel=\"noopener\">Easter egg hunts\u003c/a> and anti-gun violence basketball tournaments, among other grassroots endeavors. His philanthropy even earned him \u003ca href=\"http://allhiphop.com/2014/02/12/oakland-mayor-dedicates-day-to-mistah-f-a-b/\" target=\"_blank\" rel=\"noopener\">an honorary distinction from the former mayor of Oakland\u003c/a>, Jean Quan, in 2014.\u003c/p>\n\u003cfigure id=\"attachment_12997262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_2129.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12997262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_2129-800x800.jpg\" alt=\"F.A.B. at his store during a Respect My Vote event in 2016.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">F.A.B. at his store during a Respect My Vote event in 2016. \u003ccite>(Emma Silvers / KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Dope Era — which stands for During Oppression People Evolve, Everyone Rises Above — he envisioned a small business that would provide job opportunities to North Oakland residents and set an example for responsible community development. But since Mistah F.A.B. has been in business, he alleges there’s been an unwarranted and disproportionate police presence at his store — something he sees as an example of racial profiling in an increasingly gentrifying Oakland.\u003c/p>\n\u003cp>In a recent interview at the store, F.A.B. told KQED Arts he’s noticed police officers parking on both sides of his business, sometimes several times a week, and asking his customers suspicious questions.\u003c/p>\n\u003cp>“There have been several people who have been pulled over leaving my shop, and the first question is, ‘Did you buy some drugs?’” he said, adding that this kind of attention makes his largely black customer base uncomfortable given the historically turbulent relationship between the community and law enforcement. “I wanna know what the difference would be if there was a hundred white kids standing on the corner. Would it be patronizing [the store], or would it be loitering?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kiongozi Binaumo, a neighbor from Market Street, corroborated F.A.B.’s claims. “I’ve never seen anything foul happen around there,” he said. “I sit and watch the police all the time park around the corner and just watch, wanting something bad to happen, wanting to intervene. They harass people coming in and out of the store.”\u003c/p>\n\u003cfigure id=\"attachment_12997263\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-45.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12997263\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-800x599.jpg\" alt=\"Inside Dope Era\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Inside Dope Era. \u003ccite>(Emma Silvers / KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked for a response to the allegations, the Oakland Police Department sent an email. “We are looking further into the statements made by Mr. Cox,” wrote Officer Marco Marquez, an OPD media relations representative. “One of our goals in our strategic plan as a police department is to strengthen community trust and relationships. Part of what that looks like is considering potential damage to public trust when implementing crime fighting strategies.”\u003c/p>\n\u003cp>Mistah F.A.B. says that his status as a local celebrity has made Dope Era a bustling, attractive destination in the otherwise quiet neighborhood. Many of his customers are young black men, which he says has prompted unwarranted suspicion.\u003c/p>\n\u003cp>“I represent, and I walk with this neighborhood on my back everywhere I go,” he said. “So to see the barbershop [next door], a black business, and to see this shop — that’s inspiration to these kids. We represent hope in a desolate place where they don’t see a lot of positive images of young, black males.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZIPRVFCmi-k\u003c/p>\n\u003cp>Mistah F.A.B. did admit that there has long been police presence in the neighborhood because of its history of crime. In 2017, according to \u003ca href=\"https://www.crimemapping.com/\" target=\"_blank\" rel=\"noopener\">CrimeMapping.com \u003c/a>— a database the Oakland Police Department uses to make crime data available to the public — there have been nine cases of assault, six cases of burglary, and eight cases of motor vehicle theft within a quarter-mile radius of Dope Era stretching from 40th Street to the south and 54th Street to the north. For comparison, within a quarter-mile radius of the 4300 block of Piedmont Avenue, the center of the nearby, upscale Piedmont Avenue shopping district, the site reports three cases of assault, three cases of burglary, and seven cases of motor vehicle theft this year.\u003c/p>\n\u003cp>Still, F.A.B. is adamant that his store is being unfairly targeted. He should not be criminalized for opening a business in the neighborhood where he grew up, he says, even if it is a high-crime area.\u003c/p>\n\u003cp>“If you have someone that you’re looking for, go get them! Grab them! But don’t come out here and sit on our business,” he said. “In almost two years, there’s been no crime here. There’s not been a gun shot; there hasn’t been anything in comparison to what used to go on on this block on the normal. We’re policing the community. We’re governing the community. We’re helping and aiding others to do something for themselves. So how are we a nuisance?”\u003c/p>\n\u003cp>F.A.B. made sure to note that he was not calling out the OPD as a whole. “The problem is not really with the police, it’s certain police officers — individuals,” he said. “I don’t want to group the police officers like it’s them versus us. No. There’s certain officers who actually support us, who come out and say hello and actually mediate a few things for us.”\u003c/p>\n\u003cfigure id=\"attachment_12997264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-46.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12997264\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-800x600.jpg\" alt=\"Inside Dope Era.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Inside Dope Era. \u003ccite>(Emma Silvers / KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darion Berry, a Berkeley resident who grew up in Oakland on 42nd Street and knows Mistah F.A.B., said that police surveillance at the shop is symptomatic of a larger cultural clash between longtime North Oakland residents — many of whom are black, Latino, and Middle Eastern — and white newcomers who have been flocking to the area in recent years. He suspects that some of these new residents may be the ones calling the police.\u003c/p>\n\u003cp>“I know firsthand that it’s definitely the neighbors who aren’t familiar with our culture or our way of living,” said Berry, who is black. “This is a community where friends will come throughout the day and hang out and whatnot. It may look different or make some people uncomfortable, but instead of taking the route of calling the police, engage us and really access what people are doing.”\u003c/p>\n\u003cp>“They’re allowing their biased opinions to give false data to other members of the community,” said Mistah F.A.B., who has previously been \u003ca href=\"https://ww2.kqed.org/pop/2016/07/07/bay-area-rap-veteran-mistah-f-a-b-responds-to-police-shootings-with-6-shots/\" target=\"_blank\" rel=\"noopener\">outspoken in the wake of police shootings\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WUU8BbIb30k\u003c/p>\n\u003cp>In an attempt to find neighbors who might have issued complaints about the store, this reporter posted about Mistah F.A.B.’s allegations of racial profiling on Nextdoor.com, a social network that connects neighbors. Will Chase, a white resident of 42nd Street, weighed in, cautioning that police presence is to be expected in areas with a history of crime.\u003c/p>\n\u003cp>“Racial profiling is a horrible practice,” he wrote. “That said, if there’s a location with a history and pattern of regular violence, as this corner (not their specific store, as far as I know) has, it absolutely makes sense for there to be a police presence there to deter further violence. That’s simply good neighborhood policing.”\u003c/p>\n\u003cp>For others, the allegations of racial profiling at the Dope Era store call to mind other recent incidents that have become emblematic of racism and gentrification in Oakland. For instance, in September 2015, a white resident called the police on a group of black and Latino drummers at Lake Merritt, resulting in what many described as an \u003ca href=\"https://ww2.kqed.org/news/2015/10/26/so-well-spoken-race-and-space/\" target=\"_blank\" rel=\"noopener\">unnecessary clash between law enforcement and a group of people of color involved in a harmless activity\u003c/a>. Similarly, black churches in West Oakland and \u003ca href=\"https://ww2.kqed.org/arts/2016/09/06/noise-complaint-sparks-demonstration-of-street-music-oakland-culture/\" target=\"_blank\" rel=\"noopener\">a teenage drummer at the Lake Merritt farmers’ market\u003c/a> have faced noise complaints that have resulted in altercations with neighbors and police.\u003c/p>\n\u003cp>As far as solutions go, Mistah F.A.B. calls for greater community engagement across racial lines. “Pull up in here. Come get a chance to socialize with us and meet with us,” he said. “But if you’re intimidated by us, you won’t be able to do that. If you’re afraid of young, black men standing outside, having a good time, laughing and joking, talking about the memories of yesterday and the hopes of tomorrow — if that intimidates you, this might not be the place for you.”\u003c/p>\n\u003cp>[ad floatright]\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The rapper and activist, who runs the North Oakland shop Dope Era, says unwarranted police presence is a sign of gentrification in the neighborhood.",
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"description": "The rapper and activist, who runs the North Oakland shop Dope Era, says unwarranted police presence is a sign of gentrification in the neighborhood.",
"title": "Public Safety or Racial Profiling? Mistah F.A.B. Alleges Harassment by the OPD | KQED",
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"headline": "Public Safety or Racial Profiling? Mistah F.A.B. Alleges Harassment by the OPD",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Mistah F.A.B. opened a storefront for his clothing line, \u003ca href=\"https://www.facebook.com/pages/Dope-Era-Clothing-Store/636396006536099\" target=\"_blank\" rel=\"noopener\">Dope Era\u003c/a>, on the 4500 block of Market Street in North Oakland nearly a year ago, he was realizing a lifelong dream.\u003c/p>\n\u003cp>The \u003ca href=\"https://ww2.kqed.org/arts/2010/09/22/mistah_fab_gets_real/\" target=\"_blank\" rel=\"noopener\">rapper and activist, whose real name is Stanley Cox\u003c/a>, grew up in the neighborhood; he’s made giving back to the community his mission since he first rose to fame during the Hyphy movement of the early aughts. For the past 10 years, he’s hosted backpack giveaways for kids, handed out turkeys at Thanksgiving, and organized \u003ca href=\"https://ww2.kqed.org/arts/2016/03/25/hip-hop-lending-a-hand-mistah-fabs-egg-hunt-philthy-richs-peace-rally/\" target=\"_blank\" rel=\"noopener\">Easter egg hunts\u003c/a> and anti-gun violence basketball tournaments, among other grassroots endeavors. His philanthropy even earned him \u003ca href=\"http://allhiphop.com/2014/02/12/oakland-mayor-dedicates-day-to-mistah-f-a-b/\" target=\"_blank\" rel=\"noopener\">an honorary distinction from the former mayor of Oakland\u003c/a>, Jean Quan, in 2014.\u003c/p>\n\u003cfigure id=\"attachment_12997262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_2129.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12997262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_2129-800x800.jpg\" alt=\"F.A.B. at his store during a Respect My Vote event in 2016.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">F.A.B. at his store during a Respect My Vote event in 2016. \u003ccite>(Emma Silvers / KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Dope Era — which stands for During Oppression People Evolve, Everyone Rises Above — he envisioned a small business that would provide job opportunities to North Oakland residents and set an example for responsible community development. But since Mistah F.A.B. has been in business, he alleges there’s been an unwarranted and disproportionate police presence at his store — something he sees as an example of racial profiling in an increasingly gentrifying Oakland.\u003c/p>\n\u003cp>In a recent interview at the store, F.A.B. told KQED Arts he’s noticed police officers parking on both sides of his business, sometimes several times a week, and asking his customers suspicious questions.\u003c/p>\n\u003cp>“There have been several people who have been pulled over leaving my shop, and the first question is, ‘Did you buy some drugs?’” he said, adding that this kind of attention makes his largely black customer base uncomfortable given the historically turbulent relationship between the community and law enforcement. “I wanna know what the difference would be if there was a hundred white kids standing on the corner. Would it be patronizing [the store], or would it be loitering?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kiongozi Binaumo, a neighbor from Market Street, corroborated F.A.B.’s claims. “I’ve never seen anything foul happen around there,” he said. “I sit and watch the police all the time park around the corner and just watch, wanting something bad to happen, wanting to intervene. They harass people coming in and out of the store.”\u003c/p>\n\u003cfigure id=\"attachment_12997263\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-45.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12997263\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-800x599.jpg\" alt=\"Inside Dope Era\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Inside Dope Era. \u003ccite>(Emma Silvers / KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked for a response to the allegations, the Oakland Police Department sent an email. “We are looking further into the statements made by Mr. Cox,” wrote Officer Marco Marquez, an OPD media relations representative. “One of our goals in our strategic plan as a police department is to strengthen community trust and relationships. Part of what that looks like is considering potential damage to public trust when implementing crime fighting strategies.”\u003c/p>\n\u003cp>Mistah F.A.B. says that his status as a local celebrity has made Dope Era a bustling, attractive destination in the otherwise quiet neighborhood. Many of his customers are young black men, which he says has prompted unwarranted suspicion.\u003c/p>\n\u003cp>“I represent, and I walk with this neighborhood on my back everywhere I go,” he said. “So to see the barbershop [next door], a black business, and to see this shop — that’s inspiration to these kids. We represent hope in a desolate place where they don’t see a lot of positive images of young, black males.”\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/ZIPRVFCmi-k'\n title='//www.youtube.com/embed/ZIPRVFCmi-k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mistah F.A.B. did admit that there has long been police presence in the neighborhood because of its history of crime. In 2017, according to \u003ca href=\"https://www.crimemapping.com/\" target=\"_blank\" rel=\"noopener\">CrimeMapping.com \u003c/a>— a database the Oakland Police Department uses to make crime data available to the public — there have been nine cases of assault, six cases of burglary, and eight cases of motor vehicle theft within a quarter-mile radius of Dope Era stretching from 40th Street to the south and 54th Street to the north. For comparison, within a quarter-mile radius of the 4300 block of Piedmont Avenue, the center of the nearby, upscale Piedmont Avenue shopping district, the site reports three cases of assault, three cases of burglary, and seven cases of motor vehicle theft this year.\u003c/p>\n\u003cp>Still, F.A.B. is adamant that his store is being unfairly targeted. He should not be criminalized for opening a business in the neighborhood where he grew up, he says, even if it is a high-crime area.\u003c/p>\n\u003cp>“If you have someone that you’re looking for, go get them! Grab them! But don’t come out here and sit on our business,” he said. “In almost two years, there’s been no crime here. There’s not been a gun shot; there hasn’t been anything in comparison to what used to go on on this block on the normal. We’re policing the community. We’re governing the community. We’re helping and aiding others to do something for themselves. So how are we a nuisance?”\u003c/p>\n\u003cp>F.A.B. made sure to note that he was not calling out the OPD as a whole. “The problem is not really with the police, it’s certain police officers — individuals,” he said. “I don’t want to group the police officers like it’s them versus us. No. There’s certain officers who actually support us, who come out and say hello and actually mediate a few things for us.”\u003c/p>\n\u003cfigure id=\"attachment_12997264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-46.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12997264\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-800x600.jpg\" alt=\"Inside Dope Era.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Inside Dope Era. \u003ccite>(Emma Silvers / KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darion Berry, a Berkeley resident who grew up in Oakland on 42nd Street and knows Mistah F.A.B., said that police surveillance at the shop is symptomatic of a larger cultural clash between longtime North Oakland residents — many of whom are black, Latino, and Middle Eastern — and white newcomers who have been flocking to the area in recent years. He suspects that some of these new residents may be the ones calling the police.\u003c/p>\n\u003cp>“I know firsthand that it’s definitely the neighbors who aren’t familiar with our culture or our way of living,” said Berry, who is black. “This is a community where friends will come throughout the day and hang out and whatnot. It may look different or make some people uncomfortable, but instead of taking the route of calling the police, engage us and really access what people are doing.”\u003c/p>\n\u003cp>“They’re allowing their biased opinions to give false data to other members of the community,” said Mistah F.A.B., who has previously been \u003ca href=\"https://ww2.kqed.org/pop/2016/07/07/bay-area-rap-veteran-mistah-f-a-b-responds-to-police-shootings-with-6-shots/\" target=\"_blank\" rel=\"noopener\">outspoken in the wake of police shootings\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/WUU8BbIb30k'\n title='//www.youtube.com/embed/WUU8BbIb30k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In an attempt to find neighbors who might have issued complaints about the store, this reporter posted about Mistah F.A.B.’s allegations of racial profiling on Nextdoor.com, a social network that connects neighbors. Will Chase, a white resident of 42nd Street, weighed in, cautioning that police presence is to be expected in areas with a history of crime.\u003c/p>\n\u003cp>“Racial profiling is a horrible practice,” he wrote. “That said, if there’s a location with a history and pattern of regular violence, as this corner (not their specific store, as far as I know) has, it absolutely makes sense for there to be a police presence there to deter further violence. That’s simply good neighborhood policing.”\u003c/p>\n\u003cp>For others, the allegations of racial profiling at the Dope Era store call to mind other recent incidents that have become emblematic of racism and gentrification in Oakland. For instance, in September 2015, a white resident called the police on a group of black and Latino drummers at Lake Merritt, resulting in what many described as an \u003ca href=\"https://ww2.kqed.org/news/2015/10/26/so-well-spoken-race-and-space/\" target=\"_blank\" rel=\"noopener\">unnecessary clash between law enforcement and a group of people of color involved in a harmless activity\u003c/a>. Similarly, black churches in West Oakland and \u003ca href=\"https://ww2.kqed.org/arts/2016/09/06/noise-complaint-sparks-demonstration-of-street-music-oakland-culture/\" target=\"_blank\" rel=\"noopener\">a teenage drummer at the Lake Merritt farmers’ market\u003c/a> have faced noise complaints that have resulted in altercations with neighbors and police.\u003c/p>\n\u003cp>As far as solutions go, Mistah F.A.B. calls for greater community engagement across racial lines. “Pull up in here. Come get a chance to socialize with us and meet with us,” he said. “But if you’re intimidated by us, you won’t be able to do that. If you’re afraid of young, black men standing outside, having a good time, laughing and joking, talking about the memories of yesterday and the hopes of tomorrow — if that intimidates you, this might not be the place for you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "'Napalm Girl' Photojournalist Nick Ut Retires After 51 Years With AP",
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"content": "\u003cp>Legendary photojournalist Nick Ut has captured tens of thousands of images in his five decades with the Associated Press. But his work will undoubtedly be remembered most for the historic \"Napalm Girl\" photo from the war in Vietnam.\u003c/p>\n\u003cp>A young Vietnamese girl runs screaming from her village after a napalm bomb was dropped on it. The napalm has burned off her clothes and singed her skin. The 1972 photo shows the chaos and atrocities of the Vietnam War, and many believe, eventually helped end it.\u003c/p>\n\u003cp>The photo won Ut a Pulitzer Prize at age 21. He believes it probably helped save the girl's life, even before it was developed and put on the news wire.\u003c/p>\n\u003cp>\"I saw her arm burning, her back burning,\" Ut said.\u003c/p>\n\u003cp>He put down his camera, gave the girl water to drink and poured it on her burns. Then he took her in his van to the nearest hospital. When doctors there refused to treat her, suggesting a children’s hospital two hours away, Ut flashed his press pass and said her photo would likely be on the front page of every newspaper the next day. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She was treated.\u003c/p>\n\u003cp>\"Nobody believed she [was] still alive that day,\" Ut said.\u003c/p>\n\u003cp>Not even himself. But she survived. The \"Napalm Girl” in Ut’s Pulitzer Prize winning photo is Kim Phuc. She’s 53 years old, a mother of two, and lives in Canada.\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/tcrmag/2017/03/2017-03-31d-tcrmag.mp3\" Image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/AP_489943708182_200-800x586.jpg\" Title=\"'Napalm Girl' Photojournalist Nick Ut Retires After 51 Years With AP\" program=\"The California Report\"]\u003c/p>\n\u003cp>Ut retired from the Associated Press this week after 51 years. His career began at age 15 when he started working for the AP in Saigon, but he wanted to start even earlier. According to the AP, Ut's older brother Huynh Thanh My was an AP photographer who was killed by Viet Cong rebels in 1965. At his brother's funeral, Ut approached the late Horst Faas, photo editor for AP's Saigon bureau. Peter Arnett, AP's Saigon correspondent at the time, remembers the disappointing moment for Ut.\u003c/p>\n\u003cp>\"He wanted to follow in his brother's footsteps.\" Arnett told KQED. \"He wanted to be a war photographer, and Horst looked at him -- this 14 year old kid at the time -- and said, 'maybe in the future, but you’re too young. You have to go back to your family.' And Nick said, 'the AP’s my family now.'\"\u003c/p>\n\u003cp>Ut persisted, and Arnett remembers the AP agreed to use him carefully as a street photographer in Saigon. But when the war escalated, that changed.\u003c/p>\n\u003cp>\"In January and February of 1968, Saigon became a war zone,\" Arnett said. \"And Nick’s street photography pictures suddenly showed violence, brutality and death, and that was his beginning as a war photographer and we know how successful he has been in that field.\"\u003c/p>\n\u003cfigure id=\"attachment_11385347\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11385347\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24810_IMG_6264-qut-800x730.jpg\" alt=\"Photojournalist Nick Ut brings together friends and journalism colleagues at one of his favorite Vietnamese restaurants. \" width=\"800\" height=\"730\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24810_IMG_6264-qut-800x730.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24810_IMG_6264-qut-160x146.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24810_IMG_6264-qut-1020x931.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24810_IMG_6264-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24810_IMG_6264-qut-1180x1077.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24810_IMG_6264-qut-960x876.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24810_IMG_6264-qut-240x219.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24810_IMG_6264-qut-375x342.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24810_IMG_6264-qut-520x475.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photojournalist Nick Ut brings together friends and journalism colleagues at one of his favorite Vietnamese restaurants in Orange County. \u003ccite>(Brian Watt/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ut had to flee Vietnam. He spent some time in refugee camps and worked briefly in Tokyo, before winding up in the AP’s Los Angeles bureau. Most of his career was still ahead of him.\u003c/p>\n\u003cp>He shifted from images of war to those of sports, civic leaders and celebrities.\u003c/p>\n\u003cp>\"Lucille Ball, John Wayne, Bette Davis. I'm so lucky,\" Ut said. \"They're all dead. I have a picture.\"\u003c/p>\n\u003cp>Sometimes the celebrities were in tough spots. Paris Hilton in tears. Actor Robert Blake on trial. Michael Jackson.\u003c/p>\n\u003cp>\"Everyone [in] trouble, they're gonna see me,\" Nick said.\u003c/p>\n\u003cp>This is the ideal place for me to disclose that I know Nick Ut. I was a radio reporter in Los Angeles for almost 9 years and there was no avoiding him. When I saw him out in the field with his cameras, I knew I was in the right place.\u003c/p>\n\u003cp>The AP bureau and my office were in the same downtown office complex. In the parking lot, I noticed we were both attached to our Acura Legend cars from the early 1990s. We could chat way too long about how much we loved these vehicles that we should have traded in or junked years before.\u003c/p>\n\u003cp>[contextly_sidebar id=\"1mtOlVdRGziCdSOoYMQq0kRZLondZ3Ff\"]\u003c/p>\n\u003cp>Ut is one of those people who has never met a stranger. He's an unassuming bon vivant who regularly invites friends and colleagues to his favorite Vietnamese restaurants in Orange County. (I get to tag along sometimes because my wife works for the AP.)\u003c/p>\n\u003cp>That’s where I found him just weeks before his retirement date -- at the Song Long restaurant in Westminster -- with other journalism legends, including Peter Arnett.\u003c/p>\n\u003cp>There was Richard Drew, the AP photographer who took the \"Falling Man\" photo from Sept. 11.\u003c/p>\n\u003cp>\"He’s always been an inspiration to me,\" Drew told me. \"Of Course that famous photo that Mr. Nixon didn’t like ... and he thought that it had been a doctored photograph, and it really turned the tide of the war.\"\u003c/p>\n\u003cp>That last part was a journalism history lesson to me, something I hadn't heard before. Drew referred me to the secret recordings from the Nixon White House. I reached out to the Nixon Library so I could listen myself.\u003c/p>\n\u003cp>The audio is challenging, but then-President Nixon and H.R. Haldeman can be heard discussing Ut's photo of Kim Phuc just days after it was taken.\u003c/p>\n\u003cp>\"I wonder if that was a fix,\" Nixon says.\u003c/p>\n\u003cp>\"It might have been,\" Haldeman replies.\u003c/p>\n\u003cp>For Richard Drew, the moment in history is particularly relevant today.\u003c/p>\n\u003cp>\"It’s sort of like we’re going through now with our 'fake news' cycle,\" he said.\u003c/p>\n\u003cp>Also in the restaurant with Nick Ut: Retired AP reporter Linda Deutsch, the Grand Dame of covering high-profile court cases. She told me that often when Ut went to photograph a celebrity for one of her stories, the celebrity treated Ut like a celebrity. A lot of his peers in the press corps do the same.\u003c/p>\n\u003cp>\"Other photographers immediately make a path for him,\" Deustch said. \"He’s very small. Nick is like five foot tall. He never has anyone standing in front of him. Because out of respect for him, they always give him the front row spot.\"\u003c/p>\n\u003cp>I can confirm that I saw that happen plenty of times.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Nick Ut’s retirement will be noticeable on a lot of front rows -- and a lot of front pages.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ut retired from the Associated Press this week after 51 years. His career began at age 15 when he started working for the AP in Saigon, but he wanted to start even earlier. According to the AP, Ut's older brother Huynh Thanh My was an AP photographer who was killed by Viet Cong rebels in 1965. At his brother's funeral, Ut approached the late Horst Faas, photo editor for AP's Saigon bureau. Peter Arnett, AP's Saigon correspondent at the time, remembers the disappointing moment for Ut.\u003c/p>\n\u003cp>\"He wanted to follow in his brother's footsteps.\" Arnett told KQED. \"He wanted to be a war photographer, and Horst looked at him -- this 14 year old kid at the time -- and said, 'maybe in the future, but you’re too young. You have to go back to your family.' And Nick said, 'the AP’s my family now.'\"\u003c/p>\n\u003cp>Ut persisted, and Arnett remembers the AP agreed to use him carefully as a street photographer in Saigon. But when the war escalated, that changed.\u003c/p>\n\u003cp>\"In January and February of 1968, Saigon became a war zone,\" Arnett said. \"And Nick’s street photography pictures suddenly showed violence, brutality and death, and that was his beginning as a war photographer and we know how successful he has been in that field.\"\u003c/p>\n\u003cfigure id=\"attachment_11385347\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11385347\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24810_IMG_6264-qut-800x730.jpg\" alt=\"Photojournalist Nick Ut brings together friends and journalism colleagues at one of his favorite Vietnamese restaurants. \" width=\"800\" height=\"730\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24810_IMG_6264-qut-800x730.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24810_IMG_6264-qut-160x146.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24810_IMG_6264-qut-1020x931.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24810_IMG_6264-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24810_IMG_6264-qut-1180x1077.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24810_IMG_6264-qut-960x876.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24810_IMG_6264-qut-240x219.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24810_IMG_6264-qut-375x342.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24810_IMG_6264-qut-520x475.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photojournalist Nick Ut brings together friends and journalism colleagues at one of his favorite Vietnamese restaurants in Orange County. \u003ccite>(Brian Watt/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ut had to flee Vietnam. He spent some time in refugee camps and worked briefly in Tokyo, before winding up in the AP’s Los Angeles bureau. Most of his career was still ahead of him.\u003c/p>\n\u003cp>He shifted from images of war to those of sports, civic leaders and celebrities.\u003c/p>\n\u003cp>\"Lucille Ball, John Wayne, Bette Davis. I'm so lucky,\" Ut said. \"They're all dead. I have a picture.\"\u003c/p>\n\u003cp>Sometimes the celebrities were in tough spots. Paris Hilton in tears. Actor Robert Blake on trial. Michael Jackson.\u003c/p>\n\u003cp>\"Everyone [in] trouble, they're gonna see me,\" Nick said.\u003c/p>\n\u003cp>This is the ideal place for me to disclose that I know Nick Ut. I was a radio reporter in Los Angeles for almost 9 years and there was no avoiding him. When I saw him out in the field with his cameras, I knew I was in the right place.\u003c/p>\n\u003cp>The AP bureau and my office were in the same downtown office complex. In the parking lot, I noticed we were both attached to our Acura Legend cars from the early 1990s. We could chat way too long about how much we loved these vehicles that we should have traded in or junked years before.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Ut is one of those people who has never met a stranger. He's an unassuming bon vivant who regularly invites friends and colleagues to his favorite Vietnamese restaurants in Orange County. (I get to tag along sometimes because my wife works for the AP.)\u003c/p>\n\u003cp>That’s where I found him just weeks before his retirement date -- at the Song Long restaurant in Westminster -- with other journalism legends, including Peter Arnett.\u003c/p>\n\u003cp>There was Richard Drew, the AP photographer who took the \"Falling Man\" photo from Sept. 11.\u003c/p>\n\u003cp>\"He’s always been an inspiration to me,\" Drew told me. \"Of Course that famous photo that Mr. Nixon didn’t like ... and he thought that it had been a doctored photograph, and it really turned the tide of the war.\"\u003c/p>\n\u003cp>That last part was a journalism history lesson to me, something I hadn't heard before. Drew referred me to the secret recordings from the Nixon White House. I reached out to the Nixon Library so I could listen myself.\u003c/p>\n\u003cp>The audio is challenging, but then-President Nixon and H.R. 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Because out of respect for him, they always give him the front row spot.\"\u003c/p>\n\u003cp>I can confirm that I saw that happen plenty of times.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The artist and gay activist Gilbert Baker has died in New York; he was 65. In 1978, Baker designed the rainbow flag, which has since become widely known as a symbol of LGBTQ pride and civil rights.\u003c/p>\n\u003cp>A vigil is planned at 7pm on Friday, March 31 in \u003ca href=\"https://www.facebook.com/events/1917863981815411/\" target=\"_blank\" rel=\"noopener\">Harvey Milk Plaza\u003c/a>, according to the \u003cem>San Francisco Bay Times\u003c/em>, which recently featured Baker on \u003ca href=\"https://issuu.com/sfbt/docs/03.09.17_final.small\" target=\"_blank\" rel=\"noopener\">its cover\u003c/a>.\u003c/p>\n\u003cp>“I am heartbroken,” wrote fellow activist Cleve Jones on his Facebook page. “My dearest friend in the world is gone. Gilbert gave the world the Rainbow Flag; he gave me forty years of love and friendship. I can’t stop crying. I love you forever Gilbert Baker.”\u003c/p>\n\u003cfigure id=\"attachment_12983964\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12983964\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Gilbert-Baker-The-white-House-e1491007138668-800x616.jpg\" alt=\"Gilbert Baker with President Barack Obama\" width=\"800\" height=\"616\">\u003cfigcaption class=\"wp-caption-text\">Gilbert Baker with President Barack Obama \u003ccite>(Photo: Courtesy of the White House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Baker designed the rainbow flag in San Francisco at the request of the city’s first openly gay supervisor, Harvey Milk, in an effort to create a symbol of unity for the LGBTQ community.\u003c/p>\n\u003cp>The original featured eight stripes: hot pink, red, orange, yellow, green, turquoise, indigo and violet. Baker changed the design the following year to the six-striped one used today, with red at the top and violet at the bottom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We called him Betsy Ross,” said Tom Ammiano, a former supervisor and state lawmaker who was also a contemporary and friend of Baker’s. “He always had a theatrical sense. He liked color and design. Every time you look at that flag. That is Gilbert.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Baker said of his creation, “It all goes back to the first moment of the first flag back in 1978 for me. Raising it up and seeing it there blowing in the wind for everyone to see. It completely astounded me that people just got it, in an instant like a bolt of lightning — that this was their flag. It belonged to all of us. It was the most thrilling moment of my life.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The artist and gay activist Gilbert Baker has died in New York; he was 65. In 1978, Baker designed the rainbow flag, which has since become widely known as a symbol of LGBTQ pride and civil rights.\u003c/p>\n\u003cp>A vigil is planned at 7pm on Friday, March 31 in \u003ca href=\"https://www.facebook.com/events/1917863981815411/\" target=\"_blank\" rel=\"noopener\">Harvey Milk Plaza\u003c/a>, according to the \u003cem>San Francisco Bay Times\u003c/em>, which recently featured Baker on \u003ca href=\"https://issuu.com/sfbt/docs/03.09.17_final.small\" target=\"_blank\" rel=\"noopener\">its cover\u003c/a>.\u003c/p>\n\u003cp>“I am heartbroken,” wrote fellow activist Cleve Jones on his Facebook page. “My dearest friend in the world is gone. Gilbert gave the world the Rainbow Flag; he gave me forty years of love and friendship. I can’t stop crying. I love you forever Gilbert Baker.”\u003c/p>\n\u003cfigure id=\"attachment_12983964\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12983964\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Gilbert-Baker-The-white-House-e1491007138668-800x616.jpg\" alt=\"Gilbert Baker with President Barack Obama\" width=\"800\" height=\"616\">\u003cfigcaption class=\"wp-caption-text\">Gilbert Baker with President Barack Obama \u003ccite>(Photo: Courtesy of the White House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Baker designed the rainbow flag in San Francisco at the request of the city’s first openly gay supervisor, Harvey Milk, in an effort to create a symbol of unity for the LGBTQ community.\u003c/p>\n\u003cp>The original featured eight stripes: hot pink, red, orange, yellow, green, turquoise, indigo and violet. Baker changed the design the following year to the six-striped one used today, with red at the top and violet at the bottom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We called him Betsy Ross,” said Tom Ammiano, a former supervisor and state lawmaker who was also a contemporary and friend of Baker’s. “He always had a theatrical sense. He liked color and design. Every time you look at that flag. That is Gilbert.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Baker said of his creation, “It all goes back to the first moment of the first flag back in 1978 for me. Raising it up and seeing it there blowing in the wind for everyone to see. It completely astounded me that people just got it, in an instant like a bolt of lightning — that this was their flag. It belonged to all of us. It was the most thrilling moment of my life.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X2b8_eZtjvo\u003c/p>\n\u003cp>\u003cstrong>March 31-April 3\u003c/strong>: Bach composed a number of motets for double chorus, always for special occasions, and the \u003ca href=\"http://www.americanbach.org/index.html\" target=\"_blank\" rel=\"noopener\">American Bach Soloists \u003c/a>(ABS) have programmed a full evening of these ethereal choral works. Music director Jeffrey Thomas led the ensemble in two of these pieces,”Singet dem Herrn ein neues Lied” and “Fürchte dich nicht, ich bin bei dir” at the 2012 Berkeley Festival & Exhibition, but ABS has added works for double chorus they say have only recently been attributed to Bach, which sounds like a promise of musical discovery. Details for the concert in Belvedere, Berkeley, San Francisco, and Davis \u003ca href=\"http://www.americanbach.org/2017-04.html\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6jWBCnIHe9A\u003c/p>\n\u003cp>\u003cstrong>March 30-April 23:\u003c/strong> \u003ca href=\"http://www.telegraph.co.uk/theatre/what-to-see/needles-and-opium-miles-davis-meets-jean-cocteau--review/\" target=\"_blank\" rel=\"noopener\">\u003cem>Needles and Opium\u003c/em>\u003c/a> is a play about \u003ca href=\"https://www.theguardian.com/music/2006/may/25/jazz\" target=\"_blank\" rel=\"noopener\">Miles Davis and his love for French singer Juliette Greco \u003c/a>and heroin in the Paris of 1949, as well as movie director \u003ca href=\"https://en.wikipedia.org/wiki/Jean_Cocteau\" target=\"_blank\" rel=\"noopener\">Jean Cocteau\u003c/a>‘s dalliance with New York City and opium the same year. It’s an odd concept, but exactly what we might expect from French-Canadian theater director \u003ca href=\"http://lacaserne.net/index2.php/robertlepage/\" target=\"_blank\" rel=\"noopener\">Robert Lepage\u003c/a>. This revival of Lepage’s 1989 piece will be performed in a cube hanging over the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a>‘s Geary Stage with an acrobat playing Miles Davis. Lepage’s work, at its best, is always a dazzling, disorienting puzzle. Details for the San Francisco run are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/needles_and_opium.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12978571\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12978571\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-800x496.jpg\" alt=\"The Wooster Group presents ‘The Town Hall‘ Affair, the recreation of a seminal debate on feminism from 1971\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-375x233.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Wooster Group presents ‘The Town Hall‘ Affair, the recreation of a seminal debate on feminism from 1971 \u003ccite>(Photo: Courtesy of The Wooster Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 6-16\u003c/strong>: In \u003cem>The Town Hall Affair, \u003c/em>New York’s \u003ca href=\"http://thewoostergroup.org/blog/\" target=\"_blank\" rel=\"noopener\">The Wooster Group \u003c/a>brings to life a real-life debate from 1971 between the writer \u003ca href=\"https://www.theguardian.com/books/booksblog/2007/nov/13/farewelltonormanmailerase\" target=\"_blank\" rel=\"noopener\">Norman Mailer\u003c/a>, a hardcore macho chauvinist, and some of the biggest names in second wave feminism, including Germaine Greer, Jacqueline Ceballos, and Susan Sontag. The play is based on a documentary about the evening, \u003ca href=\"https://vimeo.com/78950738\" target=\"_blank\" rel=\"noopener\">\u003cem>Town Bloody Hall\u003c/em>\u003c/a>, made under challenging conditions by D.A. Pennebaker and Chris Hegedus. The theatrical result should be maddening and enlightening. Details for the run of \u003cem>Town Hall Affair \u003c/em>at Z Space in San Francisco are\u003ca href=\"http://www.zspace.org/the-town-hall-affair/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Zw7DfFVga5Y\u003c/p>\n\u003cp>\u003cstrong>April 1 & 2\u003c/strong>: \u003ca href=\"http://www.muccapazza.com/\" target=\"_blank\" rel=\"noopener\">Mucca Pazza \u003c/a>is a 20 plus member ensemble based in Chicago that gleefully deconstructs the whole idea of a marching band. As you can see and hear in the video above, they do it with lots of brass, drums and cheerleaders. The music is a blend of gypsy jazz and New Orleans funk. What could be bad? Details for Mucca Pazza’s performance at the Mondavi Center in Davis on Saturday are \u003ca href=\"https://www.mondaviarts.org/event/2016-17/mucca-pazza\" target=\"_blank\" rel=\"noopener\">here,\u003c/a> and details for their Sunday show at San Francisco’s Bottom of the Hill are \u003ca href=\"http://www.muccapazza.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12978570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12978570 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-800x508.jpg\" alt=\"A photo by Dorothea Lange from 'Exclusion: The Presidio’s Role in World War II Japanese American Incarceration‘ at the Presidio of San Francisco\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1920x1219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-960x609.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-520x330.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo by Dorothea Lange from ‘Exclusion: The Presidio’s Role in World War II Japanese American Incarceration‘ at the Presidio of San Francisco \u003ccite>(Photo: Dorothea Lange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 1-March 2018\u003c/strong>: On April 1, 75 years ago, the U.S. began registering and forcing Japanese Americans on the West Coast behind barbed wire at incarceration camps like Manzanar and Tule Lake. It’s mostly forgotten today, but the Presidio’s presiding officer at the time, General John Dewitt, oversaw the internment process. To commemorate that terrible breach of American values, The Presidio is opening the show \u003cem>Exclusion: The Presidio’s Role in World War II Japanese American Incarceration.\u003c/em>The Presidio’s director of heritage programs, Eric Blind, says one thing the show explores is the fact that fabricated news stories are an old tactic. “There were fake news stories going around saying that some of the Pearl Harbor bombers were wearing American university graduation rings, and this idea that there was a fifth column inside the United States ready to be spies and saboteurs from the Japanese American community,” Blind says. “None of these things were found to be true. But it did lead to bad decisions.” Details for \u003cem>Exclusion\u003c/em> at the Presidio Officers’ Club are \u003ca href=\"http://www.presidio.gov/officers-club/exhibitions/special-exhibition-exclusion\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://vimeo.com/208527770\u003c/p>\n\u003cp>\u003cstrong>April 5-19:\u003c/strong> You could simply disappear into the dark for days on end at the \u003cem>60th San Francisco International Film Festival\u003c/em>. It’s a rite of spring with its 120 or so showings of features, documentaries, and cartoons. There are also seminars, like one on on \u003cem>Vertigo\u003c/em> and another on \u003cem>Citizen Kane\u003c/em>, both hosted by San Francisco film historian \u003ca href=\"https://en.wikipedia.org/wiki/David_Thomson_(film_critic)\" target=\"_blank\" rel=\"noopener\">David Thomson\u003c/a>. Local highlights include Peter Bratt with his documentary \u003cem>Dolores\u003c/em> about farm worker leader Dolores Huerta, and Peter Nicks’\u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/the-force#.WN2UDm8rKJA\" target=\"_blank\" rel=\"noopener\">The Force\u003c/a>, \u003c/em>a documentary about the Oakland Police Department. Details for the SF International Film Fest are \u003ca href=\"http://www.sffilm.org/festival\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ytXTtXSgpPc\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 3:\u003c/strong> The band Wire was born 40 years ago in London England, and they sound as tough and intense as they ever did on their new album \u003cem>Silver/Lead\u003c/em>. They’re formalists in a way, sticking to a classic, guitar-heavy sound. Yet they always find new things to say. The three old guys — Robert Gray on drums, Graham Lewis on bass guitar, and Colin Newman on guitar — are as punk as ever, and Matt Simms, the new guy since 2010, adds more awesome guitar work. Details on this chance to hear rock history at Slim’s on Monday are \u003ca href=\"http://www.slimspresents.com/event/wire-slims/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\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/X2b8_eZtjvo'\n title='//www.youtube.com/embed/X2b8_eZtjvo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 31-April 3\u003c/strong>: Bach composed a number of motets for double chorus, always for special occasions, and the \u003ca href=\"http://www.americanbach.org/index.html\" target=\"_blank\" rel=\"noopener\">American Bach Soloists \u003c/a>(ABS) have programmed a full evening of these ethereal choral works. Music director Jeffrey Thomas led the ensemble in two of these pieces,”Singet dem Herrn ein neues Lied” and “Fürchte dich nicht, ich bin bei dir” at the 2012 Berkeley Festival & Exhibition, but ABS has added works for double chorus they say have only recently been attributed to Bach, which sounds like a promise of musical discovery. Details for the concert in Belvedere, Berkeley, San Francisco, and Davis \u003ca href=\"http://www.americanbach.org/2017-04.html\" target=\"_blank\" rel=\"noopener\">are here\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/6jWBCnIHe9A'\n title='//www.youtube.com/embed/6jWBCnIHe9A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 30-April 23:\u003c/strong> \u003ca href=\"http://www.telegraph.co.uk/theatre/what-to-see/needles-and-opium-miles-davis-meets-jean-cocteau--review/\" target=\"_blank\" rel=\"noopener\">\u003cem>Needles and Opium\u003c/em>\u003c/a> is a play about \u003ca href=\"https://www.theguardian.com/music/2006/may/25/jazz\" target=\"_blank\" rel=\"noopener\">Miles Davis and his love for French singer Juliette Greco \u003c/a>and heroin in the Paris of 1949, as well as movie director \u003ca href=\"https://en.wikipedia.org/wiki/Jean_Cocteau\" target=\"_blank\" rel=\"noopener\">Jean Cocteau\u003c/a>‘s dalliance with New York City and opium the same year. It’s an odd concept, but exactly what we might expect from French-Canadian theater director \u003ca href=\"http://lacaserne.net/index2.php/robertlepage/\" target=\"_blank\" rel=\"noopener\">Robert Lepage\u003c/a>. This revival of Lepage’s 1989 piece will be performed in a cube hanging over the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a>‘s Geary Stage with an acrobat playing Miles Davis. Lepage’s work, at its best, is always a dazzling, disorienting puzzle. Details for the San Francisco run are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/needles_and_opium.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12978571\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12978571\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-800x496.jpg\" alt=\"The Wooster Group presents ‘The Town Hall‘ Affair, the recreation of a seminal debate on feminism from 1971\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-375x233.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Wooster Group presents ‘The Town Hall‘ Affair, the recreation of a seminal debate on feminism from 1971 \u003ccite>(Photo: Courtesy of The Wooster Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 6-16\u003c/strong>: In \u003cem>The Town Hall Affair, \u003c/em>New York’s \u003ca href=\"http://thewoostergroup.org/blog/\" target=\"_blank\" rel=\"noopener\">The Wooster Group \u003c/a>brings to life a real-life debate from 1971 between the writer \u003ca href=\"https://www.theguardian.com/books/booksblog/2007/nov/13/farewelltonormanmailerase\" target=\"_blank\" rel=\"noopener\">Norman Mailer\u003c/a>, a hardcore macho chauvinist, and some of the biggest names in second wave feminism, including Germaine Greer, Jacqueline Ceballos, and Susan Sontag. The play is based on a documentary about the evening, \u003ca href=\"https://vimeo.com/78950738\" target=\"_blank\" rel=\"noopener\">\u003cem>Town Bloody Hall\u003c/em>\u003c/a>, made under challenging conditions by D.A. Pennebaker and Chris Hegedus. The theatrical result should be maddening and enlightening. Details for the run of \u003cem>Town Hall Affair \u003c/em>at Z Space in San Francisco are\u003ca href=\"http://www.zspace.org/the-town-hall-affair/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\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/Zw7DfFVga5Y'\n title='//www.youtube.com/embed/Zw7DfFVga5Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 1 & 2\u003c/strong>: \u003ca href=\"http://www.muccapazza.com/\" target=\"_blank\" rel=\"noopener\">Mucca Pazza \u003c/a>is a 20 plus member ensemble based in Chicago that gleefully deconstructs the whole idea of a marching band. As you can see and hear in the video above, they do it with lots of brass, drums and cheerleaders. The music is a blend of gypsy jazz and New Orleans funk. What could be bad? Details for Mucca Pazza’s performance at the Mondavi Center in Davis on Saturday are \u003ca href=\"https://www.mondaviarts.org/event/2016-17/mucca-pazza\" target=\"_blank\" rel=\"noopener\">here,\u003c/a> and details for their Sunday show at San Francisco’s Bottom of the Hill are \u003ca href=\"http://www.muccapazza.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12978570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12978570 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-800x508.jpg\" alt=\"A photo by Dorothea Lange from 'Exclusion: The Presidio’s Role in World War II Japanese American Incarceration‘ at the Presidio of San Francisco\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1920x1219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-960x609.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-520x330.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo by Dorothea Lange from ‘Exclusion: The Presidio’s Role in World War II Japanese American Incarceration‘ at the Presidio of San Francisco \u003ccite>(Photo: Dorothea Lange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 1-March 2018\u003c/strong>: On April 1, 75 years ago, the U.S. began registering and forcing Japanese Americans on the West Coast behind barbed wire at incarceration camps like Manzanar and Tule Lake. It’s mostly forgotten today, but the Presidio’s presiding officer at the time, General John Dewitt, oversaw the internment process. To commemorate that terrible breach of American values, The Presidio is opening the show \u003cem>Exclusion: The Presidio’s Role in World War II Japanese American Incarceration.\u003c/em>The Presidio’s director of heritage programs, Eric Blind, says one thing the show explores is the fact that fabricated news stories are an old tactic. “There were fake news stories going around saying that some of the Pearl Harbor bombers were wearing American university graduation rings, and this idea that there was a fifth column inside the United States ready to be spies and saboteurs from the Japanese American community,” Blind says. “None of these things were found to be true. But it did lead to bad decisions.” Details for \u003cem>Exclusion\u003c/em> at the Presidio Officers’ Club are \u003ca href=\"http://www.presidio.gov/officers-club/exhibitions/special-exhibition-exclusion\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>April 5-19:\u003c/strong> You could simply disappear into the dark for days on end at the \u003cem>60th San Francisco International Film Festival\u003c/em>. It’s a rite of spring with its 120 or so showings of features, documentaries, and cartoons. There are also seminars, like one on on \u003cem>Vertigo\u003c/em> and another on \u003cem>Citizen Kane\u003c/em>, both hosted by San Francisco film historian \u003ca href=\"https://en.wikipedia.org/wiki/David_Thomson_(film_critic)\" target=\"_blank\" rel=\"noopener\">David Thomson\u003c/a>. Local highlights include Peter Bratt with his documentary \u003cem>Dolores\u003c/em> about farm worker leader Dolores Huerta, and Peter Nicks’\u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/the-force#.WN2UDm8rKJA\" target=\"_blank\" rel=\"noopener\">The Force\u003c/a>, \u003c/em>a documentary about the Oakland Police Department. Details for the SF International Film Fest are \u003ca href=\"http://www.sffilm.org/festival\" target=\"_blank\" rel=\"noopener\">here.\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/ytXTtXSgpPc'\n title='//www.youtube.com/embed/ytXTtXSgpPc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 3:\u003c/strong> The band Wire was born 40 years ago in London England, and they sound as tough and intense as they ever did on their new album \u003cem>Silver/Lead\u003c/em>. They’re formalists in a way, sticking to a classic, guitar-heavy sound. Yet they always find new things to say. The three old guys — Robert Gray on drums, Graham Lewis on bass guitar, and Colin Newman on guitar — are as punk as ever, and Matt Simms, the new guy since 2010, adds more awesome guitar work. Details on this chance to hear rock history at Slim’s on Monday are \u003ca href=\"http://www.slimspresents.com/event/wire-slims/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Municipal Honors for 924 Gilman? Punk Really is Dead",
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"content": "\u003cp>Maybe it was inevitable. Those who grew up with punk are going to find some way to tie a bow on 30 years of wild and woolly music in an official sense, and that happened Tuesday night, when the Berkeley City Council took a moment at the start of its meeting to honor \u003ca href=\"http://www.924gilman.org/\" target=\"_blank\" rel=\"noopener\">924 Gilman\u003c/a>.\u003c/p>\n\u003cp>No, seriously. Check out this clip from the video the city makes available for public download. That’s Berkeley Mayor Jesse Arreguin speaking first:\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=Lp6Obyn20gg]\u003c/p>\n\u003cp>924 Gilman, you’ll recall, is the music collective that helped birth \u003ca href=\"http://www.greenday.com/\" target=\"_blank\" rel=\"noopener\">Green Day\u003c/a>, \u003ca href=\"http://rancidrancid.com/\" target=\"_blank\" rel=\"noopener\">Rancid\u003c/a> and a host of other East Bay punk bands, starting in the 1980s. At the time, its founders proclaimed it to be a safe, all-ages space without drugs, alcohol, or violence, and it’s managed to hang on to that credo through several generations of music lovers. Now 924 Gilman is a non-profit, and turning 30 — 30! — which means it’s middle-aged.\u003c/p>\n\u003cp>“It was pretty surreal,” says Jesse Townley, who became involved with 924 Gilman with his first band, \u003ca href=\"https://www.facebook.com/blatzpunk/\" target=\"_blank\" rel=\"noopener\">Blatz\u003c/a>. “This is the only time it’s happened to us in 30 years. It’s pretty great that we were able to gain recognition as a DIY underground space, run by a ragtag bunch of volunteers.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Townley (who notes he speaks for himself and not the collective) says 924 Gilman had a testy relationship with local police back in 1989/1990, leading him to get interested in zoning politics. Around that time, a zoning board member called the club a “festering sore,” and 924 Gilman’s supporters readily adopted that as their nickname.\u003c/p>\n\u003cp>Townley has since become a longtime, elected commissioner on the \u003ca href=\"http://www.ci.berkeley.ca.us/Rent_Stabilization_Board/Home/Meet/Contact_the_Board.aspx\" target=\"_blank\" rel=\"noopener\">Berkeley Rent Stabilization Board\u003c/a>, and he says relations with the police have improved.\u003c/p>\n\u003cp>As word of the city’s commendation spread on Townley’s \u003ca href=\"https://www.facebook.com/jesse.townley.3/posts/1599779710062720\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> page, one Mark Grody affectionately commented “Did anyone tag the lectern?!!!??”\u003c/p>\n\u003cfigure id=\"attachment_11336197\" class=\"wp-caption aligncenter\" style=\"max-width: 448px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11336197\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/gilmanrules-448x600.jpg\" alt=\"The rules posted at the entry to 924 Gilman.\" width=\"448\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gilmanrules-448x600.jpg 448w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gilmanrules-400x536.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gilmanrules.jpg 478w\" sizes=\"(max-width: 448px) 100vw, 448px\">\u003cfigcaption class=\"wp-caption-text\">The rules posted at the entry to 924 Gilman. \u003ccite>(Courtesy 924 Gilman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>All grown up\u003c/strong>\u003c/p>\n\u003cp>If anything, 924 Gilman’s greatest threat these days is \u003ca href=\"https://ww2.kqed.org/arts/2016/02/17/green-day-dookie-924-gilman/\" target=\"_blank\" rel=\"noopener\">gentrification\u003c/a>. There’s a Whole Foods two blocks away, and some of the club’s most stalwart supporters are raising money to buy it preemptively, even though the owner is also a longtime supporter of the club, and there are no imminent indications he’s considering any offers from condo developers yet.\u003c/p>\n\u003cp>In the meantime, the club continues to function as a safe space to appreciate punk music, for young and old alike. \u003ca href=\"http://offspring.com/\" target=\"_blank\" rel=\"noopener\">The Offspring\u003c/a> have announced they’re going to play their classic 1992 album \u003cem>Ignition\u003c/em> in its entirety at a \u003ca href=\"http://dyingscene.com/news/the-offspring-to-play-the-entire-ignition-album-at-benefit-for-924-gilman-new-album-to-be-announced-soon/\" target=\"_blank\" rel=\"noopener\">30th anniversary birthday bash\u003c/a> on April 13th.\u003c/p>\n\u003cp>Also, indie distributor \u003ca href=\"http://abramorama.com/\" target=\"_blank\" rel=\"noopener\">Abramorama \u003c/a>is \u003ca href=\"http://deadline.com/2017/03/turn-it-around-the-story-of-east-bay-punk-green-day-abramorama-movie-1202054886/\" target=\"_blank\" rel=\"noopener\">teaming up with Green Day\u003c/a> to distribute \u003ca href=\"http://eastbaypunk.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Turn It Around: The Story Of East Bay Punk\u003c/em>\u003c/a>, a documentary directed by Corbett Redford and executive produced by the band. Iggy Pop narrates, naturally.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The Berkeley City Council issued an official commendation for 924 Gilman, a punk music institution in the best sense of the word.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe it was inevitable. Those who grew up with punk are going to find some way to tie a bow on 30 years of wild and woolly music in an official sense, and that happened Tuesday night, when the Berkeley City Council took a moment at the start of its meeting to honor \u003ca href=\"http://www.924gilman.org/\" target=\"_blank\" rel=\"noopener\">924 Gilman\u003c/a>.\u003c/p>\n\u003cp>No, seriously. Check out this clip from the video the city makes available for public download. That’s Berkeley Mayor Jesse Arreguin speaking first:\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Lp6Obyn20gg'\n title='//www.youtube.com/embed/Lp6Obyn20gg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>924 Gilman, you’ll recall, is the music collective that helped birth \u003ca href=\"http://www.greenday.com/\" target=\"_blank\" rel=\"noopener\">Green Day\u003c/a>, \u003ca href=\"http://rancidrancid.com/\" target=\"_blank\" rel=\"noopener\">Rancid\u003c/a> and a host of other East Bay punk bands, starting in the 1980s. At the time, its founders proclaimed it to be a safe, all-ages space without drugs, alcohol, or violence, and it’s managed to hang on to that credo through several generations of music lovers. Now 924 Gilman is a non-profit, and turning 30 — 30! — which means it’s middle-aged.\u003c/p>\n\u003cp>“It was pretty surreal,” says Jesse Townley, who became involved with 924 Gilman with his first band, \u003ca href=\"https://www.facebook.com/blatzpunk/\" target=\"_blank\" rel=\"noopener\">Blatz\u003c/a>. “This is the only time it’s happened to us in 30 years. It’s pretty great that we were able to gain recognition as a DIY underground space, run by a ragtag bunch of volunteers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Townley (who notes he speaks for himself and not the collective) says 924 Gilman had a testy relationship with local police back in 1989/1990, leading him to get interested in zoning politics. Around that time, a zoning board member called the club a “festering sore,” and 924 Gilman’s supporters readily adopted that as their nickname.\u003c/p>\n\u003cp>Townley has since become a longtime, elected commissioner on the \u003ca href=\"http://www.ci.berkeley.ca.us/Rent_Stabilization_Board/Home/Meet/Contact_the_Board.aspx\" target=\"_blank\" rel=\"noopener\">Berkeley Rent Stabilization Board\u003c/a>, and he says relations with the police have improved.\u003c/p>\n\u003cp>As word of the city’s commendation spread on Townley’s \u003ca href=\"https://www.facebook.com/jesse.townley.3/posts/1599779710062720\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> page, one Mark Grody affectionately commented “Did anyone tag the lectern?!!!??”\u003c/p>\n\u003cfigure id=\"attachment_11336197\" class=\"wp-caption aligncenter\" style=\"max-width: 448px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11336197\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/gilmanrules-448x600.jpg\" alt=\"The rules posted at the entry to 924 Gilman.\" width=\"448\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gilmanrules-448x600.jpg 448w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gilmanrules-400x536.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gilmanrules.jpg 478w\" sizes=\"(max-width: 448px) 100vw, 448px\">\u003cfigcaption class=\"wp-caption-text\">The rules posted at the entry to 924 Gilman. \u003ccite>(Courtesy 924 Gilman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>All grown up\u003c/strong>\u003c/p>\n\u003cp>If anything, 924 Gilman’s greatest threat these days is \u003ca href=\"https://ww2.kqed.org/arts/2016/02/17/green-day-dookie-924-gilman/\" target=\"_blank\" rel=\"noopener\">gentrification\u003c/a>. There’s a Whole Foods two blocks away, and some of the club’s most stalwart supporters are raising money to buy it preemptively, even though the owner is also a longtime supporter of the club, and there are no imminent indications he’s considering any offers from condo developers yet.\u003c/p>\n\u003cp>In the meantime, the club continues to function as a safe space to appreciate punk music, for young and old alike. \u003ca href=\"http://offspring.com/\" target=\"_blank\" rel=\"noopener\">The Offspring\u003c/a> have announced they’re going to play their classic 1992 album \u003cem>Ignition\u003c/em> in its entirety at a \u003ca href=\"http://dyingscene.com/news/the-offspring-to-play-the-entire-ignition-album-at-benefit-for-924-gilman-new-album-to-be-announced-soon/\" target=\"_blank\" rel=\"noopener\">30th anniversary birthday bash\u003c/a> on April 13th.\u003c/p>\n\u003cp>Also, indie distributor \u003ca href=\"http://abramorama.com/\" target=\"_blank\" rel=\"noopener\">Abramorama \u003c/a>is \u003ca href=\"http://deadline.com/2017/03/turn-it-around-the-story-of-east-bay-punk-green-day-abramorama-movie-1202054886/\" target=\"_blank\" rel=\"noopener\">teaming up with Green Day\u003c/a> to distribute \u003ca href=\"http://eastbaypunk.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Turn It Around: The Story Of East Bay Punk\u003c/em>\u003c/a>, a documentary directed by Corbett Redford and executive produced by the band. Iggy Pop narrates, naturally.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "deaf-photographer-protests-trump-with-strong-words",
"title": "Deaf Photographer Protests Trump with Strong Words",
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"content": "\u003cp>Clare Cassidy is an artist, with a beef against President Donald Trump. “I was so pissed off,” Cassidy, who is based in Livermore, says. “I could see his oppression to everyone that he’s touched — people with different religions, people of color, deaf. Humanity has been tainted.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>When Cassidy signs about Trump her eyes blaze, and her gestures seem sharper, more emphatic. You really notice her gestures because Cassidy is deaf. She speaks using American Sign Language through an interpreter, in this case, her friend Shelley Lawrence.\u003c/p>\n\u003cfigure id=\"attachment_12977915\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12977915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FullSizeRender-800x495.jpg\" alt=\"Photographer Clare Cassidy signing the word roar\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Clare Cassidy signing the word “roar.” \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cassidy says that while she was initially in a state of despair after the presidential election, she soon realized she had a way to turn her anger into visual art.\u003c/p>\n\u003cp>“As a deaf person, I am attuned to the environment with no auditory distractions,” Cassidy says. “So I capture things with my eyes.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/315297929″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cstrong>Wearing your heart on your chest\u003c/strong>\u003c/p>\n\u003cp>Cassidy is a photographer, with a thriving business in \u003ca href=\"http://www.clarecassidyphotography.com/\" target=\"_blank\" rel=\"noopener\">family portraits\u003c/a>. But for this project, she’s recruited around 140 subjects so far — both friends and strangers — for an online series of black and white portraits she calls \u003cem>\u003ca href=\"http://www.roarfromtheheart.com/\" target=\"_blank\" rel=\"noopener\">Roar from the Heart\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>For the images, Cassidy asks people to spell out their feelings, literally, by writing them in marker on their chests. Then they pose for her camera.\u003c/p>\n\u003cfigure id=\"attachment_12978348\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12978348\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-800x455.jpg\" alt=\"An image from Clare Cassidy‘s photo series ‘Roar from the Heart‘\" width=\"800\" height=\"455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-1020x580.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-960x546.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821.jpg 1097w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An image from Clare Cassidy‘s photo series ‘Roar from the Heart‘ \u003ccite>(Photo: Clare Cassidy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you’re angry, when you’re happy, you feel it in your chest, Right? In your heart,” Cassidy says.\u003c/p>\n\u003cp>The subjects’ faces reflect their words: “Tenacious,” “appalled,” “fierce.” Two women in the same picture share the defiant phrase, “Don’t even try to touch our marriage.”\u003c/p>\n\u003cfigure id=\"attachment_12978347\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12978347\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-800x453.jpg\" alt=\"One of the images from Clare Cassidy‘s photo project ‘Roar from the Heart‘\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926.jpg 1097w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the images from Clare Cassidy‘s photo project ‘Roar from the Heart‘ \u003ccite>(Photo: Clare Cassidy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Besides her photography work, Cassidy teaches at the \u003ca href=\"http://www.csdeagles.com/\" target=\"_blank\" rel=\"noopener\">California School for the Deaf\u003c/a> in Fremont. She says she’s photographed herself twice for the series. In the first image, she wrote the word “enraged” on her chest. “I really wanted to choke someone,” Cassidy says.\u003c/p>\n\u003cp>By the time she captured herself on camera again, she had a different attitude. “I’m a fighter,” she says. “So the second photograph had the word ‘fighter.'”\u003c/p>\n\u003cfigure id=\"attachment_12977907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12977907\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Roar-Image-800x534.jpg\" alt=\"A self portrait by Clare Cassidy for ‘Roar from the Heart‘\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A self portrait by Clare Cassidy for ‘Roar from the Heart‘ \u003ccite>(Photo: Clare Cassidy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Personal animosity\u003c/strong>\u003c/p>\n\u003cp>For many disabled artists, the animosity toward Trump is personal. Cassidy she says people in her community haven’t forgiven Trump, while on the campaign trail, for mocking and mimicking \u003ca href=\"http://www.snopes.com/2016/07/28/donald-trump-criticized-for-mocking-disabled-reporter/\" target=\"_blank\" rel=\"noopener\">Serge Kovaleski\u003c/a>, a disabled reporter now working for \u003cem>The New York Times\u003c/em>.\u003c/p>\n\u003cp>Susan Henderson, executive director for the \u003ca href=\"https://dredf.org/\" target=\"_blank\" rel=\"noopener\">Disability Rights Education and Defense Fund (DREDF)\u003c/a> in Berkeley, says the disabled community’s feelings about the president extend beyond that incident. “President Trump is implementing policies that will hurt people with disabilities,” Henderson says. “We feel that what he was doing on the campaign was certainly foreshadowing that.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qc0an0Xz9bc\u003c/p>\n\u003cp>Henderson says the disability rights community worries about Trump’s efforts to repeal the Affordable Care Act. That puts at risk the Obama era requirement that insurance companies cover people, like the disabled, with preexisting conditions.\u003c/p>\n\u003cp>Henderson says her organization is also concerned about Trump’s choice of \u003ca href=\"http://www.npr.org/sections/ed/2017/02/03/513037533/how-betsy-devos-became-trump-s-least-popular-cabinet-pick\" target=\"_blank\" rel=\"noopener\">Education Secretary Betsy DeVos\u003c/a>, because she seems ignorant about the Individuals with Disabilities Enforcement Act (IDEA). IDEA is a law that seeks to protect the rights of disabled students, and DeVos says she wants to leave enforcement of the act up to the states.\u003c/p>\n\u003cp>“The reaction to DeVos was greater than anything I’d seen,” Henderson says. “We had so many phone calls and emails. It was a groundswell. It was the grassroots rising themselves up to talk about how inappropriate her appointment was.”\u003c/p>\n\u003cfigure id=\"attachment_12977909\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12977909\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-800x468.jpg\" alt=\"An image from Clare Cassidy‘s photo project ‘Roar from the Heart‘\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-1020x597.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-960x562.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-520x304.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An image from Clare Cassidy‘s photo project ‘Roar from the Heart‘ \u003ccite>(Photo: Clare Cassidy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Capturing passion with a camera\u003c/strong>\u003c/p>\n\u003cp>This level of passion can be clearly seen in the photos captured by Clare Cassidy in \u003cem>Roar from the Heart\u003c/em>. These days, the artist calls herself an “alarmist for humanity,” warning society about the dangers of the President’s policies concerning women, Muslims, people of color and the disabled.\u003c/p>\n\u003cp>So if Trump were to stumble on Cassidy’s online gallery, what would the artist like the president to feel?\u003c/p>\n\u003cp>“A little twitch in his heart,” Cassidy says. “I just hope it can start him understanding the bigger picture.”\u003c/p>\n\u003cfigure id=\"attachment_12977921\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12977921\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-800x495.jpg\" alt=\"Photographer Clare Cassidy signing the word empathy\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Clare Cassidy signing the word “empathy.” \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cassidy is still \u003ca href=\"http://www.roarfromtheheart.com/how.html\" target=\"_blank\" rel=\"noopener\">recruiting subjects for her photo project\u003c/a>. And she’s encouraging people to submit their own images with a word or phrase on their chest, shot against a dark background, with the hashtag #roarnow.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "For her ‘Roar from the Heart‘ photo series, Livermore-based artist Clare Cassidy asks people to spell out their feelings, literally, by writing them in marker on their chests.",
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"title": "Deaf Photographer Protests Trump with Strong Words | KQED",
"description": "For her ‘Roar from the Heart‘ photo series, Livermore-based artist Clare Cassidy asks people to spell out their feelings, literally, by writing them in marker on their chests.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Clare Cassidy is an artist, with a beef against President Donald Trump. “I was so pissed off,” Cassidy, who is based in Livermore, says. “I could see his oppression to everyone that he’s touched — people with different religions, people of color, deaf. Humanity has been tainted.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>When Cassidy signs about Trump her eyes blaze, and her gestures seem sharper, more emphatic. You really notice her gestures because Cassidy is deaf. She speaks using American Sign Language through an interpreter, in this case, her friend Shelley Lawrence.\u003c/p>\n\u003cfigure id=\"attachment_12977915\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12977915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FullSizeRender-800x495.jpg\" alt=\"Photographer Clare Cassidy signing the word roar\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Clare Cassidy signing the word “roar.” \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cassidy says that while she was initially in a state of despair after the presidential election, she soon realized she had a way to turn her anger into visual art.\u003c/p>\n\u003cp>“As a deaf person, I am attuned to the environment with no auditory distractions,” Cassidy says. “So I capture things with my eyes.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/315297929″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/315297929″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wearing your heart on your chest\u003c/strong>\u003c/p>\n\u003cp>Cassidy is a photographer, with a thriving business in \u003ca href=\"http://www.clarecassidyphotography.com/\" target=\"_blank\" rel=\"noopener\">family portraits\u003c/a>. But for this project, she’s recruited around 140 subjects so far — both friends and strangers — for an online series of black and white portraits she calls \u003cem>\u003ca href=\"http://www.roarfromtheheart.com/\" target=\"_blank\" rel=\"noopener\">Roar from the Heart\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>For the images, Cassidy asks people to spell out their feelings, literally, by writing them in marker on their chests. Then they pose for her camera.\u003c/p>\n\u003cfigure id=\"attachment_12978348\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12978348\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-800x455.jpg\" alt=\"An image from Clare Cassidy‘s photo series ‘Roar from the Heart‘\" width=\"800\" height=\"455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-1020x580.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-960x546.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821.jpg 1097w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An image from Clare Cassidy‘s photo series ‘Roar from the Heart‘ \u003ccite>(Photo: Clare Cassidy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you’re angry, when you’re happy, you feel it in your chest, Right? In your heart,” Cassidy says.\u003c/p>\n\u003cp>The subjects’ faces reflect their words: “Tenacious,” “appalled,” “fierce.” Two women in the same picture share the defiant phrase, “Don’t even try to touch our marriage.”\u003c/p>\n\u003cfigure id=\"attachment_12978347\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12978347\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-800x453.jpg\" alt=\"One of the images from Clare Cassidy‘s photo project ‘Roar from the Heart‘\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926.jpg 1097w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the images from Clare Cassidy‘s photo project ‘Roar from the Heart‘ \u003ccite>(Photo: Clare Cassidy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Besides her photography work, Cassidy teaches at the \u003ca href=\"http://www.csdeagles.com/\" target=\"_blank\" rel=\"noopener\">California School for the Deaf\u003c/a> in Fremont. She says she’s photographed herself twice for the series. In the first image, she wrote the word “enraged” on her chest. “I really wanted to choke someone,” Cassidy says.\u003c/p>\n\u003cp>By the time she captured herself on camera again, she had a different attitude. “I’m a fighter,” she says. “So the second photograph had the word ‘fighter.'”\u003c/p>\n\u003cfigure id=\"attachment_12977907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12977907\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Roar-Image-800x534.jpg\" alt=\"A self portrait by Clare Cassidy for ‘Roar from the Heart‘\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A self portrait by Clare Cassidy for ‘Roar from the Heart‘ \u003ccite>(Photo: Clare Cassidy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Personal animosity\u003c/strong>\u003c/p>\n\u003cp>For many disabled artists, the animosity toward Trump is personal. Cassidy she says people in her community haven’t forgiven Trump, while on the campaign trail, for mocking and mimicking \u003ca href=\"http://www.snopes.com/2016/07/28/donald-trump-criticized-for-mocking-disabled-reporter/\" target=\"_blank\" rel=\"noopener\">Serge Kovaleski\u003c/a>, a disabled reporter now working for \u003cem>The New York Times\u003c/em>.\u003c/p>\n\u003cp>Susan Henderson, executive director for the \u003ca href=\"https://dredf.org/\" target=\"_blank\" rel=\"noopener\">Disability Rights Education and Defense Fund (DREDF)\u003c/a> in Berkeley, says the disabled community’s feelings about the president extend beyond that incident. “President Trump is implementing policies that will hurt people with disabilities,” Henderson says. “We feel that what he was doing on the campaign was certainly foreshadowing that.”\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/qc0an0Xz9bc'\n title='//www.youtube.com/embed/qc0an0Xz9bc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Henderson says the disability rights community worries about Trump’s efforts to repeal the Affordable Care Act. That puts at risk the Obama era requirement that insurance companies cover people, like the disabled, with preexisting conditions.\u003c/p>\n\u003cp>Henderson says her organization is also concerned about Trump’s choice of \u003ca href=\"http://www.npr.org/sections/ed/2017/02/03/513037533/how-betsy-devos-became-trump-s-least-popular-cabinet-pick\" target=\"_blank\" rel=\"noopener\">Education Secretary Betsy DeVos\u003c/a>, because she seems ignorant about the Individuals with Disabilities Enforcement Act (IDEA). IDEA is a law that seeks to protect the rights of disabled students, and DeVos says she wants to leave enforcement of the act up to the states.\u003c/p>\n\u003cp>“The reaction to DeVos was greater than anything I’d seen,” Henderson says. “We had so many phone calls and emails. It was a groundswell. It was the grassroots rising themselves up to talk about how inappropriate her appointment was.”\u003c/p>\n\u003cfigure id=\"attachment_12977909\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12977909\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-800x468.jpg\" alt=\"An image from Clare Cassidy‘s photo project ‘Roar from the Heart‘\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-1020x597.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-960x562.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-520x304.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An image from Clare Cassidy‘s photo project ‘Roar from the Heart‘ \u003ccite>(Photo: Clare Cassidy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Capturing passion with a camera\u003c/strong>\u003c/p>\n\u003cp>This level of passion can be clearly seen in the photos captured by Clare Cassidy in \u003cem>Roar from the Heart\u003c/em>. These days, the artist calls herself an “alarmist for humanity,” warning society about the dangers of the President’s policies concerning women, Muslims, people of color and the disabled.\u003c/p>\n\u003cp>So if Trump were to stumble on Cassidy’s online gallery, what would the artist like the president to feel?\u003c/p>\n\u003cp>“A little twitch in his heart,” Cassidy says. “I just hope it can start him understanding the bigger picture.”\u003c/p>\n\u003cfigure id=\"attachment_12977921\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12977921\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-800x495.jpg\" alt=\"Photographer Clare Cassidy signing the word empathy\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Clare Cassidy signing the word “empathy.” \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cassidy is still \u003ca href=\"http://www.roarfromtheheart.com/how.html\" target=\"_blank\" rel=\"noopener\">recruiting subjects for her photo project\u003c/a>. And she’s encouraging people to submit their own images with a word or phrase on their chest, shot against a dark background, with the hashtag #roarnow.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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