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"content": "\u003cp>[contextly_sidebar id=\"PbSqhhEFnfBfRRYIGfKyPEdDpltOHrDm\"]After brutal breakups, I'm a firm believer in hiding all signs that an ex exists. Click away from their social media pages; put down the magnifying glass. No good can come of it. But sometimes you just can't help yourself.\u003c/p>\n\u003cp>Cut to me staring at photos of \u003ca href=\"https://twitter.com/Phil_Lewis_/status/826660267341783044?ref_src=twsrc%5Etfw\">a backwards baseball cap-wearing Barack Obama\u003c/a> looking chill AF, and mumbling \"I wish I knew how to quit you\" to myself. He's moving on -- and I don't blame him -- but it still hurts.\u003c/p>\n\u003cp>As if that visual wasn't painful enough, now there's video of him kite-surfing with Richard Branson. I didn't even know he liked aquatic sports, or was friends with Branson, or had such toned, hairless thighs. Did I ever know him at all?\u003c/p>\n\u003cp>If you are a masochist like I am, check out the video for yourself:\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=33&v=Vqhw8kxVd2o\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/XLNB/status/828989019195191297\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you need me, I'll be crying all over my locket portrait of Barry, while singing \"I can't liiiiive, if living is without youuuu.\"\u003c/p>\n\n",
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"content": "\u003cp>President Trump’s \u003ca href=\"http://www.npr.org/2017/01/31/512439121/trumps-executive-order-on-immigration-annotated\" target=\"_blank\" rel=\"noopener\">executive order on immigration\u003c/a> restricting travel to the U.S. for travelers from seven Muslim-majority countries led to a firestorm of criticism, lawsuits and injunctions by five federal judges staying the order. But questions remain about who can and can’t come to this country. Among those caught in the confusion are a number of prominent musicians, whose personal lives — and livelihoods — have been put on hold.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/106059336/omar-souleyman\" target=\"_blank\" rel=\"noopener\">Omar Souleyman\u003c/a> is a Syrian singer who in recent years has collaborated with \u003ca href=\"http://www.npr.org/artists/15191158/bjork\" target=\"_blank\" rel=\"noopener\">Björk\u003c/a> and performed at the Nobel Peace Prize concert. Five years ago, he moved to the southeast of Turkey to avoid the war at home in Syria.\u003c/p>\n\u003cp>Souleyman has a new album on the way, and he was planning a U.S. tour to promote it. He’s toured the U.S. 16 times before. This time around, says his manager, Mina Tosti, they were planning tour dates in New York, Detroit, Los Angeles and Arizona, and were in the thick of planning an appearance at the SXSW festival in March as well.\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\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" 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>The visa paperwork for this trip was already well underway when the executive order was announced. When Tosti visited the homepage of the U.S. Embassy in Ankara last week, she saw this notice: “‘If you already have an appointment scheduled,'” she reads aloud, “‘please DO NOT ATTEND.’ Capital letters.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She says there’s an unspoken message behind those words: “You are not welcome. Do not come near us.”\u003c/p>\n\u003cp>Now that the order is in limbo, Tosti is not sure what to do. Neither is immigration lawyer Matthew Covey, who heads a U.S. nonprofit called \u003ca href=\"http://www.tamizdat.org/\" target=\"_blank\" rel=\"noopener\">Tamizdat\u003c/a> that advocates for foreign artists and helps facilitate their visa applications.\u003c/p>\n\u003cp>“For the arts, it’s really not a resolution at all,” Covey asserts. “Because at least for performing arts programmers, the temporary restraining order is just that. We don’t know when or if it will disappear, and we’ll go back to the ban. So if you’re running a performing arts organization here in the U.S., and you’re trying to figure out who to book for June, July, even for March — there are very few presenters who are going to risk contracting with an artist from one of the seven countries now for any point in the foreseeable future.”\u003c/p>\n\u003cp>Among those left hanging are some of the world’s top musicians. \u003ca href=\"http://www.npr.org/artists/149093388/kayhan-kalhor\" target=\"_blank\" rel=\"noopener\">Kayhan Kalhor\u003c/a> is a virtuoso of the Persian kamancheh, a bowed stringed instrument. Kalhor is a four-time Grammy Award nominee and a longtime collaborator of cellist \u003ca href=\"http://www.npr.org/artists/15995808/yo-yo-ma\" target=\"_blank\" rel=\"noopener\">Yo-Yo Ma\u003c/a>.\u003c/p>\n\u003cp>Kalhor was born and raised in Iran, but he is a Canadian citizen — and he lives in California. Right now, he’s on tour in Iran. Isabel Soffer was hoping to help him tour the U.S. in May. She’s an American who produces concerts and festivals across the country and works extensively with artists from the Middle East.\u003c/p>\n\u003cp>“So many of these incredible artists from all over the world are doing this dance,” Soffer observes, “because so many of them have complex lives based around mobility. Where do they belong? Where do they live? What passports do they have? How do they function?”\u003c/p>\n\u003cp>\u003ca href=\"http://mahdyar.com/\" target=\"_blank\" rel=\"noopener\">Mahdyar Aghajani\u003c/a> is an Iranian producer and composer best-known in this country for his score for the film \u003ca href=\"https://www.youtube.com/watch?v=5gLq3E4pRuU\" target=\"_blank\" rel=\"noopener\">“No One Knows About Persian Cats”\u003c/a> – a “\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=125993739\" target=\"_blank\" rel=\"noopener\">near-documentary\u003c/a>” about Iran’s banned underground music scene.\u003c/p>\n\u003cp>“Until two years ago,” Aghajani says, “we were considered satanists.”\u003c/p>\n\u003cp>He’s now based in Paris. Speaking via Skype, he says he still manages a hip-hop collective called \u003ca href=\"http://moltafet.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Moltafet\u003c/a> back home. “They cannot work in Iran,” he says, “because the government is against them, so they’re illegal. They cannot officially monetize their music.”\u003c/p>\n\u003cp>So Aghajani was hoping to bring Moltafet to the U.S., to reach both the Iranian diaspora here and mainstream hip-hop fans. “And we had so many states [as] part of the tour,” Aghajani says, “and now this thing has put everything on hold, basically, because half our plan is now nothing.”\u003c/p>\n\u003cp>Aghajani says that as an Iranian artist, he’s already had to figure out how to knock down official hurdles. And he thinks that what he and his friends have gone through can be a model for others.\u003c/p>\n\u003cp>“The borders, they cannot stop us,” Aghajani says. “Right now, with all this technology, we don’t have to physically be there to do a show. I mean, you’ve got projection to hologram to augmented reality, virtual reality, all these streaming services. There’s so many technologies right now that we have access to, that I think the artists should be creative, like they shouldn’t be scared or hopeless or anything like that. Imagine if I had this mentality — we had Ahmadinejad. I know Trump is very bad and everything, but Ahmadinejad was way crazier, I think!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For now, attorney Matthew Covey of the organization Tamizdat is offering to prepare and file visa applications, pro bono, for artists from any of the seven countries named in the executive order, no matter what happens.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/em>\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Even+With+Travel+Ban+Blocked%2C+Artists+Are+Still+Left+Hanging&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>President Trump’s \u003ca href=\"http://www.npr.org/2017/01/31/512439121/trumps-executive-order-on-immigration-annotated\" target=\"_blank\" rel=\"noopener\">executive order on immigration\u003c/a> restricting travel to the U.S. for travelers from seven Muslim-majority countries led to a firestorm of criticism, lawsuits and injunctions by five federal judges staying the order. But questions remain about who can and can’t come to this country. Among those caught in the confusion are a number of prominent musicians, whose personal lives — and livelihoods — have been put on hold.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/106059336/omar-souleyman\" target=\"_blank\" rel=\"noopener\">Omar Souleyman\u003c/a> is a Syrian singer who in recent years has collaborated with \u003ca href=\"http://www.npr.org/artists/15191158/bjork\" target=\"_blank\" rel=\"noopener\">Björk\u003c/a> and performed at the Nobel Peace Prize concert. Five years ago, he moved to the southeast of Turkey to avoid the war at home in Syria.\u003c/p>\n\u003cp>Souleyman has a new album on the way, and he was planning a U.S. tour to promote it. He’s toured the U.S. 16 times before. This time around, says his manager, Mina Tosti, they were planning tour dates in New York, Detroit, Los Angeles and Arizona, and were in the thick of planning an appearance at the SXSW festival in March as well.\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\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" 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>The visa paperwork for this trip was already well underway when the executive order was announced. When Tosti visited the homepage of the U.S. Embassy in Ankara last week, she saw this notice: “‘If you already have an appointment scheduled,'” she reads aloud, “‘please DO NOT ATTEND.’ Capital letters.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She says there’s an unspoken message behind those words: “You are not welcome. Do not come near us.”\u003c/p>\n\u003cp>Now that the order is in limbo, Tosti is not sure what to do. Neither is immigration lawyer Matthew Covey, who heads a U.S. nonprofit called \u003ca href=\"http://www.tamizdat.org/\" target=\"_blank\" rel=\"noopener\">Tamizdat\u003c/a> that advocates for foreign artists and helps facilitate their visa applications.\u003c/p>\n\u003cp>“For the arts, it’s really not a resolution at all,” Covey asserts. “Because at least for performing arts programmers, the temporary restraining order is just that. We don’t know when or if it will disappear, and we’ll go back to the ban. So if you’re running a performing arts organization here in the U.S., and you’re trying to figure out who to book for June, July, even for March — there are very few presenters who are going to risk contracting with an artist from one of the seven countries now for any point in the foreseeable future.”\u003c/p>\n\u003cp>Among those left hanging are some of the world’s top musicians. \u003ca href=\"http://www.npr.org/artists/149093388/kayhan-kalhor\" target=\"_blank\" rel=\"noopener\">Kayhan Kalhor\u003c/a> is a virtuoso of the Persian kamancheh, a bowed stringed instrument. Kalhor is a four-time Grammy Award nominee and a longtime collaborator of cellist \u003ca href=\"http://www.npr.org/artists/15995808/yo-yo-ma\" target=\"_blank\" rel=\"noopener\">Yo-Yo Ma\u003c/a>.\u003c/p>\n\u003cp>Kalhor was born and raised in Iran, but he is a Canadian citizen — and he lives in California. Right now, he’s on tour in Iran. Isabel Soffer was hoping to help him tour the U.S. in May. She’s an American who produces concerts and festivals across the country and works extensively with artists from the Middle East.\u003c/p>\n\u003cp>“So many of these incredible artists from all over the world are doing this dance,” Soffer observes, “because so many of them have complex lives based around mobility. Where do they belong? Where do they live? What passports do they have? How do they function?”\u003c/p>\n\u003cp>\u003ca href=\"http://mahdyar.com/\" target=\"_blank\" rel=\"noopener\">Mahdyar Aghajani\u003c/a> is an Iranian producer and composer best-known in this country for his score for the film \u003ca href=\"https://www.youtube.com/watch?v=5gLq3E4pRuU\" target=\"_blank\" rel=\"noopener\">“No One Knows About Persian Cats”\u003c/a> – a “\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=125993739\" target=\"_blank\" rel=\"noopener\">near-documentary\u003c/a>” about Iran’s banned underground music scene.\u003c/p>\n\u003cp>“Until two years ago,” Aghajani says, “we were considered satanists.”\u003c/p>\n\u003cp>He’s now based in Paris. Speaking via Skype, he says he still manages a hip-hop collective called \u003ca href=\"http://moltafet.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Moltafet\u003c/a> back home. “They cannot work in Iran,” he says, “because the government is against them, so they’re illegal. They cannot officially monetize their music.”\u003c/p>\n\u003cp>So Aghajani was hoping to bring Moltafet to the U.S., to reach both the Iranian diaspora here and mainstream hip-hop fans. “And we had so many states [as] part of the tour,” Aghajani says, “and now this thing has put everything on hold, basically, because half our plan is now nothing.”\u003c/p>\n\u003cp>Aghajani says that as an Iranian artist, he’s already had to figure out how to knock down official hurdles. And he thinks that what he and his friends have gone through can be a model for others.\u003c/p>\n\u003cp>“The borders, they cannot stop us,” Aghajani says. “Right now, with all this technology, we don’t have to physically be there to do a show. I mean, you’ve got projection to hologram to augmented reality, virtual reality, all these streaming services. There’s so many technologies right now that we have access to, that I think the artists should be creative, like they shouldn’t be scared or hopeless or anything like that. Imagine if I had this mentality — we had Ahmadinejad. I know Trump is very bad and everything, but Ahmadinejad was way crazier, I think!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For now, attorney Matthew Covey of the organization Tamizdat is offering to prepare and file visa applications, pro bono, for artists from any of the seven countries named in the executive order, no matter what happens.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/em>\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Even+With+Travel+Ban+Blocked%2C+Artists+Are+Still+Left+Hanging&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Viet Thanh Nguyen on His Timely Collection, ’The Refugees'",
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"content": "\u003cp>\u003cem>Viet Thanh Nguyen is an award-winning writer who grew up in San Jose after immigrating to the United States with his family in 1975 as a refugee fleeing the Communist-controlled country. He is a professor at the University of Southern California and the author of the 2016 Pulitzer Prize-winning novel, \u003c/em>\u003ca href=\"https://ww2.kqed.org/forum/2016/05/04/san-jose-native-viet-thanh-nguyen-wins-pulitzer-prize-for-the-sympathizer/\">\"The Sympathizer\"\u003c/a>. \u003cem>His newest book is a collection of short stories called \u003c/em>\u003ca href=\"http://vietnguyen.info/2016/refugee-pain-review-refugees\">\"The Refugees.\"\u003c/a>\u003c/p>\n\u003cp>\u003cem>We spoke with Nguyen about his decades thinking about, writing about and living the life of a refugee.\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/306030181\" 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>Can you start by sharing your memories of coming to the U.S. as a refugee?\u003c/strong>\u003c/p>\n\u003cp>I came to the United States in 1975 when I was four years old, and I came as a refugee.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The small town we were living in was the first town overrun by the final communist invasion. My father was actually in Saigon on business, and my mother had to make a life and death decision about what to do. So she decided to flee.\u003c/p>\n\u003cp>My brother and I and my mother walked to the nearest port town 184 kilometers away. We were able to get on board a boat or barge and make it to Saigon, find my dad, and then a month later, the communists took Saigon as well.\u003c/p>\n\u003cp>So we had to repeat the experience, trying to get out by the airport, trying to get out by whatever means necessary. Finally, we got out on another barge or boat picked up by the U.S. Navy and were taken to Guam and then we flew from there to \u003ca href=\"http://ftig.png.pa.gov/Pages/default.aspx\" target=\"_blank\">Fort Indiantown Gap\u003c/a>, in Pennsylvania, which is where my memory really begins.\u003c/p>\n\u003cp>\u003cstrong>So how much of that journey is etched in your memory and how much of it comes from what other people have told you?\u003c/strong>\u003c/p>\n\u003cp>I remember being taken away from my parents at 4 years old and sent to live with a white sponsor family while (the rest of my family) were sent to live with another family. That is a part of the refugee experience -- to be displaced and to have your lives suddenly at the mercy of other people's decisions.\u003c/p>\n\u003cp>\u003cstrong>You've said that your family didn't talk much about their refugee experience, or if they did it was through silences. Do you think that that's part of the reason why those stories don't end up getting told? Because it's painful for people to relive those experiences?\u003c/strong>\u003c/p>\n\u003cp>That's partially true. I mean I met many second generation Vietnamese-Americans who are not aware of what their parents have gone through. My own students for example, say \"Well I think my parents came on a boat.\" And they don't know and because their parents don't want to talk about it and I understand why. Because someone asks you what was it like and they expect an answer in a couple of minutes and you're supposed to try to convey a lifetime in that couple of minutes to even make sense out of what happened to you. So there's a reluctance to talk. But I think even when people do talk -- and there are people who do talk in Vietnamese about their stories -- the people who cannot speak Vietnamese can't hear it or don't want to hear it.\u003c/p>\n\u003cp>\u003cstrong>You've talked about people sharing their experiences within the community in Vietnamese, and you've also said that you know you're not writing for a white audience necessarily with your work. How do share those experiences in a way that creates empathy in a climate where some people have the notion that refugees are dangerous?\u003c/strong>\u003c/p>\n\u003cp>Well I think all novelists, all writers and artists work to create empathy and that's the basic material for what it is that we do. I don't think my work is any different. I mean the problem is not in getting people to read the books or watch the movies. The problem is the distribution of information. And the problem is that either some people live in places where they don't get this information or they don't want to get this information. If somebody picks up my book I've already won half the battle. But I think the real challenge is to get people to pick up the book.\u003c/p>\n\u003cp>\u003cstrong>Your new book \"The Refugees\" is a collection of stories that you wrote over two decades. You have a young woman who sees the ghost of her brother. You have this dynamic between two women of the same age within the Vietnamese community in San Jose. They're all stories of Vietnamese refugees, but told from different perspectives.\u003c/strong>\u003c/p>\n\u003cp>I think there is a great degree of emotional similarity across these different kinds of experiences. And certainly that was what I wanted to try to do with the book, to talk about people whose stories I knew very intimately and whose stories I also knew that most Americans knew nothing about. \u003c/p>\n\u003caside class=\"pullquote alignright\">'We don’t see refugees as courageous. We see refugees as as pitiful. And I think I hope that my own book and the stories of other refugees work to make it clear that they’re not pitiful — that they’re only pitiful because of their circumstances.'\u003c/aside>\n\u003cp>So the primary challenge of the of the collection was simply to convey the humanity of these people and their complexities and the nuances. So these stories range the spectrum from older people to younger people, gay and straight men and women and military and so on, to try to convey the fact that we cannot stereotype or flatten out or homogenize even a national or an ethnic population and the diversity of these people is exactly the diversity of other communities.\u003c/p>\n\u003cp>\u003cstrong>What can you tell us about American public opinion at the time that Vietnamese refugees were coming to the U.S. in the '70s and '80s?\u003c/strong>\u003c/p>\n\u003cp>Well, the U.S. just ended a very terrible war with the communists in Vietnam. But I think many Americans saw all Vietnamese as being rather foreign whether they were on the American side or not on the American side. So in 1975 when Congress was admitting Vietnamese refugees into the country, opinion polls show that the majority of Americans didn't want to accept Vietnamese or other Southeast Asian refugees.\u003c/p>\n\u003cp>\u003cstrong>I notice in your work that you make this distinction between immigrants and refugees. Why is that?\u003c/strong>\u003c/p>\n\u003cp>I think it's really important to assert that I am a refugee rather than an immigrant because when my book came out, when \u003ca href=\"https://www.nytimes.com/2015/04/05/books/review/the-sympathizer-by-viet-thanh-nguyen.html?_r=0\" target=\"_blank\">\"The Sympathizer\" \u003c/a>came out so many of the reviews were saying this is an immigrant novel. I understood why they were saying that because the idea of the immigrant experience is absolutely central to the American story or the American mythology. Even though at periodic points in American history the United States has been actually rather anti-immigrant. Nevertheless the idea of the American dream is that we welcome immigrants to these shores. And so the easiest way to make sense out of somebody like me who was born elsewhere is to call me an immigrant which implicitly turns me into a success story.\u003c/p>\n\u003cp>Refugees are much more threatening than immigrants. Immigrants voluntarily come to our country. They've chosen our country. Refugees have been forced out by circumstances and they are the unwanted in the countries that they come from. And that is one of the reasons why I think Americans and other people from other countries have a hard time dealing with refugees because of the stigma that they carry of being unwanted.\u003c/p>\n\u003cp>\u003cstrong>On the other hand you have some Americans who feel great compassion for refugees because they're 'legitimate' migrants fleeing war, versus migrants fleeing economic or environmental devastation.\u003c/strong>\u003c/p>\n\u003cp>So there's always been that tension within the United States and in other countries obviously. But so far as the question of whether refugees are more desirable than immigrants for some people I think that's absolutely true.\u003c/p>\n\u003cp>\u003cstrong>You said this is the stuff of fiction what's happening right now with refugee policy. Is there anything that you feel when you look at these experiences of Syrians and people from the Middle East that resonates with the experience of the Vietnamese community back when you came?\u003c/strong>\u003c/p>\n\u003cp>One of the things that I did in doing research for my nonfiction work was to visit a refugee camp in Indonesia. So the Vietnamese refugees who were fleeing -- the so-called \"boat people\" -- were trying to make it to neighboring South-East Asian countries like Indonesia. And it was a very horrible experience you know. And some estimates are that half of the people who went out to sea didn't survive. They just disappeared somewhere. And at this refugee camp there there was a cemetery and there are gravestones marking people who had died when they were 80 and marking people who had died when they were zero or three months. And I think then that we do share something in common with the Syrians for example who were trying to flee their country by boat. The terror, the fear. The odds being stacked completely stacked against you. There's a line in one of my stories I think where I say, you know to be a refugee is to be enormously courageous because you go out on that boat to the open sea knowing that the likelihood is that you're going to die.\u003c/p>\n\u003cp>But we don't see refugees as courageous. We see refugees as as pitiful. And I think I hope that my own book and the stories of other refugees work to make it clear that they're not pitiful -- that they're only pitiful because of their circumstances. But it takes enormous initiative as well as fear to take your life into your own hands and to risk it in that fashion and that is something that the Vietnamese and the Syrians shared.\u003c/p>\n\u003cp>\u003cstrong>How do you think your experience growing up as a refugee in California may have been different from the experience of refugees who grew up in other parts of the country?\u003c/strong>\u003c/p>\n\u003cp>I think that the refugees who ended up in California either because they were put there by government policy or because they voluntarily migrated thought of themselves as lucky because of the weather, because of the diversity, because of the economic and social welfare opportunities.\u003c/p>\n\u003cp>We also had the advantage of living in strong Vietnamese-American centers of population. Whereas if you were in some city in Kansas there might've been 100 or 200 Vietnamese people. That made a big difference. You know you didn't grow up feeling alone. You had all of the typical problems of being a refugee but at least you had the community with its churches, its stores its social services, its language. And that helped people to create a sense of home a displaced home not in the old country, but still, a Little Saigon or something like it.\u003c/p>\n\u003cp>\u003cstrong>So many of your stories touch on dislocation, a sense of not belonging. Do you still feel like a refugee?\u003c/strong>\u003c/p>\n\u003cp>I still feel like I am a refugee although I'm not certain whether I'm romanticizing myself. Obviously I am not a refugee in any material sense. I have made the transition as one colleague jokingly says from 'being refugee to bourgeoisie.' And no one would ever mistake me for a refugee unless I said it. But I feel like I've been shaped by my refugee experience and psychologically part of me is a refugee. I don't feel completely at home. I feel like I'm still somewhat of an outsider. And again maybe I cultivate that because being an outsider helps me to be a writer.\u003c/p>\n\u003cp>\u003cstrong>You've just come off of the great success of \"The Sympathizer\" and now you're moving into this collection of short stories. What's that transition been like? \u003c/strong>\u003c/p>\n\u003cp>Well, it's an unreal experience because it took 20 years from the first words of this book to seeing it published. And I think in the last few years I'd resigned myself to the possibility that the book was never going to be published and I had actually gotten to the psychological mindset of thinking. \"Well I didn't waste 20 years of my life. I used those 20 years to learn how to be a writer.\" It's a feeling of relief more than anything else, seeing it out there.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>An excerpt from \"The Refugees\":\u003c/p>\n\u003cblockquote>\u003cp>I liked school even summer school. It was like being on vacation from home. And at 3 o'clock I was always a little disappointed to walk the four blocks to the grocery store. My parents owned the new Saigon market where English was hardly ever spoken and Vietnamese was loud. My mother and father rarely left their posts. The cash registers flanking the entrance of a new Saigon. Customers always crowded the market. One of the few places in San Jose were the Vietnamese could buy the staples and spices of home. People haggled endlessly with my mother over everything beginning with a rock sugar which I pretended was yellow kryptonite and ending with the varieties of meat in the freezer from pork chops and catfish with a glint of light in their eyes to shoestring s of chewy tripe and packets of chicken hearts small and tender as button mushrooms. Can we just sell TV dinners, I asked once.\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Viet Thanh Nguyen is an award-winning writer who grew up in San Jose after immigrating to the United States with his family in 1975 as a refugee fleeing the Communist-controlled country. He is a professor at the University of Southern California and the author of the 2016 Pulitzer Prize-winning novel, \u003c/em>\u003ca href=\"https://ww2.kqed.org/forum/2016/05/04/san-jose-native-viet-thanh-nguyen-wins-pulitzer-prize-for-the-sympathizer/\">\"The Sympathizer\"\u003c/a>. \u003cem>His newest book is a collection of short stories called \u003c/em>\u003ca href=\"http://vietnguyen.info/2016/refugee-pain-review-refugees\">\"The Refugees.\"\u003c/a>\u003c/p>\n\u003cp>\u003cem>We spoke with Nguyen about his decades thinking about, writing about and living the life of a refugee.\u003c/em>\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/306030181&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/306030181'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Can you start by sharing your memories of coming to the U.S. as a refugee?\u003c/strong>\u003c/p>\n\u003cp>I came to the United States in 1975 when I was four years old, and I came as a refugee.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The small town we were living in was the first town overrun by the final communist invasion. My father was actually in Saigon on business, and my mother had to make a life and death decision about what to do. So she decided to flee.\u003c/p>\n\u003cp>My brother and I and my mother walked to the nearest port town 184 kilometers away. We were able to get on board a boat or barge and make it to Saigon, find my dad, and then a month later, the communists took Saigon as well.\u003c/p>\n\u003cp>So we had to repeat the experience, trying to get out by the airport, trying to get out by whatever means necessary. Finally, we got out on another barge or boat picked up by the U.S. Navy and were taken to Guam and then we flew from there to \u003ca href=\"http://ftig.png.pa.gov/Pages/default.aspx\" target=\"_blank\">Fort Indiantown Gap\u003c/a>, in Pennsylvania, which is where my memory really begins.\u003c/p>\n\u003cp>\u003cstrong>So how much of that journey is etched in your memory and how much of it comes from what other people have told you?\u003c/strong>\u003c/p>\n\u003cp>I remember being taken away from my parents at 4 years old and sent to live with a white sponsor family while (the rest of my family) were sent to live with another family. That is a part of the refugee experience -- to be displaced and to have your lives suddenly at the mercy of other people's decisions.\u003c/p>\n\u003cp>\u003cstrong>You've said that your family didn't talk much about their refugee experience, or if they did it was through silences. Do you think that that's part of the reason why those stories don't end up getting told? Because it's painful for people to relive those experiences?\u003c/strong>\u003c/p>\n\u003cp>That's partially true. I mean I met many second generation Vietnamese-Americans who are not aware of what their parents have gone through. My own students for example, say \"Well I think my parents came on a boat.\" And they don't know and because their parents don't want to talk about it and I understand why. Because someone asks you what was it like and they expect an answer in a couple of minutes and you're supposed to try to convey a lifetime in that couple of minutes to even make sense out of what happened to you. So there's a reluctance to talk. But I think even when people do talk -- and there are people who do talk in Vietnamese about their stories -- the people who cannot speak Vietnamese can't hear it or don't want to hear it.\u003c/p>\n\u003cp>\u003cstrong>You've talked about people sharing their experiences within the community in Vietnamese, and you've also said that you know you're not writing for a white audience necessarily with your work. How do share those experiences in a way that creates empathy in a climate where some people have the notion that refugees are dangerous?\u003c/strong>\u003c/p>\n\u003cp>Well I think all novelists, all writers and artists work to create empathy and that's the basic material for what it is that we do. I don't think my work is any different. I mean the problem is not in getting people to read the books or watch the movies. The problem is the distribution of information. And the problem is that either some people live in places where they don't get this information or they don't want to get this information. If somebody picks up my book I've already won half the battle. But I think the real challenge is to get people to pick up the book.\u003c/p>\n\u003cp>\u003cstrong>Your new book \"The Refugees\" is a collection of stories that you wrote over two decades. You have a young woman who sees the ghost of her brother. You have this dynamic between two women of the same age within the Vietnamese community in San Jose. They're all stories of Vietnamese refugees, but told from different perspectives.\u003c/strong>\u003c/p>\n\u003cp>I think there is a great degree of emotional similarity across these different kinds of experiences. And certainly that was what I wanted to try to do with the book, to talk about people whose stories I knew very intimately and whose stories I also knew that most Americans knew nothing about. \u003c/p>\n\u003caside class=\"pullquote alignright\">'We don’t see refugees as courageous. We see refugees as as pitiful. And I think I hope that my own book and the stories of other refugees work to make it clear that they’re not pitiful — that they’re only pitiful because of their circumstances.'\u003c/aside>\n\u003cp>So the primary challenge of the of the collection was simply to convey the humanity of these people and their complexities and the nuances. So these stories range the spectrum from older people to younger people, gay and straight men and women and military and so on, to try to convey the fact that we cannot stereotype or flatten out or homogenize even a national or an ethnic population and the diversity of these people is exactly the diversity of other communities.\u003c/p>\n\u003cp>\u003cstrong>What can you tell us about American public opinion at the time that Vietnamese refugees were coming to the U.S. in the '70s and '80s?\u003c/strong>\u003c/p>\n\u003cp>Well, the U.S. just ended a very terrible war with the communists in Vietnam. But I think many Americans saw all Vietnamese as being rather foreign whether they were on the American side or not on the American side. So in 1975 when Congress was admitting Vietnamese refugees into the country, opinion polls show that the majority of Americans didn't want to accept Vietnamese or other Southeast Asian refugees.\u003c/p>\n\u003cp>\u003cstrong>I notice in your work that you make this distinction between immigrants and refugees. Why is that?\u003c/strong>\u003c/p>\n\u003cp>I think it's really important to assert that I am a refugee rather than an immigrant because when my book came out, when \u003ca href=\"https://www.nytimes.com/2015/04/05/books/review/the-sympathizer-by-viet-thanh-nguyen.html?_r=0\" target=\"_blank\">\"The Sympathizer\" \u003c/a>came out so many of the reviews were saying this is an immigrant novel. I understood why they were saying that because the idea of the immigrant experience is absolutely central to the American story or the American mythology. Even though at periodic points in American history the United States has been actually rather anti-immigrant. Nevertheless the idea of the American dream is that we welcome immigrants to these shores. And so the easiest way to make sense out of somebody like me who was born elsewhere is to call me an immigrant which implicitly turns me into a success story.\u003c/p>\n\u003cp>Refugees are much more threatening than immigrants. Immigrants voluntarily come to our country. They've chosen our country. Refugees have been forced out by circumstances and they are the unwanted in the countries that they come from. And that is one of the reasons why I think Americans and other people from other countries have a hard time dealing with refugees because of the stigma that they carry of being unwanted.\u003c/p>\n\u003cp>\u003cstrong>On the other hand you have some Americans who feel great compassion for refugees because they're 'legitimate' migrants fleeing war, versus migrants fleeing economic or environmental devastation.\u003c/strong>\u003c/p>\n\u003cp>So there's always been that tension within the United States and in other countries obviously. But so far as the question of whether refugees are more desirable than immigrants for some people I think that's absolutely true.\u003c/p>\n\u003cp>\u003cstrong>You said this is the stuff of fiction what's happening right now with refugee policy. Is there anything that you feel when you look at these experiences of Syrians and people from the Middle East that resonates with the experience of the Vietnamese community back when you came?\u003c/strong>\u003c/p>\n\u003cp>One of the things that I did in doing research for my nonfiction work was to visit a refugee camp in Indonesia. So the Vietnamese refugees who were fleeing -- the so-called \"boat people\" -- were trying to make it to neighboring South-East Asian countries like Indonesia. And it was a very horrible experience you know. And some estimates are that half of the people who went out to sea didn't survive. They just disappeared somewhere. And at this refugee camp there there was a cemetery and there are gravestones marking people who had died when they were 80 and marking people who had died when they were zero or three months. And I think then that we do share something in common with the Syrians for example who were trying to flee their country by boat. The terror, the fear. The odds being stacked completely stacked against you. There's a line in one of my stories I think where I say, you know to be a refugee is to be enormously courageous because you go out on that boat to the open sea knowing that the likelihood is that you're going to die.\u003c/p>\n\u003cp>But we don't see refugees as courageous. We see refugees as as pitiful. And I think I hope that my own book and the stories of other refugees work to make it clear that they're not pitiful -- that they're only pitiful because of their circumstances. But it takes enormous initiative as well as fear to take your life into your own hands and to risk it in that fashion and that is something that the Vietnamese and the Syrians shared.\u003c/p>\n\u003cp>\u003cstrong>How do you think your experience growing up as a refugee in California may have been different from the experience of refugees who grew up in other parts of the country?\u003c/strong>\u003c/p>\n\u003cp>I think that the refugees who ended up in California either because they were put there by government policy or because they voluntarily migrated thought of themselves as lucky because of the weather, because of the diversity, because of the economic and social welfare opportunities.\u003c/p>\n\u003cp>We also had the advantage of living in strong Vietnamese-American centers of population. Whereas if you were in some city in Kansas there might've been 100 or 200 Vietnamese people. That made a big difference. You know you didn't grow up feeling alone. You had all of the typical problems of being a refugee but at least you had the community with its churches, its stores its social services, its language. And that helped people to create a sense of home a displaced home not in the old country, but still, a Little Saigon or something like it.\u003c/p>\n\u003cp>\u003cstrong>So many of your stories touch on dislocation, a sense of not belonging. Do you still feel like a refugee?\u003c/strong>\u003c/p>\n\u003cp>I still feel like I am a refugee although I'm not certain whether I'm romanticizing myself. Obviously I am not a refugee in any material sense. I have made the transition as one colleague jokingly says from 'being refugee to bourgeoisie.' And no one would ever mistake me for a refugee unless I said it. But I feel like I've been shaped by my refugee experience and psychologically part of me is a refugee. I don't feel completely at home. I feel like I'm still somewhat of an outsider. And again maybe I cultivate that because being an outsider helps me to be a writer.\u003c/p>\n\u003cp>\u003cstrong>You've just come off of the great success of \"The Sympathizer\" and now you're moving into this collection of short stories. What's that transition been like? \u003c/strong>\u003c/p>\n\u003cp>Well, it's an unreal experience because it took 20 years from the first words of this book to seeing it published. And I think in the last few years I'd resigned myself to the possibility that the book was never going to be published and I had actually gotten to the psychological mindset of thinking. \"Well I didn't waste 20 years of my life. I used those 20 years to learn how to be a writer.\" It's a feeling of relief more than anything else, seeing it out there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An excerpt from \"The Refugees\":\u003c/p>\n\u003cblockquote>\u003cp>I liked school even summer school. It was like being on vacation from home. And at 3 o'clock I was always a little disappointed to walk the four blocks to the grocery store. My parents owned the new Saigon market where English was hardly ever spoken and Vietnamese was loud. My mother and father rarely left their posts. The cash registers flanking the entrance of a new Saigon. Customers always crowded the market. One of the few places in San Jose were the Vietnamese could buy the staples and spices of home. People haggled endlessly with my mother over everything beginning with a rock sugar which I pretended was yellow kryptonite and ending with the varieties of meat in the freezer from pork chops and catfish with a glint of light in their eyes to shoestring s of chewy tripe and packets of chicken hearts small and tender as button mushrooms. Can we just sell TV dinners, I asked once.\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rep. Nancy Pelosi (D-Calif.), the House minority leader, appealed but could not overturn a decision by the Architect of the Capitol to take down a high school student’s painting that depicted police officers as warthogs. \u003c/p>\n\u003cp>[contextly_sidebar id=”t3NJZV8Ch1HsniNruVjErDjd4Tgjk74w”]\u003c/p>\n\u003cp>The Architect decided to take down the painting last month after police unions and Republican congressmen protested the art work, which was hung in an underground tunnel linking the Capitol and office buildings used by the House. \u003c/p>\n\u003cp>Pelosi called for a meeting of the House Office Building Commission to appeal the decision not long after the painting was removed but the Republicans on the panel denied her Friday, according to \u003ca href=\"http://thehill.com/homenews/house/317857-pelosi-loses-bid-to-restore-cops-painting-in-capitol-complex\" target=\"_blank\" rel=\"noopener\">The Hill\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12585005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-800x653.jpg\" alt=\"Bay Area police unions joined law enforcement groups around the country calling on House Speaker Paul Ryan to remove this painting from the US Capitol complex. The artist's father Jonathan Pulphus says his son is taking the controversy in stride. "He understands that freedom of speech applies to everyone. They are entitled to their own opinion as well."\" width=\"800\" height=\"653\" class=\"size-medium wp-image-12585005\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-768x627.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-1020x833.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-960x784.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-375x306.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-520x425.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut.jpg 1111w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area police unions joined law enforcement groups around the country calling on House Speaker Paul Ryan to remove this painting from the US Capitol complex. The artist’s father Jonathan Pulphus says his son is taking the controversy in stride. “He understands that freedom of speech applies to everyone. They are entitled to their own opinion as well.” \u003ccite>(Photo: Courtesy of David Pulphus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acrylic painting, “Untitled #1,” is by David Pulphus, who was a high school student in St. Louis, Missouri during the 2014 riots in nearby Ferguson, which occurred after the controversial fatal shooting of teenager Michael Brown by a local police officer. The work depicts law enforcement as boars, who are pointing guns at unarmed citizens that are protesting, some being animals themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was submitted into an annual student art competition between congressional offices Rep. William Lacy Clay (D-Mo.), who represents Pulphus’s district.\u003c/p>\n\u003cp>A letter was signed by law enforcement organizations from around the country and sent to congress after word spread of the painting reached conservative media. The letter states:\u003c/p>\n\u003cblockquote>\u003cp>“Our law enforcement organizations, representing over 27,000 law enforcement professionals, strongly urge you to exercise the extraordinary power you possess as Speaker of the House of Representatives to immediately remove the reprehensible and repugnant ‘art’ on display in our nation’s Capitol that depicts police officers as Pigs intent on gunning down innocent people.”\u003c/p>\u003c/blockquote>\n\u003cp>The painting is the first entry to be taken down since the contest began in 1982.\u003c/p>\n\u003cp>Pelosi sent a letter to Clay Friday that criticized the panel’s decision, writing “Thank you for your leadership in protecting the expression of artists. Please convey to your constituent David Pulphus my deepest regrets of the circumstances that led to his painting to be removed. The removal dishonors our traditions and violates the First Amendment. \u003c/p>\n\u003cp>(\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/338346121-Pelosi-Letter.pdf\">Read the letter here.\u003c/a>)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Clay reportedly stated that he will hang the painting in his office. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rep. Nancy Pelosi (D-Calif.), the House minority leader, appealed but could not overturn a decision by the Architect of the Capitol to take down a high school student’s painting that depicted police officers as warthogs. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Architect decided to take down the painting last month after police unions and Republican congressmen protested the art work, which was hung in an underground tunnel linking the Capitol and office buildings used by the House. \u003c/p>\n\u003cp>Pelosi called for a meeting of the House Office Building Commission to appeal the decision not long after the painting was removed but the Republicans on the panel denied her Friday, according to \u003ca href=\"http://thehill.com/homenews/house/317857-pelosi-loses-bid-to-restore-cops-painting-in-capitol-complex\" target=\"_blank\" rel=\"noopener\">The Hill\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12585005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-800x653.jpg\" alt=\"Bay Area police unions joined law enforcement groups around the country calling on House Speaker Paul Ryan to remove this painting from the US Capitol complex. The artist's father Jonathan Pulphus says his son is taking the controversy in stride. "He understands that freedom of speech applies to everyone. They are entitled to their own opinion as well."\" width=\"800\" height=\"653\" class=\"size-medium wp-image-12585005\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-768x627.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-1020x833.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-960x784.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-375x306.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-520x425.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut.jpg 1111w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area police unions joined law enforcement groups around the country calling on House Speaker Paul Ryan to remove this painting from the US Capitol complex. The artist’s father Jonathan Pulphus says his son is taking the controversy in stride. “He understands that freedom of speech applies to everyone. They are entitled to their own opinion as well.” \u003ccite>(Photo: Courtesy of David Pulphus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acrylic painting, “Untitled #1,” is by David Pulphus, who was a high school student in St. Louis, Missouri during the 2014 riots in nearby Ferguson, which occurred after the controversial fatal shooting of teenager Michael Brown by a local police officer. The work depicts law enforcement as boars, who are pointing guns at unarmed citizens that are protesting, some being animals themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was submitted into an annual student art competition between congressional offices Rep. William Lacy Clay (D-Mo.), who represents Pulphus’s district.\u003c/p>\n\u003cp>A letter was signed by law enforcement organizations from around the country and sent to congress after word spread of the painting reached conservative media. The letter states:\u003c/p>\n\u003cblockquote>\u003cp>“Our law enforcement organizations, representing over 27,000 law enforcement professionals, strongly urge you to exercise the extraordinary power you possess as Speaker of the House of Representatives to immediately remove the reprehensible and repugnant ‘art’ on display in our nation’s Capitol that depicts police officers as Pigs intent on gunning down innocent people.”\u003c/p>\u003c/blockquote>\n\u003cp>The painting is the first entry to be taken down since the contest began in 1982.\u003c/p>\n\u003cp>Pelosi sent a letter to Clay Friday that criticized the panel’s decision, writing “Thank you for your leadership in protecting the expression of artists. Please convey to your constituent David Pulphus my deepest regrets of the circumstances that led to his painting to be removed. The removal dishonors our traditions and violates the First Amendment. \u003c/p>\n\u003cp>(\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/338346121-Pelosi-Letter.pdf\">Read the letter here.\u003c/a>)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Clay reportedly stated that he will hang the painting in his office. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"http://www.famsf.org/\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco\u003c/a>, the largest public arts institution in San Francisco, announced Thursday an acquisition of 62 major works from African American artists in the south.\u003c/p>\n\u003cp>The organization, which operates the de Young and the Legion of Honor, acquired a mix of paintings, sculptures, drawings, and quilts by 22 celebrated artists, including Thornton Dial, Lonnie Holley and Ralph Griffin. The works came from the Atlanta-based \u003ca href=\"http://www.soulsgrowndeep.org/\" target=\"_blank\" rel=\"noopener\">Souls Grown Deep Foundation\u003c/a>, a nonprofit dedicated to preserving, exhibiting and promoting the work of black artists from the American south.\u003c/p>\n\u003cp>The de Young plans to debut the acquired works in an exhibition, \u003ci>Revelations: Art from the African American South,\u003c/i> which opens on June 3 of this year.\u003c/p>\n\u003cfigure id=\"attachment_12714186\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-800x745.jpg\" alt='Mose Tolliver (1919-2006), \"Rainy Sunshine, Cats and Dog, Drum Beater,\" 1967.' width=\"800\" height=\"745\" class=\"size-medium wp-image-12714186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-800x745.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-768x716.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-1020x950.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-1180x1099.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-960x895.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-240x224.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-375x349.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-520x485.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mose Tolliver (1919-2006), “Rainy Sunshine, Cats and Dog, Drum Beater,” 1967. \u003ccite>(Photo: Stephen Pitkin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“While all these compelling objects embody universal human values, they are also powerful testaments to African American cultural resilience and survival,” notes Timothy Anglin Burgard, the curator-in-charge of American Art for the Fine Arts Museums of San Francisco. “Originally created as expressions of personal identity and communal solidarity in the South during the modern Civil Rights era, they will now serve as catalysts to transform global art history.” \u003c/p>\n\u003cp>Fine Arts Museums of San Francisco says its relationship with Souls Grown Deep spans back to 2006, when it hosted \u003ci>The Quilts of Gee’s Bend\u003c/i> exhibit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.famsf.org/\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco\u003c/a>, the largest public arts institution in San Francisco, announced Thursday an acquisition of 62 major works from African American artists in the south.\u003c/p>\n\u003cp>The organization, which operates the de Young and the Legion of Honor, acquired a mix of paintings, sculptures, drawings, and quilts by 22 celebrated artists, including Thornton Dial, Lonnie Holley and Ralph Griffin. The works came from the Atlanta-based \u003ca href=\"http://www.soulsgrowndeep.org/\" target=\"_blank\" rel=\"noopener\">Souls Grown Deep Foundation\u003c/a>, a nonprofit dedicated to preserving, exhibiting and promoting the work of black artists from the American south.\u003c/p>\n\u003cp>The de Young plans to debut the acquired works in an exhibition, \u003ci>Revelations: Art from the African American South,\u003c/i> which opens on June 3 of this year.\u003c/p>\n\u003cfigure id=\"attachment_12714186\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-800x745.jpg\" alt='Mose Tolliver (1919-2006), \"Rainy Sunshine, Cats and Dog, Drum Beater,\" 1967.' width=\"800\" height=\"745\" class=\"size-medium wp-image-12714186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-800x745.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-768x716.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-1020x950.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-1180x1099.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-960x895.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-240x224.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-375x349.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-520x485.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mose Tolliver (1919-2006), “Rainy Sunshine, Cats and Dog, Drum Beater,” 1967. \u003ccite>(Photo: Stephen Pitkin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“While all these compelling objects embody universal human values, they are also powerful testaments to African American cultural resilience and survival,” notes Timothy Anglin Burgard, the curator-in-charge of American Art for the Fine Arts Museums of San Francisco. “Originally created as expressions of personal identity and communal solidarity in the South during the modern Civil Rights era, they will now serve as catalysts to transform global art history.” \u003c/p>\n\u003cp>Fine Arts Museums of San Francisco says its relationship with Souls Grown Deep spans back to 2006, when it hosted \u003ci>The Quilts of Gee’s Bend\u003c/i> exhibit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Beyoncé has broken the record for the most-liked Instagram post ever.\u003c/p>\n\u003cp>Beyoncé announced on Instagram Wednesday that she is expecting twins with husband Jay Z.\u003c/p>\n\u003cp>[contextly_sidebar id=”dtAeu2UbJYPV0QALRZl0utkdXmZDstX2″]\u003c/p>\n\u003cp>Surrounded by flowers and clad in a sweeping green veil, Queen Bey shows off her baby bump in the Madonna-inspired photo.\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"7\" style=\"background:#FFF;border:0;border-radius:3px;margin: 1px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:61.94444444444444% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/BP-rXUGBPJa/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">We would like to share our love and happiness. We have been blessed two times over. We are incredibly grateful that our family will be growing by two, and we thank you for your well wishes. – The Carters\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by Beyoncé (@beyonce) on Feb 1, 2017 at 10:39am PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>The photo won her the record for most-liked post ever, with more than 8 million likes and counting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She got more than 4 million likes in just the first two hours after posting.\u003c/p>\n\u003cp>And it took just seven hours to surpass one by fellow pop star Selena Gomez that has racked up 6.3 million likes with a picture of her with a Coke bottle and her song lyrics “You’re the spark” since last summer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Additional photos of the pregnant superstar are posted on her website, including one of her 5-year-old daughter, Blue Ivy kissing her tummy.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé has broken the record for the most-liked Instagram post ever.\u003c/p>\n\u003cp>Beyoncé announced on Instagram Wednesday that she is expecting twins with husband Jay Z.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Surrounded by flowers and clad in a sweeping green veil, Queen Bey shows off her baby bump in the Madonna-inspired photo.\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"7\" style=\"background:#FFF;border:0;border-radius:3px;margin: 1px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:61.94444444444444% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/BP-rXUGBPJa/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">We would like to share our love and happiness. We have been blessed two times over. We are incredibly grateful that our family will be growing by two, and we thank you for your well wishes. – The Carters\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by Beyoncé (@beyonce) on Feb 1, 2017 at 10:39am PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>The photo won her the record for most-liked post ever, with more than 8 million likes and counting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She got more than 4 million likes in just the first two hours after posting.\u003c/p>\n\u003cp>And it took just seven hours to surpass one by fellow pop star Selena Gomez that has racked up 6.3 million likes with a picture of her with a Coke bottle and her song lyrics “You’re the spark” since last summer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Additional photos of the pregnant superstar are posted on her website, including one of her 5-year-old daughter, Blue Ivy kissing her tummy.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "what-standing-rock-protesters-can-learn-from-los-gatos-exhibition",
"title": "What Standing Rock Protesters Can Learn from Los Gatos Exhibition",
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"content": "\u003cp>Now that President Trump has given the go-ahead for construction of the \u003ca href=\"http://www.npr.org/2017/01/24/511402501/trump-to-give-green-light-to-keystone-dakota-access-pipelines\" target=\"_blank\" rel=\"noopener\">Dakota Access Pipeline\u003c/a>, protest organizers are calling on their supporters from around the country to \u003ca href=\"https://www.revealnews.org/blog/standing-rock-protesters-to-the-world-gather-like-a-windstorm/\" target=\"_blank\" rel=\"noopener\">return to the camps\u003c/a> in North Dakota.\u003c/p>\n\u003cp>The protests at Standing Rock show the power of pan-tribal political organizing. But it’s not the first time members of different tribes have banded together to pursue a political win on the national stage.\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>\u003c/p>\n\u003cp>You’ll find the first hint on the Facebook page of the \u003ca href=\"https://www.facebook.com/Standing-Rock-Sioux-Tribe-402298239798452/\" target=\"_blank\" rel=\"noopener\">Standing Rock Sioux Tribe\u003c/a> with inspirational photos of John Trudell, a nationally known Native American activist who first came to prominence as the spokesperson for the United Indians of All Tribes’ occupation of Alcatraz, here in the San Francisco Bay Area.\u003c/p>\n\u003cp>The story of how Trudell and tens of thousands of others got to California, and went on to develop a modern political consciousness, is covered in the exhibition\u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/11/4/cement-prairie-the-history-and-legacy-of-the-american-indian-urban-relocation-program-of-1956\" target=\"_blank\" rel=\"noopener\"> \u003c/a>\u003cem>\u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/11/4/cement-prairie-the-history-and-legacy-of-the-american-indian-urban-relocation-program-of-1956\" target=\"_blank\" rel=\"noopener\">Cement Prairie: The History and Legacy of the 1952 American Indian Urban Relocation Program\u003c/a>. \u003c/em>The show is currently on display at New Museum Los Gatos (NUMU).\u003c/p>\n\u003cfigure id=\"attachment_12709511\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12709511\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut.jpg\" alt=\"Alcatraz during the occupation of 1969-1971. This photograph and others by Ilka Hartmann are on display as part of Cement Prairie, an exhibition about Native Americans in the South Bay.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Alcatraz during the occupation of 1969-1971. This photograph and others by Ilka Hartmann are on display as part of Cement Prairie, an exhibition about Native Americans in the South Bay. \u003ccite>(Photo: Courtesy of Ilka Hartmann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Cement Prairie\u003c/em> details how 750,000 Native Americans left their reservations for big cities between 1950 and 1980, the result of a federal policy known as “Urban Relocation.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the government helped transplants find schooling and jobs in urban centers, \u003cem>Cement Prairie\u003c/em>‘s curator, Amy Long, says the promise of self-improvement came with a presumption. “The government was hoping with relocation that Indians would come here by bus or car and assimilate into the mainstream and the cities,” Long says. “And then they would just kind of disappear with the rest of us.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/305781751″ 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>The rooms at NUMU are filled with family photos, quilts, drums, and other artifacts that tell of a mass migration to California in the last century. The exhibition’s title, \u003cem>Cement Prairie\u003c/em>, derives from the way cities like San Jose stood in concrete contrast to the wide, grassy plains of home. Arriving in California, many Native Americans felt dislocated, alienated and lonely.\u003c/p>\n\u003ch3>The personal is political\u003c/h3>\n\u003cp>Take the story of Al Cross, who left his tribal lands in North Dakota for San Jose in 1960. “A lot of the young people that left came out here, to the West Coast,” Cross says. “They knew where it was good! Los Angeles, San Francisco, Oakland, San Jose.\u003c/p>\n\u003cfigure id=\"attachment_12709512\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12709512 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-160x285.jpg\" alt=\"In the 1940s, Al Cross’s dad lobbied to stop a project that would flood large parts of his reservation in North Dakota. Old Lily Wolf made him a beaded blue neck tie ahead of the trip to DC for good luck, but it wasn’t enough to stop the dam.\" width=\"160\" height=\"285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-160x285.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-800x1426.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-768x1369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-1020x1818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-1180x2103.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-960x1711.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-240x428.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-375x668.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-520x927.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut.jpg 1149w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">In the 1940s, Al Cross’s dad lobbied to stop a project that would flood large parts of his reservation in North Dakota. Old Lily Wolf made him a beaded blue neck tie ahead of the trip to DC for good luck, but it wasn’t enough to stop the dam. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What saved me, I think, was meeting with other Indian people,” Cross says. At first, he worked in a soap factory. Eventually, he started going to night school and got a degree at the University of California Berkeley in social welfare. This launched his career as a social worker, working mostly with Native Americans.\u003c/p>\n\u003cp>At 82 years of age, Cross is one of several transplants, now elderly, featured in the exhibition’s oral testimony video, a collaboration between NUMU and San Jose State’s anthropology department.\u003c/p>\n\u003cp>Eventually, Native Americans living in California’s urban center found each other. Santa Clara Native American community member Arvine Pilcher says Native Americans gradually developed a sense of cross-tribal unity because of their shared experience out west. “We’ve all become one nation, living in California,” Pilcher says. “We’re not Navajos, Eskimos, Sioux, you know, Nez Perce. I really feel like we’re all one nation.”\u003c/p>\n\u003cp>Health centers, amateur basketball leagues, regional potlucks and pow wows — these were the building blocks of a new community. But during the political foment of the 1960s, talk turned to how best to protest federal policies and demand reparation.\u003c/p>\n\u003cp>\u003ca href=\"http://youtube%20https://www.youtube.com/watch?v=b9CYF4c41No\">http://youtube%20https://www.youtube.com/watch?v=b9CYF4c41No\u003c/a>\u003c/p>\n\u003cp>There were several attempts to occupy Alcatraz, culminating in a 19-month effort led largely by a group of local college students called United Indians of All Tribes. Trudell was the group’s spokesman. “If we’re free, we want the right to make our own decisions,” he says \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/187785\" target=\"_blank\" rel=\"noopener\">in video footage\u003c/a> from one of the many press conferences held on the island at that time. “We don’t want the ‘Great White Father’ making the decision for us.”\u003c/p>\n\u003cp>In the end, the occupiers didn’t win Alcatraz. But organizer Adam Fortunate Eagle, in the 2001 documentary \u003ca href=\"https://zinnedproject.org/materials/alcatraz-is-not-an-island-dvd/\" target=\"_blank\" rel=\"noopener\">\u003cem>Alcatraz Is Not an Island\u003c/em>\u003c/a>, says the protest had positive consequences. “We awoke Indian people individually. We awoke tribes. We awoke the media. We awoke the United States Government,” he says.\u003c/p>\n\u003cp>The Nixon Administration passed a series of reforms, and, among other things, returned large chunks of reservation lands across the country.\u003c/p>\n\u003cfigure id=\"attachment_12709530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12709530 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-800x450.jpg\" alt=\"A Native American alter built by Pablo Viramontes of Los Gatos, who also teaches native arts to at-risk youth and people in recovery. This alter draws from multiple tribal traditions, representing the modern unity of Native Americans in the US.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Native American alter built by Pablo Viramontes of Los Gatos, who also teaches native arts to at-risk youth and people in recovery. This alter draws from multiple tribal traditions, representing the modern unity of Native Americans in the US. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Long says Urban Relocation left a lasting legacy for Native Americans, one aspect of which is showing a united front when standing up for human and civil rights. “They wound up finding each other, and rediscovering their Indianness,” Long says. “Creating what we see today, like what we see at pow wows, and in the cities, and Standing Rock.”\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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Cement Prairie: The History and Legacy of the 1952 American Indian Urban Relocation Program’ is on view at New Museum Los Gatos (NUMU) through Sunday, Jun. 25. Details and information \u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/11/4/cement-prairie-the-history-and-legacy-of-the-american-indian-urban-relocation-program-of-1956\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The exhibit 'Cement Prairie: The History and Legacy of the 1952 American Indian Urban Relocation Program,' currently on display at New Museum Los Gatos (NUMU), explores the tradition of Native American protest.",
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"title": "What Standing Rock Protesters Can Learn from Los Gatos Exhibition | KQED",
"description": "The exhibit 'Cement Prairie: The History and Legacy of the 1952 American Indian Urban Relocation Program,' currently on display at New Museum Los Gatos (NUMU), explores the tradition of Native American protest.",
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"headline": "What Standing Rock Protesters Can Learn from Los Gatos Exhibition",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now that President Trump has given the go-ahead for construction of the \u003ca href=\"http://www.npr.org/2017/01/24/511402501/trump-to-give-green-light-to-keystone-dakota-access-pipelines\" target=\"_blank\" rel=\"noopener\">Dakota Access Pipeline\u003c/a>, protest organizers are calling on their supporters from around the country to \u003ca href=\"https://www.revealnews.org/blog/standing-rock-protesters-to-the-world-gather-like-a-windstorm/\" target=\"_blank\" rel=\"noopener\">return to the camps\u003c/a> in North Dakota.\u003c/p>\n\u003cp>The protests at Standing Rock show the power of pan-tribal political organizing. But it’s not the first time members of different tribes have banded together to pursue a political win on the national stage.\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>\u003c/p>\n\u003cp>You’ll find the first hint on the Facebook page of the \u003ca href=\"https://www.facebook.com/Standing-Rock-Sioux-Tribe-402298239798452/\" target=\"_blank\" rel=\"noopener\">Standing Rock Sioux Tribe\u003c/a> with inspirational photos of John Trudell, a nationally known Native American activist who first came to prominence as the spokesperson for the United Indians of All Tribes’ occupation of Alcatraz, here in the San Francisco Bay Area.\u003c/p>\n\u003cp>The story of how Trudell and tens of thousands of others got to California, and went on to develop a modern political consciousness, is covered in the exhibition\u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/11/4/cement-prairie-the-history-and-legacy-of-the-american-indian-urban-relocation-program-of-1956\" target=\"_blank\" rel=\"noopener\"> \u003c/a>\u003cem>\u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/11/4/cement-prairie-the-history-and-legacy-of-the-american-indian-urban-relocation-program-of-1956\" target=\"_blank\" rel=\"noopener\">Cement Prairie: The History and Legacy of the 1952 American Indian Urban Relocation Program\u003c/a>. \u003c/em>The show is currently on display at New Museum Los Gatos (NUMU).\u003c/p>\n\u003cfigure id=\"attachment_12709511\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12709511\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut.jpg\" alt=\"Alcatraz during the occupation of 1969-1971. This photograph and others by Ilka Hartmann are on display as part of Cement Prairie, an exhibition about Native Americans in the South Bay.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Alcatraz during the occupation of 1969-1971. This photograph and others by Ilka Hartmann are on display as part of Cement Prairie, an exhibition about Native Americans in the South Bay. \u003ccite>(Photo: Courtesy of Ilka Hartmann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Cement Prairie\u003c/em> details how 750,000 Native Americans left their reservations for big cities between 1950 and 1980, the result of a federal policy known as “Urban Relocation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the government helped transplants find schooling and jobs in urban centers, \u003cem>Cement Prairie\u003c/em>‘s curator, Amy Long, says the promise of self-improvement came with a presumption. “The government was hoping with relocation that Indians would come here by bus or car and assimilate into the mainstream and the cities,” Long says. “And then they would just kind of disappear with the rest of us.”\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/305781751″&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/305781751″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The rooms at NUMU are filled with family photos, quilts, drums, and other artifacts that tell of a mass migration to California in the last century. The exhibition’s title, \u003cem>Cement Prairie\u003c/em>, derives from the way cities like San Jose stood in concrete contrast to the wide, grassy plains of home. Arriving in California, many Native Americans felt dislocated, alienated and lonely.\u003c/p>\n\u003ch3>The personal is political\u003c/h3>\n\u003cp>Take the story of Al Cross, who left his tribal lands in North Dakota for San Jose in 1960. “A lot of the young people that left came out here, to the West Coast,” Cross says. “They knew where it was good! Los Angeles, San Francisco, Oakland, San Jose.\u003c/p>\n\u003cfigure id=\"attachment_12709512\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12709512 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-160x285.jpg\" alt=\"In the 1940s, Al Cross’s dad lobbied to stop a project that would flood large parts of his reservation in North Dakota. Old Lily Wolf made him a beaded blue neck tie ahead of the trip to DC for good luck, but it wasn’t enough to stop the dam.\" width=\"160\" height=\"285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-160x285.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-800x1426.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-768x1369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-1020x1818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-1180x2103.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-960x1711.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-240x428.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-375x668.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-520x927.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut.jpg 1149w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">In the 1940s, Al Cross’s dad lobbied to stop a project that would flood large parts of his reservation in North Dakota. Old Lily Wolf made him a beaded blue neck tie ahead of the trip to DC for good luck, but it wasn’t enough to stop the dam. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What saved me, I think, was meeting with other Indian people,” Cross says. At first, he worked in a soap factory. Eventually, he started going to night school and got a degree at the University of California Berkeley in social welfare. This launched his career as a social worker, working mostly with Native Americans.\u003c/p>\n\u003cp>At 82 years of age, Cross is one of several transplants, now elderly, featured in the exhibition’s oral testimony video, a collaboration between NUMU and San Jose State’s anthropology department.\u003c/p>\n\u003cp>Eventually, Native Americans living in California’s urban center found each other. Santa Clara Native American community member Arvine Pilcher says Native Americans gradually developed a sense of cross-tribal unity because of their shared experience out west. “We’ve all become one nation, living in California,” Pilcher says. “We’re not Navajos, Eskimos, Sioux, you know, Nez Perce. I really feel like we’re all one nation.”\u003c/p>\n\u003cp>Health centers, amateur basketball leagues, regional potlucks and pow wows — these were the building blocks of a new community. But during the political foment of the 1960s, talk turned to how best to protest federal policies and demand reparation.\u003c/p>\n\u003cp>\u003ca href=\"http://youtube%20https://www.youtube.com/watch?v=b9CYF4c41No\">http://youtube%20https://www.youtube.com/watch?v=b9CYF4c41No\u003c/a>\u003c/p>\n\u003cp>There were several attempts to occupy Alcatraz, culminating in a 19-month effort led largely by a group of local college students called United Indians of All Tribes. Trudell was the group’s spokesman. “If we’re free, we want the right to make our own decisions,” he says \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/187785\" target=\"_blank\" rel=\"noopener\">in video footage\u003c/a> from one of the many press conferences held on the island at that time. “We don’t want the ‘Great White Father’ making the decision for us.”\u003c/p>\n\u003cp>In the end, the occupiers didn’t win Alcatraz. But organizer Adam Fortunate Eagle, in the 2001 documentary \u003ca href=\"https://zinnedproject.org/materials/alcatraz-is-not-an-island-dvd/\" target=\"_blank\" rel=\"noopener\">\u003cem>Alcatraz Is Not an Island\u003c/em>\u003c/a>, says the protest had positive consequences. “We awoke Indian people individually. We awoke tribes. We awoke the media. We awoke the United States Government,” he says.\u003c/p>\n\u003cp>The Nixon Administration passed a series of reforms, and, among other things, returned large chunks of reservation lands across the country.\u003c/p>\n\u003cfigure id=\"attachment_12709530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12709530 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-800x450.jpg\" alt=\"A Native American alter built by Pablo Viramontes of Los Gatos, who also teaches native arts to at-risk youth and people in recovery. This alter draws from multiple tribal traditions, representing the modern unity of Native Americans in the US.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Native American alter built by Pablo Viramontes of Los Gatos, who also teaches native arts to at-risk youth and people in recovery. This alter draws from multiple tribal traditions, representing the modern unity of Native Americans in the US. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Long says Urban Relocation left a lasting legacy for Native Americans, one aspect of which is showing a united front when standing up for human and civil rights. “They wound up finding each other, and rediscovering their Indianness,” Long says. “Creating what we see today, like what we see at pow wows, and in the cities, and Standing Rock.”\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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Cement Prairie: The History and Legacy of the 1952 American Indian Urban Relocation Program’ is on view at New Museum Los Gatos (NUMU) through Sunday, Jun. 25. Details and information \u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/11/4/cement-prairie-the-history-and-legacy-of-the-american-indian-urban-relocation-program-of-1956\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "black-history-month-art-removed-after-parents-complain",
"title": "Black History Month Art Removed After Parents Complain",
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"content": "\u003cp>The assignment seemed simple enough. Reverend Jeff Moore, president of the \u003ca href=\"http://www.sanjosenaacp.org/\" target=\"_blank\" rel=\"noopener\">San Jose/Silicon Valley Branch\u003c/a> of the NAACP, approached visual artist \u003ca href=\"http://www.markharrisstudiosf.com/\" target=\"_blank\" rel=\"noopener\">Mark Harris\u003c/a> and asked him to pull together a small collection of his artwork to show in the lobby of the administrative offices of the \u003ca href=\"http://www.esuhsd.org/\" target=\"_blank\" rel=\"noopener\">East Side Union High School District\u003c/a> in San Jose for Black History Month in February.\u003c/p>\n\u003cp>That’s exactly what Harris did, curating together 11 paintings, in consultation with Moore, who works at the district’s Independence High School as a counselor.\u003c/p>\n\u003cp>“I would say it’s agitprop,” says Harris of the selection of works, done in mixed media, collage, acrylic and egg tempera. “It’s definitely something thought-provoking. It’s not something you’re going to walk by and not have a second thought about.”\u003c/p>\n\u003cp>A few hours after the artist’s paintings went up on display, they were taken down. Harris heard the news about the removal second-hand from Moore.\u003c/p>\n\u003cp>“Some parents who’d come into the administration offices were offended by the work.” Moore also said the district superintendent, Chris Funk said a school district shouldn’t take a political stance, “which I think is ridiculous,” Harris says. “The fact that the superintendent was uncomfortable with the exhibit was disappointing also.”\u003c/p>\n\u003cfigure id=\"attachment_12709112\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12709112\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-800x450.jpg\" alt=\"Detail of "Den of Iniquity" by San Francisco visual artist Mark Harris. "Whenever you tell a cultural group that they can't tell their own story, that's how things get whitewashed," Harris says.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Den of Iniquity” by San Francisco visual artist Mark Harris. “Whenever you tell a cultural group that they can’t tell their own story, that’s how things get whitewashed,” Harris says. \u003ccite>(Photo: Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Art has gone up on display to celebrate African American History Month at the offices for the past three years. Funk says that to date, there had been no concerns in part because the displays had been made up of historical artifacts like books, quilts, and representations of famous African Americans.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I had no intention to embarrass or harm Mr. Harris,” Funk says. “He seems to be a very talented artist. I’m sorry he got caught up in a situation where Mr. Moore was not upfront about what his motives were and what his expectations were. I didn’t approve the art. I didn’t approve the artist. I didn’t have a chance to review the art beforehand. It was just — smack, hit you in the face — when you walked in. That’s why I took it down.”\u003c/p>\n\u003cp>Funk says there is a time and place for political expression, such as at the recent March on Washington or at last weekend’s airport protests. “But we’re not here to advocate one position or another as a public institution,” Funk says about his decision to remove Harris’ works. “I have Republicans and Democrats on my board, among my teachers.”\u003c/p>\n\u003cp>Moore says he did not intend to surprise Funk and his colleagues. He says he visited the offices to talk to the superintendent at one point before the exhibition went up, but that Funk was in a meeting when he arrived. Past displays, Moore says, have in fact included content that could be deemed as political, ranging, subject-wise, from African culture to figures like Frederick Douglass, Malcolm X and President Barack Obama.\u003c/p>\n\u003cp>Much of the material for those exhibitions was pulled from Moore’s own home, as well as the homes of other people involved with \u003ca href=\"http://www.esuhsd.org/Students--Parents/Student--Parent-Groups/African-American-Student-Advocates/\" target=\"_blank\" rel=\"noopener\">African American Student Advocates\u003c/a>, a district stakeholder group made up largely of adults.\u003c/p>\n\u003cp>“How many people were offended? How many people were upset?” Moore says. “White supremacy is a topic of conversation right now. I thought this was timely.”\u003c/p>\n\u003cfigure id=\"attachment_12709115\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12709115 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-800x1016.jpg\" alt=\""To Be Young Gifted and Criminalized" by San Francisco visual artist Mark Harris, who also teaches. "I want to inspire students to use their voices and be involved in this new movement that's happening. It's their future. If I can inspire them to use their voices, that's me doing my job."\" width=\"800\" height=\"1016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-1920x2438.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-1180x1498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-960x1219.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-240x305.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-375x476.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-520x660.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut.jpg 1613w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“To Be Young Gifted and Criminalized” by San Francisco visual artist Mark Harris, who also teaches. “I want to inspire students to use their voices and be involved in this new movement that’s happening. It’s their future. If I can inspire them to use their voices, that’s me doing my job.” \u003ccite>(Photo: Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moore says the African American Student Advocates had a previously scheduled meeting Thursday night at which Harris was to speak about his art work at the administrative offices. Now, he will be talking about the fact it was taken down, and retrieving the paintings to bring them home.\u003c/p>\n\u003cp>“My artwork expresses the real visceral outrage that a lot of African Americans have about the violence we’re still subjected to in the 21st century,” Harris says. “For centuries, we have been told not to speak out about it. You don’t have to like it. It’s not only my history. This is American history.”\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\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": "Visual artist Mark Harris' political-themed paintings were removed from the walls of the administrative offices of the East Side Union High School District in San Jose on Wednesday.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The assignment seemed simple enough. Reverend Jeff Moore, president of the \u003ca href=\"http://www.sanjosenaacp.org/\" target=\"_blank\" rel=\"noopener\">San Jose/Silicon Valley Branch\u003c/a> of the NAACP, approached visual artist \u003ca href=\"http://www.markharrisstudiosf.com/\" target=\"_blank\" rel=\"noopener\">Mark Harris\u003c/a> and asked him to pull together a small collection of his artwork to show in the lobby of the administrative offices of the \u003ca href=\"http://www.esuhsd.org/\" target=\"_blank\" rel=\"noopener\">East Side Union High School District\u003c/a> in San Jose for Black History Month in February.\u003c/p>\n\u003cp>That’s exactly what Harris did, curating together 11 paintings, in consultation with Moore, who works at the district’s Independence High School as a counselor.\u003c/p>\n\u003cp>“I would say it’s agitprop,” says Harris of the selection of works, done in mixed media, collage, acrylic and egg tempera. “It’s definitely something thought-provoking. It’s not something you’re going to walk by and not have a second thought about.”\u003c/p>\n\u003cp>A few hours after the artist’s paintings went up on display, they were taken down. Harris heard the news about the removal second-hand from Moore.\u003c/p>\n\u003cp>“Some parents who’d come into the administration offices were offended by the work.” Moore also said the district superintendent, Chris Funk said a school district shouldn’t take a political stance, “which I think is ridiculous,” Harris says. “The fact that the superintendent was uncomfortable with the exhibit was disappointing also.”\u003c/p>\n\u003cfigure id=\"attachment_12709112\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12709112\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-800x450.jpg\" alt=\"Detail of "Den of Iniquity" by San Francisco visual artist Mark Harris. "Whenever you tell a cultural group that they can't tell their own story, that's how things get whitewashed," Harris says.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Den of Iniquity” by San Francisco visual artist Mark Harris. “Whenever you tell a cultural group that they can’t tell their own story, that’s how things get whitewashed,” Harris says. \u003ccite>(Photo: Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Art has gone up on display to celebrate African American History Month at the offices for the past three years. Funk says that to date, there had been no concerns in part because the displays had been made up of historical artifacts like books, quilts, and representations of famous African Americans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had no intention to embarrass or harm Mr. Harris,” Funk says. “He seems to be a very talented artist. I’m sorry he got caught up in a situation where Mr. Moore was not upfront about what his motives were and what his expectations were. I didn’t approve the art. I didn’t approve the artist. I didn’t have a chance to review the art beforehand. It was just — smack, hit you in the face — when you walked in. That’s why I took it down.”\u003c/p>\n\u003cp>Funk says there is a time and place for political expression, such as at the recent March on Washington or at last weekend’s airport protests. “But we’re not here to advocate one position or another as a public institution,” Funk says about his decision to remove Harris’ works. “I have Republicans and Democrats on my board, among my teachers.”\u003c/p>\n\u003cp>Moore says he did not intend to surprise Funk and his colleagues. He says he visited the offices to talk to the superintendent at one point before the exhibition went up, but that Funk was in a meeting when he arrived. Past displays, Moore says, have in fact included content that could be deemed as political, ranging, subject-wise, from African culture to figures like Frederick Douglass, Malcolm X and President Barack Obama.\u003c/p>\n\u003cp>Much of the material for those exhibitions was pulled from Moore’s own home, as well as the homes of other people involved with \u003ca href=\"http://www.esuhsd.org/Students--Parents/Student--Parent-Groups/African-American-Student-Advocates/\" target=\"_blank\" rel=\"noopener\">African American Student Advocates\u003c/a>, a district stakeholder group made up largely of adults.\u003c/p>\n\u003cp>“How many people were offended? How many people were upset?” Moore says. “White supremacy is a topic of conversation right now. I thought this was timely.”\u003c/p>\n\u003cfigure id=\"attachment_12709115\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12709115 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-800x1016.jpg\" alt=\""To Be Young Gifted and Criminalized" by San Francisco visual artist Mark Harris, who also teaches. "I want to inspire students to use their voices and be involved in this new movement that's happening. It's their future. If I can inspire them to use their voices, that's me doing my job."\" width=\"800\" height=\"1016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-1920x2438.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-1180x1498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-960x1219.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-240x305.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-375x476.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-520x660.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut.jpg 1613w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“To Be Young Gifted and Criminalized” by San Francisco visual artist Mark Harris, who also teaches. “I want to inspire students to use their voices and be involved in this new movement that’s happening. It’s their future. If I can inspire them to use their voices, that’s me doing my job.” \u003ccite>(Photo: Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moore says the African American Student Advocates had a previously scheduled meeting Thursday night at which Harris was to speak about his art work at the administrative offices. Now, he will be talking about the fact it was taken down, and retrieving the paintings to bring them home.\u003c/p>\n\u003cp>“My artwork expresses the real visceral outrage that a lot of African Americans have about the violence we’re still subjected to in the 21st century,” Harris says. “For centuries, we have been told not to speak out about it. You don’t have to like it. It’s not only my history. This is American history.”\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\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\u003c/div>\u003c/p>",
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"title": "Lawsuit: Depp $2M Monthly Spending to Blame for Money Woes",
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"content": "\u003cp>Johnny Depp’s former business managers countersued the actor on Tuesday claiming his lavish lifestyle that cost more than $2 million a month to maintain caused his recent financial troubles and that the star ignored their repeated warnings.\u003c/p>\n\u003cp>The countersuit filed in Los Angeles Superior Court by The Management Group comes about two weeks after Depp sued the company alleging it grossly mismanaged his earnings.\u003c/p>\n\u003cp>The lawsuit said Depp paid more than $75 million to buy and maintain 14 homes, including a French chateau and a chain of islands in the Bahamas.\u003c/p>\n\u003cp>Depp also spent heavily to buy a 150-foot yacht, fly on private jets and cultivate collections of fine art and Hollywood memorabilia requiring 12 storage facilities to maintain, the lawsuit said.\u003c/p>\n\u003cp>Depp was repeatedly warned by the company that his spending was out of control but ignored his former advisors’ advice to control his spending, the lawsuit said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Depp, and Depp alone, is fully responsible for any financial turmoil he finds himself in today,” the lawsuit stated.\u003c/p>\n\u003cp>Depp sued The Management Group on Jan. 13 seeking more than $25 million he contends was mismanaged. His lawsuit also alleged the company failed to file Depp’s taxes on time, costing him $5.7 million in penalties.\u003c/p>\n\u003cp>Tuesday’s countersuit said Depp’s tax returns were always filed on time, and taxes were paid when the star had money available to pay them.\u003c/p>\n\u003cp>The company handled his finances from 1999 until early 2016, an especially lucrative period in the actor’s career.\u003c/p>\n\u003cp>During that time, Depp launched the blockbuster \u003cem>Pirates of the Caribbean\u003c/em> franchise and other big-budget releases, including \u003cem>Alice in Wonderland\u003c/em> and the 2005 film \u003cem>Charlie and the Chocolate Factory\u003c/em>.\u003c/p>\n\u003cp>Depp’s attorneys did not immediately respond to email and phone messages seeking comment.\u003c/p>\n\u003cp>The countersuit seeks a judge’s ruling that Depp is to blame for his financial troubles, and $560,000 in fees The Management Group said it is owed.\u003c/p>\n\u003cp>The money being sought comes on top of $4.2 million the firm announced on Jan. 13 that it was seeking from Depp for repayment of a loan it said it made to the actor.\u003c/p>\n\u003cp>Depp is not the first blockbuster star to take his former managers to court alleging mismanagement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nicolas Cage sued his former business manager seeking $20 million for alleged mismanagement in 2009 and the manager in a countersuit cited the actor’s spending for his financial troubles. The case was resolved before trial.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Johnny Depp’s former business managers countersued the actor on Tuesday claiming his lavish lifestyle that cost more than $2 million a month to maintain caused his recent financial troubles and that the star ignored their repeated warnings.\u003c/p>\n\u003cp>The countersuit filed in Los Angeles Superior Court by The Management Group comes about two weeks after Depp sued the company alleging it grossly mismanaged his earnings.\u003c/p>\n\u003cp>The lawsuit said Depp paid more than $75 million to buy and maintain 14 homes, including a French chateau and a chain of islands in the Bahamas.\u003c/p>\n\u003cp>Depp also spent heavily to buy a 150-foot yacht, fly on private jets and cultivate collections of fine art and Hollywood memorabilia requiring 12 storage facilities to maintain, the lawsuit said.\u003c/p>\n\u003cp>Depp was repeatedly warned by the company that his spending was out of control but ignored his former advisors’ advice to control his spending, the lawsuit said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Depp, and Depp alone, is fully responsible for any financial turmoil he finds himself in today,” the lawsuit stated.\u003c/p>\n\u003cp>Depp sued The Management Group on Jan. 13 seeking more than $25 million he contends was mismanaged. His lawsuit also alleged the company failed to file Depp’s taxes on time, costing him $5.7 million in penalties.\u003c/p>\n\u003cp>Tuesday’s countersuit said Depp’s tax returns were always filed on time, and taxes were paid when the star had money available to pay them.\u003c/p>\n\u003cp>The company handled his finances from 1999 until early 2016, an especially lucrative period in the actor’s career.\u003c/p>\n\u003cp>During that time, Depp launched the blockbuster \u003cem>Pirates of the Caribbean\u003c/em> franchise and other big-budget releases, including \u003cem>Alice in Wonderland\u003c/em> and the 2005 film \u003cem>Charlie and the Chocolate Factory\u003c/em>.\u003c/p>\n\u003cp>Depp’s attorneys did not immediately respond to email and phone messages seeking comment.\u003c/p>\n\u003cp>The countersuit seeks a judge’s ruling that Depp is to blame for his financial troubles, and $560,000 in fees The Management Group said it is owed.\u003c/p>\n\u003cp>The money being sought comes on top of $4.2 million the firm announced on Jan. 13 that it was seeking from Depp for repayment of a loan it said it made to the actor.\u003c/p>\n\u003cp>Depp is not the first blockbuster star to take his former managers to court alleging mismanagement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nicolas Cage sued his former business manager seeking $20 million for alleged mismanagement in 2009 and the manager in a countersuit cited the actor’s spending for his financial troubles. The case was resolved before trial.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Fun Home' Musical Puts Alison Bechdel's Coming Out Story on Stage",
"headTitle": "‘Fun Home’ Musical Puts Alison Bechdel’s Coming Out Story on Stage | KQED",
"content": "\u003cp>After the actors had all taken their bows to thunderous applause at the San Francisco premiere of Jeanine Tesori and Lisa Kron’s musical \u003ca href=\"https://sfcurran.com/shows/fun-home/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fun Home\u003c/em>\u003c/a>, Carole Shorenstein Hays — the flamboyant theater producer and owner of the newly refurbished Curran Theater — handed a microphone to Alison Bechdel and essentially demanded that she speak.\u003c/p>\n\u003cp>Bechdel, whose 2006 autobiographical graphic novel of the same title was the basis for the evening’s entertainment, spoke graciously and with great poise both about the production and our country’s current political situation. She was brief and made no grand statements. Yet there was something about the way the 56-year old graphic novelist carried herself that was so vivid and human, it threw into relief many of the problems and tensions within Tesori and Kron’s lovely but flawed attempt to give theatrical life to Bechdel’s actual life. It rarely happens, but the real thing shone brighter than the entertainment.\u003c/p>\n\u003cp>\u003cem>Fun Home\u003c/em> is an ambitiously structured drama, taking on the stories of three versions of “Alison” all at once: the child who intuits her father Bruce’s sexual preferences and finds secret solace with him; the young adult desperately in need of her family to recognize that she has, in coming out, become a fuller, slightly different version of herself; and the mature graphic novelist struggling to give shape to her father’s sudden suicide at 44.\u003c/p>\n\u003cp>Memory plays are a notoriously difficult genre, and \u003cem>Fun Home\u003c/em> loses shape and focus every time the adult Alison takes the lead. There’s just not much for her to do except comment on the action. Worse, this unbalances and undercuts the force of the other two narratives, sometimes in trite ways.\u003c/p>\n\u003cfigure id=\"attachment_12703978\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703978\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-800x456.jpg\" alt=\"Small Alison (Alessandra Baldacchino) and her father Bruce share one of many moments of harmony in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-520x296.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Small Alison (Alessandra Baldacchino) and her father Bruce share one of many moments of harmony in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a wrenching moment in which Bruce desperately tries to impress a member of the Allegheny Historical Society with the restoration of his Victorian house and the picture-book perfection of his family, the adult Alison says, “And he was gay. And I was gay. And he killed himself. And I… became a lesbian cartoonist.” The narratorial distance might work as a caption in a graphic novel. But on stage it comes off as a diminishment of actual pain. It turns suicide into a snappy one-liner.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This tension between commentary and drama is not just a problem of the narration, but also present between Tesori’s music and Kron’s book. Kron is a fascinating writer, capable of taking unpromising dramatic ideas and weaving them into powerful, if lopsided, plays. (Her satisfying \u003cem>In the Wake\u003c/em> premiered at the Berkeley Repertory Theatre in 2010). Yet Tesori’s songs are often an incomplete realization of the complexity of Kron’s tougher, sharper artistic instincts.\u003c/p>\n\u003cp>There’s a brutal scene in which Bruce seduces his children’s babysitter and family handyman, Roy, while Alison’s mother Helen plays the piano in the next room. When Roy hesitates, Bruce snaps, “Don’t worry about her.” It’s a cutting line and a slick setup. Tesori’s music (“Helen’s Étude”) starts off in a promising manner, as Bruce and Helen sing in counterpoint. But at a little more than a minute and with the intrusion of Roy’s rather pedestrian observations and voice (“I know this type, this type of married guy”) the song is more of an explanation than a deepening of what has become a savage familial situation.\u003c/p>\n\u003cfigure id=\"attachment_12703976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703976\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-800x450.jpg\" alt=\"Medium Alison (Abby Corrigan) is flummoxed around the out and knowing Joan (Karen Eilbacher) in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Medium Alison (Abby Corrigan) is flummoxed around the out and knowing Joan (Karen Eilbacher) in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not that this is beyond Tesori’s abilities. The lovely post-coital ode “Changing My Major” takes a beautiful stage image — Alison admiring her first girlfriend Joan’s sleeping body — and lets us revel in her sexual awakening and the joy and love that it inspires. As with the best of musical theater, you want to stay in the moment and song forever.\u003c/p>\n\u003cp>Yet most of best scenes occur when the piece is less of a musical, and more of a play with bits and pieces of music woven though it — a trip to New York where Bruce sings Alison to sleep and then slips away to hunt for anonymous sex; an impromptu father-daughter concert of goofy songs during a visit home; and a car ride where Bruce offers to take Alison to a bar where “folks like, you know…” but can’t finish his thought when she reminds him that she’s not 21. Instead of show-stopping numbers that often feel like expressions of strength, here the music catches just how fragile family ties can be.\u003c/p>\n\u003cfigure id=\"attachment_12703974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703974\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-800x450.jpg\" alt=\"Alison (Kate Shindle) and her father Bruce (Robert Petkoff) take a drive to try to talk in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alison (Kate Shindle) and her father Bruce (Robert Petkoff) take a drive to try to talk in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fun Home\u003c/em> has become a beloved piece — it won five Tony Awards — and when it succeeds you can understand why. We have so much to lose when parents die, when the mirror of family is wrested away and there is no one left to reflect the future for us. There are, sadly, some echoes in the work of the present political moment. On opening night in San Francisco, you could feel the audience embrace them: what does it mean to lose a world, even if it was an imperfect one?\u003c/p>\n\u003cp>That’s all to the good. But I think the piece misplays its strengths. Tesori’s music is tidy where it should be a fiery mess, and the traces of Broadway conventions (a reliance on pop pastiche and crowd-pleasing numbers) mute Kron’s shifty writing. And that brings us back to Bechdel. Drafted to speak at a moment of high drama, she was simply present, which is a gift that \u003cem>Fun Home\u003c/em> the musical only intermittently rises to and achieves. Still, sometimes the imperfect is more than enough.\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\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Fun Home’ runs through Sunday, Feb. 19 at the Curran Theater in San Francisco. For tickets and information, \u003ca href=\"https://sfcurran.com/shows/fun-home/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Tony Award-winning musical based on the famed graphic novelist's 2006 memoir opens at the newly-renovated Curran Theater in a heated political climate, but doesn't quite rise to the occasion.",
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"description": "The Tony Award-winning musical based on the famed graphic novelist's 2006 memoir opens at the newly-renovated Curran Theater in a heated political climate, but doesn't quite rise to the occasion.",
"title": "'Fun Home' Musical Puts Alison Bechdel's Coming Out Story on Stage | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After the actors had all taken their bows to thunderous applause at the San Francisco premiere of Jeanine Tesori and Lisa Kron’s musical \u003ca href=\"https://sfcurran.com/shows/fun-home/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fun Home\u003c/em>\u003c/a>, Carole Shorenstein Hays — the flamboyant theater producer and owner of the newly refurbished Curran Theater — handed a microphone to Alison Bechdel and essentially demanded that she speak.\u003c/p>\n\u003cp>Bechdel, whose 2006 autobiographical graphic novel of the same title was the basis for the evening’s entertainment, spoke graciously and with great poise both about the production and our country’s current political situation. She was brief and made no grand statements. Yet there was something about the way the 56-year old graphic novelist carried herself that was so vivid and human, it threw into relief many of the problems and tensions within Tesori and Kron’s lovely but flawed attempt to give theatrical life to Bechdel’s actual life. It rarely happens, but the real thing shone brighter than the entertainment.\u003c/p>\n\u003cp>\u003cem>Fun Home\u003c/em> is an ambitiously structured drama, taking on the stories of three versions of “Alison” all at once: the child who intuits her father Bruce’s sexual preferences and finds secret solace with him; the young adult desperately in need of her family to recognize that she has, in coming out, become a fuller, slightly different version of herself; and the mature graphic novelist struggling to give shape to her father’s sudden suicide at 44.\u003c/p>\n\u003cp>Memory plays are a notoriously difficult genre, and \u003cem>Fun Home\u003c/em> loses shape and focus every time the adult Alison takes the lead. There’s just not much for her to do except comment on the action. Worse, this unbalances and undercuts the force of the other two narratives, sometimes in trite ways.\u003c/p>\n\u003cfigure id=\"attachment_12703978\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703978\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-800x456.jpg\" alt=\"Small Alison (Alessandra Baldacchino) and her father Bruce share one of many moments of harmony in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-520x296.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Small Alison (Alessandra Baldacchino) and her father Bruce share one of many moments of harmony in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a wrenching moment in which Bruce desperately tries to impress a member of the Allegheny Historical Society with the restoration of his Victorian house and the picture-book perfection of his family, the adult Alison says, “And he was gay. And I was gay. And he killed himself. And I… became a lesbian cartoonist.” The narratorial distance might work as a caption in a graphic novel. But on stage it comes off as a diminishment of actual pain. It turns suicide into a snappy one-liner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This tension between commentary and drama is not just a problem of the narration, but also present between Tesori’s music and Kron’s book. Kron is a fascinating writer, capable of taking unpromising dramatic ideas and weaving them into powerful, if lopsided, plays. (Her satisfying \u003cem>In the Wake\u003c/em> premiered at the Berkeley Repertory Theatre in 2010). Yet Tesori’s songs are often an incomplete realization of the complexity of Kron’s tougher, sharper artistic instincts.\u003c/p>\n\u003cp>There’s a brutal scene in which Bruce seduces his children’s babysitter and family handyman, Roy, while Alison’s mother Helen plays the piano in the next room. When Roy hesitates, Bruce snaps, “Don’t worry about her.” It’s a cutting line and a slick setup. Tesori’s music (“Helen’s Étude”) starts off in a promising manner, as Bruce and Helen sing in counterpoint. But at a little more than a minute and with the intrusion of Roy’s rather pedestrian observations and voice (“I know this type, this type of married guy”) the song is more of an explanation than a deepening of what has become a savage familial situation.\u003c/p>\n\u003cfigure id=\"attachment_12703976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703976\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-800x450.jpg\" alt=\"Medium Alison (Abby Corrigan) is flummoxed around the out and knowing Joan (Karen Eilbacher) in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Medium Alison (Abby Corrigan) is flummoxed around the out and knowing Joan (Karen Eilbacher) in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not that this is beyond Tesori’s abilities. The lovely post-coital ode “Changing My Major” takes a beautiful stage image — Alison admiring her first girlfriend Joan’s sleeping body — and lets us revel in her sexual awakening and the joy and love that it inspires. As with the best of musical theater, you want to stay in the moment and song forever.\u003c/p>\n\u003cp>Yet most of best scenes occur when the piece is less of a musical, and more of a play with bits and pieces of music woven though it — a trip to New York where Bruce sings Alison to sleep and then slips away to hunt for anonymous sex; an impromptu father-daughter concert of goofy songs during a visit home; and a car ride where Bruce offers to take Alison to a bar where “folks like, you know…” but can’t finish his thought when she reminds him that she’s not 21. Instead of show-stopping numbers that often feel like expressions of strength, here the music catches just how fragile family ties can be.\u003c/p>\n\u003cfigure id=\"attachment_12703974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703974\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-800x450.jpg\" alt=\"Alison (Kate Shindle) and her father Bruce (Robert Petkoff) take a drive to try to talk in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alison (Kate Shindle) and her father Bruce (Robert Petkoff) take a drive to try to talk in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fun Home\u003c/em> has become a beloved piece — it won five Tony Awards — and when it succeeds you can understand why. We have so much to lose when parents die, when the mirror of family is wrested away and there is no one left to reflect the future for us. There are, sadly, some echoes in the work of the present political moment. On opening night in San Francisco, you could feel the audience embrace them: what does it mean to lose a world, even if it was an imperfect one?\u003c/p>\n\u003cp>That’s all to the good. But I think the piece misplays its strengths. Tesori’s music is tidy where it should be a fiery mess, and the traces of Broadway conventions (a reliance on pop pastiche and crowd-pleasing numbers) mute Kron’s shifty writing. And that brings us back to Bechdel. Drafted to speak at a moment of high drama, she was simply present, which is a gift that \u003cem>Fun Home\u003c/em> the musical only intermittently rises to and achieves. Still, sometimes the imperfect is more than enough.\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\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fun Home’ runs through Sunday, Feb. 19 at the Curran Theater in San Francisco. For tickets and information, \u003ca href=\"https://sfcurran.com/shows/fun-home/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dance Mission Theater Plans New Home at 16th and Mission",
"headTitle": "Dance Mission Theater Plans New Home at 16th and Mission | KQED",
"content": "\u003cp>Dance Mission Theater has its eyes on a new home – one they’re going to build with the help of a local union and the Mission Economic Development Agency.\u003c/p>\n\u003cp>MEDA has brokered a deal between the dance organization and UFCW 64, a union that owns the property where it has offices at 1980 Mission Street near 16th Street.\u003c/p>\n\u003cp>Though plans are still preliminary, the idea is to redevelop the two-story, 11,000-square-foot building, doubling its size and adding another two levels. The union would operate on one of those levels and Dance Mission would occupy the remaining two floors.\u003c/p>\n\u003cp>“The intent as memorialized by both organizations is to explore feasibility of 1980 Mission as a long term home for Dance MIssion,” said Feliciano Vera, who has been managing the project for MEDA.\u003c/p>\n\u003cp>Dance Mission, which has been producing political art and supporting dancers from diverse backgrounds for 40 years, has a lease at its current 24th Street location through 2018, but has already weathered several steep rent increases and cannot take another, the director said. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I don’t really have security here,” said the dance company’s director, Krissy Keefer. She expects another $3,000 a month rent increase soon, and the building needs maintenance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://missionlocal.org/2017/01/dance-mission-theater-plans-new-home-at-16th-and-mission/\" target=\"_blank\" rel=\"noopener\">Read more at Mission Local\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dance Mission Theater has its eyes on a new home – one they’re going to build with the help of a local union and the Mission Economic Development Agency.\u003c/p>\n\u003cp>MEDA has brokered a deal between the dance organization and UFCW 64, a union that owns the property where it has offices at 1980 Mission Street near 16th Street.\u003c/p>\n\u003cp>Though plans are still preliminary, the idea is to redevelop the two-story, 11,000-square-foot building, doubling its size and adding another two levels. The union would operate on one of those levels and Dance Mission would occupy the remaining two floors.\u003c/p>\n\u003cp>“The intent as memorialized by both organizations is to explore feasibility of 1980 Mission as a long term home for Dance MIssion,” said Feliciano Vera, who has been managing the project for MEDA.\u003c/p>\n\u003cp>Dance Mission, which has been producing political art and supporting dancers from diverse backgrounds for 40 years, has a lease at its current 24th Street location through 2018, but has already weathered several steep rent increases and cannot take another, the director said. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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": "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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"tagline": "Art is where you find it",
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"soldout": {
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"tagline": "A new future for housing",
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"info": "",
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"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"ted-radio-hour": {
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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