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"content": "\u003cp>\u003ci>\u003cb>Update:\u003c/b> Oct. 27, 2015\u003c/i>\u003c/p>\n\u003cp>San Francisco’s Le Video will be liquidating its 90,000+ video inventory in the oncoming weeks and closing down for good after 35 years in business, according to store owner Catherine Tchen.\u003c/p>\n\u003cp>A potential deal with the Texas-based Alamo Drafthouse that was in the works has apparently fallen through, Tchen said.\u003c/p>\n\u003cp>The owners will begin the process with selling the high value items online and will follow up with a general liquidation, with prices on all the remaining inventory being lowered each week until they sell.\u003c/p>\n\u003cp>\u003ci>\u003cb>Orignal Post:\u003c/b>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You know your journalism career is really going gangbusters when you find yourself on the local video store beat, an industry described in a 2014 \u003ca href=\"http://www.ibisworld.com/industry/default.aspx?indid=1370\" target=\"_blank\" rel=\"noopener\">report\u003c/a> as “in the declining life stage cycle.”\u003c/p>\n\u003cp>Wait, video stores still \u003cem>exist\u003c/em>?\u003c/p>\n\u003cp>Yes, 3,810 of them across the United States, according to the report from IBISWorld. Last year, I did a \u003ca href=\"http://ww2.kqed.org/arts/2014/08/06/can-san-franciscos-video-stores-be-saved/\" target=\"_blank\" rel=\"noopener\">survey of the handful extant in San Francisco\u003c/a>. \u003c/p>\n\u003cp>Why? Their demise encompasses much of what you hear old-guard San Franciscans complaining about as the tech juggernaut transforms neighborhoods: high rents, the ascendancy of technocratic youth culture and the changing values and habits that culture has brought.\u003c/p>\n\u003cp>Last year, we covered \u003ca href=\"http://www.levideo.com/\" target=\"_blank\" rel=\"noopener\">Le Video\u003c/a>, \u003ca href=\"https://www.facebook.com/Video-Wave-of-Noe-Valley-248196955196370/timeline/\" target=\"_blank\" rel=\"noopener\">Video Wave of Noe Valley\u003c/a>, \u003ca href=\"https://www.facebook.com/Fayes-Video-Espresso-Bar-63018133564/timeline/\" target=\"_blank\" rel=\"noopener\">Fayes Video & Espresso Bar\u003c/a> and \u003ca href=\"http://www.lostweekendvideo.com/\" target=\"_blank\" rel=\"noopener\">Lost Weekend\u003c/a>. \u003c/p>\n\u003cp>All of the owners I talked to felt basically under siege, as the businesses they’d cultivated over decades had all but collapsed. So we thought it would be only right to revisit these intrepid few and see how things are going.\u003c/p>\n\u003cfigure id=\"attachment_11012272\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Frontlyne-e1444886538552.jpg\" alt=\"Street view of Frontlyne\" width=\"640\" height=\"480\" class=\"size-full wp-image-11012272\">\u003cfigcaption class=\"wp-caption-text\">Street view of Frontlyne \u003ccite>(Courtesy: Yelp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Frontlyne’s last day\u003c/h3>\n\u003cp>As I prepared this article, I was horrified to discover I had left out a store I’d never heard of: Frontlyne Video, in Nob Hill. I immediately gave them a ring, breathlessly asking, “Do you guys still rent videos?”\u003c/p>\n\u003cp>The woman on the other end paused. “Until next Thursday,” she said.\u003c/p>\n\u003cp>And then there were four.\u003c/p>\n\u003cp>Frontlyne, in business 26 years, will peddle its last $1.00-a-day rental on Oct. 15. After that…\u003c/p>\n\u003cp>“We’re just going to blow everything out,” said owner Henry Silverberg.\u003c/p>\n\u003cp>“Technology put us all out of business,” he said. “If Blockbuster and the big boys can’t make it and they’ve all been out of business for years, how do you think it is for the small guys?”\u003c/p>\n\u003cp>Not too good.\u003c/p>\n\u003cfigure id=\"attachment_11012273\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/LWV88.jpg\" alt=\"The Mission's Lost Weekend\" width=\"640\" height=\"428\" class=\"size-full wp-image-11012273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/LWV88.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/LWV88-400x268.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Mission’s Lost Weekend\u003c/figcaption>\u003c/figure>\n\u003ch3>Survival by shrinking\u003c/h3>\n\u003cp>“You can’t lose 75 percent of your business and have your rent increase,” says David Hawkins, co-owner of Lost Weekend, on Valencia Street.\u003c/p>\n\u003cp>Yet he hangs on, one of the four dead-enders who have somehow managed to avoid being Netflixed onto the scrap heap of media-consumption history. All have survived in part by folding themselves into smaller spaces: Lost Weekend halved itself and now shares rent with a record store; Video Wave recently relocated to the back of a candy store on 24th Street; Fayes, near Dolores Park, tucked its DVDs into a corner of the store.\u003c/p>\n\u003cp>In the Inner Sunset, Le Video gave up on its large downstairs space last year, once notable for a grotto-like display of its 90,000-title inventory. The store consigned itself to a room a quarter of the size upstairs, renting out its previous home to Green Apple Books on the Park, the Richmond District bookstore’s second location.\u003c/p>\n\u003cp>That move, financed by a successful Indiegogo campaign, generated cautious optimism. But it didn’t work out, and the store is currently in prolonged negotiations to sell its copious inventory in one lot, so that it remains available to the public. If that doesn’t happen, it will sell everything piecemeal.\u003c/p>\n\u003cfigure id=\"attachment_11012274\" class=\"wp-caption alignright\" style=\"max-width: 565px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/levideo1.jpg\" alt=\"Le Video's old exterior, before Green Apple's Books on the Park moved in.\" width=\"565\" height=\"424\" class=\"size-full wp-image-11012274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/levideo1.jpg 565w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/levideo1-400x300.jpg 400w\" sizes=\"(max-width: 565px) 100vw, 565px\">\u003cfigcaption class=\"wp-caption-text\">Le Video’s old exterior, before Green Apple’s Books on the Park moved in.\u003c/figcaption>\u003c/figure>\n\u003cp>Store buyer John Taylor told me business dropped by about a third after the move last year, on top of an already long slow decline. “Mainly it’s just people didn’t know we were here,” he said. “People would say, ‘You need a sign.’ We have three signs. There’s not much more we can do in the sign department.’\u003c/p>\n\u003cp>Catherine Tchen, the store’s owner, indicated the problem went deeper than that.\u003c/p>\n\u003cp>“People discover us when they’ve exhausted every other resource. The rest of the time they don’t understand the correlation of supporting us so we can keep providing them things they just can’t find anywhere else.”\u003c/p>\n\u003cfigure id=\"attachment_11012275\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/videostorepiece-e1444886894445.jpg\" alt=\"Sign in Lost Weekend's window.\" width=\"640\" height=\"524\" class=\"size-full wp-image-11012275\">\u003cfigcaption class=\"wp-caption-text\">Sign in Lost Weekend’s window. \u003ccite>(Photo: Steve Rhodes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The decline continues\u003c/h3>\n\u003cp>Hawkins of Lost Weekend agrees that the spirit is willing but the wallet is weak when it comes to potential customers. “I’ve heard platitudes for years,” he says, describing a set of consumers who like the \u003cem>idea\u003c/em> of video stores but don’t patronize any. “It’s not that I don’t believe those people, I think they honestly believe it.”\u003c/p>\n\u003cp>But that hasn’t stopped business from declining ever more rapidly. “As business falters you keep thinking… there would be a floor and level out, and that hasn’t happened,” he said, echoing, scarily, the very same complaint he made last year. “There just doesn’t seem to be one.”\u003c/p>\n\u003cp>Hawkins, who is in his 40s, estimates he can keep going for anywhere from 6 to 18 months if the trend continues. “We’re working on Plan R,” he said, noting he now makes less money, personally, than he did when he was in his 20s.\u003c/p>\n\u003cp>Hawkins says he’s not afraid of competition. His store flourished when it had to go up against another 400-pound gorilla: chains like Blockbuster. He weathered that storm, he says, by providing a better atmosphere and selection. But competing against virtual stores is, well, virtually impossible.\u003c/p>\n\u003cp>“To go from a physical space where people come in and browse and talk to you to suddenly being an online streaming site… the money to do that is insane. The technological knowledge [required] is insane. It’s not something that a business like ours can compete with in a real sense.”\u003c/p>\n\u003ch3>A sense of mission\u003c/h3>\n\u003cp>The other thing that motivates him, and also keeps other owners from packing it in, is what some may call a quaint sense of mission, what they would describe as decades’ worth of commitment to a set of attributes: connoisseurship, community and comprehensiveness. They consider those as important as the missing component of convenience that has killed so many of their ilk.\u003c/p>\n\u003cfigure id=\"attachment_11012276\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/VideoWave2-e1444887084730.jpg\" alt=\"Video Wave's new location on 24th Street.\" width=\"640\" height=\"480\" class=\"size-full wp-image-11012276\">\u003cfigcaption class=\"wp-caption-text\">Video Wave’s new location on 24th Street. \u003ccite>(Photo: Yelp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gwen Sanderson, co-owner of Video Wave, can rattle off the names of the fallen. Despite San Francisco having transformed into a city where a good chunk of the population is more likely to stream a film on a cell phone than pick one up at an actual store, some of her customers, old-school refugees from neighborhoods whose video businesses went belly up, now traipse over to Noe Valley to rent and lament, she says.\u003c/p>\n\u003cp>“Four Star is the one that we get the most grief over, still, people having lost it in Bernal. Before that, Dr. Video in Glen Park was one of most grieved.” She says her customers evince “sheer relief” when they find her store is still open. And, she says, business has actually stabilized.\u003c/p>\n\u003cp>What motivates her?\u003c/p>\n\u003ch3>“This is worth something”\u003c/h3>\n\u003cp>“I wanted to put my foot down and say this is worth something,” she says. “Quality of life has a value that is not monetary. We have people run into each other they haven’t seen in years. People discover things. It’s not just a retail outlet, it’s an activity… It’s something to do together, around other people. We’ve lost a lot of that [in San Francisco].”\u003c/p>\n\u003cfigure id=\"attachment_11012277\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/fayes-e1444887346781.jpg\" alt=\"Fayes, with the videos tucked into the back corner\" width=\"640\" height=\"640\" class=\"size-full wp-image-11012277\">\u003cfigcaption class=\"wp-caption-text\">Fayes, with the videos tucked into the back corner \u003ccite>(Photo: Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That sort of human interaction is worth preserving, says Mike McConell, co-owner of Fayes Video. “There’s customers who’ve come in here since 1999.”\u003c/p>\n\u003cp>Even though Fayes’ DVD business is “astronomically” down, McConnell says the store does okay because of its coffee shop. After pruning the DVD collection down because of declining sales, he still has about 10,000 titles. “There’s enough people who don’t want to get rid of the movies, so we will carry on,” he says.\u003c/p>\n\u003ch3>A changing San Francisco\u003c/h3>\n\u003cp>The fact that the city has become wealthier has not helped video stores — the IBISWorld report says a wealthier population does not consume hard media; demand for video stores falls when households earn more money.\u003c/p>\n\u003cp>“There’s an influx of people who are more tech-based and so they use all those gadgets; they’re not used to going in and looking for something or browsing,” says Mike McConell. “Our neighborhood has become so tech-based, or restaurant-based. People are spending their time either eating or on their phones.”\u003c/p>\n\u003cp>As he did last year, Hawkins made an argument that there’s a much larger issue at play here than just the demise of what is now a remote backwater in the media landscape.\u003c/p>\n\u003cp>“What’s evil to me about the internet, they can wipe out not only the entire world of basically anything that’s shippable or streamable; photography, books, music, then down to shoes, clothing. We’re potentially eliminating everything except food, drink and bodywork.”\u003c/p>\n\u003cp>Video Wave, at least, thinks it can survive, especially at its new, more-visible location on 24th Street.\u003c/p>\n\u003cp>“This community has supported us for 30 years,” said Colin Hutton, the store’s other owner.\u003c/p>\n\u003cp>During my visit to Video Wave, two young couples wandered in, and one pair signed up for memberships. Could maybe there be hope in this counterintuitive development? \u003ca href=\"http://www.nytimes.com/2015/09/23/business/media/the-plot-twist-e-book-sales-slip-and-print-is-far-from-dead.html?_r=0\" target=\"_blank\" rel=\"noopener\">Bookstores are making a comeback\u003c/a>; sales of e-books have stalled.\u003c/p>\n\u003cp>IBISWorld, though, does not foresee a similar rewind for video stores. Over the next five years, it says, the country is going to see roughly 15 percent of them fade to black each year.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Here in San Francisco, who doesn’t want to see a Spielberg climax for these stores, as opposed to the Lars Von Trier ending we appear to be headed towards?\u003c/p>\n\n",
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"excerpt": "Checking in a year later, video stores in San Francisco have dwindled down to a precious few. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003cb>Update:\u003c/b> Oct. 27, 2015\u003c/i>\u003c/p>\n\u003cp>San Francisco’s Le Video will be liquidating its 90,000+ video inventory in the oncoming weeks and closing down for good after 35 years in business, according to store owner Catherine Tchen.\u003c/p>\n\u003cp>A potential deal with the Texas-based Alamo Drafthouse that was in the works has apparently fallen through, Tchen said.\u003c/p>\n\u003cp>The owners will begin the process with selling the high value items online and will follow up with a general liquidation, with prices on all the remaining inventory being lowered each week until they sell.\u003c/p>\n\u003cp>\u003ci>\u003cb>Orignal Post:\u003c/b>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You know your journalism career is really going gangbusters when you find yourself on the local video store beat, an industry described in a 2014 \u003ca href=\"http://www.ibisworld.com/industry/default.aspx?indid=1370\" target=\"_blank\" rel=\"noopener\">report\u003c/a> as “in the declining life stage cycle.”\u003c/p>\n\u003cp>Wait, video stores still \u003cem>exist\u003c/em>?\u003c/p>\n\u003cp>Yes, 3,810 of them across the United States, according to the report from IBISWorld. Last year, I did a \u003ca href=\"http://ww2.kqed.org/arts/2014/08/06/can-san-franciscos-video-stores-be-saved/\" target=\"_blank\" rel=\"noopener\">survey of the handful extant in San Francisco\u003c/a>. \u003c/p>\n\u003cp>Why? Their demise encompasses much of what you hear old-guard San Franciscans complaining about as the tech juggernaut transforms neighborhoods: high rents, the ascendancy of technocratic youth culture and the changing values and habits that culture has brought.\u003c/p>\n\u003cp>Last year, we covered \u003ca href=\"http://www.levideo.com/\" target=\"_blank\" rel=\"noopener\">Le Video\u003c/a>, \u003ca href=\"https://www.facebook.com/Video-Wave-of-Noe-Valley-248196955196370/timeline/\" target=\"_blank\" rel=\"noopener\">Video Wave of Noe Valley\u003c/a>, \u003ca href=\"https://www.facebook.com/Fayes-Video-Espresso-Bar-63018133564/timeline/\" target=\"_blank\" rel=\"noopener\">Fayes Video & Espresso Bar\u003c/a> and \u003ca href=\"http://www.lostweekendvideo.com/\" target=\"_blank\" rel=\"noopener\">Lost Weekend\u003c/a>. \u003c/p>\n\u003cp>All of the owners I talked to felt basically under siege, as the businesses they’d cultivated over decades had all but collapsed. So we thought it would be only right to revisit these intrepid few and see how things are going.\u003c/p>\n\u003cfigure id=\"attachment_11012272\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Frontlyne-e1444886538552.jpg\" alt=\"Street view of Frontlyne\" width=\"640\" height=\"480\" class=\"size-full wp-image-11012272\">\u003cfigcaption class=\"wp-caption-text\">Street view of Frontlyne \u003ccite>(Courtesy: Yelp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Frontlyne’s last day\u003c/h3>\n\u003cp>As I prepared this article, I was horrified to discover I had left out a store I’d never heard of: Frontlyne Video, in Nob Hill. I immediately gave them a ring, breathlessly asking, “Do you guys still rent videos?”\u003c/p>\n\u003cp>The woman on the other end paused. “Until next Thursday,” she said.\u003c/p>\n\u003cp>And then there were four.\u003c/p>\n\u003cp>Frontlyne, in business 26 years, will peddle its last $1.00-a-day rental on Oct. 15. After that…\u003c/p>\n\u003cp>“We’re just going to blow everything out,” said owner Henry Silverberg.\u003c/p>\n\u003cp>“Technology put us all out of business,” he said. “If Blockbuster and the big boys can’t make it and they’ve all been out of business for years, how do you think it is for the small guys?”\u003c/p>\n\u003cp>Not too good.\u003c/p>\n\u003cfigure id=\"attachment_11012273\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/LWV88.jpg\" alt=\"The Mission's Lost Weekend\" width=\"640\" height=\"428\" class=\"size-full wp-image-11012273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/LWV88.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/LWV88-400x268.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Mission’s Lost Weekend\u003c/figcaption>\u003c/figure>\n\u003ch3>Survival by shrinking\u003c/h3>\n\u003cp>“You can’t lose 75 percent of your business and have your rent increase,” says David Hawkins, co-owner of Lost Weekend, on Valencia Street.\u003c/p>\n\u003cp>Yet he hangs on, one of the four dead-enders who have somehow managed to avoid being Netflixed onto the scrap heap of media-consumption history. All have survived in part by folding themselves into smaller spaces: Lost Weekend halved itself and now shares rent with a record store; Video Wave recently relocated to the back of a candy store on 24th Street; Fayes, near Dolores Park, tucked its DVDs into a corner of the store.\u003c/p>\n\u003cp>In the Inner Sunset, Le Video gave up on its large downstairs space last year, once notable for a grotto-like display of its 90,000-title inventory. The store consigned itself to a room a quarter of the size upstairs, renting out its previous home to Green Apple Books on the Park, the Richmond District bookstore’s second location.\u003c/p>\n\u003cp>That move, financed by a successful Indiegogo campaign, generated cautious optimism. But it didn’t work out, and the store is currently in prolonged negotiations to sell its copious inventory in one lot, so that it remains available to the public. If that doesn’t happen, it will sell everything piecemeal.\u003c/p>\n\u003cfigure id=\"attachment_11012274\" class=\"wp-caption alignright\" style=\"max-width: 565px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/levideo1.jpg\" alt=\"Le Video's old exterior, before Green Apple's Books on the Park moved in.\" width=\"565\" height=\"424\" class=\"size-full wp-image-11012274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/levideo1.jpg 565w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/levideo1-400x300.jpg 400w\" sizes=\"(max-width: 565px) 100vw, 565px\">\u003cfigcaption class=\"wp-caption-text\">Le Video’s old exterior, before Green Apple’s Books on the Park moved in.\u003c/figcaption>\u003c/figure>\n\u003cp>Store buyer John Taylor told me business dropped by about a third after the move last year, on top of an already long slow decline. “Mainly it’s just people didn’t know we were here,” he said. “People would say, ‘You need a sign.’ We have three signs. There’s not much more we can do in the sign department.’\u003c/p>\n\u003cp>Catherine Tchen, the store’s owner, indicated the problem went deeper than that.\u003c/p>\n\u003cp>“People discover us when they’ve exhausted every other resource. The rest of the time they don’t understand the correlation of supporting us so we can keep providing them things they just can’t find anywhere else.”\u003c/p>\n\u003cfigure id=\"attachment_11012275\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/videostorepiece-e1444886894445.jpg\" alt=\"Sign in Lost Weekend's window.\" width=\"640\" height=\"524\" class=\"size-full wp-image-11012275\">\u003cfigcaption class=\"wp-caption-text\">Sign in Lost Weekend’s window. \u003ccite>(Photo: Steve Rhodes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The decline continues\u003c/h3>\n\u003cp>Hawkins of Lost Weekend agrees that the spirit is willing but the wallet is weak when it comes to potential customers. “I’ve heard platitudes for years,” he says, describing a set of consumers who like the \u003cem>idea\u003c/em> of video stores but don’t patronize any. “It’s not that I don’t believe those people, I think they honestly believe it.”\u003c/p>\n\u003cp>But that hasn’t stopped business from declining ever more rapidly. “As business falters you keep thinking… there would be a floor and level out, and that hasn’t happened,” he said, echoing, scarily, the very same complaint he made last year. “There just doesn’t seem to be one.”\u003c/p>\n\u003cp>Hawkins, who is in his 40s, estimates he can keep going for anywhere from 6 to 18 months if the trend continues. “We’re working on Plan R,” he said, noting he now makes less money, personally, than he did when he was in his 20s.\u003c/p>\n\u003cp>Hawkins says he’s not afraid of competition. His store flourished when it had to go up against another 400-pound gorilla: chains like Blockbuster. He weathered that storm, he says, by providing a better atmosphere and selection. But competing against virtual stores is, well, virtually impossible.\u003c/p>\n\u003cp>“To go from a physical space where people come in and browse and talk to you to suddenly being an online streaming site… the money to do that is insane. The technological knowledge [required] is insane. It’s not something that a business like ours can compete with in a real sense.”\u003c/p>\n\u003ch3>A sense of mission\u003c/h3>\n\u003cp>The other thing that motivates him, and also keeps other owners from packing it in, is what some may call a quaint sense of mission, what they would describe as decades’ worth of commitment to a set of attributes: connoisseurship, community and comprehensiveness. They consider those as important as the missing component of convenience that has killed so many of their ilk.\u003c/p>\n\u003cfigure id=\"attachment_11012276\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/VideoWave2-e1444887084730.jpg\" alt=\"Video Wave's new location on 24th Street.\" width=\"640\" height=\"480\" class=\"size-full wp-image-11012276\">\u003cfigcaption class=\"wp-caption-text\">Video Wave’s new location on 24th Street. \u003ccite>(Photo: Yelp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gwen Sanderson, co-owner of Video Wave, can rattle off the names of the fallen. Despite San Francisco having transformed into a city where a good chunk of the population is more likely to stream a film on a cell phone than pick one up at an actual store, some of her customers, old-school refugees from neighborhoods whose video businesses went belly up, now traipse over to Noe Valley to rent and lament, she says.\u003c/p>\n\u003cp>“Four Star is the one that we get the most grief over, still, people having lost it in Bernal. Before that, Dr. Video in Glen Park was one of most grieved.” She says her customers evince “sheer relief” when they find her store is still open. And, she says, business has actually stabilized.\u003c/p>\n\u003cp>What motivates her?\u003c/p>\n\u003ch3>“This is worth something”\u003c/h3>\n\u003cp>“I wanted to put my foot down and say this is worth something,” she says. “Quality of life has a value that is not monetary. We have people run into each other they haven’t seen in years. People discover things. It’s not just a retail outlet, it’s an activity… It’s something to do together, around other people. We’ve lost a lot of that [in San Francisco].”\u003c/p>\n\u003cfigure id=\"attachment_11012277\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/fayes-e1444887346781.jpg\" alt=\"Fayes, with the videos tucked into the back corner\" width=\"640\" height=\"640\" class=\"size-full wp-image-11012277\">\u003cfigcaption class=\"wp-caption-text\">Fayes, with the videos tucked into the back corner \u003ccite>(Photo: Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That sort of human interaction is worth preserving, says Mike McConell, co-owner of Fayes Video. “There’s customers who’ve come in here since 1999.”\u003c/p>\n\u003cp>Even though Fayes’ DVD business is “astronomically” down, McConnell says the store does okay because of its coffee shop. After pruning the DVD collection down because of declining sales, he still has about 10,000 titles. “There’s enough people who don’t want to get rid of the movies, so we will carry on,” he says.\u003c/p>\n\u003ch3>A changing San Francisco\u003c/h3>\n\u003cp>The fact that the city has become wealthier has not helped video stores — the IBISWorld report says a wealthier population does not consume hard media; demand for video stores falls when households earn more money.\u003c/p>\n\u003cp>“There’s an influx of people who are more tech-based and so they use all those gadgets; they’re not used to going in and looking for something or browsing,” says Mike McConell. “Our neighborhood has become so tech-based, or restaurant-based. People are spending their time either eating or on their phones.”\u003c/p>\n\u003cp>As he did last year, Hawkins made an argument that there’s a much larger issue at play here than just the demise of what is now a remote backwater in the media landscape.\u003c/p>\n\u003cp>“What’s evil to me about the internet, they can wipe out not only the entire world of basically anything that’s shippable or streamable; photography, books, music, then down to shoes, clothing. We’re potentially eliminating everything except food, drink and bodywork.”\u003c/p>\n\u003cp>Video Wave, at least, thinks it can survive, especially at its new, more-visible location on 24th Street.\u003c/p>\n\u003cp>“This community has supported us for 30 years,” said Colin Hutton, the store’s other owner.\u003c/p>\n\u003cp>During my visit to Video Wave, two young couples wandered in, and one pair signed up for memberships. Could maybe there be hope in this counterintuitive development? \u003ca href=\"http://www.nytimes.com/2015/09/23/business/media/the-plot-twist-e-book-sales-slip-and-print-is-far-from-dead.html?_r=0\" target=\"_blank\" rel=\"noopener\">Bookstores are making a comeback\u003c/a>; sales of e-books have stalled.\u003c/p>\n\u003cp>IBISWorld, though, does not foresee a similar rewind for video stores. Over the next five years, it says, the country is going to see roughly 15 percent of them fade to black each year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here in San Francisco, who doesn’t want to see a Spielberg climax for these stores, as opposed to the Lars Von Trier ending we appear to be headed towards?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Loipa Araujo is an exacting ballet coach. She has to be: the great Cuban National Ballet star has less than a month to teach the members of Silicon Valley Ballet how to dance \u003ci>Giselle\u003c/i> — the Cuban way.\u003c/p>\n\u003cp>“Some of them have done another version of \u003ci>Giselle\u003c/i>,” Araujo says of the beloved classical ballet during a break in their downtown San Jose rehearsal space. “They have to completely forget that and be open to this new \u003ci>Giselle\u003c/i>.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/230537319″ 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>Relations between the U.S. and Cuba have improved of late. And now Silicon Valley Ballet is doing its part to help move the reconciliation along. The company is unveiling a legendary Cuban version of \u003cem>Giselle\u003c/em>. The ballet tells the tragic tale of a peasant girl who goes mad and dies of a broken heart after being betrayed by her lover — an audience favorite since it was first performed in the 1840s.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.balletcuba.cult.cu/\" target=\"_blank\" rel=\"noopener\">Cuban National Ballet\u003c/a> is particularly associated with \u003ci>Giselle\u003c/i> because of the unique drama and flawless technique of the company’s co-founder, Alicia Alonso, who danced the title role to great acclaim with the Ballet Theatre in New York (known these days as American Ballet Theatre) back in the 1940s. The young Cuban prodigy caused a sensation when she stepped in at the last minute for an injured Alicia Markova during the 1941-42 season.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One thing that was extraordinary about her version was the mad scene,” says Toba Singer, a Berkeley based dance scholar who frequently writes about Cuban ballet. “Alicia Alonso really gave her own interpretation to it and it was marvelous.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xkZc5KJIRbU\u003c/p>\n\u003cp>The ballet star returned home to Cuba in 1948 to found the institution that would eventually become the Cuban National Ballet. At 93, Alonso still tours with her company, and her version of \u003cem>Giselle \u003c/em> is a hallmark of the company’s repertoire.\u003c/p>\n\u003cp>“I’ve seen many, many other versions of \u003ci>Giselle\u003c/i>, and I do think our Cuban version, the version of Alicia, has this very clear dramatic line,” Araujo says. “All the characters are very well defined.”\u003c/p>\n\u003cp>The dancers of Silicon Valley Ballet are also working intensively with Araujo and her team of dance coaches from Havana on technical specifics particular to the Cuban version. They pay close attention to seemingly tiny details, like keeping their arms rounded rather than straight in one key scene in the second act.\u003c/p>\n\u003cp>“In this version, every single thing you do, even how you bow or how you look at somebody, has a meaning,” says principal dancer Ommi Pipit-Suksun, who is one of the dancers charged with bringing the challenging principal character to life on stage in Silicon Valley Ballet’s production. “It’s not just an empty gesture. It has a lot of nuances; many layers and not just steps.”\u003c/p>\n\u003cp>Despite paying close attention to the nuances of this Cuban \u003ci>Giselle\u003c/i>, Pipit-Suksun isn’t interested in slavishly imitating Alonso. This ballerina intends to make the role of Giselle her own.\u003c/p>\n\u003cfigure id=\"attachment_10997866\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10997866 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/IMG_3814-1180x885.jpg\" alt=\"Silicon Valley Ballet dancers Ommi Pipit-Suksun and Maykel Solas taking a break from rehearsals for 'Giselle.'\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3814-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3814-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3814-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3814-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3814-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Silicon Valley Ballet dancers Ommi Pipit-Suksun and Maykel Solas taking a break from rehearsals for ‘Giselle.’ \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Copying somebody is never a good thing,” Pipit-Suksun says. “That emotion has to be real. It has to come from you. They can guide you — you should do this and that — but ultimately it’s up to you.”\u003c/p>\n\u003cp>This landmark collaboration represents a big comeback for Silicon Valley Ballet, which came close to shutting down this past spring. The company was already in a deep financial hole when its present artistic director, international-acclaimed ballet star and Cuban native Jose Manuel Carreno came on board in 2013. “We’ve been through rough patches,” Carreno says.\u003c/p>\n\u003cp>Carreno and his community leapt into action earlier this year.\u003cstrong> \u003c/strong>The company rebranded itself from Ballet San Jose to Silicon Valley Ballet and set about fundraising. The company scored $640,000 during the first 10 days of its fundraising campaign, and has so far raised nearly $3 million of its $3.5 million goal. This includes a $50,000 grant to stage \u003cem>Giselle\u003c/em> from the Knight Foundation.\u003c/p>\n\u003cp>“We’re stepping up, the company is moving, is getting better, we’re working on it,” Carreno says. “It’s exciting.”\u003c/p>\n\u003cp>But \u003ci>Giselle\u003c/i> isn’t only a turning point for the dance company. As one of the first major cultural collaborations between the U.S. and Cuba in more than half a century, the production is politically significant. For many years, the U.S. government would not grant visas to Cuban dancers.\u003c/p>\n\u003cfigure id=\"attachment_10997867\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10997867 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/IMG_3810-1180x885.jpg\" alt=\"Silicon Valley Ballet company members in rehearsal for 'Giselle.'\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3810-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3810-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3810-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3810-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3810-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Silicon Valley Ballet company members in rehearsal for ‘Giselle.’ \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a historic moment for American audiences,” says Singer. “This means we can have access. This is their finest work and we’re going to have a chance to see it.”\u003c/p>\n\u003cp>It’s been very risky for most Cuban artists, like Silicon Valley Ballet principal dancer Maykel Solas, to pursue careers in the U.S. Solas has been with the company for 10 years. In his early days in this country, he was worried about how the Cuban authorities would treat his family.\u003c/p>\n\u003cp>“I stopped talking with my mum for months,” Solas says. “I was afraid they would say something to my mum or to my family.”\u003c/p>\n\u003cp>With Cuba and the U.S. on friendlier terms — the American Ballet Theatre and the New York City Ballet both performed at the International Ballet Festival in Havana in 2010 — the possibility of heightened cultural exchange between the U.S. and Cuba in the coming years is a tantalizing prospect for ballet professionals and fans of the art form from both nations. Silicon Valley Ballet plans to participate in the aforementioned festival next fall.\u003c/p>\n\u003cp>“If we have good relationships, everybody can go back and forwards,” Solas says. “Everybody can learn from everybody.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yet visas remain hard to come by. It’s been a long and arduous process for Silicon Valley Ballet to procure the necessary paperwork to enable the Cuban coaches to join the company in San Jose for this production of \u003cem>Giselle\u003c/em>. Although diplomatic relations are currently in the process of being restored between the U.S. and Cuba, it will be quite some time before artists can move freely between the two countries.\u003c/span>\u003c/p>\n\u003cp>Silicon Valley Ballet’s production of \u003cem>Giselle\u003c/em> runs Oct. 16-18, 2015 at the San Jose Center for the Performing Arts. For tickets and more information, visit \u003ca href=\"http://siliconvalleyballet.org/giselle/\" target=\"_blank\" rel=\"noopener\">siliconvalleyballet.org\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Jose Manuel Carreno appeared as a guest on KQED Forum on Oct. 8, together with Silicon Valley Ballet board chair Millicent Powers. Listen to their interview with host Michael Krasny \u003ca href=\"http://www.kqed.org/a/forum/R201510081030\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Loipa Araujo is an exacting ballet coach. She has to be: the great Cuban National Ballet star has less than a month to teach the members of Silicon Valley Ballet how to dance \u003ci>Giselle\u003c/i> — the Cuban way.\u003c/p>\n\u003cp>“Some of them have done another version of \u003ci>Giselle\u003c/i>,” Araujo says of the beloved classical ballet during a break in their downtown San Jose rehearsal space. “They have to completely forget that and be open to this new \u003ci>Giselle\u003c/i>.”\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/230537319″&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/230537319″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Relations between the U.S. and Cuba have improved of late. And now Silicon Valley Ballet is doing its part to help move the reconciliation along. The company is unveiling a legendary Cuban version of \u003cem>Giselle\u003c/em>. The ballet tells the tragic tale of a peasant girl who goes mad and dies of a broken heart after being betrayed by her lover — an audience favorite since it was first performed in the 1840s.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.balletcuba.cult.cu/\" target=\"_blank\" rel=\"noopener\">Cuban National Ballet\u003c/a> is particularly associated with \u003ci>Giselle\u003c/i> because of the unique drama and flawless technique of the company’s co-founder, Alicia Alonso, who danced the title role to great acclaim with the Ballet Theatre in New York (known these days as American Ballet Theatre) back in the 1940s. The young Cuban prodigy caused a sensation when she stepped in at the last minute for an injured Alicia Markova during the 1941-42 season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One thing that was extraordinary about her version was the mad scene,” says Toba Singer, a Berkeley based dance scholar who frequently writes about Cuban ballet. “Alicia Alonso really gave her own interpretation to it and it was marvelous.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xkZc5KJIRbU'\n title='//www.youtube.com/embed/xkZc5KJIRbU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The ballet star returned home to Cuba in 1948 to found the institution that would eventually become the Cuban National Ballet. At 93, Alonso still tours with her company, and her version of \u003cem>Giselle \u003c/em> is a hallmark of the company’s repertoire.\u003c/p>\n\u003cp>“I’ve seen many, many other versions of \u003ci>Giselle\u003c/i>, and I do think our Cuban version, the version of Alicia, has this very clear dramatic line,” Araujo says. “All the characters are very well defined.”\u003c/p>\n\u003cp>The dancers of Silicon Valley Ballet are also working intensively with Araujo and her team of dance coaches from Havana on technical specifics particular to the Cuban version. They pay close attention to seemingly tiny details, like keeping their arms rounded rather than straight in one key scene in the second act.\u003c/p>\n\u003cp>“In this version, every single thing you do, even how you bow or how you look at somebody, has a meaning,” says principal dancer Ommi Pipit-Suksun, who is one of the dancers charged with bringing the challenging principal character to life on stage in Silicon Valley Ballet’s production. “It’s not just an empty gesture. It has a lot of nuances; many layers and not just steps.”\u003c/p>\n\u003cp>Despite paying close attention to the nuances of this Cuban \u003ci>Giselle\u003c/i>, Pipit-Suksun isn’t interested in slavishly imitating Alonso. This ballerina intends to make the role of Giselle her own.\u003c/p>\n\u003cfigure id=\"attachment_10997866\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10997866 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/IMG_3814-1180x885.jpg\" alt=\"Silicon Valley Ballet dancers Ommi Pipit-Suksun and Maykel Solas taking a break from rehearsals for 'Giselle.'\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3814-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3814-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3814-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3814-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3814-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Silicon Valley Ballet dancers Ommi Pipit-Suksun and Maykel Solas taking a break from rehearsals for ‘Giselle.’ \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Copying somebody is never a good thing,” Pipit-Suksun says. “That emotion has to be real. It has to come from you. They can guide you — you should do this and that — but ultimately it’s up to you.”\u003c/p>\n\u003cp>This landmark collaboration represents a big comeback for Silicon Valley Ballet, which came close to shutting down this past spring. The company was already in a deep financial hole when its present artistic director, international-acclaimed ballet star and Cuban native Jose Manuel Carreno came on board in 2013. “We’ve been through rough patches,” Carreno says.\u003c/p>\n\u003cp>Carreno and his community leapt into action earlier this year.\u003cstrong> \u003c/strong>The company rebranded itself from Ballet San Jose to Silicon Valley Ballet and set about fundraising. The company scored $640,000 during the first 10 days of its fundraising campaign, and has so far raised nearly $3 million of its $3.5 million goal. This includes a $50,000 grant to stage \u003cem>Giselle\u003c/em> from the Knight Foundation.\u003c/p>\n\u003cp>“We’re stepping up, the company is moving, is getting better, we’re working on it,” Carreno says. “It’s exciting.”\u003c/p>\n\u003cp>But \u003ci>Giselle\u003c/i> isn’t only a turning point for the dance company. As one of the first major cultural collaborations between the U.S. and Cuba in more than half a century, the production is politically significant. For many years, the U.S. government would not grant visas to Cuban dancers.\u003c/p>\n\u003cfigure id=\"attachment_10997867\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10997867 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/IMG_3810-1180x885.jpg\" alt=\"Silicon Valley Ballet company members in rehearsal for 'Giselle.'\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3810-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3810-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3810-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3810-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_3810-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Silicon Valley Ballet company members in rehearsal for ‘Giselle.’ \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a historic moment for American audiences,” says Singer. “This means we can have access. This is their finest work and we’re going to have a chance to see it.”\u003c/p>\n\u003cp>It’s been very risky for most Cuban artists, like Silicon Valley Ballet principal dancer Maykel Solas, to pursue careers in the U.S. Solas has been with the company for 10 years. In his early days in this country, he was worried about how the Cuban authorities would treat his family.\u003c/p>\n\u003cp>“I stopped talking with my mum for months,” Solas says. “I was afraid they would say something to my mum or to my family.”\u003c/p>\n\u003cp>With Cuba and the U.S. on friendlier terms — the American Ballet Theatre and the New York City Ballet both performed at the International Ballet Festival in Havana in 2010 — the possibility of heightened cultural exchange between the U.S. and Cuba in the coming years is a tantalizing prospect for ballet professionals and fans of the art form from both nations. Silicon Valley Ballet plans to participate in the aforementioned festival next fall.\u003c/p>\n\u003cp>“If we have good relationships, everybody can go back and forwards,” Solas says. “Everybody can learn from everybody.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yet visas remain hard to come by. It’s been a long and arduous process for Silicon Valley Ballet to procure the necessary paperwork to enable the Cuban coaches to join the company in San Jose for this production of \u003cem>Giselle\u003c/em>. Although diplomatic relations are currently in the process of being restored between the U.S. and Cuba, it will be quite some time before artists can move freely between the two countries.\u003c/span>\u003c/p>\n\u003cp>Silicon Valley Ballet’s production of \u003cem>Giselle\u003c/em> runs Oct. 16-18, 2015 at the San Jose Center for the Performing Arts. For tickets and more information, visit \u003ca href=\"http://siliconvalleyballet.org/giselle/\" target=\"_blank\" rel=\"noopener\">siliconvalleyballet.org\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s an after-school ritual for Abigayle de la Rosa to stop at La Original Paleteria y Neveria (The Original Ice Cream Shop) and get a scoop of Mexican ice cream in her bustling San Jose neighborhood, called Calle Willow.\u003c/p>\n\u003cp>Since it opened on Willow Street a year ago, the shop has \u003ca href=\"http://ww2.kqed.org/news/2015/10/09/viva-callesj-san-jose-street-festival\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/10/09/viva-callesj-san-jose-street-festival\" target=\"_blank\" title=\"Viva CalleSJ: A Street Festival to Connect San Jose Residents, Neighborhoods\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>American Apparel, the trendy clothing company perhaps best known for its racy, sexually charged ads, filed for Chapter 11 bankruptcy protection on Monday.\u003c/p>\n\u003cp>The made-in-the-U.S.A. clothing chain announced it had reached an agreement with 95 percent of its secured lenders to put in place what it is calling “a comprehensive transformation strategy to revitalize the business and brand.” The company says it will keep production and operations in the U.S.\u003c/p>\n\u003cp>The restructuring agreement, which the company says has been approved by its board of directors, will drastically reduce American Apparel’s debt and interest payments by eliminating more than $200 million of its bonds in exchange for equity interests in the reorganized company.\u003c/p>\n\u003cp>In a statement \u003ca href=\"http://investors.americanapparel.net/releasedetail.cfm?ReleaseID=935021\" target=\"_blank\" rel=\"noopener\">American Apparel Chief Executive Officer\u003c/a> Paula Schneider said:\u003c/p>\n\u003cblockquote>\n\u003cp>“This restructuring will enable American Apparel to become a stronger, more vibrant company. By improving our financial footing, we will be able to refocus our business efforts on the execution of our turnaround strategy as we look to create new and relevant products, launch new design and merchandising initiatives, invest in new stores, grow our e-commerce business, and create captivating new marketing campaigns that will help drive our business forward.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The Los Angeles-based company has been struggling since last year’s public ouster of its founder and chief executive officer. And NPR business correspondent Yuki Noguchi tells our Newscast unit:\u003c/p>\n\u003cblockquote>\n\u003cp>“American Apparel made its name with its basic cotton T-shirts and tank tops and its edgy, sexualized advertising. But the Los Angeles-based company has a large real estate footprint, and its sales have been in decline. Last year, the company also contended with a messy struggle to oust its founder and chief executive, Dov Charney. The company is trying to restructure with the backing of its creditors who would put up new capital. The company says the filing will not affect its retail operation, but it did not say whether it would eventually close stores.”\u003c/p>\n\u003c/blockquote>\n\u003cp>As the \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/06/19/323548153/american-apparel-ousts-its-controversial-founder-dov-charney\" target=\"_blank\" rel=\"noopener\">Two-Way reported last year\u003c/a>, the board of American Apparel voted to replace Charney in the wake of allegations against him. As we reported at the time, the company did not provide details of the complaints, but Charney had been the target of lawsuits alleging sexual misconduct.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.usatoday.com/story/money/2015/10/05/american-apparel-files-chapter-11-bankruptcy/73365964/\" target=\"_blank\" rel=\"noopener\">USA Today reports\u003c/a> that since his removal as CEO, Charney has sued American Apparel. The publication also reports the company has not held up well in the face of other competitors vying for young consumers.\u003c/p>\n\u003cblockquote>\n\u003cp>“American Apparel, which flirted with bankruptcy as early as 2011, has about 8,500 employees at six factories and 230 stores in the U.S. and 17 countries. The company famously bet its business model on clothing made in the U.S.\u003c/p>\n\u003cp>“The company said in a court filing that it plans to shed unprofitable stores, though it did not identify how many.\u003c/p>\n\u003cp>“American Apparel has slumped in competition with agile retailers such as H&M and Forever 21 that have appealed to Millennial consumers with cheaper, more fashionable products.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=American+Apparel%2C+Best+Known+For+Racy+Ads%2C+Files+For+Chapter+11+Bankruptcy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>American Apparel, the trendy clothing company perhaps best known for its racy, sexually charged ads, filed for Chapter 11 bankruptcy protection on Monday.\u003c/p>\n\u003cp>The made-in-the-U.S.A. clothing chain announced it had reached an agreement with 95 percent of its secured lenders to put in place what it is calling “a comprehensive transformation strategy to revitalize the business and brand.” The company says it will keep production and operations in the U.S.\u003c/p>\n\u003cp>The restructuring agreement, which the company says has been approved by its board of directors, will drastically reduce American Apparel’s debt and interest payments by eliminating more than $200 million of its bonds in exchange for equity interests in the reorganized company.\u003c/p>\n\u003cp>In a statement \u003ca href=\"http://investors.americanapparel.net/releasedetail.cfm?ReleaseID=935021\" target=\"_blank\" rel=\"noopener\">American Apparel Chief Executive Officer\u003c/a> Paula Schneider said:\u003c/p>\n\u003cblockquote>\n\u003cp>“This restructuring will enable American Apparel to become a stronger, more vibrant company. By improving our financial footing, we will be able to refocus our business efforts on the execution of our turnaround strategy as we look to create new and relevant products, launch new design and merchandising initiatives, invest in new stores, grow our e-commerce business, and create captivating new marketing campaigns that will help drive our business forward.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The Los Angeles-based company has been struggling since last year’s public ouster of its founder and chief executive officer. And NPR business correspondent Yuki Noguchi tells our Newscast unit:\u003c/p>\n\u003cblockquote>\n\u003cp>“American Apparel made its name with its basic cotton T-shirts and tank tops and its edgy, sexualized advertising. But the Los Angeles-based company has a large real estate footprint, and its sales have been in decline. Last year, the company also contended with a messy struggle to oust its founder and chief executive, Dov Charney. The company is trying to restructure with the backing of its creditors who would put up new capital. The company says the filing will not affect its retail operation, but it did not say whether it would eventually close stores.”\u003c/p>\n\u003c/blockquote>\n\u003cp>As the \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/06/19/323548153/american-apparel-ousts-its-controversial-founder-dov-charney\" target=\"_blank\" rel=\"noopener\">Two-Way reported last year\u003c/a>, the board of American Apparel voted to replace Charney in the wake of allegations against him. As we reported at the time, the company did not provide details of the complaints, but Charney had been the target of lawsuits alleging sexual misconduct.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Until just a few days go, Kimberly Morrison wasn’t really a political activist. For years, she’s been known more for playing in several popular Seattle bands, including The Intelligence, the Fallouts, and The Dutchess and The Duke, whose songs appeared on shows like \u003ci>Entourage. \u003c/i>\u003c/p>\n\u003cp>Morrison is also a person who once had an abortion, and she has no regrets about it. She's never shied away from stating that her decision to have an abortion was the right one, which is why she had long planned on starting an \"abortion zine\" with her friend Amelia Bonow that would collect reflections from other women who underwent the procedure.\u003c/p>\n\u003cp>But after Congress attempted to cut off funding to Planned Parenthood earlier this month, there was a change in plans: Morrison and Bonow launched #ShoutYourAbortion as a Facebook page, after Bonow wrote her \u003ca href=\"http://jezebel.com/amelia-bonow-explains-how-shoutyourabortion-just-kicke-1732379155\" target=\"_blank\">now famous #ShoutYourAbortion post\u003c/a>. They also posted an equally powerful photo as the page's profile pic: Morrison's hairy armpit, accompanied by her tattoo, which reads \"F*ck the Patriarchy.\"\u003c/p>\n\u003cfigure id=\"attachment_18321\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-18321\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Kimberly-Playing-Bass-800x534.jpg\" alt=\"Morrison playing bass\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/10/Kimberly-Playing-Bass-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Kimberly-Playing-Bass-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Kimberly-Playing-Bass-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Kimberly-Playing-Bass-1920x1281.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Kimberly-Playing-Bass-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Kimberly-Playing-Bass-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Kimberly-Playing-Bass.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morrison playing bass \u003ccite>(Photo: Keith Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Due to overwhelming harassment from abortion opponents, the page has since been taken down. And the armpit photo garnered a startling amount of negative comments, some even from supporters who believed such imagery was \"disgusting and would turn people off from the cause,\" says Morrison.\u003c/p>\n\u003cp>I found the image so powerful that I had to talk to Morrison about it, and, since we've known each other a long time, she obliged -- despite the fact that she's been trying to keep under the radar, due to the fact that Bonow has had her safety threatened and her personal information posted online multiple times. Here are Morrison's thoughts on the ordeal:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>How are you doing?\u003c/b>\u003c/p>\n\u003cp>It's hard to say.\u003c/p>\n\u003cp>\u003cb>Why is that? It seems that you've been able to avoid the harassment that Amelia has been experiencing.\u003c/b>\u003c/p>\n\u003cp>So far, but I also believe it's just a matter of time.\u003c/p>\n\u003cp>\u003cb>How did #ShoutYourAbortion come together?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_18323\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-18323\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Morrison-Amelia-800x600.jpg\" alt=\"Morrison and Amelia Benow\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/10/Morrison-Amelia-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Morrison-Amelia-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Morrison-Amelia-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Morrison-Amelia-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Morrison-Amelia-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Morrison-Amelia-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Morrison-Amelia.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morrison and Amelia Benow \u003ccite>(Courtesy: Morrison)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amelia and I had been talking about starting a zine for quite a while now where we were going to talk to a bunch of our friends and have them tell their stories about having abortions. This came after Amelia and I realized, while talking about abortion, that we had both had positive experiences with them. There's this stigma that we're supposed to hide it and feel bad about it...to mourn and feel ashamed, and neither of us felt that way at all.\u003c/p>\n\u003cp>It was meant to be a paper 'zine until Congress was working to defund Planned Parenthood, and that's when Amelia posted her statement, which was shared on social media by \u003ca href=\"http://lindywest.net/\" target=\"_blank\">Lindy West\u003c/a> (former \u003cem>Jezebel\u003c/em> writer and \u003cem>Guardian\u003c/em> contributor). A bunch of her followers reposted it, and it just blew the f*ck up.\u003c/p>\n\u003cp>Shannon Perry, a local tattoo artist and friend, does these \"\u003ca href=\"https://en.wikipedia.org/wiki/Flash_(tattoo)\" target=\"_blank\">flash days\u003c/a>\" where she'll draw tattoos that fall under a certain theme. One day the theme was \"womyn\" and she had written on a sheet, \"F*ck the Patriarchy.\" It wasn't even intended to be a piece of art that someone would get as a tattoo but I just thought it was hilarious.\u003c/p>\n\u003cp>I told her I wanted to do it around my armpit and she said, \"Why don't we shave your armpit so we can see how we can get it on there,\" and I said, \"No no no, we're not going to shave my armpit. That's the whole point of the tattoo. We're going to put it around my hairy armpit. I haven't shaved my armpits in over 10 years!\"\u003c/p>\n\u003cp>\u003cb>How did the picture of your armpit come about?\"\u003c/b>\u003cbr>\n \u003c/p>\n\u003caside class=\"pullquote alignright\">\"There are so many more important things you could be caring about right now than my body and what I choose to do with the hair on it.\u003c/aside>\n\u003cp>Then she took a picture after the tattoo was done, posted it on Instagram and we were laughing about it; we just thought the whole thing was funny. Flash forward to Lindy sharing Amelia's post with the hashtag #ShoutYourAbortion and I'm talking with Amelia, and though we didn't want to use Facebook initially, we just felt time was of the essence. After we were done, I literally ran home, grabbed my computer and made a Facebook page, making Amelia and Lindy admins. Amelia and I were talking about what the main image would be and I joked that we should use my armpit picture. And she ended up using it.\u003c/p>\n\u003cp>\u003cb>It's such a powerful image, challenging so many taboos in such a simple way. But it's also received a lot of harsh criticism.\u003c/b>\u003c/p>\n\u003cp>There were so many comments on that image that were like, \"OH MY GOD, you could braid that sh*t!\" and \"This is revolting -- how could a woman have such long armpit hair?\" There are so many more important things you could be caring about right now than my body and what I choose to do with the hair on it.\u003c/p>\n\u003cp>\u003cb>Can you tell me about your abortion experience?\u003c/b>\u003c/p>\n\u003cp>I never planned on getting an abortion, but I also never planned on getting pregnant. The idea of something living and growing inside of me elicited more internal comparisons to the movie \u003cem>Alien\u003c/em> than thoughts of the Cleavers or the \u003cem>Brady Bunch\u003c/em>. Having kids seemed to me like something other people did. I was, much to my annoyance, told over and over again that I’d change my mind, or had sentences directed at me that began “Well, when you have kids...” These instances baffled me. I could not believe that because I possessed the parts to do so, it was assumed I would eventually procreate.\u003c/p>\n\u003caside class=\"pullquote alignleft\">\"I thought this was something that happened to teenagers. I thought I was too smart to get pregnant. I thought I had a deal with my uterus.\"\u003c/aside>\n\u003cp>[When I got pregnant,] I was younger and dumber and partying too much. I had a relationship with someone young and dumb who also partied too much. I didn’t have the wherewithal then to identify how profoundly dysfunctional our relationship was. By the time I noticed how unhappy I was, I’d been conditioned to believe that it was all my fault. I wanted to leave, but didn’t know how. He was possessive, controlling, angry, unstable.\u003c/p>\n\u003cp>He was mad at me and wanted to have sex, so we did. I told him I was ovulating, and not to come inside me. So he did. I expressed my disbelief. He smirked and pulled himself off of me.\u003c/p>\n\u003cp>Somehow I managed to put the incident out of my mind for a bit. It’s hard to explain, but things were so truly f*cked between us that I was just trying my hardest to act normal; to survive. In my head, I repeated “Sh*t happens every day” like a mantra, the way some would recite positive affirmations in front of a mirror. I thought about how much worse it could be and tried to be happy that it wasn’t “that bad,” even though I was miserable and dreaded going home.\u003c/p>\n\u003cp>Staying at a friend’s place after yet another blowout fight, I was at Walgreen’s and for some reason purchased a pregnancy test for the first time in my life. On some level I guess I already knew, but the evidence in front of me didn’t make the pill any less bitter. I called Planned Parenthood and scheduled an abortion before letting him know.\u003c/p>\n\u003cp>I felt so stuck and so stupid. I thought this was something that happened to teenagers. I thought I was too smart to get pregnant. I thought I had a deal with my uterus. I felt, overwhelmingly, that my body had betrayed me.\u003c/p>\n\u003caside class=\"pullquote alignright\">\"I was supposed to feel guilty, ashamed. But I didn’t. For me, there was nothing to grieve. I knew then and know now that I absolutely made the right choice, and I am so thankful the choice was mine to make.\"\u003c/aside>\n\u003cp>If I had to do it over again, I wouldn’t have told him at all. Of course he tried to get me to keep it and he tried to make me feel awful about the situation. He demanded I share the few pills I’d been given for pain, and was predictably outraged when I opted to have an IUD inserted during the same visit.\u003c/p>\n\u003cp>Because of the stigma associated, I didn’t really know who to turn to for support. The few people I talked to, I told with trepidation, the words hanging awkwardly in the air while I waited with my breath suspended, hoping I hadn’t entrusted my secret with the wrong person. No one was outwardly hostile, but it seemed understood that I was not to express my happiness or relief that I’d had an abortion. Abortion was a dirty word, and not a cause for celebration. I was supposed to feel guilty, ashamed. But I didn’t. For me, there was nothing to grieve. I was so grateful to not have to be tethered for the rest of my life to a person who acted as though they owned me. I knew then and know now that I absolutely made the right choice, and I am so thankful the choice was mine to make.\u003c/p>\n\u003cp>And to be clear, I don’t hate children -- just the idea of having my own. In fact, I worked as a nanny for 10 years. I coo at the occasional baby on the street, and love my niece and nephew in a way I wasn’t sure was possible. Parenthood just isn’t a hat I need to try on.\u003c/p>\n\u003cp>\u003cb>Critics have accused the movement of \"bragging\" about your abortion, but from your story I don't hear that.\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_18350\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-18350\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Jo-and-Kimberly-800x450.jpg\" alt=\"Jo Claxton and Kimberly Morrison enjoying life\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/10/Jo-and-Kimberly-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Jo-and-Kimberly-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Jo-and-Kimberly.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jo Claxton and Kimberly Morrison enjoying life \u003ccite>(Courtesy: Jo Claxton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It's not like, \"I had a bigger abortion than you.\" It's not a competition. We're saying that it happens and let's talk about it so the stigma can go away. One in three woman will have an abortion.\u003c/p>\n\u003cp>Listen to how many times I've said the word \"abortion.\" You don't hear that word because people don't want to talk about it. It's considered a dirty word. And, in these past few days, I've heard that word said more than in all my years on this planet.\u003c/p>\n\u003cp>I'm getting so many messages from people saying, \"I'm so in awe of what you're doing and I would want to be a part of it but my family would disown me.\" Women have said, \"I really want to join your cause and I really want to help you but I'm looking for a new job, and I can't have that attached to my name right now.\" It's 2015!\u003c/p>\n\u003cp>I'm not naive enough to think that we just de-stigmatized abortion. There will always be people who think it's wrong. But if we can even have a conversation about it, that's the first step to getting somewhere. And before we shut down our Facebook page, those conversations were happening, with both sides involved.\u003c/p>\n\u003cp>\u003cb>Well, I'm really glad you're doing this. If my daughter had to have an abortion for any reason, I wouldn't want her to feel horrible or guilty about it.\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[Crying] That's such a huge part of this. I've heard from so many fathers saying \"Thank you for fighting for the rights of my 5-year-old daughter.\" I don't want anyone to feel sad about it.\u003c/p>\n\n",
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"excerpt": "Kimberly Morrison, the woman whose tattooed armpit went viral recently, talks with us about what led to #ShoutYourAbortion and what came after.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Until just a few days go, Kimberly Morrison wasn’t really a political activist. For years, she’s been known more for playing in several popular Seattle bands, including The Intelligence, the Fallouts, and The Dutchess and The Duke, whose songs appeared on shows like \u003ci>Entourage. \u003c/i>\u003c/p>\n\u003cp>Morrison is also a person who once had an abortion, and she has no regrets about it. She's never shied away from stating that her decision to have an abortion was the right one, which is why she had long planned on starting an \"abortion zine\" with her friend Amelia Bonow that would collect reflections from other women who underwent the procedure.\u003c/p>\n\u003cp>But after Congress attempted to cut off funding to Planned Parenthood earlier this month, there was a change in plans: Morrison and Bonow launched #ShoutYourAbortion as a Facebook page, after Bonow wrote her \u003ca href=\"http://jezebel.com/amelia-bonow-explains-how-shoutyourabortion-just-kicke-1732379155\" target=\"_blank\">now famous #ShoutYourAbortion post\u003c/a>. They also posted an equally powerful photo as the page's profile pic: Morrison's hairy armpit, accompanied by her tattoo, which reads \"F*ck the Patriarchy.\"\u003c/p>\n\u003cfigure id=\"attachment_18321\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-18321\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Kimberly-Playing-Bass-800x534.jpg\" alt=\"Morrison playing bass\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/10/Kimberly-Playing-Bass-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Kimberly-Playing-Bass-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Kimberly-Playing-Bass-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Kimberly-Playing-Bass-1920x1281.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Kimberly-Playing-Bass-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Kimberly-Playing-Bass-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Kimberly-Playing-Bass.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morrison playing bass \u003ccite>(Photo: Keith Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Due to overwhelming harassment from abortion opponents, the page has since been taken down. And the armpit photo garnered a startling amount of negative comments, some even from supporters who believed such imagery was \"disgusting and would turn people off from the cause,\" says Morrison.\u003c/p>\n\u003cp>I found the image so powerful that I had to talk to Morrison about it, and, since we've known each other a long time, she obliged -- despite the fact that she's been trying to keep under the radar, due to the fact that Bonow has had her safety threatened and her personal information posted online multiple times. Here are Morrison's thoughts on the ordeal:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>How are you doing?\u003c/b>\u003c/p>\n\u003cp>It's hard to say.\u003c/p>\n\u003cp>\u003cb>Why is that? It seems that you've been able to avoid the harassment that Amelia has been experiencing.\u003c/b>\u003c/p>\n\u003cp>So far, but I also believe it's just a matter of time.\u003c/p>\n\u003cp>\u003cb>How did #ShoutYourAbortion come together?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_18323\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-18323\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Morrison-Amelia-800x600.jpg\" alt=\"Morrison and Amelia Benow\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/10/Morrison-Amelia-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Morrison-Amelia-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Morrison-Amelia-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Morrison-Amelia-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Morrison-Amelia-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Morrison-Amelia-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Morrison-Amelia.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morrison and Amelia Benow \u003ccite>(Courtesy: Morrison)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amelia and I had been talking about starting a zine for quite a while now where we were going to talk to a bunch of our friends and have them tell their stories about having abortions. This came after Amelia and I realized, while talking about abortion, that we had both had positive experiences with them. There's this stigma that we're supposed to hide it and feel bad about it...to mourn and feel ashamed, and neither of us felt that way at all.\u003c/p>\n\u003cp>It was meant to be a paper 'zine until Congress was working to defund Planned Parenthood, and that's when Amelia posted her statement, which was shared on social media by \u003ca href=\"http://lindywest.net/\" target=\"_blank\">Lindy West\u003c/a> (former \u003cem>Jezebel\u003c/em> writer and \u003cem>Guardian\u003c/em> contributor). A bunch of her followers reposted it, and it just blew the f*ck up.\u003c/p>\n\u003cp>Shannon Perry, a local tattoo artist and friend, does these \"\u003ca href=\"https://en.wikipedia.org/wiki/Flash_(tattoo)\" target=\"_blank\">flash days\u003c/a>\" where she'll draw tattoos that fall under a certain theme. One day the theme was \"womyn\" and she had written on a sheet, \"F*ck the Patriarchy.\" It wasn't even intended to be a piece of art that someone would get as a tattoo but I just thought it was hilarious.\u003c/p>\n\u003cp>I told her I wanted to do it around my armpit and she said, \"Why don't we shave your armpit so we can see how we can get it on there,\" and I said, \"No no no, we're not going to shave my armpit. That's the whole point of the tattoo. We're going to put it around my hairy armpit. I haven't shaved my armpits in over 10 years!\"\u003c/p>\n\u003cp>\u003cb>How did the picture of your armpit come about?\"\u003c/b>\u003cbr>\n \u003c/p>\n\u003caside class=\"pullquote alignright\">\"There are so many more important things you could be caring about right now than my body and what I choose to do with the hair on it.\u003c/aside>\n\u003cp>Then she took a picture after the tattoo was done, posted it on Instagram and we were laughing about it; we just thought the whole thing was funny. Flash forward to Lindy sharing Amelia's post with the hashtag #ShoutYourAbortion and I'm talking with Amelia, and though we didn't want to use Facebook initially, we just felt time was of the essence. After we were done, I literally ran home, grabbed my computer and made a Facebook page, making Amelia and Lindy admins. Amelia and I were talking about what the main image would be and I joked that we should use my armpit picture. And she ended up using it.\u003c/p>\n\u003cp>\u003cb>It's such a powerful image, challenging so many taboos in such a simple way. But it's also received a lot of harsh criticism.\u003c/b>\u003c/p>\n\u003cp>There were so many comments on that image that were like, \"OH MY GOD, you could braid that sh*t!\" and \"This is revolting -- how could a woman have such long armpit hair?\" There are so many more important things you could be caring about right now than my body and what I choose to do with the hair on it.\u003c/p>\n\u003cp>\u003cb>Can you tell me about your abortion experience?\u003c/b>\u003c/p>\n\u003cp>I never planned on getting an abortion, but I also never planned on getting pregnant. The idea of something living and growing inside of me elicited more internal comparisons to the movie \u003cem>Alien\u003c/em> than thoughts of the Cleavers or the \u003cem>Brady Bunch\u003c/em>. Having kids seemed to me like something other people did. I was, much to my annoyance, told over and over again that I’d change my mind, or had sentences directed at me that began “Well, when you have kids...” These instances baffled me. I could not believe that because I possessed the parts to do so, it was assumed I would eventually procreate.\u003c/p>\n\u003caside class=\"pullquote alignleft\">\"I thought this was something that happened to teenagers. I thought I was too smart to get pregnant. I thought I had a deal with my uterus.\"\u003c/aside>\n\u003cp>[When I got pregnant,] I was younger and dumber and partying too much. I had a relationship with someone young and dumb who also partied too much. I didn’t have the wherewithal then to identify how profoundly dysfunctional our relationship was. By the time I noticed how unhappy I was, I’d been conditioned to believe that it was all my fault. I wanted to leave, but didn’t know how. He was possessive, controlling, angry, unstable.\u003c/p>\n\u003cp>He was mad at me and wanted to have sex, so we did. I told him I was ovulating, and not to come inside me. So he did. I expressed my disbelief. He smirked and pulled himself off of me.\u003c/p>\n\u003cp>Somehow I managed to put the incident out of my mind for a bit. It’s hard to explain, but things were so truly f*cked between us that I was just trying my hardest to act normal; to survive. In my head, I repeated “Sh*t happens every day” like a mantra, the way some would recite positive affirmations in front of a mirror. I thought about how much worse it could be and tried to be happy that it wasn’t “that bad,” even though I was miserable and dreaded going home.\u003c/p>\n\u003cp>Staying at a friend’s place after yet another blowout fight, I was at Walgreen’s and for some reason purchased a pregnancy test for the first time in my life. On some level I guess I already knew, but the evidence in front of me didn’t make the pill any less bitter. I called Planned Parenthood and scheduled an abortion before letting him know.\u003c/p>\n\u003cp>I felt so stuck and so stupid. I thought this was something that happened to teenagers. I thought I was too smart to get pregnant. I thought I had a deal with my uterus. I felt, overwhelmingly, that my body had betrayed me.\u003c/p>\n\u003caside class=\"pullquote alignright\">\"I was supposed to feel guilty, ashamed. But I didn’t. For me, there was nothing to grieve. I knew then and know now that I absolutely made the right choice, and I am so thankful the choice was mine to make.\"\u003c/aside>\n\u003cp>If I had to do it over again, I wouldn’t have told him at all. Of course he tried to get me to keep it and he tried to make me feel awful about the situation. He demanded I share the few pills I’d been given for pain, and was predictably outraged when I opted to have an IUD inserted during the same visit.\u003c/p>\n\u003cp>Because of the stigma associated, I didn’t really know who to turn to for support. The few people I talked to, I told with trepidation, the words hanging awkwardly in the air while I waited with my breath suspended, hoping I hadn’t entrusted my secret with the wrong person. No one was outwardly hostile, but it seemed understood that I was not to express my happiness or relief that I’d had an abortion. Abortion was a dirty word, and not a cause for celebration. I was supposed to feel guilty, ashamed. But I didn’t. For me, there was nothing to grieve. I was so grateful to not have to be tethered for the rest of my life to a person who acted as though they owned me. I knew then and know now that I absolutely made the right choice, and I am so thankful the choice was mine to make.\u003c/p>\n\u003cp>And to be clear, I don’t hate children -- just the idea of having my own. In fact, I worked as a nanny for 10 years. I coo at the occasional baby on the street, and love my niece and nephew in a way I wasn’t sure was possible. Parenthood just isn’t a hat I need to try on.\u003c/p>\n\u003cp>\u003cb>Critics have accused the movement of \"bragging\" about your abortion, but from your story I don't hear that.\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_18350\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-18350\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Jo-and-Kimberly-800x450.jpg\" alt=\"Jo Claxton and Kimberly Morrison enjoying life\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/10/Jo-and-Kimberly-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Jo-and-Kimberly-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Jo-and-Kimberly.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jo Claxton and Kimberly Morrison enjoying life \u003ccite>(Courtesy: Jo Claxton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It's not like, \"I had a bigger abortion than you.\" It's not a competition. We're saying that it happens and let's talk about it so the stigma can go away. One in three woman will have an abortion.\u003c/p>\n\u003cp>Listen to how many times I've said the word \"abortion.\" You don't hear that word because people don't want to talk about it. It's considered a dirty word. And, in these past few days, I've heard that word said more than in all my years on this planet.\u003c/p>\n\u003cp>I'm getting so many messages from people saying, \"I'm so in awe of what you're doing and I would want to be a part of it but my family would disown me.\" Women have said, \"I really want to join your cause and I really want to help you but I'm looking for a new job, and I can't have that attached to my name right now.\" It's 2015!\u003c/p>\n\u003cp>I'm not naive enough to think that we just de-stigmatized abortion. There will always be people who think it's wrong. But if we can even have a conversation about it, that's the first step to getting somewhere. And before we shut down our Facebook page, those conversations were happening, with both sides involved.\u003c/p>\n\u003cp>\u003cb>Well, I'm really glad you're doing this. If my daughter had to have an abortion for any reason, I wouldn't want her to feel horrible or guilty about it.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp style=\"text-align: left;\">\u003cspan style=\"font-weight: 400;\">Ever since I was a kid, I've wanted to create and host a show. Now I'm getting that chance. So far, most of the reaction to \u003c/span>\u003ca href=\"http://ww2.kqed.org/news/series/sowellspoken\" target=\"_blank\">\u003ci>\u003cspan style=\"font-weight: 400;\">So Well Spoken\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400;\"> has been positive, sent in by people who are ready to have open and honest discussions about race, culture and diversity:\u003c/span>\u003c/p>\n\u003cblockquote>\u003cp>It's a scary issue, race, and I think I admire your effort to dip your toe into this water, because it's very tumultuous right now.\u003c/p>\n\u003cp style=\"text-align: right;\">--Scott\u003c/p>\n\u003c/blockquote>\n\u003cp>Nobody has all the answers to these tough questions, least of all KQED, but we can help ask good questions and create a safe space to talk. T\u003cspan style=\"font-weight: 400;\">he outpouring of personal stories and thoughts from all walks of life, from as far away as Germany, demonstrates the need for this:\u003c/span>\u003c/p>\n\u003caside class=\"alignright\">\u003ca href=\"http://ww2.kqed.org/news/series/sowellspoken\" target=\"_blank\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/So-Well-Spoken-Sidebar.jpg\" alt=\"\">\u003c/a>\n\u003ch3>Candid conversations about race and identity with Joshua Johnson\u003c/h3>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/news/series/sowellspoken\" target=\"_blank\">Read more stories\u003c/a> in this series\u003c/li>\n\u003cli>Tune in Oct. 5 at 11 a.m. on 88.5 or \u003ca href=\"http://www.kqed.org/radio/listen/\" target=\"_blank\">listen live\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cblockquote>\u003cp>I’m not sure how to compliment a person of color. Maybe I’m overly sensitive to being white and coming across as condescending. I appreciate our differences but I get stuck on what to say. This situation may not be prevalent, but... I don’t feel very well spoken in these circumstances.\u003c/p>\n\u003cp style=\"text-align: right;\">--Cheryl\u003c/p>\n\u003c/blockquote>\n\u003cp style=\"text-align: left;\">\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cspan style=\"font-weight: 400;\">Still, we know that some folks just don’t like the idea of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">So Well Spoken\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> at all: They believe that we’re chasing shadows, dealing in hyperbole and basically wasting time. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">For example, our story about a woman who had a rough situation involving the word “\u003c/span>\u003ca href=\"http://ww2.kqed.org/news/2015/09/10/4-tips-for-dealing-with-racially-charged-insults-like-uppity\">\u003cspan style=\"font-weight: 400;\">uppity\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">” drew this tweet from a listener in San Francisco:\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/NPR\">@NPR\u003c/a> Now UPPITY is a racist? \u003ca href=\"https://twitter.com/KQED\">@KQED\u003c/a> should just fire all their reporters. Report the real news, stop trying to create news. \u003ca href=\"https://twitter.com/hashtag/kqedspoken?src=hash\">#kqedspoken\u003c/a>\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" lang=\"en\">\u003cp>— Josche Schaekar (@ifampresident) \u003ca href=\"https://twitter.com/ifampresident/status/641997376282980353\">September 10, 2015\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cspan style=\"font-weight: 400;\">However, uppity didn’t just recently become a racist term. \u003c/span>\u003cspan style=\"font-weight: 400;\">In fact\u003c/span>\u003cspan style=\"font-weight: 400;\">, the word has quite a long and \u003c/span>\u003ca href=\"http://abcnews.go.com/US/story?id=5823018\">\u003cspan style=\"font-weight: 400;\">loaded history\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Public media organizations like KQED strive not just to report the news as it happens, but also to explore issues, ideas, events and cultures. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">So Well Spoken\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> is the latter type of effort at a time when race \u003c/span>\u003cspan style=\"font-weight: 400;\">and\u003c/span> \u003cspan style=\"font-weight: 400;\">culture\u003c/span>\u003cspan style=\"font-weight: 400;\"> are \u003c/span>\u003cspan style=\"font-weight: 400;\">featured\u003c/span> \u003cspan style=\"font-weight: 400;\">prominently in the\u003c/span> \u003cspan style=\"font-weight: 400;\">news\u003c/span>\u003cspan style=\"font-weight: 400;\">. (Recent examples \u003ca href=\"http://minnesota.cbslocal.com/2015/09/28/marathon-organizers-respond-to-black-lives-matter-plans/\">here\u003c/a>, \u003ca href=\"http://www.thestate.com/news/local/crime/article35679474.html\">here\u003c/a>, \u003ca href=\"http://www.cnn.com/2015/09/27/politics/ben-carson-muslim-president-sharia-law/\">here\u003c/a>, \u003ca href=\"http://www.dailymail.co.uk/news/article-3251743/Asians-set-overtake-Hispanics-largest-group-immigrants-2065-number-foreign-borns-nears-record-high.html\">here\u003c/a>, \u003ca href=\"http://www.nytimes.com/2015/09/14/us/panel-studying-racial-divide-in-missouri-presents-a-blunt-picture-of-inequity.html?_r=0\">here\u003c/a>, \u003ca href=\"http://www.washingtonpost.com/news/post-politics/wp/2015/09/24/jeb-bush-win-black-voters-with-aspiration-not-free-stuff/\">here \u003c/a>and \u003ca href=\"https://www.bostonglobe.com/arts/2015/09/01/idris-elba-too-street-play-james-bond/4VRukURkTRU3Tud8ChUwYK/story.html\">here\u003c/a>.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">On Facebook, one person took strong issue with our recent story about the concept of \u003c/span>\u003ca href=\"http://ww2.kqed.org/news/2015/09/24/how-to-acknowledge-prejudice-and-white-privilege-without-the-guilt\">\u003cspan style=\"font-weight: 400;\">white privilege\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">:\u003c/span>\u003c/p>\n\u003cblockquote>\u003cp>\u003cspan style=\"font-weight: 400;\">2 MAs, 20 years teaching experience abroad, and I have the privilege of teaching ESL in the great East Bay for $17 net an hr at an ESL school in the super cool, super liberal, full of super-duper love for the homeless city of Berkeley - concern for those of us who work for a living, not so much.. Oh, I forgot!! I'm WHITE so I'm \"privileged\". Gotcha.\u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>That story also prompted a similar reaction from Dick in San Jose, who left us a voicemail:\u003c/p>\n\u003cblockquote>\u003cp>\u003cspan style=\"font-weight: 400;\">...I've had to work for everything I've got, so maybe stop spreading the propaganda that all white people are privileged. It's more of a socioeconomic, where you were raised and how much money your parents and how good your parents are at parenting you. So come on, guys, you're smarter than that. It's not about race really. So please, stop with this. Please. Every day. It's half intellectual conversation, half propaganda, “white men are horrible”... come on. Grow up.\u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cspan style=\"font-weight: 400;\">It's true that not all whites are equally privileged. However, \u003c/span>\u003ca href=\"http://www.theroot.com/articles/culture/2014/07/white_privilege_extends_to_the_poor.html\">\u003cspan style=\"font-weight: 400;\">research\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> shows that white privilege transcends socioeconomics. Another \u003c/span>\u003ca href=\"http://www.gsb.stanford.edu/insights/why-whites-downplay-their-individual-racial-privileges?utm_source=Stanford+Business&utm_campaign=4c6f7c1217-Stanford-Business-Issue-71-9-20-2015&utm_medium=email&utm_term=0_0b5214e34b-4c6f7c1217-73746881&ct=t(Stanford-Business-Issue-71-9-20-2015)\">\u003cspan style=\"font-weight: 400;\">study\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> shows that the “I’ve worked for everything I’ve got” argument often comes up among people who are reluctant to acknowledge the impact of white privilege. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Some of the criticism has been very helpful. One listener, a white male who declined to give his name or city, suggested that we create an email address for feedback (initially, we took only calls and social media posts). \u003c/span>\u003c/p>\n\u003cp>[contextly_sidebar id=\"AcH6DuDzdNGzOTy3x0o2Uqhrd2MIzsII\"]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">His concern was that people like him wouldn't share their stories unless they could do so privately and think through their words. That was an excellent point, and we added \u003c/span>\u003ca href=\"mailto:SoWellSpoken@KQED.org\">\u003cspan style=\"font-weight: 400;\">SoWellSpoken@KQED.org\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> to meet that need.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Perhaps our most vocal critic is Henry, a listener in Napa who was very upset over our \u003ca href=\"http://ww2.kqed.org/news/kqed-so-well-spoken\">story\u003c/a> about the recent incident aboard the Napa Valley Wine Train:\u003c/span>\u003c/p>\n\u003cblockquote>\u003cp>\u003cspan style=\"font-weight: 400;\">...I think KQED in particular is obsessed with race, and I think the more you talk about it, the worse it gets. one of the reasons race in America is so tenuous and so tense right now, is because of the over-obsession with liberal media like yourselves, and I hope you have the b---- to put this on the radio, OK? Because we're sick and tired of it.\u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Whether you like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">So Well Spoken\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> or not, whether you agree with the assessments of our guests or not, whether you think this approach is right or wrong, the mere fact that you are engaging with us makes you part of the dialogue. And part of the solution. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">I’m encouraged by these comments, critical and complimentary. We’ve aired only four segments so far -- hardly enough to get into the nuances of race, culture, diversity and identity. Today we air the first hourlong show, where we hope to consider more of those nuances.\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">\u003cem>So Well Spoken\u003c/em> is a safe space to have dangerous conversations. Pushing the critics away would violate the spirit of this project because, at the end of the day, we really do need one another. I think \u003ca href=\"http://www.pbs.org/wnet/african-americans-many-rivers-to-cross/history/100-amazing-facts/who-designed-the-march-on-washington/\">Bayard Rustin\u003c/a>, the main organizer of the 1963 March On Washington, said it best:\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">“We are all one. And if we do not know it, we will learn it the hard way.”\u003c/span>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp style=\"text-align: left;\">\u003cspan style=\"font-weight: 400;\">Ever since I was a kid, I've wanted to create and host a show. Now I'm getting that chance. So far, most of the reaction to \u003c/span>\u003ca href=\"http://ww2.kqed.org/news/series/sowellspoken\" target=\"_blank\">\u003ci>\u003cspan style=\"font-weight: 400;\">So Well Spoken\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400;\"> has been positive, sent in by people who are ready to have open and honest discussions about race, culture and diversity:\u003c/span>\u003c/p>\n\u003cblockquote>\u003cp>It's a scary issue, race, and I think I admire your effort to dip your toe into this water, because it's very tumultuous right now.\u003c/p>\n\u003cp style=\"text-align: right;\">--Scott\u003c/p>\n\u003c/blockquote>\n\u003cp>Nobody has all the answers to these tough questions, least of all KQED, but we can help ask good questions and create a safe space to talk. T\u003cspan style=\"font-weight: 400;\">he outpouring of personal stories and thoughts from all walks of life, from as far away as Germany, demonstrates the need for this:\u003c/span>\u003c/p>\n\u003caside class=\"alignright\">\u003ca href=\"http://ww2.kqed.org/news/series/sowellspoken\" target=\"_blank\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/So-Well-Spoken-Sidebar.jpg\" alt=\"\">\u003c/a>\n\u003ch3>Candid conversations about race and identity with Joshua Johnson\u003c/h3>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/news/series/sowellspoken\" target=\"_blank\">Read more stories\u003c/a> in this series\u003c/li>\n\u003cli>Tune in Oct. 5 at 11 a.m. on 88.5 or \u003ca href=\"http://www.kqed.org/radio/listen/\" target=\"_blank\">listen live\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cblockquote>\u003cp>I’m not sure how to compliment a person of color. Maybe I’m overly sensitive to being white and coming across as condescending. I appreciate our differences but I get stuck on what to say. This situation may not be prevalent, but... I don’t feel very well spoken in these circumstances.\u003c/p>\n\u003cp style=\"text-align: right;\">--Cheryl\u003c/p>\n\u003c/blockquote>\n\u003cp style=\"text-align: left;\">\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cspan style=\"font-weight: 400;\">Still, we know that some folks just don’t like the idea of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">So Well Spoken\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> at all: They believe that we’re chasing shadows, dealing in hyperbole and basically wasting time. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">For example, our story about a woman who had a rough situation involving the word “\u003c/span>\u003ca href=\"http://ww2.kqed.org/news/2015/09/10/4-tips-for-dealing-with-racially-charged-insults-like-uppity\">\u003cspan style=\"font-weight: 400;\">uppity\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">” drew this tweet from a listener in San Francisco:\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/NPR\">@NPR\u003c/a> Now UPPITY is a racist? \u003ca href=\"https://twitter.com/KQED\">@KQED\u003c/a> should just fire all their reporters. Report the real news, stop trying to create news. \u003ca href=\"https://twitter.com/hashtag/kqedspoken?src=hash\">#kqedspoken\u003c/a>\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" lang=\"en\">\u003cp>— Josche Schaekar (@ifampresident) \u003ca href=\"https://twitter.com/ifampresident/status/641997376282980353\">September 10, 2015\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cspan style=\"font-weight: 400;\">However, uppity didn’t just recently become a racist term. \u003c/span>\u003cspan style=\"font-weight: 400;\">In fact\u003c/span>\u003cspan style=\"font-weight: 400;\">, the word has quite a long and \u003c/span>\u003ca href=\"http://abcnews.go.com/US/story?id=5823018\">\u003cspan style=\"font-weight: 400;\">loaded history\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Public media organizations like KQED strive not just to report the news as it happens, but also to explore issues, ideas, events and cultures. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">So Well Spoken\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> is the latter type of effort at a time when race \u003c/span>\u003cspan style=\"font-weight: 400;\">and\u003c/span> \u003cspan style=\"font-weight: 400;\">culture\u003c/span>\u003cspan style=\"font-weight: 400;\"> are \u003c/span>\u003cspan style=\"font-weight: 400;\">featured\u003c/span> \u003cspan style=\"font-weight: 400;\">prominently in the\u003c/span> \u003cspan style=\"font-weight: 400;\">news\u003c/span>\u003cspan style=\"font-weight: 400;\">. (Recent examples \u003ca href=\"http://minnesota.cbslocal.com/2015/09/28/marathon-organizers-respond-to-black-lives-matter-plans/\">here\u003c/a>, \u003ca href=\"http://www.thestate.com/news/local/crime/article35679474.html\">here\u003c/a>, \u003ca href=\"http://www.cnn.com/2015/09/27/politics/ben-carson-muslim-president-sharia-law/\">here\u003c/a>, \u003ca href=\"http://www.dailymail.co.uk/news/article-3251743/Asians-set-overtake-Hispanics-largest-group-immigrants-2065-number-foreign-borns-nears-record-high.html\">here\u003c/a>, \u003ca href=\"http://www.nytimes.com/2015/09/14/us/panel-studying-racial-divide-in-missouri-presents-a-blunt-picture-of-inequity.html?_r=0\">here\u003c/a>, \u003ca href=\"http://www.washingtonpost.com/news/post-politics/wp/2015/09/24/jeb-bush-win-black-voters-with-aspiration-not-free-stuff/\">here \u003c/a>and \u003ca href=\"https://www.bostonglobe.com/arts/2015/09/01/idris-elba-too-street-play-james-bond/4VRukURkTRU3Tud8ChUwYK/story.html\">here\u003c/a>.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">On Facebook, one person took strong issue with our recent story about the concept of \u003c/span>\u003ca href=\"http://ww2.kqed.org/news/2015/09/24/how-to-acknowledge-prejudice-and-white-privilege-without-the-guilt\">\u003cspan style=\"font-weight: 400;\">white privilege\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">:\u003c/span>\u003c/p>\n\u003cblockquote>\u003cp>\u003cspan style=\"font-weight: 400;\">2 MAs, 20 years teaching experience abroad, and I have the privilege of teaching ESL in the great East Bay for $17 net an hr at an ESL school in the super cool, super liberal, full of super-duper love for the homeless city of Berkeley - concern for those of us who work for a living, not so much.. Oh, I forgot!! I'm WHITE so I'm \"privileged\". Gotcha.\u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>That story also prompted a similar reaction from Dick in San Jose, who left us a voicemail:\u003c/p>\n\u003cblockquote>\u003cp>\u003cspan style=\"font-weight: 400;\">...I've had to work for everything I've got, so maybe stop spreading the propaganda that all white people are privileged. It's more of a socioeconomic, where you were raised and how much money your parents and how good your parents are at parenting you. So come on, guys, you're smarter than that. It's not about race really. So please, stop with this. Please. Every day. It's half intellectual conversation, half propaganda, “white men are horrible”... come on. Grow up.\u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cspan style=\"font-weight: 400;\">It's true that not all whites are equally privileged. However, \u003c/span>\u003ca href=\"http://www.theroot.com/articles/culture/2014/07/white_privilege_extends_to_the_poor.html\">\u003cspan style=\"font-weight: 400;\">research\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> shows that white privilege transcends socioeconomics. Another \u003c/span>\u003ca href=\"http://www.gsb.stanford.edu/insights/why-whites-downplay-their-individual-racial-privileges?utm_source=Stanford+Business&utm_campaign=4c6f7c1217-Stanford-Business-Issue-71-9-20-2015&utm_medium=email&utm_term=0_0b5214e34b-4c6f7c1217-73746881&ct=t(Stanford-Business-Issue-71-9-20-2015)\">\u003cspan style=\"font-weight: 400;\">study\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> shows that the “I’ve worked for everything I’ve got” argument often comes up among people who are reluctant to acknowledge the impact of white privilege. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Some of the criticism has been very helpful. One listener, a white male who declined to give his name or city, suggested that we create an email address for feedback (initially, we took only calls and social media posts). \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">His concern was that people like him wouldn't share their stories unless they could do so privately and think through their words. That was an excellent point, and we added \u003c/span>\u003ca href=\"mailto:SoWellSpoken@KQED.org\">\u003cspan style=\"font-weight: 400;\">SoWellSpoken@KQED.org\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> to meet that need.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Perhaps our most vocal critic is Henry, a listener in Napa who was very upset over our \u003ca href=\"http://ww2.kqed.org/news/kqed-so-well-spoken\">story\u003c/a> about the recent incident aboard the Napa Valley Wine Train:\u003c/span>\u003c/p>\n\u003cblockquote>\u003cp>\u003cspan style=\"font-weight: 400;\">...I think KQED in particular is obsessed with race, and I think the more you talk about it, the worse it gets. one of the reasons race in America is so tenuous and so tense right now, is because of the over-obsession with liberal media like yourselves, and I hope you have the b---- to put this on the radio, OK? Because we're sick and tired of it.\u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Whether you like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">So Well Spoken\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> or not, whether you agree with the assessments of our guests or not, whether you think this approach is right or wrong, the mere fact that you are engaging with us makes you part of the dialogue. And part of the solution. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">I’m encouraged by these comments, critical and complimentary. We’ve aired only four segments so far -- hardly enough to get into the nuances of race, culture, diversity and identity. Today we air the first hourlong show, where we hope to consider more of those nuances.\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">\u003cem>So Well Spoken\u003c/em> is a safe space to have dangerous conversations. Pushing the critics away would violate the spirit of this project because, at the end of the day, we really do need one another. I think \u003ca href=\"http://www.pbs.org/wnet/african-americans-many-rivers-to-cross/history/100-amazing-facts/who-designed-the-march-on-washington/\">Bayard Rustin\u003c/a>, the main organizer of the 1963 March On Washington, said it best:\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">“We are all one. And if we do not know it, we will learn it the hard way.”\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Several months after the announcement of \u003ca href=\"http://ww2.kqed.org/arts/2015/05/27/pro-arts-executive-director-steps-down-latest-in-wave-of-recent-art-world-departures/\">Margo Dunlap’s departure from the Oakland arts nonprofit\u003c/a> Pro Arts, the organization named Natalia L. Mount as its new executive director.\u003c/p>\n\u003cp>Dunlap left Pro Arts in late May after 11 years. Mount will begin her position on Oct. 7. Recently moved from New York to Oakland, Mount served as executive director of Redhouse Arts Center in Syracuse, NY and of the New York-based arts nonprofit FLUX Digital Art Space, which she also co-founded.\u003c/p>\n\u003cp>In an email announcement addressed to the “Bay Area arts community,” Pro Arts’ board chair Rae Holzman writes, “We are confident that Mount will provide a fresh, new and exciting perspective and visionary leadership for Pro Arts. And we look forward to introducing Natalia to the Oakland community, and the arts of the greater region.”\u003c/p>\n\u003cp>Pro Arts is the first of the four local visual arts nonprofits that lost their executive directors this year to appoint a successor. SOMArts and \u003ca href=\"http://ww2.kqed.org/arts/2015/07/15/arts-shake-up-longtime-executive-director-leaves-southern-exposure/\">Southern Exposure\u003c/a> in San Francisco, and the di Rosa Preserve in the Napa Valley, are still at various stages of their searches, as leadership in the Bay Area nonprofit sector undergoes a massive changing of the guard.\u003c/p>\n\u003cdiv>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Several months after the announcement of \u003ca href=\"http://ww2.kqed.org/arts/2015/05/27/pro-arts-executive-director-steps-down-latest-in-wave-of-recent-art-world-departures/\">Margo Dunlap’s departure from the Oakland arts nonprofit\u003c/a> Pro Arts, the organization named Natalia L. Mount as its new executive director.\u003c/p>\n\u003cp>Dunlap left Pro Arts in late May after 11 years. Mount will begin her position on Oct. 7. Recently moved from New York to Oakland, Mount served as executive director of Redhouse Arts Center in Syracuse, NY and of the New York-based arts nonprofit FLUX Digital Art Space, which she also co-founded.\u003c/p>\n\u003cp>In an email announcement addressed to the “Bay Area arts community,” Pro Arts’ board chair Rae Holzman writes, “We are confident that Mount will provide a fresh, new and exciting perspective and visionary leadership for Pro Arts. And we look forward to introducing Natalia to the Oakland community, and the arts of the greater region.”\u003c/p>\n\u003cp>Pro Arts is the first of the four local visual arts nonprofits that lost their executive directors this year to appoint a successor. SOMArts and \u003ca href=\"http://ww2.kqed.org/arts/2015/07/15/arts-shake-up-longtime-executive-director-leaves-southern-exposure/\">Southern Exposure\u003c/a> in San Francisco, and the di Rosa Preserve in the Napa Valley, are still at various stages of their searches, as leadership in the Bay Area nonprofit sector undergoes a massive changing of the guard.\u003c/p>\n\u003cdiv>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"http://deehibbert-jones.ucsc.edu/index.html\" target=\"_blank\" rel=\"noopener\">Dee Hibbert-Jones\u003c/a> and \u003ca href=\"http://www.nomitalisman.info/\" target=\"_blank\" rel=\"noopener\">Nomi Talisman\u003c/a>, San Francisco-based artists, activists and educators, have a long history of confronting social injustices through their art practices. Their collaborative work — which includes performances addressing the bureaucratic slog of their attempts to get Talisman a U.S. visa (back when same-sex couples had no legal standing) — has now taken the form of animated documentary filmmaking.\u003c/p>\n\u003cfigure id=\"attachment_10964435\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10964435\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/LastDayCover-1180x664.jpg\" alt=\"Filmmakers Dee Hibbert-Jones and Nomi Talisman (Producers, directors, key animators).\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Filmmakers Dee Hibbert-Jones and Nomi Talisman (Producers, directors, key animators). \u003ccite>(Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The duo’s short \u003cem>\u003ca href=\"http://www.lastdayoffreedom.net/\" target=\"_blank\" rel=\"noopener\">Last Day of Freedom\u003c/a>\u003c/em>, currently traveling the film festival circuit, is centered on Bill Babbitt and the story of his younger brother Manny. Bill narrates the life events that took Manny from childhood happiness to adult instability. When Bill suspects Manny is responsible for a terrible crime, he must turn his brother in, a heartbreaking decision that leads to Manny’s murder conviction and execution by the state of California.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>The California Report talks with the filmmakers:\u003c/h3>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/227716646″ 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\u003c/aside>\n\u003cp>Rendered through hand-drawn cells with a deep sensitivity to emotion and gesture, \u003cem>Last Day of Freedom\u003c/em> humanizes its subjects through a meticulous attention to detail. The short opens season 11 of KQED’s \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/\" target=\"_blank\" rel=\"noopener\">Truly CA\u003c/a>\u003c/em> on Sunday, Oct. 25 at 6pm, but you can watch it online today. I visited the artists in their Mission District home to find out more about the making of the film.\u003c/p>\n\u003cp>https://youtu.be/6uUqUEGAa4A\u003c/p>\n\u003cp>\u003cstrong>The story is told so beautifully by Bill. Did you ever consider including narration from another source, or contributing any authorial hand on your part?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> We were really clear that we didn’t want ourselves in the story, either. We wanted the story to be told from the perspective of someone who’s directly impacted. We hoped to reach the viewer emotionally, rather than pull you out and analyze the story. To show you a perspective that you don’t usually hear, and you don’t usually see, that allows the viewer to walk in Bill’s shoes.\u003c/p>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> While our advisers gave us ideas of some ways to Bill’s story, we never imagined their commentary would be part of the film.\u003c/p>\n\u003cp>\u003cstrong>There’s a real mix of visual styles in the film — from line drawings to splashes of color to more fuzzy charcoal-like renderings. How did you make the decision to animate parts of the story in certain ways?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10964438\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10964438\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Hands640.jpg\" alt=\"Still from 'Last Day of Freedom,' Bill Babbitt.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Hands640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Hands640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Last Day of Freedom,’ Bill Babbitt. \u003ccite>(Dee Hibbert-Jones & Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dee:\u003c/strong> We talked a lot about metaphors. We thought hard about how we wanted Bill drawn. He would be strong, but with a thin line that’s almost so delicate that — if you’re not careful — it could break. We were really sure that we wanted the archival footage to feel as if it was from a particular time. For the rest, we started to think about in those moments where Manny’s mental state is devolving and Bill is losing control. Basically you start having these moments where the war is coming back. I think the hardest piece to animate was, obviously, the execution. This is partly why we decided to make it almost completely blank, so you had to pay attention and just listen to what Bill was saying.\u003c/p>\n\u003cp>\u003cstrong>You didn’t have actual footage of the trial, but at that point in the narrative, the animation really shows how they were reduced to a case that was being passed from hand to hand, where compassion was replaced with political maneuverings.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10964439\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10964439\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Trial640.jpg\" alt=\"Still from 'Last Day of Freedom,' the lawyers.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Trial640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Trial640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Last Day of Freedom,’ the lawyers. \u003ccite>(Dee Hibbert-Jones & Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> We wanted to represent bureaucracy. You see a lot of stamping and papers.\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> And hands.\u003c/p>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> It’s political.\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> We basically started looking at political campaigns online, just for inspiration. To see, “Oh, yeah, there’s the dancing girls, and the handshaking,” and what is that bureaucratic thing? Every time we drove by a poster, or browsed a newspaper we’d go, “See? That’s the imagery we want.”\u003c/p>\n\u003cp>\u003cstrong>As romantic partners, how did you arrive at this collaborative practice? Did you find it was a natural outcome of your relationship?\u003cbr>\n\u003c/strong>\u003cbr>\n\u003cstrong>Nomi:\u003c/strong> Well, we fight well! We know how to argue and come out with a better solution.\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> Partly, it’s infuriating to collaborate with anybody. It’s really annoying. On the other hand, it’s more than the sum of what you could do on your own. We found with Nomi’s background in media and photography, and mine in public engagement, new media and drawing, we brought other components to the project.\u003c/p>\n\u003cp>\u003cstrong>The film is made up of somewhere around 32,000 individual drawings and you spent four years on this project. How did you manage that?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10964437\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10964437\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Flag640.png\" alt=\"Still from 'Last Day of Freedom,' Manny's funeral.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Flag640.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Flag640-400x225.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Last Day of Freedom,’ Manny’s funeral. \u003ccite>(Dee Hibbert-Jones & Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dee:\u003c/strong> Once we had a radio cut of Bill’s audio we drew animations for two years straight. The animation was taking us so long we realized we’d be there for the rest of our lives, so we worked with a small group of animators to do the in-between drawings, once we designed each image. We never realized how tight our drawing styles are, what our understanding of the project was, until we started trying to work with other people.\u003c/p>\n\u003cp>\u003cstrong>How does running the film festival circuit compare to operating in the gallery and fine arts world?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> Somebody I know said the filmmaking process is not necessarily democratic, but it has to be collaborative. Filmmakers know that even when they do everything themselves, they still have to work with other people on sound design, post production, etc. Creating art projects can often be a much more isolated process. In documentary, you have to deal with real things. There’s something really refreshing about actually dealing with some reality or people who care about things beyond the aesthetics, or beyond themselves and beyond their own practice.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> I think most significantly the potential reach of the work seems broader. Creating something for a gallery or a museum, it stays within the walls. This travels.\u003c/p>\n\n",
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"excerpt": "Artists Dee Hibbert-Jones and Nomi Talisman animate a tragic story of murder and capital punishment.",
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"title": "Story of an Execution Becomes Art in ‘Last Day of Freedom’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://deehibbert-jones.ucsc.edu/index.html\" target=\"_blank\" rel=\"noopener\">Dee Hibbert-Jones\u003c/a> and \u003ca href=\"http://www.nomitalisman.info/\" target=\"_blank\" rel=\"noopener\">Nomi Talisman\u003c/a>, San Francisco-based artists, activists and educators, have a long history of confronting social injustices through their art practices. Their collaborative work — which includes performances addressing the bureaucratic slog of their attempts to get Talisman a U.S. visa (back when same-sex couples had no legal standing) — has now taken the form of animated documentary filmmaking.\u003c/p>\n\u003cfigure id=\"attachment_10964435\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10964435\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/LastDayCover-1180x664.jpg\" alt=\"Filmmakers Dee Hibbert-Jones and Nomi Talisman (Producers, directors, key animators).\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Filmmakers Dee Hibbert-Jones and Nomi Talisman (Producers, directors, key animators). \u003ccite>(Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The duo’s short \u003cem>\u003ca href=\"http://www.lastdayoffreedom.net/\" target=\"_blank\" rel=\"noopener\">Last Day of Freedom\u003c/a>\u003c/em>, currently traveling the film festival circuit, is centered on Bill Babbitt and the story of his younger brother Manny. Bill narrates the life events that took Manny from childhood happiness to adult instability. When Bill suspects Manny is responsible for a terrible crime, he must turn his brother in, a heartbreaking decision that leads to Manny’s murder conviction and execution by the state of California.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>The California Report talks with the filmmakers:\u003c/h3>\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/227716646″&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/227716646″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003c/aside>\n\u003cp>Rendered through hand-drawn cells with a deep sensitivity to emotion and gesture, \u003cem>Last Day of Freedom\u003c/em> humanizes its subjects through a meticulous attention to detail. The short opens season 11 of KQED’s \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/\" target=\"_blank\" rel=\"noopener\">Truly CA\u003c/a>\u003c/em> on Sunday, Oct. 25 at 6pm, but you can watch it online today. I visited the artists in their Mission District home to find out more about the making of the film.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6uUqUEGAa4A'\n title='//www.youtube.com/embed/6uUqUEGAa4A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>The story is told so beautifully by Bill. Did you ever consider including narration from another source, or contributing any authorial hand on your part?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> We were really clear that we didn’t want ourselves in the story, either. We wanted the story to be told from the perspective of someone who’s directly impacted. We hoped to reach the viewer emotionally, rather than pull you out and analyze the story. To show you a perspective that you don’t usually hear, and you don’t usually see, that allows the viewer to walk in Bill’s shoes.\u003c/p>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> While our advisers gave us ideas of some ways to Bill’s story, we never imagined their commentary would be part of the film.\u003c/p>\n\u003cp>\u003cstrong>There’s a real mix of visual styles in the film — from line drawings to splashes of color to more fuzzy charcoal-like renderings. How did you make the decision to animate parts of the story in certain ways?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10964438\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10964438\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Hands640.jpg\" alt=\"Still from 'Last Day of Freedom,' Bill Babbitt.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Hands640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Hands640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Last Day of Freedom,’ Bill Babbitt. \u003ccite>(Dee Hibbert-Jones & Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dee:\u003c/strong> We talked a lot about metaphors. We thought hard about how we wanted Bill drawn. He would be strong, but with a thin line that’s almost so delicate that — if you’re not careful — it could break. We were really sure that we wanted the archival footage to feel as if it was from a particular time. For the rest, we started to think about in those moments where Manny’s mental state is devolving and Bill is losing control. Basically you start having these moments where the war is coming back. I think the hardest piece to animate was, obviously, the execution. This is partly why we decided to make it almost completely blank, so you had to pay attention and just listen to what Bill was saying.\u003c/p>\n\u003cp>\u003cstrong>You didn’t have actual footage of the trial, but at that point in the narrative, the animation really shows how they were reduced to a case that was being passed from hand to hand, where compassion was replaced with political maneuverings.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10964439\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10964439\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Trial640.jpg\" alt=\"Still from 'Last Day of Freedom,' the lawyers.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Trial640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Trial640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Last Day of Freedom,’ the lawyers. \u003ccite>(Dee Hibbert-Jones & Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> We wanted to represent bureaucracy. You see a lot of stamping and papers.\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> And hands.\u003c/p>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> It’s political.\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> We basically started looking at political campaigns online, just for inspiration. To see, “Oh, yeah, there’s the dancing girls, and the handshaking,” and what is that bureaucratic thing? Every time we drove by a poster, or browsed a newspaper we’d go, “See? That’s the imagery we want.”\u003c/p>\n\u003cp>\u003cstrong>As romantic partners, how did you arrive at this collaborative practice? Did you find it was a natural outcome of your relationship?\u003cbr>\n\u003c/strong>\u003cbr>\n\u003cstrong>Nomi:\u003c/strong> Well, we fight well! We know how to argue and come out with a better solution.\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> Partly, it’s infuriating to collaborate with anybody. It’s really annoying. On the other hand, it’s more than the sum of what you could do on your own. We found with Nomi’s background in media and photography, and mine in public engagement, new media and drawing, we brought other components to the project.\u003c/p>\n\u003cp>\u003cstrong>The film is made up of somewhere around 32,000 individual drawings and you spent four years on this project. How did you manage that?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10964437\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10964437\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Flag640.png\" alt=\"Still from 'Last Day of Freedom,' Manny's funeral.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Flag640.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Flag640-400x225.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Last Day of Freedom,’ Manny’s funeral. \u003ccite>(Dee Hibbert-Jones & Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dee:\u003c/strong> Once we had a radio cut of Bill’s audio we drew animations for two years straight. The animation was taking us so long we realized we’d be there for the rest of our lives, so we worked with a small group of animators to do the in-between drawings, once we designed each image. We never realized how tight our drawing styles are, what our understanding of the project was, until we started trying to work with other people.\u003c/p>\n\u003cp>\u003cstrong>How does running the film festival circuit compare to operating in the gallery and fine arts world?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> Somebody I know said the filmmaking process is not necessarily democratic, but it has to be collaborative. Filmmakers know that even when they do everything themselves, they still have to work with other people on sound design, post production, etc. Creating art projects can often be a much more isolated process. In documentary, you have to deal with real things. There’s something really refreshing about actually dealing with some reality or people who care about things beyond the aesthetics, or beyond themselves and beyond their own practice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Henry Dumas Wrote About Black People Killed By Cops. Then He was Killed by a Cop",
"headTitle": "Henry Dumas Wrote About Black People Killed By Cops. Then He was Killed by a Cop | KQED",
"content": "\u003cp>“A young black man, Henry Dumas, went through a turnstile at a New York City subway station,” reads an invitation by Toni Morrison for a posthumous book-launch party she threw for Dumas in 1974, six years after he died. “A transit cop” — who was white — “shot him in the chest and killed him. Circumstances surrounding his death remain unclear. Before that happened, however, he had written some of the most beautiful, moving and profound poetry and fiction that I have ever in my life read.”\u003c/p>\n\u003cfigure id=\"attachment_10990148\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-800x450.jpg\" alt=\"Henry Dumas, photographed in New York in the mid-1960s.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10990148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0.jpg 1497w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Dumas, photographed in New York in the mid-1960s. \u003ccite>(Courtesy of Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the nearly 50 years since Henry Dumas was killed, not much more has come to light about what happened on the night of his death. No witnesses came forward to testify. Police records were lost in a bureaucratic shuffle. Harlem, where Dumas moved as a young man after growing up in rural Arkansas, had \u003ca href=\"https://www.baruch.cuny.edu/nycdata/disasters/riots-harlem_1964.html\">erupted\u003c/a> in large-scale protests over the police killings of black and brown men several times before the writer was killed. But Dumas’ death hardly made the news. With so little information to draw from, it’s as if the last pages of his life were torn out.\u003c/p>\n\u003cp>Dumas’ final scene echoed a theme he turned to again and again in his writing: violent confrontations between white men and black men. The work he left behind — short stories that range from hard realism to science fiction, an almost finished novel, volumes of poetry, and even a few accompaniments to the work of the mystical jazz legend Sun Ra — contains bitingly sharp depictions of racial tension in America that, in an almost unbelievably eerie way, speak to his own fate.\u003c/p>\n\u003cp>It is, of course, a fate that many black men and women had and would suffer under dubious circumstances — from \u003ca href=\"http://www.nydailynews.com/news/crime/harlem-riots-1943-echo-today-article-1.2216788\">Robert Bandy\u003c/a> in 1935, \u003ca href=\"http://www.vice.com/read/race-riots-then-and-now-501\">James Powell\u003c/a> in 1964, 10-year-old \u003ca href=\"http://www.nytimes.com/2015/04/17/nyregion/fired-at-queens-boy-fatal-1973-police-shot-still-reverberates.html\">Clifford Glover\u003c/a> in 1973, and \u003ca href=\"http://articles.chicagotribune.com/1999-09-12/news/9909120226_1_officers-lawyer-chicago-police-supt-joseph-roddy\">LaTanya Haggerty\u003c/a> in 1999 to the more recent deaths of Michael Brown, \u003ca href=\"http://www.charlotteobserver.com/news/local/crime/article15728675.html\">Janisha Fonville\u003c/a>, Eric Garner, \u003ca href=\"http://www.cleveland.com/metro/index.ssf/2015/01/tanisha_anderson_was_restraine.html\">Tanisha Anderson\u003c/a> and Freddie Gray, to name only a few.\u003c/p>\n\u003cp>“His work and, in fact, his death, investigated and illustrated the ways in which black lives were at best peripheral to most white people — especially those running and policing the country,” says James Smethurst, a University of Massachusetts, Amherst professor who has written extensively about 1960s and ’70s black writers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Much of Dumas’ writing is considered to be a part of the \u003ca href=\"http://www.english.illinois.edu/maps/blackarts/historical.htm\">Black Arts Movement\u003c/a> — the artistic manifestation of the Black Power struggle of the 1960s — an effort that Smethurst believes has a lot of resonance with the Black Lives Matter movement. While interest in Dumas has increased somewhat in recent years, he says, “We still have a long way to go before he gets the sort of attention he deserves.”\u003c/p>\n\u003cp>\u003cstrong>‘The People Get Tired Of Dying’\u003c/strong>\u003c/p>\n\u003cp>One of the only known accounts of the night Dumas was killed comes from an obituary in \u003cem>The Amsterdam News,\u003c/em> a black-owned newspaper in New York City that was founded in 1909. “Police said Dumas and an unidentified man were scuffling in the subway when the officer walked up to them and attempted to stop the fracas,” the obit reads. “Police said Dumas, resentful at the interference, slashed the officer who shot and killed him.”\u003c/p>\n\u003cp>Without the benefit of photographic evidence or firsthand witnesses to accompany the official police report, it is impossible to know the full story of what happened that night. It’s also impossible to take in Dumas’ story without acknowledging that the \u003ca href=\"http://www.motherjones.com/politics/2015/07/samuel-dubose-cops-corroberating-unarmed-black-death\">track record of believability\u003c/a>, when it comes to official accounts of black deaths at the hands of law enforcement, \u003ca href=\"http://kxan.com/2014/08/22/family-of-woman-shot-killed-by-bastrop-county-sheriffs-deputy-seeks-damages/\">isn’t a clean one\u003c/a>.\u003c/p>\n\u003cp>Dumas wrote stories that echo cases like that of Tamir Rice, a 12-year-old boy in Cleveland who was killed \u003ca href=\"http://www.bbc.com/news/world-us-canada-30220700\">seconds after\u003c/a> a police vehicle pulled up to where he was playing. “When a Negro boy is shot and killed by policemen who do not check the situation before pulling their guns, the people get angry. It is a simple law of nature. … The people get tired of dying,” says one of Dumas’ characters in a short story called “Riot or Revolt.”\u003c/p>\n\u003cp>Published most recently in a 2003 collection of Dumas’ work called \u003ca href=\"http://www.amazon.com/Echo-Tree-Collected-Fiction-Movement/dp/1566891493\">Echo Tree\u003c/a>, that story follows a young black man named Harold through the aftermath of violent public protest across Harlem:\u003c/p>\n\u003cblockquote>\n\u003cp>“The police barricades squatted on the sidewalk surrounding each place where mobs had struck.\u003c/p>\n\u003cp>“Harold stood on the ramp in the middle of Seventh Avenue and 125th Street and surveyed the area which the night before had swarmed with police and angry Harlemites. A youth had been slain by the police in Brooklyn.”\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_10990159\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/national-bookstore-800x529.jpg\" alt=\"A view of the National Memorial African Bookstore in Harlem circa 1970.\" width=\"800\" height=\"529\" class=\"size-medium wp-image-10990159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/national-bookstore.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/national-bookstore-400x265.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view of the National Memorial African Bookstore in Harlem circa 1970. \u003ccite>(Jack Garofalo/Paris Match via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who have studied Dumas’ life and work believe the fictional LeMoor Brothers’ Bookstore in that story was modeled on the real National Memorial African Bookstore, which stood a short walk from the 135th Street subway station where Dumas was killed. Owned by Lewis Michaux, a bookseller and black civil rights leader who encouraged his neighbors to read the books he stocked on African history, culture and philosophy even if they couldn’t afford to buy them, the store \u003ca href=\"https://www.kirkusreviews.com/book-reviews/vaunda-micheaux-nelson/no-crystal-stair/\">attracted\u003c/a> figures like Malcolm X, Langston Hughes and Muhammad Ali.\u003c/p>\n\u003cp>Not unlike Dumas’ LeMoor, Michaux had a lot to say about black Americans’ struggle for power. “We’ve been neglected for three hundred years,” he\u003ca href=\"http://www.newyorker.com/magazine/1966/09/03/the-professor-4\"> told\u003c/a> a \u003cem>New Yorker\u003c/em> reporter in 1966. “As much as I hate to see what’s going to happen, I believe that when the Negro knocks this time and nobody open the door, he’s just going to knock it right down.”\u003c/p>\n\u003cp>In “Riot or Revolt,” city officials stop in to speak to the owners of LeMoor Brothers’ Bookstore, which had been left untouched by the looters who ravaged nearly every other store on the street. The officers want to know what made his shop so exceptional, but its owner, Micheval LeMoor, takes issue with the fact that city officials seemed to visit Harlem only when its frustrated residents reached a breaking point:\u003c/p>\n\u003cblockquote>\n\u003cp>“You want to come visit here and get the notions about things being better, while right now some disrespectful guardian of the citizens beats a black man’s head in. It doesn’t matter if he’s guilty or not anymore. Your honor, what you are facing is the full anger of a man who has been under attack for years. Unless you call off the attackers, be they merchants, disrespectful policemen, or the American majority, then the black minority is going to tear your house down.”\u003c/p>\n\u003c/blockquote>\n\u003cp>While “Riot or Revolt” may have been closely inspired by actual people if not actual events, other Dumas stories are imaginative forays into allegorical fables and otherworldly realms. Dumas’ vast range captivated many of his fellow writers, before and after his death. The poet and civil rights activist \u003ca href=\"http://www.poetryfoundation.org/bio/haki-madhubuti\">Haki R. Madhubati\u003c/a> called him “a poet of complex melodies,” and Amiri Baraka called him an “Afro-surreal expressionist” who delivered “a new blackness.”\u003c/p>\n\u003cfigure id=\"attachment_10990160\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-books-800x385.jpg\" alt=\"Three of the published works of Dumas.\" width=\"800\" height=\"385\" class=\"size-medium wp-image-10990160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-books.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-books-400x193.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three of the published works of Dumas. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was impressed with his boldness of language and his boldness of breadth,” Maya Angelou said in a 1988 interview published in an issue of the \u003cem>Black American Literature Forum\u003c/em> dedicated entirely to Dumas’ work. “Dumas continued to set us up for the loneliness, aloneness, and desperation, sometimes even desolation. But he never leaves us there. With him as our guide, we’re always brought through to a better place.”\u003c/p>\n\u003cp>\u003cstrong>‘Part Invitation, Part Consolation’\u003c/strong>\u003c/p>\n\u003cp>By the time Dumas died, just a few of his poems and short stories had been published in small literary journals, geared toward a black audience. Writers and critics who knew him say he would have followed the uphill trajectory of his friends — including Robert Pinsky and Baraka — had he lived.\u003c/p>\n\u003cp>“I think he would’ve been a lot more famous in some respects if he had been able to live and write for 50 more years,” says Smethurst, the University of Massachusetts professor. “What if Toni Morrison had died after she wrote \u003cem>The Bluest Eye\u003c/em> and only had a few stories?”\u003c/p>\n\u003cp>In fact, Morrison played a role in inspiring what Smethurst calls the “cult” of Dumas. She first encountered Dumas in the form of a slim collection published posthumously by Southern Illinois University, where he taught an experimental program during the last year of his life. Then an editor at Random House and the author of \u003cem>The Bluest Eye\u003c/em> and \u003cem>Sula,\u003c/em> Morrison was struck by the circumstances of Dumas’ death and wanted to publish more of his writing.\u003c/p>\n\u003cp>Random House had recently committed itself to publishing more minority writers. Through her position there, Morrison would shepherd through the work of several of the era’s most notable black writers and activists, from Toni Cade Bambara and Gayle Jones to Angela Davis and Huey P. Newton.\u003c/p>\n\u003cp>But she knew that generating attention for Dumas, a writer who was not only practically unknown but also deceased, would not be easy. To create hype for the collections she wanted to release — a book of poetry titled \u003cem>Play Ebony Play Ivory\u003c/em> and a short story collection called \u003cem>Ark of Bones\u003c/em> — Morrison organized a release event with a glamorous guest list comprising the most renowned black writers of the time.\u003c/p>\n\u003cp>“He was thirty-three years old when he was killed,” Morrison wrote in the announcement for the party, a note that was \u003ca href=\"http://www.nytimes.com/2015/04/12/magazine/the-radical-vision-of-toni-morrison.html&assetType=nyt_now?&assetType=nyt_now\">described\u003c/a> as “part invitation, part consolation” in a recent \u003cem>New York Times\u003c/em> profile of Morrison. “But in those thirty-three years he had completed work the quality and quantity of which are almost never achieved in several lifetimes.”\u003c/p>\n\u003cp>\u003cstrong>‘Creative Writing Slave’\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10990162\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-teen.jpg\" alt=\"Dumas, when he was a high school student in New York.\" width=\"400\" height=\"498\" class=\"size-full wp-image-10990162\">\u003cfigcaption class=\"wp-caption-text\">Dumas, when he was a high school student in New York. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1934, Dumas was born to Appliance Porter, a 19-year-old housekeeper in Sweet Home, Ark., a small town just outside Little Rock. His father, Henry Dumas Sr., or “Big Henry” as he was called, was largely absent from the life of his son, and his mother worked long hours. With his parents often away, Dumas spent much of his time in the fields where his aunts and uncles picked cotton, milked cows and shared stories.\u003c/p>\n\u003cp>While his cousins were busy playing sports, Dumas’ family recalled to Dumas biographer Jeffrey B. Leak, he preferred to spend his time examining insects or developing skits in which he played all the roles. When Dumas was 10, he and his family followed the course taken by thousands of other black families during the first part of the 20th century by \u003ca href=\"http://www.nytimes.com/2010/09/05/books/review/Oshinsky-t.html?pagewanted=all&_r=0\">moving north\u003c/a>. Dumas brought with him to Harlem an intellectual curiosity that impressed his teachers at his integrated Manhattan high school.\u003c/p>\n\u003cp>It may have been there that Dumas’ individual struggles became part of a more complex struggle: one in which black people searched for belonging in spaces where they were neither warmly welcomed nor explicitly barred. It’s unclear when he began to take up writing seriously, but his move to a more racially diverse environment may have had something to do with it. Beneath his senior photo in the 1953 High School of Commerce yearbook someone — perhaps even Dumas himself — chose to inscribe this description of him: “Creative writing slave.”\u003c/p>\n\u003cp>After a brief stint at the City University of New York that ended with what Leak notes might have been “a crisis of confidence,” Dumas joined the U.S. Air Force within a year of his high school graduation. Tours of Saudi Arabia and Mexico deepened his interest in sketching worlds that blurred black-and-white interpretations of race.\u003c/p>\n\u003cp>At the age of 21, Dumas returned to the U.S., in 1955, and married Loretta Ponton, a beautiful young secretary he had met by chance on a snowy evening on the street in New York just before enlisting. The daughter of a Baptist deacon, Loretta held strong Christian values and a traditional sense of familial responsibility. While Dumas shared her beliefs during the early years of their marriage, he would veer from them in coming years.\u003c/p>\n\u003cp>One of just a few black students at Rutgers University, where Dumas studied from 1958 to 1965 and where the couple’s two sons were born, Dumas’ commitment to his writing, curiosities about the Nation of Islam, engagement with the civil rights movement, plus alcohol and drug use began to drive a wedge between him and Loretta.\u003c/p>\n\u003cp>He also had several affairs with white women. Lois Wright (nee Silber), with whom he had an affair that lasted three years, recalled in a letter to Dumas’ friend and fellow poet Jay Wright (whom she would later marry) that the two could only venture out to select spots in New York; the jazz clubs Dumas frequented weren’t welcoming to Wright, and she resented Dumas’ friends for referring to her as “the white chick.”\u003c/p>\n\u003cp>“For Dumas, crossing racial divides represented possibility and opportunity for both himself as a black man, but also from an imaginative standpoint,” Leak, whose biography of Dumas, \u003ca href=\"http://www.amazon.com/Visible-Man-Life-Henry-Dumas/dp/0820328707\">Visible Man\u003c/a>, came out last year, said in an interview. “I think he thought that if you can cross boundaries in the social realm, then you can cross other boundaries in the literary realm. In both spaces, he found it to be even more complicated than he had anticipated.”\u003c/p>\n\u003cp>Dumas explores those complexities in “Will The Circle Be Unbroken?,” a short story in which three white musicians and critics want to enter a black jazz club, arguing they should be let in because they know a lot about the genre. The black patrons finally agree to let them in, but warn that use of an ancient, rare horn may be too intense for their “uninitiated” ears. The music “vibrated the freedom of freedom” for its black listeners, but when the set ends, consternation rises when the three white people are found dead. They had been slain by music that wasn’t meant for them.\u003c/p>\n\u003cp>For many, the story offers a look at some of the central questions of the civil rights movement: What did it mean to be black? How could black identity adapt to an integrated world? What racial boundaries should remain unbroken?\u003c/p>\n\u003cp>In an essay on the story for a 1988 issue of the \u003cem>Black American Literary Forum\u003c/em> dedicated to Dumas’ work, an acquaintance of Dumas’ put it this way: “Black people had a feeling of always being on stage for white folks.” Dumas’ story on the jazz club held that the work of black artists should be guarded and protected, a notion that still resonates in a world where it’s been said many times that \u003ca href=\"http://www.buzzfeed.com/emaoconnor/rue-just-perfectly-defined-cultural-appropriation\">black cultural products are valued while black lives are not\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jazz And Honey\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10990163\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-wedding.jpg\" alt=\"Dumas and his wife, Loretta Dumas (Ponton), on their wedding day.\" width=\"400\" height=\"488\" class=\"size-full wp-image-10990163\">\u003cfigcaption class=\"wp-caption-text\">Dumas and his wife, Loretta Dumas (Ponton), on their wedding day. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On no one, perhaps, has Dumas made a greater impression than Eugene Redmond. An \u003ca href=\"http://eugenebredmond.com/home/\">accomplished poet\u003c/a> in his own right, Redmond has spent the past four decades editing and promoting the work of Dumas, even though the two men knew one another for only just under a year. Redmond met Dumas when the older writer came to teach English at an experimental college at the University of Southern Illinois in Redmond’s hometown of East St. Louis in 1967. “We bonded quickly,” Redmond told me in a phone interview from the house of Loretta, Dumas’ widow.\u003c/p>\n\u003cp>The 77-year-old has served for decades as the literary executor of Dumas’ estate and was staying with Loretta for an annual commemoration of Dumas’ life and work that he helps organize every year on the anniversary of the shooting. Bringing together Dumas’ friends and family over poetry readings and jazz performances, Redmond, a Pushcart Prize recipient and the author of 25 books of poetry, has carried the torch for Dumas alongside his own teaching and writing career.\u003c/p>\n\u003cp>“Every time I stepped into a classroom after I met him, I had a turntable,” said Redmond, who said he picked up on Dumas’ tradition of playing music 15 minutes before each of his classes began. “Every class that I taught, I published the students in a spiral-bound or saddle-stitched booklet. I got that from him.” Redmond fondly recalls eating raw honey and listening to jazz with Dumas, to whom he attributes his love of some of the era’s greatest musicians, from Miles Davis to John Coltrane. “At the time,” Redmond said, “he seemed to be at the farthest most forward point of what black expression, black culture, and black people were all about.”\u003c/p>\n\u003cp>In his day-to-day life, Dumas insisted on making space for himself — and forcing others to acknowledge his right to exist. “He would even walk around East St. Louis and other places, and ask, ‘Do you see me? Feel my arm. I’m here, ain’t I?'” said Leak, who conducted many interviews with those close to Dumas for his book. “His point was: We’re not invisible. The idea is a direct corollary to Black Lives Matter, the idea that flesh and blood do matter, and we’re going to insist on being seen and being heard.”\u003c/p>\n\u003cp>Redmond hopes the Black Lives Matter movement will help introduce Dumas to a whole new audience and help bolster the foundation that the movement rests upon. “You gotta have someplace to come from before you know where you’re going,” he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Beenish Ahmed covers international affairs for ThinkProgress. She’s also the founder of \u003c/em>\u003ca href=\"http://www.thealignist.com/\">THE ALIGNIST\u003c/a>,\u003cem> a new media venture aimed at bringing literature into conversation with current events. Follow her on \u003c/em>\u003ca href=\"https://twitter.com/beenishfahmed\">Twitter\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Henry+Dumas+Wrote+About+Black+People+Killed+By+Cops.+Then+He+Was+Killed+By+A+Cop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“A young black man, Henry Dumas, went through a turnstile at a New York City subway station,” reads an invitation by Toni Morrison for a posthumous book-launch party she threw for Dumas in 1974, six years after he died. “A transit cop” — who was white — “shot him in the chest and killed him. Circumstances surrounding his death remain unclear. Before that happened, however, he had written some of the most beautiful, moving and profound poetry and fiction that I have ever in my life read.”\u003c/p>\n\u003cfigure id=\"attachment_10990148\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-800x450.jpg\" alt=\"Henry Dumas, photographed in New York in the mid-1960s.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10990148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0.jpg 1497w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Dumas, photographed in New York in the mid-1960s. \u003ccite>(Courtesy of Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the nearly 50 years since Henry Dumas was killed, not much more has come to light about what happened on the night of his death. No witnesses came forward to testify. Police records were lost in a bureaucratic shuffle. Harlem, where Dumas moved as a young man after growing up in rural Arkansas, had \u003ca href=\"https://www.baruch.cuny.edu/nycdata/disasters/riots-harlem_1964.html\">erupted\u003c/a> in large-scale protests over the police killings of black and brown men several times before the writer was killed. But Dumas’ death hardly made the news. With so little information to draw from, it’s as if the last pages of his life were torn out.\u003c/p>\n\u003cp>Dumas’ final scene echoed a theme he turned to again and again in his writing: violent confrontations between white men and black men. The work he left behind — short stories that range from hard realism to science fiction, an almost finished novel, volumes of poetry, and even a few accompaniments to the work of the mystical jazz legend Sun Ra — contains bitingly sharp depictions of racial tension in America that, in an almost unbelievably eerie way, speak to his own fate.\u003c/p>\n\u003cp>It is, of course, a fate that many black men and women had and would suffer under dubious circumstances — from \u003ca href=\"http://www.nydailynews.com/news/crime/harlem-riots-1943-echo-today-article-1.2216788\">Robert Bandy\u003c/a> in 1935, \u003ca href=\"http://www.vice.com/read/race-riots-then-and-now-501\">James Powell\u003c/a> in 1964, 10-year-old \u003ca href=\"http://www.nytimes.com/2015/04/17/nyregion/fired-at-queens-boy-fatal-1973-police-shot-still-reverberates.html\">Clifford Glover\u003c/a> in 1973, and \u003ca href=\"http://articles.chicagotribune.com/1999-09-12/news/9909120226_1_officers-lawyer-chicago-police-supt-joseph-roddy\">LaTanya Haggerty\u003c/a> in 1999 to the more recent deaths of Michael Brown, \u003ca href=\"http://www.charlotteobserver.com/news/local/crime/article15728675.html\">Janisha Fonville\u003c/a>, Eric Garner, \u003ca href=\"http://www.cleveland.com/metro/index.ssf/2015/01/tanisha_anderson_was_restraine.html\">Tanisha Anderson\u003c/a> and Freddie Gray, to name only a few.\u003c/p>\n\u003cp>“His work and, in fact, his death, investigated and illustrated the ways in which black lives were at best peripheral to most white people — especially those running and policing the country,” says James Smethurst, a University of Massachusetts, Amherst professor who has written extensively about 1960s and ’70s black writers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much of Dumas’ writing is considered to be a part of the \u003ca href=\"http://www.english.illinois.edu/maps/blackarts/historical.htm\">Black Arts Movement\u003c/a> — the artistic manifestation of the Black Power struggle of the 1960s — an effort that Smethurst believes has a lot of resonance with the Black Lives Matter movement. While interest in Dumas has increased somewhat in recent years, he says, “We still have a long way to go before he gets the sort of attention he deserves.”\u003c/p>\n\u003cp>\u003cstrong>‘The People Get Tired Of Dying’\u003c/strong>\u003c/p>\n\u003cp>One of the only known accounts of the night Dumas was killed comes from an obituary in \u003cem>The Amsterdam News,\u003c/em> a black-owned newspaper in New York City that was founded in 1909. “Police said Dumas and an unidentified man were scuffling in the subway when the officer walked up to them and attempted to stop the fracas,” the obit reads. “Police said Dumas, resentful at the interference, slashed the officer who shot and killed him.”\u003c/p>\n\u003cp>Without the benefit of photographic evidence or firsthand witnesses to accompany the official police report, it is impossible to know the full story of what happened that night. It’s also impossible to take in Dumas’ story without acknowledging that the \u003ca href=\"http://www.motherjones.com/politics/2015/07/samuel-dubose-cops-corroberating-unarmed-black-death\">track record of believability\u003c/a>, when it comes to official accounts of black deaths at the hands of law enforcement, \u003ca href=\"http://kxan.com/2014/08/22/family-of-woman-shot-killed-by-bastrop-county-sheriffs-deputy-seeks-damages/\">isn’t a clean one\u003c/a>.\u003c/p>\n\u003cp>Dumas wrote stories that echo cases like that of Tamir Rice, a 12-year-old boy in Cleveland who was killed \u003ca href=\"http://www.bbc.com/news/world-us-canada-30220700\">seconds after\u003c/a> a police vehicle pulled up to where he was playing. “When a Negro boy is shot and killed by policemen who do not check the situation before pulling their guns, the people get angry. It is a simple law of nature. … The people get tired of dying,” says one of Dumas’ characters in a short story called “Riot or Revolt.”\u003c/p>\n\u003cp>Published most recently in a 2003 collection of Dumas’ work called \u003ca href=\"http://www.amazon.com/Echo-Tree-Collected-Fiction-Movement/dp/1566891493\">Echo Tree\u003c/a>, that story follows a young black man named Harold through the aftermath of violent public protest across Harlem:\u003c/p>\n\u003cblockquote>\n\u003cp>“The police barricades squatted on the sidewalk surrounding each place where mobs had struck.\u003c/p>\n\u003cp>“Harold stood on the ramp in the middle of Seventh Avenue and 125th Street and surveyed the area which the night before had swarmed with police and angry Harlemites. A youth had been slain by the police in Brooklyn.”\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_10990159\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/national-bookstore-800x529.jpg\" alt=\"A view of the National Memorial African Bookstore in Harlem circa 1970.\" width=\"800\" height=\"529\" class=\"size-medium wp-image-10990159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/national-bookstore.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/national-bookstore-400x265.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view of the National Memorial African Bookstore in Harlem circa 1970. \u003ccite>(Jack Garofalo/Paris Match via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who have studied Dumas’ life and work believe the fictional LeMoor Brothers’ Bookstore in that story was modeled on the real National Memorial African Bookstore, which stood a short walk from the 135th Street subway station where Dumas was killed. Owned by Lewis Michaux, a bookseller and black civil rights leader who encouraged his neighbors to read the books he stocked on African history, culture and philosophy even if they couldn’t afford to buy them, the store \u003ca href=\"https://www.kirkusreviews.com/book-reviews/vaunda-micheaux-nelson/no-crystal-stair/\">attracted\u003c/a> figures like Malcolm X, Langston Hughes and Muhammad Ali.\u003c/p>\n\u003cp>Not unlike Dumas’ LeMoor, Michaux had a lot to say about black Americans’ struggle for power. “We’ve been neglected for three hundred years,” he\u003ca href=\"http://www.newyorker.com/magazine/1966/09/03/the-professor-4\"> told\u003c/a> a \u003cem>New Yorker\u003c/em> reporter in 1966. “As much as I hate to see what’s going to happen, I believe that when the Negro knocks this time and nobody open the door, he’s just going to knock it right down.”\u003c/p>\n\u003cp>In “Riot or Revolt,” city officials stop in to speak to the owners of LeMoor Brothers’ Bookstore, which had been left untouched by the looters who ravaged nearly every other store on the street. The officers want to know what made his shop so exceptional, but its owner, Micheval LeMoor, takes issue with the fact that city officials seemed to visit Harlem only when its frustrated residents reached a breaking point:\u003c/p>\n\u003cblockquote>\n\u003cp>“You want to come visit here and get the notions about things being better, while right now some disrespectful guardian of the citizens beats a black man’s head in. It doesn’t matter if he’s guilty or not anymore. Your honor, what you are facing is the full anger of a man who has been under attack for years. Unless you call off the attackers, be they merchants, disrespectful policemen, or the American majority, then the black minority is going to tear your house down.”\u003c/p>\n\u003c/blockquote>\n\u003cp>While “Riot or Revolt” may have been closely inspired by actual people if not actual events, other Dumas stories are imaginative forays into allegorical fables and otherworldly realms. Dumas’ vast range captivated many of his fellow writers, before and after his death. The poet and civil rights activist \u003ca href=\"http://www.poetryfoundation.org/bio/haki-madhubuti\">Haki R. Madhubati\u003c/a> called him “a poet of complex melodies,” and Amiri Baraka called him an “Afro-surreal expressionist” who delivered “a new blackness.”\u003c/p>\n\u003cfigure id=\"attachment_10990160\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-books-800x385.jpg\" alt=\"Three of the published works of Dumas.\" width=\"800\" height=\"385\" class=\"size-medium wp-image-10990160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-books.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-books-400x193.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three of the published works of Dumas. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was impressed with his boldness of language and his boldness of breadth,” Maya Angelou said in a 1988 interview published in an issue of the \u003cem>Black American Literature Forum\u003c/em> dedicated entirely to Dumas’ work. “Dumas continued to set us up for the loneliness, aloneness, and desperation, sometimes even desolation. But he never leaves us there. With him as our guide, we’re always brought through to a better place.”\u003c/p>\n\u003cp>\u003cstrong>‘Part Invitation, Part Consolation’\u003c/strong>\u003c/p>\n\u003cp>By the time Dumas died, just a few of his poems and short stories had been published in small literary journals, geared toward a black audience. Writers and critics who knew him say he would have followed the uphill trajectory of his friends — including Robert Pinsky and Baraka — had he lived.\u003c/p>\n\u003cp>“I think he would’ve been a lot more famous in some respects if he had been able to live and write for 50 more years,” says Smethurst, the University of Massachusetts professor. “What if Toni Morrison had died after she wrote \u003cem>The Bluest Eye\u003c/em> and only had a few stories?”\u003c/p>\n\u003cp>In fact, Morrison played a role in inspiring what Smethurst calls the “cult” of Dumas. She first encountered Dumas in the form of a slim collection published posthumously by Southern Illinois University, where he taught an experimental program during the last year of his life. Then an editor at Random House and the author of \u003cem>The Bluest Eye\u003c/em> and \u003cem>Sula,\u003c/em> Morrison was struck by the circumstances of Dumas’ death and wanted to publish more of his writing.\u003c/p>\n\u003cp>Random House had recently committed itself to publishing more minority writers. Through her position there, Morrison would shepherd through the work of several of the era’s most notable black writers and activists, from Toni Cade Bambara and Gayle Jones to Angela Davis and Huey P. Newton.\u003c/p>\n\u003cp>But she knew that generating attention for Dumas, a writer who was not only practically unknown but also deceased, would not be easy. To create hype for the collections she wanted to release — a book of poetry titled \u003cem>Play Ebony Play Ivory\u003c/em> and a short story collection called \u003cem>Ark of Bones\u003c/em> — Morrison organized a release event with a glamorous guest list comprising the most renowned black writers of the time.\u003c/p>\n\u003cp>“He was thirty-three years old when he was killed,” Morrison wrote in the announcement for the party, a note that was \u003ca href=\"http://www.nytimes.com/2015/04/12/magazine/the-radical-vision-of-toni-morrison.html&assetType=nyt_now?&assetType=nyt_now\">described\u003c/a> as “part invitation, part consolation” in a recent \u003cem>New York Times\u003c/em> profile of Morrison. “But in those thirty-three years he had completed work the quality and quantity of which are almost never achieved in several lifetimes.”\u003c/p>\n\u003cp>\u003cstrong>‘Creative Writing Slave’\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10990162\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-teen.jpg\" alt=\"Dumas, when he was a high school student in New York.\" width=\"400\" height=\"498\" class=\"size-full wp-image-10990162\">\u003cfigcaption class=\"wp-caption-text\">Dumas, when he was a high school student in New York. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1934, Dumas was born to Appliance Porter, a 19-year-old housekeeper in Sweet Home, Ark., a small town just outside Little Rock. His father, Henry Dumas Sr., or “Big Henry” as he was called, was largely absent from the life of his son, and his mother worked long hours. With his parents often away, Dumas spent much of his time in the fields where his aunts and uncles picked cotton, milked cows and shared stories.\u003c/p>\n\u003cp>While his cousins were busy playing sports, Dumas’ family recalled to Dumas biographer Jeffrey B. Leak, he preferred to spend his time examining insects or developing skits in which he played all the roles. When Dumas was 10, he and his family followed the course taken by thousands of other black families during the first part of the 20th century by \u003ca href=\"http://www.nytimes.com/2010/09/05/books/review/Oshinsky-t.html?pagewanted=all&_r=0\">moving north\u003c/a>. Dumas brought with him to Harlem an intellectual curiosity that impressed his teachers at his integrated Manhattan high school.\u003c/p>\n\u003cp>It may have been there that Dumas’ individual struggles became part of a more complex struggle: one in which black people searched for belonging in spaces where they were neither warmly welcomed nor explicitly barred. It’s unclear when he began to take up writing seriously, but his move to a more racially diverse environment may have had something to do with it. Beneath his senior photo in the 1953 High School of Commerce yearbook someone — perhaps even Dumas himself — chose to inscribe this description of him: “Creative writing slave.”\u003c/p>\n\u003cp>After a brief stint at the City University of New York that ended with what Leak notes might have been “a crisis of confidence,” Dumas joined the U.S. Air Force within a year of his high school graduation. Tours of Saudi Arabia and Mexico deepened his interest in sketching worlds that blurred black-and-white interpretations of race.\u003c/p>\n\u003cp>At the age of 21, Dumas returned to the U.S., in 1955, and married Loretta Ponton, a beautiful young secretary he had met by chance on a snowy evening on the street in New York just before enlisting. The daughter of a Baptist deacon, Loretta held strong Christian values and a traditional sense of familial responsibility. While Dumas shared her beliefs during the early years of their marriage, he would veer from them in coming years.\u003c/p>\n\u003cp>One of just a few black students at Rutgers University, where Dumas studied from 1958 to 1965 and where the couple’s two sons were born, Dumas’ commitment to his writing, curiosities about the Nation of Islam, engagement with the civil rights movement, plus alcohol and drug use began to drive a wedge between him and Loretta.\u003c/p>\n\u003cp>He also had several affairs with white women. Lois Wright (nee Silber), with whom he had an affair that lasted three years, recalled in a letter to Dumas’ friend and fellow poet Jay Wright (whom she would later marry) that the two could only venture out to select spots in New York; the jazz clubs Dumas frequented weren’t welcoming to Wright, and she resented Dumas’ friends for referring to her as “the white chick.”\u003c/p>\n\u003cp>“For Dumas, crossing racial divides represented possibility and opportunity for both himself as a black man, but also from an imaginative standpoint,” Leak, whose biography of Dumas, \u003ca href=\"http://www.amazon.com/Visible-Man-Life-Henry-Dumas/dp/0820328707\">Visible Man\u003c/a>, came out last year, said in an interview. “I think he thought that if you can cross boundaries in the social realm, then you can cross other boundaries in the literary realm. In both spaces, he found it to be even more complicated than he had anticipated.”\u003c/p>\n\u003cp>Dumas explores those complexities in “Will The Circle Be Unbroken?,” a short story in which three white musicians and critics want to enter a black jazz club, arguing they should be let in because they know a lot about the genre. The black patrons finally agree to let them in, but warn that use of an ancient, rare horn may be too intense for their “uninitiated” ears. The music “vibrated the freedom of freedom” for its black listeners, but when the set ends, consternation rises when the three white people are found dead. They had been slain by music that wasn’t meant for them.\u003c/p>\n\u003cp>For many, the story offers a look at some of the central questions of the civil rights movement: What did it mean to be black? How could black identity adapt to an integrated world? What racial boundaries should remain unbroken?\u003c/p>\n\u003cp>In an essay on the story for a 1988 issue of the \u003cem>Black American Literary Forum\u003c/em> dedicated to Dumas’ work, an acquaintance of Dumas’ put it this way: “Black people had a feeling of always being on stage for white folks.” Dumas’ story on the jazz club held that the work of black artists should be guarded and protected, a notion that still resonates in a world where it’s been said many times that \u003ca href=\"http://www.buzzfeed.com/emaoconnor/rue-just-perfectly-defined-cultural-appropriation\">black cultural products are valued while black lives are not\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jazz And Honey\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10990163\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-wedding.jpg\" alt=\"Dumas and his wife, Loretta Dumas (Ponton), on their wedding day.\" width=\"400\" height=\"488\" class=\"size-full wp-image-10990163\">\u003cfigcaption class=\"wp-caption-text\">Dumas and his wife, Loretta Dumas (Ponton), on their wedding day. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On no one, perhaps, has Dumas made a greater impression than Eugene Redmond. An \u003ca href=\"http://eugenebredmond.com/home/\">accomplished poet\u003c/a> in his own right, Redmond has spent the past four decades editing and promoting the work of Dumas, even though the two men knew one another for only just under a year. Redmond met Dumas when the older writer came to teach English at an experimental college at the University of Southern Illinois in Redmond’s hometown of East St. Louis in 1967. “We bonded quickly,” Redmond told me in a phone interview from the house of Loretta, Dumas’ widow.\u003c/p>\n\u003cp>The 77-year-old has served for decades as the literary executor of Dumas’ estate and was staying with Loretta for an annual commemoration of Dumas’ life and work that he helps organize every year on the anniversary of the shooting. Bringing together Dumas’ friends and family over poetry readings and jazz performances, Redmond, a Pushcart Prize recipient and the author of 25 books of poetry, has carried the torch for Dumas alongside his own teaching and writing career.\u003c/p>\n\u003cp>“Every time I stepped into a classroom after I met him, I had a turntable,” said Redmond, who said he picked up on Dumas’ tradition of playing music 15 minutes before each of his classes began. “Every class that I taught, I published the students in a spiral-bound or saddle-stitched booklet. I got that from him.” Redmond fondly recalls eating raw honey and listening to jazz with Dumas, to whom he attributes his love of some of the era’s greatest musicians, from Miles Davis to John Coltrane. “At the time,” Redmond said, “he seemed to be at the farthest most forward point of what black expression, black culture, and black people were all about.”\u003c/p>\n\u003cp>In his day-to-day life, Dumas insisted on making space for himself — and forcing others to acknowledge his right to exist. “He would even walk around East St. Louis and other places, and ask, ‘Do you see me? Feel my arm. I’m here, ain’t I?'” said Leak, who conducted many interviews with those close to Dumas for his book. “His point was: We’re not invisible. The idea is a direct corollary to Black Lives Matter, the idea that flesh and blood do matter, and we’re going to insist on being seen and being heard.”\u003c/p>\n\u003cp>Redmond hopes the Black Lives Matter movement will help introduce Dumas to a whole new audience and help bolster the foundation that the movement rests upon. “You gotta have someplace to come from before you know where you’re going,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Beenish Ahmed covers international affairs for ThinkProgress. She’s also the founder of \u003c/em>\u003ca href=\"http://www.thealignist.com/\">THE ALIGNIST\u003c/a>,\u003cem> a new media venture aimed at bringing literature into conversation with current events. Follow her on \u003c/em>\u003ca href=\"https://twitter.com/beenishfahmed\">Twitter\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Henry+Dumas+Wrote+About+Black+People+Killed+By+Cops.+Then+He+Was+Killed+By+A+Cop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Dozens Mourn Slain Oakland Artist During Vigil at Mural",
"headTitle": "Dozens Mourn Slain Oakland Artist During Vigil at Mural | KQED",
"content": "\u003cp>Over a hundred mourners held candles and prayed under a west Oakland freeway underpass Wednesday morning, where Antonio Ramos was shot and killed while painting a mural the day before.\u003c/p>\n\u003cp>“It’s a shocking moment. It’s disbelief,” said Javier Rocabado, who designed the mural. “I saw my friend standing up and getting shot and next thing he’s on the floor dying for nothing.”\u003c/p>\n\u003cp>[contextly_sidebar id=”bNutdr7CJXa0ZPWUNiVyJjjocTqDcxpE”]\u003c/p>\n\u003cp>Before the shooting around 10:30am Tuesday, there were unconfirmed reports of an argument, after which an unknown assailant shot 27-year-old Ramos. The Emeryville resident later died at the hospital.\u003c/p>\n\u003cp>The mural’s project director David Burke was present at the time of the shooting, but says he saw nothing and only heard a gunshot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As muralists, when you go out in the community, you are totally exposed, your backs are to the street and you are about 3 or 4 inches from the wall. And it’s difficult to keep track of who’s around and you know to always be scanning and looking. But we were all working, and it happened in a moment. There was no time to react,” said Burke.\u003c/p>\n\u003cfigure id=\"attachment_10702681\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/mural-vigil-wide.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10702681\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/mural-vigil-wide-400x225.jpg\" alt=\"The mural in progress on West between 35th and 36th streets\" width=\"400\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The mural in progress on West between 35th and 36th streets\u003c/figcaption>\u003c/figure>\n\u003cp>One ironic aspect of the incident is that the \u003ca href=\"http://oaklandmuralproject.com/\" target=\"_blank\" rel=\"noopener\">Oakland Superheroes Mural Project\u003c/a> was itself a means to mitigate violence in the neighborhood, in this case working with students at West Oakland Middle School.\u003c/p>\n\u003cp>“The students go through a process where they learn about themselves, their strengths their weaknesses and think about what issues there are in the community that they want change,” said Justin Metoyer Mullon, who primed the wall two weeks ago to begin the painting process.\u003c/p>\n\u003cp>“They recreate themselves as a superhero character who addresses these issues in a non-traditional superhero way, in a non-violent way.”\u003c/p>\n\u003cfigure id=\"attachment_10702682\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/body-part-of-mural.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10702682 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/body-part-of-mural-400x711.jpg\" alt=\"One of the superheros envisioned by West Oakland Middle School students\" width=\"400\" height=\"711\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the superheros envisioned by West Oakland Middle School Students\u003c/figcaption>\u003c/figure>\n\u003cp>“The premise of these projects is to promote peace and live in our communities. To actually break the cycle of violence that we witnessed first-hand yesterday morning. That is why we are out here in the first place doing this work,” explained Burke.\u003c/p>\n\u003cp>Bridget Chavis, who previously lived in the same Emeryville building as the Ramos family, called Antonio “a very young talented man at a young age,” who “loved skateboarding and artwork.”\u003c/p>\n\u003cp>“He had a heart and he helped out and he just was there for people. If you needed help, Tony was there,” said Chavis.\u003c/p>\n\u003cp>Chavis’ son David Burch called Ramos “a little brother.”\u003c/p>\n\u003cp>“I remember there was a time I was actually going to do a paper for one of my classes on him, as an artist…another great young man was taken yesterday,” said Burch.\u003c/p>\n\u003cp>“The value of life has gone down” said Marcus Norris, who has known Ramos since childhood. “People are ignorant. Instead of being able to conversate or talk like adults, or duke it out like men, they have to grab a gun like a child and not know what the f–k they’re doing with it.”\u003c/p>\n\u003cfigure id=\"attachment_10702729\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/family-member-on-ground.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10702729\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/family-member-on-ground-400x711.jpg\" alt=\"Ramos' sister mourns during the vigil\" width=\"400\" height=\"711\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ramos’ sister mourns during the vigil\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland police said that as of Wednesday, the investigation was still ongoing and no arrests had been made.\u003c/p>\n\u003cp>City councilman Dan Kalb, whose district abuts the freeway underpass where the shooting took place, attended the vigil.\u003c/p>\n\u003cp>While Kalb said “There’s no magic solution to 100 percent eliminate violent crime in any city,” he added that there are ways to “dramatically reduce it.”\u003c/p>\n\u003cp>“We need more police officers, more investments in crime prevention programs, more after school programs, re-entry programs, job training. Those all have to be part of the solution.”\u003c/p>\n\u003cp>Chavis has since moved to Berkeley and says she believes “gangs are coming on the rise again” in the West Oakland neighborhood where the shooting took place. Her son has lost five friends in the last couple of years — four to gun violence.\u003c/p>\n\u003cp>“Only thing I can tell him is just be aware, and if someone wants to be confrontational just walk away,” said Chavis. “Run in fact and don’t engage into it.”\u003c/p>\n\u003cp>This mural was the third in a series of six that are planned. Burke said Ramos started out as a volunteer when they were painting the first one back in 2012.\u003c/p>\n\u003cp>“We were out there working on the first day and Antonio just walked up and said ‘Hey, I love what you guys are doing, I want to be a part of it.’ And he just started volunteering his time. And he just showed up every day and that was the beginning.”\u003c/p>\n\u003cp>This time around, the \u003ca href=\"http://ahc-oakland.org/\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection\u003c/a> (ACH) hired Ramos as an assistant to help paint the mural. Ramos last contribution was a purple house, one of several local homes recreated for the mural.\u003c/p>\n\u003cfigure id=\"attachment_10702683\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/purple-house.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10702683\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/purple-house-400x225.jpg\" alt=\"This purple house was Ramos' last work\" width=\"400\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This purple house was Ramos’ last work\u003c/figcaption>\u003c/figure>\n\u003cp>“He was special,” said ACH Executive Director Amana Harris. “We don’t take on every volunteer that shows up… He showed up 100 percent and he had the skills and the talent and he lived in the community. He was a team player, he had a lot of love in his heart, he loved to paint. There’s a million and one reasons why he was a good fit.”\u003c/p>\n\u003cp>“He had a future. He was doing a community service in his own community, in his own neighborhood,” said Rocabado.\u003c/p>\n\u003cp>Project staff say the mural will be completed with Ramos’ image incorporated into it, and it will be dedicated to the fallen artist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s personal now,” said Harris. “This is such a tragedy that we are committed to turn into fuel that will progress this project immensely and spread a message of intolerance for these types of incidents for anyone.”\u003c/p>\n\n",
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"excerpt": "Antonio Ramos is remembered as an artist, skateboarder, and local \"superhero.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over a hundred mourners held candles and prayed under a west Oakland freeway underpass Wednesday morning, where Antonio Ramos was shot and killed while painting a mural the day before.\u003c/p>\n\u003cp>“It’s a shocking moment. It’s disbelief,” said Javier Rocabado, who designed the mural. “I saw my friend standing up and getting shot and next thing he’s on the floor dying for nothing.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Before the shooting around 10:30am Tuesday, there were unconfirmed reports of an argument, after which an unknown assailant shot 27-year-old Ramos. The Emeryville resident later died at the hospital.\u003c/p>\n\u003cp>The mural’s project director David Burke was present at the time of the shooting, but says he saw nothing and only heard a gunshot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As muralists, when you go out in the community, you are totally exposed, your backs are to the street and you are about 3 or 4 inches from the wall. And it’s difficult to keep track of who’s around and you know to always be scanning and looking. But we were all working, and it happened in a moment. There was no time to react,” said Burke.\u003c/p>\n\u003cfigure id=\"attachment_10702681\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/mural-vigil-wide.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10702681\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/mural-vigil-wide-400x225.jpg\" alt=\"The mural in progress on West between 35th and 36th streets\" width=\"400\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The mural in progress on West between 35th and 36th streets\u003c/figcaption>\u003c/figure>\n\u003cp>One ironic aspect of the incident is that the \u003ca href=\"http://oaklandmuralproject.com/\" target=\"_blank\" rel=\"noopener\">Oakland Superheroes Mural Project\u003c/a> was itself a means to mitigate violence in the neighborhood, in this case working with students at West Oakland Middle School.\u003c/p>\n\u003cp>“The students go through a process where they learn about themselves, their strengths their weaknesses and think about what issues there are in the community that they want change,” said Justin Metoyer Mullon, who primed the wall two weeks ago to begin the painting process.\u003c/p>\n\u003cp>“They recreate themselves as a superhero character who addresses these issues in a non-traditional superhero way, in a non-violent way.”\u003c/p>\n\u003cfigure id=\"attachment_10702682\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/body-part-of-mural.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10702682 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/body-part-of-mural-400x711.jpg\" alt=\"One of the superheros envisioned by West Oakland Middle School students\" width=\"400\" height=\"711\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the superheros envisioned by West Oakland Middle School Students\u003c/figcaption>\u003c/figure>\n\u003cp>“The premise of these projects is to promote peace and live in our communities. To actually break the cycle of violence that we witnessed first-hand yesterday morning. That is why we are out here in the first place doing this work,” explained Burke.\u003c/p>\n\u003cp>Bridget Chavis, who previously lived in the same Emeryville building as the Ramos family, called Antonio “a very young talented man at a young age,” who “loved skateboarding and artwork.”\u003c/p>\n\u003cp>“He had a heart and he helped out and he just was there for people. If you needed help, Tony was there,” said Chavis.\u003c/p>\n\u003cp>Chavis’ son David Burch called Ramos “a little brother.”\u003c/p>\n\u003cp>“I remember there was a time I was actually going to do a paper for one of my classes on him, as an artist…another great young man was taken yesterday,” said Burch.\u003c/p>\n\u003cp>“The value of life has gone down” said Marcus Norris, who has known Ramos since childhood. “People are ignorant. Instead of being able to conversate or talk like adults, or duke it out like men, they have to grab a gun like a child and not know what the f–k they’re doing with it.”\u003c/p>\n\u003cfigure id=\"attachment_10702729\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/family-member-on-ground.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10702729\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/family-member-on-ground-400x711.jpg\" alt=\"Ramos' sister mourns during the vigil\" width=\"400\" height=\"711\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ramos’ sister mourns during the vigil\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland police said that as of Wednesday, the investigation was still ongoing and no arrests had been made.\u003c/p>\n\u003cp>City councilman Dan Kalb, whose district abuts the freeway underpass where the shooting took place, attended the vigil.\u003c/p>\n\u003cp>While Kalb said “There’s no magic solution to 100 percent eliminate violent crime in any city,” he added that there are ways to “dramatically reduce it.”\u003c/p>\n\u003cp>“We need more police officers, more investments in crime prevention programs, more after school programs, re-entry programs, job training. Those all have to be part of the solution.”\u003c/p>\n\u003cp>Chavis has since moved to Berkeley and says she believes “gangs are coming on the rise again” in the West Oakland neighborhood where the shooting took place. Her son has lost five friends in the last couple of years — four to gun violence.\u003c/p>\n\u003cp>“Only thing I can tell him is just be aware, and if someone wants to be confrontational just walk away,” said Chavis. “Run in fact and don’t engage into it.”\u003c/p>\n\u003cp>This mural was the third in a series of six that are planned. Burke said Ramos started out as a volunteer when they were painting the first one back in 2012.\u003c/p>\n\u003cp>“We were out there working on the first day and Antonio just walked up and said ‘Hey, I love what you guys are doing, I want to be a part of it.’ And he just started volunteering his time. And he just showed up every day and that was the beginning.”\u003c/p>\n\u003cp>This time around, the \u003ca href=\"http://ahc-oakland.org/\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection\u003c/a> (ACH) hired Ramos as an assistant to help paint the mural. Ramos last contribution was a purple house, one of several local homes recreated for the mural.\u003c/p>\n\u003cfigure id=\"attachment_10702683\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/purple-house.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10702683\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/purple-house-400x225.jpg\" alt=\"This purple house was Ramos' last work\" width=\"400\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This purple house was Ramos’ last work\u003c/figcaption>\u003c/figure>\n\u003cp>“He was special,” said ACH Executive Director Amana Harris. “We don’t take on every volunteer that shows up… He showed up 100 percent and he had the skills and the talent and he lived in the community. He was a team player, he had a lot of love in his heart, he loved to paint. There’s a million and one reasons why he was a good fit.”\u003c/p>\n\u003cp>“He had a future. He was doing a community service in his own community, in his own neighborhood,” said Rocabado.\u003c/p>\n\u003cp>Project staff say the mural will be completed with Ramos’ image incorporated into it, and it will be dedicated to the fallen artist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s personal now,” said Harris. “This is such a tragedy that we are committed to turn into fuel that will progress this project immensely and spread a message of intolerance for these types of incidents for anyone.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Artist Shot, Killed While Working on West Oakland Community Mural",
"headTitle": "Artist Shot, Killed While Working on West Oakland Community Mural | KQED",
"content": "\u003cp>\u003cstrong>Updated:\u003c/strong> Sept. 30, 2015, 12:33pm\u003c/p>\n\u003cp>Emeryville artist Antonio Ramos, 27, was shot and killed Tuesday morning while working on a community mural under the 580 freeway in West Oakland, according to sources close to the victim.\u003c/p>\n\u003cp>Police responded to reports of gunshots near the underpass on West St. around 10:30am and found Ramos suffering from a gunshot wound.\u003c/p>\n\u003cfigure id=\"attachment_10986510\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10986510\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-800x450.jpg\" alt=\"Antonio Ramos (Photo: Facebook)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antonio Ramos \u003ccite>(Courtesy: Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artist was working with a group of other muralists when he reportedly had an exchange of words with an unidentified man. At some point, the man shot Ramos and walked away. Ramos was taken to the hospital and later pronounced dead, according to Oakland police. As of Tuesday afternoon, police were still seeking information on the shooter.\u003c/p>\n\u003cp>Ramos was painting a mural sponsored by the \u003ca href=\"http://ahc-oakland.org/\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection of Oakland\u003c/a> (AHC), a nonprofit dedicated to building healthy communities by breaking cycles of violence through arts, creativity and education. Through their \u003ca href=\"http://oaklandmuralproject.com/sponsors/\" target=\"_blank\" rel=\"noopener\">Oakland Superheroes Mural Project\u003c/a>, AHC pairs professional muralists with local middle school students to design and execute murals inspired by envisioning the students as superheroes.\u003c/p>\n\u003cfigure id=\"attachment_10986513\" class=\"wp-caption alignright\" style=\"max-width: 620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10986513 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/s9ic8thibhpxjivppoee.jpg\" alt=\"Sketch for a portion of the West St. mural. (Photo: AHC)\" width=\"620\" height=\"219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/s9ic8thibhpxjivppoee.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/s9ic8thibhpxjivppoee-400x141.jpg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003cfigcaption class=\"wp-caption-text\">Sketch for a portion of the West St. mural. \u003ccite>(Courtesy: Attitudinal Healing Connection of Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to AHC Executive Director Amana Harris, Ramos was “a really good kid who loved art” and was a victim of the violence he sought to end through his work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fellow muralist Frederick Alvarado, who worked with Ramos on the first Oakland Superheroes Mural Project, remembers him as a “good fellow” who loved skateboarding and crabbing at night.\u003c/p>\n\u003cfigure id=\"attachment_10986693\" class=\"wp-caption alignright\" style=\"max-width: 338px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10986693\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Ramos-memorial-338x600.jpg\" alt=\"An impromptu memorial at the shooting site.\" width=\"338\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ramos-memorial-338x600.jpg 338w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ramos-memorial-400x711.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ramos-memorial.jpg 540w\" sizes=\"(max-width: 338px) 100vw, 338px\">\u003cfigcaption class=\"wp-caption-text\">An impromptu memorial at the shooting site. \u003ccite>(Courtesy: Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Work on \u003ca href=\"http://ahc-oakland.org/2015/09/22/the-west-street-mural-is-going-up-now/\" target=\"_blank\" rel=\"noopener\">the mural\u003c/a> is just one week underway. The design, spread across 4,000 sq. feet of underpass wall, depicts children as gigantic figures overseeing and caring for their community. Students from West Oakland Middle School planned to help paint the mural along with professional muralists at an event scheduled for Wednesday, according to project organizers.\u003c/p>\n\u003cp>“We will be dedicating this wall to Antonio Ramos,” Harris said. “And we will not stop. We will not be intimidated to bring light and love and hope into our communities.”\u003c/p>\n\u003cp>Friends have created a \u003ca href=\"https://www.youcaring.com/antonio-s-parents-442193\" target=\"_blank\" rel=\"noopener\">crowdfunding campaign\u003c/a> to help the Ramos family with funeral costs.\u003c/p>\n\u003cp>\u003cem>We will update this story as more information becomes available. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Bay City News contributed to this report.\u003c/em>\u003c/p>\n\n",
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"headline": "Artist Shot, Killed While Working on West Oakland Community Mural",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated:\u003c/strong> Sept. 30, 2015, 12:33pm\u003c/p>\n\u003cp>Emeryville artist Antonio Ramos, 27, was shot and killed Tuesday morning while working on a community mural under the 580 freeway in West Oakland, according to sources close to the victim.\u003c/p>\n\u003cp>Police responded to reports of gunshots near the underpass on West St. around 10:30am and found Ramos suffering from a gunshot wound.\u003c/p>\n\u003cfigure id=\"attachment_10986510\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10986510\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-800x450.jpg\" alt=\"Antonio Ramos (Photo: Facebook)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antonio Ramos \u003ccite>(Courtesy: Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artist was working with a group of other muralists when he reportedly had an exchange of words with an unidentified man. At some point, the man shot Ramos and walked away. Ramos was taken to the hospital and later pronounced dead, according to Oakland police. As of Tuesday afternoon, police were still seeking information on the shooter.\u003c/p>\n\u003cp>Ramos was painting a mural sponsored by the \u003ca href=\"http://ahc-oakland.org/\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection of Oakland\u003c/a> (AHC), a nonprofit dedicated to building healthy communities by breaking cycles of violence through arts, creativity and education. Through their \u003ca href=\"http://oaklandmuralproject.com/sponsors/\" target=\"_blank\" rel=\"noopener\">Oakland Superheroes Mural Project\u003c/a>, AHC pairs professional muralists with local middle school students to design and execute murals inspired by envisioning the students as superheroes.\u003c/p>\n\u003cfigure id=\"attachment_10986513\" class=\"wp-caption alignright\" style=\"max-width: 620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10986513 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/s9ic8thibhpxjivppoee.jpg\" alt=\"Sketch for a portion of the West St. mural. (Photo: AHC)\" width=\"620\" height=\"219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/s9ic8thibhpxjivppoee.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/s9ic8thibhpxjivppoee-400x141.jpg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003cfigcaption class=\"wp-caption-text\">Sketch for a portion of the West St. mural. \u003ccite>(Courtesy: Attitudinal Healing Connection of Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to AHC Executive Director Amana Harris, Ramos was “a really good kid who loved art” and was a victim of the violence he sought to end through his work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fellow muralist Frederick Alvarado, who worked with Ramos on the first Oakland Superheroes Mural Project, remembers him as a “good fellow” who loved skateboarding and crabbing at night.\u003c/p>\n\u003cfigure id=\"attachment_10986693\" class=\"wp-caption alignright\" style=\"max-width: 338px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10986693\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Ramos-memorial-338x600.jpg\" alt=\"An impromptu memorial at the shooting site.\" width=\"338\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ramos-memorial-338x600.jpg 338w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ramos-memorial-400x711.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ramos-memorial.jpg 540w\" sizes=\"(max-width: 338px) 100vw, 338px\">\u003cfigcaption class=\"wp-caption-text\">An impromptu memorial at the shooting site. \u003ccite>(Courtesy: Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Work on \u003ca href=\"http://ahc-oakland.org/2015/09/22/the-west-street-mural-is-going-up-now/\" target=\"_blank\" rel=\"noopener\">the mural\u003c/a> is just one week underway. The design, spread across 4,000 sq. feet of underpass wall, depicts children as gigantic figures overseeing and caring for their community. Students from West Oakland Middle School planned to help paint the mural along with professional muralists at an event scheduled for Wednesday, according to project organizers.\u003c/p>\n\u003cp>“We will be dedicating this wall to Antonio Ramos,” Harris said. “And we will not stop. We will not be intimidated to bring light and love and hope into our communities.”\u003c/p>\n\u003cp>Friends have created a \u003ca href=\"https://www.youcaring.com/antonio-s-parents-442193\" target=\"_blank\" rel=\"noopener\">crowdfunding campaign\u003c/a> to help the Ramos family with funeral costs.\u003c/p>\n\u003cp>\u003cem>We will update this story as more information becomes available. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Bay City News contributed to this report.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the Bay Area’s most beloved actors and clowns has died.\u003c/p>\n\u003cp>Joan Mankin was 67, and was suffering from early dementia and amyotrophic lateral sclerosis (ALS) when she passed away on Saturday at home in San Francisco.\u003c/p>\n\u003cp>Mankin worked with Bay Area theater companies, large and small, from her debut in 1970 with the San Francisco Mime Troupe to more recent gigs with the American Conservatory Theater and California Shakespeare Theater, where she was a company member, to the tiny, Oakland-based Stagebridge troupe .\u003c/p>\n\u003cp>Mankin began her career as a pioneer female clown, inventing the comically self-absorbed character Queenie Moon for the now defunct Pickle Family Circus.\u003c/p>\n\u003cp>“She has empowered so many young women around the Bay Area to do physical theater,” said fellow Pickle clown Jeff Raz, who admired Mankin’s commitment no matter how small or large the project. “When she worked with people, she was all there.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mankin taught physical acting and clown arts with Raz at San Francisco’s Clown Conservatory. “You’re talking about one strong woman.” Raz said. “She used to make our young virile clown students feel really bad when she would hold a handstand longer than anyone in class by a factor of three.”\u003c/p>\n\u003cp>Mankin also taught at Dell’Arte International in Blue Lake in far northern California, where Producing Artistic Director Michael Fields says she performed and taught classes in mask and a blend of martial arts and physical theater.\u003c/p>\n\u003cp>“Joan was this amazing, volatile force of nature,” Fields said. “She leaves behind a great mark as an amazing actress, but on top of that, was a tremendous spokesperson for women and justice.”\u003c/p>\n\u003cp>Jon Moscone, the former artistic director for the California Shakespeare Theater, recalls her work just as vividly.\u003c/p>\n\u003cp>“She was no mere mortal,” Moscone said. “She was probably the most present individual I’ve ever met. She looked at you, when she performed, when she talked to you, and she was just connected.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?t=10&v=aRWJF1MEsd8\u003c/p>\n\n",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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