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"content": "\u003cp>\u003ca href=\"http://www.precitaeyes.org/index.html\" target=\"_blank\" rel=\"noopener\">Precita Eyes\u003c/a>, a 38-year-old mural arts nonprofit in San Francisco, hosted a combination free toddler art class and rally against the speculative real estate market Tuesday afternoon.\u003c/p>\n\u003cp>As toddlers covered in tempera paint plastered their hand prints all over sheets of paper, community members surrounded the building holding their own pieces of paper, printed with the message, “Please do not BUY this building!! This is a community space!”\u003c/p>\n\u003cfigure id=\"attachment_10917591\" class=\"wp-caption alignright\" style=\"max-width: 478px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917591\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/PEWindow.jpg\" alt=\"Sign in Precita Eyes' window at 348 Precita Ave. (Photo: Sarah Hotchkiss/KQED)\" width=\"478\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEWindow.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEWindow-400x536.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEWindow-448x600.jpg 448w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003cfigcaption class=\"wp-caption-text\">Sign in Precita Eyes’ window at 348 Precita Ave. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The organization staged the protest after landlords posted a brand-new “FOR SALE” sign on the studio center’s exterior the week before. Though Precita Eyes owns its arts and visitors center at 2981 24th St, they have rented the 348 Precita Ave space since 1977.\u003c/p>\n\u003cp>While impending doom lingers in the air, the building’s residents are not without hope. The \u003ca href=\"http://medasf.org/\" target=\"_blank\" rel=\"noopener\">Mission Economic Development Agency\u003c/a> (MEDA), with advice from the \u003ca href=\"http://www.sfclt.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Community Land Trust\u003c/a> (SFCLT), plans to make a bid on the property, which, if successful, will safeguard Precita Eyes and the residential tenants against eviction by forming a cooperative.\u003c/p>\n\u003cp>“MEDA is in touch with property owners and they’ve said verbally that they will consider our bid,” said Jean Yaste, an SFCLT board member present at Tuesday’s rally. The property, located at the corner of Precita and Treat Aves, is listed at $995,000 and comprises three residential units in addition to Precita Eyes’ storefront space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tuesday’s event was timed to coincide with real estate agent Chris Ferringo’s open house hours for interested bidders.\u003c/p>\n\u003cfigure id=\"attachment_10917593\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917593\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/PEKids.jpg\" alt=\"Neighborhood children at Tuesday's free arts class. (Photo: Sarah \" width=\"640\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEKids.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEKids-400x299.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Neighborhood children at Tuesday’s free arts class. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“We and the tenants upstairs have chosen to be present during the open house and do what we do,” said Precita Eyes volunteer Nancy Hernandez. “We teach kids how to paint, and so that’s what we’re doing.”\u003c/p>\n\u003cp>The property will sell — that’s undisputed — but Tuesday’s event was an attempt to impart upon potential bidders Precita Eyes’ significance in the community and the damage real estate speculation can have on longstanding arts organizations.\u003c/p>\n\u003cp>“People say that this is a class war, but I disagree with that. I think it’s a war about being classy. And it’s really not classy to use your economic privilege in a brutal means to enact a violent act on someone by taking away their home,” said Yaste.\u003c/p>\n\u003cfigure id=\"attachment_10917594\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917594\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/PEOpen.jpg\" alt='A Precita Eyes volunteer creates a sign reading, \"Keep our eyes open.\" (Photo: Sarah Hotchkiss/KQED)' width=\"640\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEOpen.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEOpen-400x299.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A Precita Eyes volunteer creates a sign reading, “Keep our eyes open.” (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Fran Taylor, a neighbor of 40 years, greeted prospective bidders at the building’s steps to tell them about Precita Eyes and the plan for MEDA’s bid.\u003c/p>\n\u003cp>“I just see the rapacious, vulture-like bidding on people’s homes as if it’s a widget and not where people live or where there’s a community space as destroying the community,” she said. “We’re discouraging the bidding wars that will put it out of [MEDA’s] reach by telling people that they’re not wanted as over bidders or speculators.”\u003c/p>\n\u003cp>Time will tell if this rally will have any effect; a steady stream of open house attendees climbed the stairs to the residential units in just the first hour of the open house. But many also stayed to chat with sign-holding protesters and reporters, talking over the particulars of what made this property attractive to them as an investment, sometimes telling their own stories of displacement.\u003c/p>\n\u003cp>“We’re doing whatever we can to get information out to folks, and especially the buyers, to make them aware of the space they’re looking to buy and how important that is to the community. At least we’re trying to create that dialogue,” said Eric Arguello of \u003ca href=\"http://calle24sf.org/en/\" target=\"_blank\" rel=\"noopener\">Calle 24\u003c/a>, the Mission’s Latino cultural district.\u003c/p>\n\u003cp>For Precita Eyes, dialogue is not enough.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Although the real estate agents are saying that this space is available, the community is asserting that this space is not available for sale. This space has been used as a center to teach art to young people for over 30 years and we intend to stay here,” Hernandez said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.precitaeyes.org/index.html\" target=\"_blank\" rel=\"noopener\">Precita Eyes\u003c/a>, a 38-year-old mural arts nonprofit in San Francisco, hosted a combination free toddler art class and rally against the speculative real estate market Tuesday afternoon.\u003c/p>\n\u003cp>As toddlers covered in tempera paint plastered their hand prints all over sheets of paper, community members surrounded the building holding their own pieces of paper, printed with the message, “Please do not BUY this building!! This is a community space!”\u003c/p>\n\u003cfigure id=\"attachment_10917591\" class=\"wp-caption alignright\" style=\"max-width: 478px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917591\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/PEWindow.jpg\" alt=\"Sign in Precita Eyes' window at 348 Precita Ave. (Photo: Sarah Hotchkiss/KQED)\" width=\"478\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEWindow.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEWindow-400x536.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEWindow-448x600.jpg 448w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003cfigcaption class=\"wp-caption-text\">Sign in Precita Eyes’ window at 348 Precita Ave. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The organization staged the protest after landlords posted a brand-new “FOR SALE” sign on the studio center’s exterior the week before. Though Precita Eyes owns its arts and visitors center at 2981 24th St, they have rented the 348 Precita Ave space since 1977.\u003c/p>\n\u003cp>While impending doom lingers in the air, the building’s residents are not without hope. The \u003ca href=\"http://medasf.org/\" target=\"_blank\" rel=\"noopener\">Mission Economic Development Agency\u003c/a> (MEDA), with advice from the \u003ca href=\"http://www.sfclt.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Community Land Trust\u003c/a> (SFCLT), plans to make a bid on the property, which, if successful, will safeguard Precita Eyes and the residential tenants against eviction by forming a cooperative.\u003c/p>\n\u003cp>“MEDA is in touch with property owners and they’ve said verbally that they will consider our bid,” said Jean Yaste, an SFCLT board member present at Tuesday’s rally. The property, located at the corner of Precita and Treat Aves, is listed at $995,000 and comprises three residential units in addition to Precita Eyes’ storefront space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tuesday’s event was timed to coincide with real estate agent Chris Ferringo’s open house hours for interested bidders.\u003c/p>\n\u003cfigure id=\"attachment_10917593\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917593\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/PEKids.jpg\" alt=\"Neighborhood children at Tuesday's free arts class. (Photo: Sarah \" width=\"640\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEKids.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEKids-400x299.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Neighborhood children at Tuesday’s free arts class. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“We and the tenants upstairs have chosen to be present during the open house and do what we do,” said Precita Eyes volunteer Nancy Hernandez. “We teach kids how to paint, and so that’s what we’re doing.”\u003c/p>\n\u003cp>The property will sell — that’s undisputed — but Tuesday’s event was an attempt to impart upon potential bidders Precita Eyes’ significance in the community and the damage real estate speculation can have on longstanding arts organizations.\u003c/p>\n\u003cp>“People say that this is a class war, but I disagree with that. I think it’s a war about being classy. And it’s really not classy to use your economic privilege in a brutal means to enact a violent act on someone by taking away their home,” said Yaste.\u003c/p>\n\u003cfigure id=\"attachment_10917594\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917594\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/PEOpen.jpg\" alt='A Precita Eyes volunteer creates a sign reading, \"Keep our eyes open.\" (Photo: Sarah Hotchkiss/KQED)' width=\"640\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEOpen.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEOpen-400x299.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A Precita Eyes volunteer creates a sign reading, “Keep our eyes open.” (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Fran Taylor, a neighbor of 40 years, greeted prospective bidders at the building’s steps to tell them about Precita Eyes and the plan for MEDA’s bid.\u003c/p>\n\u003cp>“I just see the rapacious, vulture-like bidding on people’s homes as if it’s a widget and not where people live or where there’s a community space as destroying the community,” she said. “We’re discouraging the bidding wars that will put it out of [MEDA’s] reach by telling people that they’re not wanted as over bidders or speculators.”\u003c/p>\n\u003cp>Time will tell if this rally will have any effect; a steady stream of open house attendees climbed the stairs to the residential units in just the first hour of the open house. But many also stayed to chat with sign-holding protesters and reporters, talking over the particulars of what made this property attractive to them as an investment, sometimes telling their own stories of displacement.\u003c/p>\n\u003cp>“We’re doing whatever we can to get information out to folks, and especially the buyers, to make them aware of the space they’re looking to buy and how important that is to the community. At least we’re trying to create that dialogue,” said Eric Arguello of \u003ca href=\"http://calle24sf.org/en/\" target=\"_blank\" rel=\"noopener\">Calle 24\u003c/a>, the Mission’s Latino cultural district.\u003c/p>\n\u003cp>For Precita Eyes, dialogue is not enough.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Although the real estate agents are saying that this space is available, the community is asserting that this space is not available for sale. This space has been used as a center to teach art to young people for over 30 years and we intend to stay here,” Hernandez said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Tony Gleaton: Photographing the African Story Across the Americas | KQED",
"content": "\u003cp>Photographer Tony Gleaton died last Friday at the age of 67 after struggling with a particularly aggressive cancer for 18 months. He was working, signing prints, talking to museums (several have his work in their collections, including the Brooklyn Museum, the Field Museum of Natural History in Chicago, Harvard’s Peabody Museum of Natural History, and the Schomburg Center for Research in Black Culture in Harlem) and checking in with his friends right up to the last day. I admired his work, but also treasured his friendship.\u003c/p>\n\u003cp>For many years, Tony often showed up on my Los Angeles doorstep with a huge sack of dirty laundry slung over his shoulder and a box of contact sheets under one arm.\u003c/p>\n\u003cp>“Here,” he’d say, placing the box in my hands, and walking through the door. “Look at these. I’m gonna do some laundry, okay?”\u003c/p>\n\u003cp>While the laundry — several loads of it — would go through its cycles, Tony would tell my husband and me about his latest travels. In the late ’80s and through the mid-’90s, he spent a lot of time deep in the Costa Chica, a remote part of Mexico that’s about a three-hour drive south of Acapulco on the Pacific coast. The Costa Chica is a string of villages populated by descendants of slaves brought here by the Spanish in the 1500s through the 1700s. Tony liked to say “it’s hard to find, hard to get to and hard to live in.”\u003c/p>\n\u003cp>While he was there, he often stayed with the village priest, and slept on the floor. Villagers would hear \u003cem>el gigante\u003c/em> was back — Tony was about 6 foot 4 inches tall and weighed well over 300 pounds — and would shyly come with greetings and provisions from their own scant stock. “You eat a lot of rice and beans down there, and you’re glad to have them,” he explained.\u003c/p>\n\u003cfigure id=\"attachment_10915127\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-450x600.jpg\" alt=\"Photographer Tony Gleaton.\" width=\"450\" height=\"600\" class=\"size-medium wp-image-10915127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce.jpg 480w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Tony Gleaton. \u003ccite>(Bruce Talamon/Courtesy of Lisa M. Gleaton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For several years he was a regular sight in the villages, amiably greeting residents with his fluent, American-inflected Spanish. They would pass him and smile as they watched their neighbors sit for portraits. A white-haired \u003cem>abuela\u003c/em> sits in a wooden chair in the doorway of her adobe, her arm protectively around one grandchild as another leans against her. A mahogany-skinned boy pauses spearfishing to be captured on film. A barber and his young client stare curiously into the camera. Three sisters bunch together on the steps, laughing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the poverty of Tony’s subjects, these are black and white photographs of tremendous grace and formality, much like court photographs of contemporary European royalty. And that is what Tony intended. His subjects tend to be people who are usually invisible to the rest of society, and who are outside of the mainstream aesthetic. He saw his work as a way to correct that marginalization, at least for a moment: beautiful portraits of beautiful people, taken with respect.\u003c/p>\n\u003cp>In the beginning, he got a lot of pushback. “\u003cem>Why\u003c/em> do you want to take our picture?” the villagers would ask, warily. “We have no money to pay you.”\u003c/p>\n\u003cp>When Tony would explain that he was documenting the African Diaspora around the world, and that they and he were both part of it, the conversation often became even harder.\u003c/p>\n\u003cp>“You want to take pictures of black people?” they’d ask.\u003c/p>\n\u003cp>“Yes, like you and me … ” he’d begin\u003c/p>\n\u003cp>“Well,” they’d respond, looking at his fair skin, light hair and blue-green eyes. “You’re not black. And we’re \u003cem>certainly\u003c/em> not black. So you need to do that somewhere else.”\u003c/p>\n\u003cp>Eventually he learned to refine his approach and tell the villagers he wanted people in the States to see how beautiful people in the villages were. “I just gave up on the black connection. It was important to me, but not to them. They see race differently than we do. And it’s only a social construct anyway.”\u003c/p>\n\u003cp>There is still stigma to acknowledging blackness in many parts of Mexico, and Tony’s work raised the profile of Latinos with what is sometimes called “the Third Root” — Spanish, Indian, African — in Latino culture. His work eventually expanded across the Americas to form an exhibit called \u003cem>Tengo Casi 500 Años (I Have Almost 500 Years) — Africa’s Legacy in Mexico\u003c/em> that explores the African presence in the Americas. He’s also chronicled black, Indian and Mexican cowboy culture, as well as life in American Samoa and the Mississippi Delta.\u003c/p>\n\u003cp>A native of Detroit, Tony moved with his policeman father and schoolteacher mother and his older brother to Los Angeles when he was 11 years old. After high school, he joined the Marines, and served as a field radio operator in Vietnam for three years. Vietnam is also where he first picked up a camera.\u003c/p>\n\u003cp>When Tony returned to Los Angeles, he enrolled at UCLA under the GI bill, but left soon after, determined to work as a fashion photographer. He lived a hand-to-mouth existence in New York as a photographer’s assistant, then as a photographer. But he eventually tired of that life and worked his way back across the country, in an oil field and on ranches, and at rodeos where the cowboys were black and Mexican and Native American. The Mexican cowboys told him about the hidden villages of the Costa Chica, and photographing the residents there became his best-known work.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nI just gave up on the black connection. It was important to me, but not to them. They see race differently than we do. And it’s only a social construct anyway.\u003cbr>\n\u003ccite>Photographer Tony Gleaton\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>But it was physically grueling and after about 15 years, Tony stopped. (“60 ain’t 35, kid.”) Instead, he began a series of landscapes. He took beautiful images of striking, isolated parts of the country that have historical significance to people of color in the U.S.: western trails that black pioneers had blazed, views of coasts first walked by native peoples, and wide-open fields that had once been settlements established by freed slaves.\u003c/p>\n\u003cp>They are luminous photographs with a haunting quality that keeps the viewer gazing at them much longer than they’d probably intended. Tony got those shots by sleeping in his car, sometimes parked by the side of the road, other times in the parking lot of a Wal-Mart or a cheap hotel. He traveled on a shoestring; money only mattered to him as fuel for his work. When his cameras weren’t on a trip, they were frequently in a trusted pawn shop, collateral for a loan—so he could fund his travels.\u003c/p>\n\u003cp>During his sojourns, the laundromat was not on the itinerary. Hence, his visits to out house soon after he finally arrived home. “Hey,” he’d say cheerfully, “I’m gonna smell a lot better when I leave here than I did when I came. By the way—do I have time to take a shower before dinner? And what are we having, anyway?”\u003c/p>\n\u003cp>It didn’t matter. It was always good to have him at the table, teasing and talking about the latest project. Dinner will be much quieter and less interesting from now on.\u003c/p>\n\u003cp>Tony’s wife Lisa was at his side when he died. In addition to Lisa, he’s survived by his stepson, Michael Jelinsky. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"10915125,10915124,10915123,10915120,10915121,10915122\"]\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=Tony+Gleaton%3A+Photographing+The+African+Story+Across+The+Americas&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Photographer Tony Gleaton died last Friday at the age of 67 after struggling with a particularly aggressive cancer for 18 months. He was working, signing prints, talking to museums (several have his work in their collections, including the Brooklyn Museum, the Field Museum of Natural History in Chicago, Harvard’s Peabody Museum of Natural History, and the Schomburg Center for Research in Black Culture in Harlem) and checking in with his friends right up to the last day. I admired his work, but also treasured his friendship.\u003c/p>\n\u003cp>For many years, Tony often showed up on my Los Angeles doorstep with a huge sack of dirty laundry slung over his shoulder and a box of contact sheets under one arm.\u003c/p>\n\u003cp>“Here,” he’d say, placing the box in my hands, and walking through the door. “Look at these. I’m gonna do some laundry, okay?”\u003c/p>\n\u003cp>While the laundry — several loads of it — would go through its cycles, Tony would tell my husband and me about his latest travels. In the late ’80s and through the mid-’90s, he spent a lot of time deep in the Costa Chica, a remote part of Mexico that’s about a three-hour drive south of Acapulco on the Pacific coast. The Costa Chica is a string of villages populated by descendants of slaves brought here by the Spanish in the 1500s through the 1700s. Tony liked to say “it’s hard to find, hard to get to and hard to live in.”\u003c/p>\n\u003cp>While he was there, he often stayed with the village priest, and slept on the floor. Villagers would hear \u003cem>el gigante\u003c/em> was back — Tony was about 6 foot 4 inches tall and weighed well over 300 pounds — and would shyly come with greetings and provisions from their own scant stock. “You eat a lot of rice and beans down there, and you’re glad to have them,” he explained.\u003c/p>\n\u003cfigure id=\"attachment_10915127\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-450x600.jpg\" alt=\"Photographer Tony Gleaton.\" width=\"450\" height=\"600\" class=\"size-medium wp-image-10915127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce.jpg 480w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Tony Gleaton. \u003ccite>(Bruce Talamon/Courtesy of Lisa M. Gleaton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For several years he was a regular sight in the villages, amiably greeting residents with his fluent, American-inflected Spanish. They would pass him and smile as they watched their neighbors sit for portraits. A white-haired \u003cem>abuela\u003c/em> sits in a wooden chair in the doorway of her adobe, her arm protectively around one grandchild as another leans against her. A mahogany-skinned boy pauses spearfishing to be captured on film. A barber and his young client stare curiously into the camera. Three sisters bunch together on the steps, laughing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the poverty of Tony’s subjects, these are black and white photographs of tremendous grace and formality, much like court photographs of contemporary European royalty. And that is what Tony intended. His subjects tend to be people who are usually invisible to the rest of society, and who are outside of the mainstream aesthetic. He saw his work as a way to correct that marginalization, at least for a moment: beautiful portraits of beautiful people, taken with respect.\u003c/p>\n\u003cp>In the beginning, he got a lot of pushback. “\u003cem>Why\u003c/em> do you want to take our picture?” the villagers would ask, warily. “We have no money to pay you.”\u003c/p>\n\u003cp>When Tony would explain that he was documenting the African Diaspora around the world, and that they and he were both part of it, the conversation often became even harder.\u003c/p>\n\u003cp>“You want to take pictures of black people?” they’d ask.\u003c/p>\n\u003cp>“Yes, like you and me … ” he’d begin\u003c/p>\n\u003cp>“Well,” they’d respond, looking at his fair skin, light hair and blue-green eyes. “You’re not black. And we’re \u003cem>certainly\u003c/em> not black. So you need to do that somewhere else.”\u003c/p>\n\u003cp>Eventually he learned to refine his approach and tell the villagers he wanted people in the States to see how beautiful people in the villages were. “I just gave up on the black connection. It was important to me, but not to them. They see race differently than we do. And it’s only a social construct anyway.”\u003c/p>\n\u003cp>There is still stigma to acknowledging blackness in many parts of Mexico, and Tony’s work raised the profile of Latinos with what is sometimes called “the Third Root” — Spanish, Indian, African — in Latino culture. His work eventually expanded across the Americas to form an exhibit called \u003cem>Tengo Casi 500 Años (I Have Almost 500 Years) — Africa’s Legacy in Mexico\u003c/em> that explores the African presence in the Americas. He’s also chronicled black, Indian and Mexican cowboy culture, as well as life in American Samoa and the Mississippi Delta.\u003c/p>\n\u003cp>A native of Detroit, Tony moved with his policeman father and schoolteacher mother and his older brother to Los Angeles when he was 11 years old. After high school, he joined the Marines, and served as a field radio operator in Vietnam for three years. Vietnam is also where he first picked up a camera.\u003c/p>\n\u003cp>When Tony returned to Los Angeles, he enrolled at UCLA under the GI bill, but left soon after, determined to work as a fashion photographer. He lived a hand-to-mouth existence in New York as a photographer’s assistant, then as a photographer. But he eventually tired of that life and worked his way back across the country, in an oil field and on ranches, and at rodeos where the cowboys were black and Mexican and Native American. The Mexican cowboys told him about the hidden villages of the Costa Chica, and photographing the residents there became his best-known work.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nI just gave up on the black connection. It was important to me, but not to them. They see race differently than we do. And it’s only a social construct anyway.\u003cbr>\n\u003ccite>Photographer Tony Gleaton\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>But it was physically grueling and after about 15 years, Tony stopped. (“60 ain’t 35, kid.”) Instead, he began a series of landscapes. He took beautiful images of striking, isolated parts of the country that have historical significance to people of color in the U.S.: western trails that black pioneers had blazed, views of coasts first walked by native peoples, and wide-open fields that had once been settlements established by freed slaves.\u003c/p>\n\u003cp>They are luminous photographs with a haunting quality that keeps the viewer gazing at them much longer than they’d probably intended. Tony got those shots by sleeping in his car, sometimes parked by the side of the road, other times in the parking lot of a Wal-Mart or a cheap hotel. He traveled on a shoestring; money only mattered to him as fuel for his work. When his cameras weren’t on a trip, they were frequently in a trusted pawn shop, collateral for a loan—so he could fund his travels.\u003c/p>\n\u003cp>During his sojourns, the laundromat was not on the itinerary. Hence, his visits to out house soon after he finally arrived home. “Hey,” he’d say cheerfully, “I’m gonna smell a lot better when I leave here than I did when I came. By the way—do I have time to take a shower before dinner? And what are we having, anyway?”\u003c/p>\n\u003cp>It didn’t matter. It was always good to have him at the table, teasing and talking about the latest project. Dinner will be much quieter and less interesting from now on.\u003c/p>\n\u003cp>Tony’s wife Lisa was at his side when he died. In addition to Lisa, he’s survived by his stepson, Michael Jelinsky. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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=Tony+Gleaton%3A+Photographing+The+African+Story+Across+The+Americas&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "after-displacement-redlick-artists-rally-against-changing-mission",
"title": "After Displacement, Redlick Artists Rally Against Changing Mission",
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"content": "\u003cp>Nearly every week we hear of another beloved Bay Area business closing, another cultural space threatened by rising rents and changing tastes. But what happens after an eviction notice, after a lease isn’t renewed, after displacement?\u003c/p>\n\u003cp>For the tenants of Studio 17, a 21,000 square foot studio space on the fourth floor of the historic Redlick Building in San Francisco, this question is answered. As detailed in \u003ca href=\"http://ww2.kqed.org/arts/2015/04/17/without-a-renewed-lease-studio-17-artists-face-unsure-future-in-redlick-building/\" target=\"_blank\" rel=\"noopener\">our April coverage\u003c/a>, approximately 70 artists who rented studios in the Redlick could not secure new leases within the building. At the end of June, the owners provided moving services for over a dozen artists who still remained, transporting their studio contents to new work spaces, storage facilities or, for many, their living rooms.\u003c/p>\n\u003cfigure id=\"attachment_10909408\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10909408 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/AdamBarryHearing.jpg\" alt=\"In the foreground, former Studio 17 tenant Adam Barry at City Hall for the Aug. 6 Planning Commission hearing; In the background, the building owners and their supporters. (Photo: Dan Lichtenberg)\" width=\"640\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AdamBarryHearing.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AdamBarryHearing-400x268.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">In the foreground, former Studio 17 tenant Adam Barry at City Hall for the Aug. 6 Planning Commission hearing; in the background, the building owners and their supporters. (Photo: Dan Lichtenberg)\u003c/figcaption>\u003c/figure>\n\u003cp>Those studios, which occupied the top floor of the Mission district building (also home to the Thrift Town and Fabric Outlet stores), are now empty, awaiting a Sept. 3 decision from the San Francisco Planning Commission about zoning within the building.\u003c/p>\n\u003cp>The building owners, Rick Holman and Toby Levy, seek conditional use permits to legalize office space on the Redlick’s fourth and third floors, with approximately 16,000 square feet set aside on the third, second and ground floors for “trade shop” use — planning department-speak for artist studios and a storefront gallery.\u003c/p>\n\u003cp>After Studio 17’s lease expired on June 30, a handful of the displaced artists moved to the building’s second floor, where the building owners offered nine studios at a below-market rate of $2 a square foot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.katenicholsstudio.com/\" target=\"_blank\" rel=\"noopener\">Kate Nichols\u003c/a>, a former Studio 17 tenant, compares the second floor to \u003ca href=\"https://www.youtube.com/watch?v=T2Y7oo3iB40\" target=\"_blank\" rel=\"noopener\">\u003ci>Being John Malkovich\u003c/i>’s floor 7 ½\u003c/a>, where workers move through their office space hunched under absurdly low ceilings. In reality, the second floor maxes out at a more reasonable 7 feet, 6 inches — still a far cry from the fourth floor’s lofty ceilings and gigantic windows overlooking the Mission.\u003c/p>\n\u003cp>One of the transplanted second floor tenants, who prefers to remain anonymous to maintain her relationship with the building owners, says the space isn’t suitable for all practices, citing the low ceilings, limited natural light, no ventilation, walls that don’t fully block sound and no mess sink. But she is thankful to have a studio at all. “Space for artists is diminishing in the Mission, and quite honestly we couldn’t find any other space in our price range anywhere else,” she says.\u003c/p>\n\u003cp>Steven Vettel, lawyer for the building owners, spoke in favor of the proposed rezoning at the Aug. 6 planning hearing: “Those artist rent subsidies, the remaining 16,000 square feet of non-artist trade shop use, retention of Thrift Town and Fabric Outlet at affordable rents and the substantial cost to seismically upgrade the building only works if some of the building is legalized as office space.”\u003c/p>\n\u003cp>In other words, market-rate office space will subsidize below-market artist space. But the \u003ca href=\"http://www.culturalactionnetwork.org/\" target=\"_blank\" rel=\"noopener\">Cultural Action Network\u003c/a> (CAN), activists seeking to protect artists, cultural organizations and their spaces, have another proposal: reserve the low-ceilinged second floor for offices, give the more spacious third floor to artists and let the fourth floor be even more lucrative office space.\u003c/p>\n\u003cfigure id=\"attachment_10909406\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10909406\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Garrett.jpg\" alt=\"Mark Garrett, 'Overview,' 2015. (Photo: the artist)\" width=\"640\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Garrett.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Garrett-400x304.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mark Garrett, ‘Overview,’ 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>CAN’s \u003ca href=\"https://www.change.org/p/board-of-supervisors-sfgov-org-planning-rodneyfong-com-cwu-planning-gmail-com-wordweaver21-aol-com-richhillissf-yahoo-com-christine-d-johnson-sfgov-org-mooreurban-aol-com-dennis-richards-sfg-support-the-alternative-proposal-for-mission-s-redlick-buil\" target=\"_blank\" rel=\"noopener\">alternative proposal\u003c/a> is supported by nearly 3,000 online signatures. At the Aug. 6 hearing, Gabriel Medina, policy manager at the \u003ca href=\"http://medasf.org/\" target=\"_blank\" rel=\"noopener\">Mission Economic Development Agency\u003c/a> and Erick Arguello, member of \u003ca href=\"http://calle24sf.org/en/\" target=\"_blank\" rel=\"noopener\">Calle 24\u003c/a>, the 24th Street cultural heritage and merchant’s association, spoke in support of CAN’s proposal, along with a group of displaced Studio 17 artists wearing shirts printed with the message: “Artists stand with the Mission community.”\u003c/p>\n\u003cp>While current tenants and owners await the Planning Commission’s next hearing, former Studio 17 members adapt to their new surroundings. After five years in the Redlick building, artist \u003ca href=\"http://markmgarrett.com/\" target=\"_blank\" rel=\"noopener\">Mark Garrett\u003c/a> managed to find a smaller space in San Francisco’s Dogpatch neighborhood. “The effect has been profound,” Garrett says of the move. “This has been so disruptive to my work and my concentration.” Garrett’s studio practice is his livelihood, and Garrett’s work space is integral to his productivity. Unhappy with his new space, but unsure as to whether he’ll be able to find something more suitable, the artist is reluctant to unpack, settle in or start working on anything substantial.\u003c/p>\n\u003cfigure id=\"attachment_10909407\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10909407\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/BandR.jpg\" alt=\"Installation view of Stephanie Rohlfs' work in 'Powers of Ten' at Bass & Reiner, Feb. 2015. (Photo: Bass & Reiner)\" width=\"640\" height=\"487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BandR.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BandR-400x304.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Stephanie Rohlfs’ work in ‘Powers of Ten’ at Bass & Reiner, Feb. 2015. (Photo: Bass & Reiner)\u003c/figcaption>\u003c/figure>\n\u003cp>But not all of the ex-Studio 17 tenants are feeling as pessimistic about the future. \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\">Bass & Reiner\u003c/a>, a gallery that operated within Studio 17 for eight months, will join the \u003ca href=\"http://www.minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a>, a 35,000 square foot arts facility in the Dogpatch. “Minnesota Street feels like it will be a place to nurture and grow a gallery like ours, which is still really in its infancy,” says Bass & Reiner co-director Chris Grunder. The gallery’s new space will be smaller, but possibly more sustainable. “Less space seems like a negative at first,” Grunder says. “But for us, less rent and less shipping costs to fill the space are going to give us a chance to really establish a sound business model.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For many of the displaced artists, the loss of their work space was a call to action. \u003ca href=\"http://gnourtnart.com/home.html\" target=\"_blank\" rel=\"noopener\">Truong Tran\u003c/a>, a mixed media artist who worked in Studio 17 for four years, wants to make sure other considerations aren’t forgotten in the arguments about square footage, ceiling height and tech versus art. “In this particular case, the developer has a platform to say look at what I’m doing for the good of the arts community,” Tran said at the Aug. 6 Planning Commission hearing. “What is not being addressed is the displacement of the working class and people of color. This is erasure of culture and communities. This is gentrification.”\u003c/p>\n\n",
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"title": "After Displacement, Redlick Artists Rally Against Changing Mission | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nearly every week we hear of another beloved Bay Area business closing, another cultural space threatened by rising rents and changing tastes. But what happens after an eviction notice, after a lease isn’t renewed, after displacement?\u003c/p>\n\u003cp>For the tenants of Studio 17, a 21,000 square foot studio space on the fourth floor of the historic Redlick Building in San Francisco, this question is answered. As detailed in \u003ca href=\"http://ww2.kqed.org/arts/2015/04/17/without-a-renewed-lease-studio-17-artists-face-unsure-future-in-redlick-building/\" target=\"_blank\" rel=\"noopener\">our April coverage\u003c/a>, approximately 70 artists who rented studios in the Redlick could not secure new leases within the building. At the end of June, the owners provided moving services for over a dozen artists who still remained, transporting their studio contents to new work spaces, storage facilities or, for many, their living rooms.\u003c/p>\n\u003cfigure id=\"attachment_10909408\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10909408 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/AdamBarryHearing.jpg\" alt=\"In the foreground, former Studio 17 tenant Adam Barry at City Hall for the Aug. 6 Planning Commission hearing; In the background, the building owners and their supporters. (Photo: Dan Lichtenberg)\" width=\"640\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AdamBarryHearing.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AdamBarryHearing-400x268.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">In the foreground, former Studio 17 tenant Adam Barry at City Hall for the Aug. 6 Planning Commission hearing; in the background, the building owners and their supporters. (Photo: Dan Lichtenberg)\u003c/figcaption>\u003c/figure>\n\u003cp>Those studios, which occupied the top floor of the Mission district building (also home to the Thrift Town and Fabric Outlet stores), are now empty, awaiting a Sept. 3 decision from the San Francisco Planning Commission about zoning within the building.\u003c/p>\n\u003cp>The building owners, Rick Holman and Toby Levy, seek conditional use permits to legalize office space on the Redlick’s fourth and third floors, with approximately 16,000 square feet set aside on the third, second and ground floors for “trade shop” use — planning department-speak for artist studios and a storefront gallery.\u003c/p>\n\u003cp>After Studio 17’s lease expired on June 30, a handful of the displaced artists moved to the building’s second floor, where the building owners offered nine studios at a below-market rate of $2 a square foot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.katenicholsstudio.com/\" target=\"_blank\" rel=\"noopener\">Kate Nichols\u003c/a>, a former Studio 17 tenant, compares the second floor to \u003ca href=\"https://www.youtube.com/watch?v=T2Y7oo3iB40\" target=\"_blank\" rel=\"noopener\">\u003ci>Being John Malkovich\u003c/i>’s floor 7 ½\u003c/a>, where workers move through their office space hunched under absurdly low ceilings. In reality, the second floor maxes out at a more reasonable 7 feet, 6 inches — still a far cry from the fourth floor’s lofty ceilings and gigantic windows overlooking the Mission.\u003c/p>\n\u003cp>One of the transplanted second floor tenants, who prefers to remain anonymous to maintain her relationship with the building owners, says the space isn’t suitable for all practices, citing the low ceilings, limited natural light, no ventilation, walls that don’t fully block sound and no mess sink. But she is thankful to have a studio at all. “Space for artists is diminishing in the Mission, and quite honestly we couldn’t find any other space in our price range anywhere else,” she says.\u003c/p>\n\u003cp>Steven Vettel, lawyer for the building owners, spoke in favor of the proposed rezoning at the Aug. 6 planning hearing: “Those artist rent subsidies, the remaining 16,000 square feet of non-artist trade shop use, retention of Thrift Town and Fabric Outlet at affordable rents and the substantial cost to seismically upgrade the building only works if some of the building is legalized as office space.”\u003c/p>\n\u003cp>In other words, market-rate office space will subsidize below-market artist space. But the \u003ca href=\"http://www.culturalactionnetwork.org/\" target=\"_blank\" rel=\"noopener\">Cultural Action Network\u003c/a> (CAN), activists seeking to protect artists, cultural organizations and their spaces, have another proposal: reserve the low-ceilinged second floor for offices, give the more spacious third floor to artists and let the fourth floor be even more lucrative office space.\u003c/p>\n\u003cfigure id=\"attachment_10909406\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10909406\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Garrett.jpg\" alt=\"Mark Garrett, 'Overview,' 2015. (Photo: the artist)\" width=\"640\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Garrett.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Garrett-400x304.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mark Garrett, ‘Overview,’ 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>CAN’s \u003ca href=\"https://www.change.org/p/board-of-supervisors-sfgov-org-planning-rodneyfong-com-cwu-planning-gmail-com-wordweaver21-aol-com-richhillissf-yahoo-com-christine-d-johnson-sfgov-org-mooreurban-aol-com-dennis-richards-sfg-support-the-alternative-proposal-for-mission-s-redlick-buil\" target=\"_blank\" rel=\"noopener\">alternative proposal\u003c/a> is supported by nearly 3,000 online signatures. At the Aug. 6 hearing, Gabriel Medina, policy manager at the \u003ca href=\"http://medasf.org/\" target=\"_blank\" rel=\"noopener\">Mission Economic Development Agency\u003c/a> and Erick Arguello, member of \u003ca href=\"http://calle24sf.org/en/\" target=\"_blank\" rel=\"noopener\">Calle 24\u003c/a>, the 24th Street cultural heritage and merchant’s association, spoke in support of CAN’s proposal, along with a group of displaced Studio 17 artists wearing shirts printed with the message: “Artists stand with the Mission community.”\u003c/p>\n\u003cp>While current tenants and owners await the Planning Commission’s next hearing, former Studio 17 members adapt to their new surroundings. After five years in the Redlick building, artist \u003ca href=\"http://markmgarrett.com/\" target=\"_blank\" rel=\"noopener\">Mark Garrett\u003c/a> managed to find a smaller space in San Francisco’s Dogpatch neighborhood. “The effect has been profound,” Garrett says of the move. “This has been so disruptive to my work and my concentration.” Garrett’s studio practice is his livelihood, and Garrett’s work space is integral to his productivity. Unhappy with his new space, but unsure as to whether he’ll be able to find something more suitable, the artist is reluctant to unpack, settle in or start working on anything substantial.\u003c/p>\n\u003cfigure id=\"attachment_10909407\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10909407\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/BandR.jpg\" alt=\"Installation view of Stephanie Rohlfs' work in 'Powers of Ten' at Bass & Reiner, Feb. 2015. (Photo: Bass & Reiner)\" width=\"640\" height=\"487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BandR.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BandR-400x304.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Stephanie Rohlfs’ work in ‘Powers of Ten’ at Bass & Reiner, Feb. 2015. (Photo: Bass & Reiner)\u003c/figcaption>\u003c/figure>\n\u003cp>But not all of the ex-Studio 17 tenants are feeling as pessimistic about the future. \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\">Bass & Reiner\u003c/a>, a gallery that operated within Studio 17 for eight months, will join the \u003ca href=\"http://www.minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a>, a 35,000 square foot arts facility in the Dogpatch. “Minnesota Street feels like it will be a place to nurture and grow a gallery like ours, which is still really in its infancy,” says Bass & Reiner co-director Chris Grunder. The gallery’s new space will be smaller, but possibly more sustainable. “Less space seems like a negative at first,” Grunder says. “But for us, less rent and less shipping costs to fill the space are going to give us a chance to really establish a sound business model.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For many of the displaced artists, the loss of their work space was a call to action. \u003ca href=\"http://gnourtnart.com/home.html\" target=\"_blank\" rel=\"noopener\">Truong Tran\u003c/a>, a mixed media artist who worked in Studio 17 for four years, wants to make sure other considerations aren’t forgotten in the arguments about square footage, ceiling height and tech versus art. “In this particular case, the developer has a platform to say look at what I’m doing for the good of the arts community,” Tran said at the Aug. 6 Planning Commission hearing. “What is not being addressed is the displacement of the working class and people of color. This is erasure of culture and communities. This is gentrification.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Burning Man's Got Bugs: Cue Radical Itching and Bitching",
"title": "Burning Man's Got Bugs: Cue Radical Itching and Bitching",
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"content": "\u003cp>\u003cstrong>Update:\u003c/strong> Burning Man blogger John Curley reports that the strange bugs that unleashed waves of uncool angst among Burners old and new are \"all but gone.\" Read Curley's report here: \"\u003ca href=\"http://blog.burningman.com/2015/08/building-brc/bugs-what-bugs/\" target=\"_blank\">Bugs? What bugs?\u003c/a>\"\u003c/p>\n\u003cp>\u003cstrong>Original post, Thursday, Aug. 20:\u003c/strong> At first, one almost feels sympathy for The Greater Worldwide Burning Man Community -- not its real name -- about to descend on northwestern Nevada's Black Rock Desert.\u003c/p>\n\u003cp>That's because the site of the fiery annual festival of freedom, free expression, freewheeling inventiveness and free-floating dust is infested with six-legged invaders.\u003c/p>\n\u003cp>John Curley, a former San Francisco Chronicle sports and news editor -- now independent photographer and Burning Man blogger -- gave \u003ca href=\"http://blog.burningman.com/2015/08/building-brc/a-second-generation-and-yeah-those-bugs/\">the lowdown on the invasion\u003c/a> on Tuesday.\u003c/p>\n\u003cp>\"You may have seen the bug rumors on the internet,\" Curley wrote.\"We are here to tell you that they are all true. ... The bugs are real. They’re everywhere. They bite. They crawl all over you. They get up and in you.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gosh. That sounds uncomfortable. Imagine 60,000 or 70,000 people driving out to a remote desert for \u003cem>that\u003c/em>.\u003c/p>\n\u003cp>And maybe that's why the Burning Man blog published another post on Thursday -- this one not attributed to Curley -- headlined \"\u003ca href=\"http://blog.burningman.com/2015/08/environment/bugs-on-the-playa-dont-believe-the-buzz/\" target=\"_blank\">Bugs on the Playa -- Don't Believe the Buzz\u003c/a>.\"\u003c/p>\n\u003cp>The post calls the bugs \"an interesting new challenge\" and urged the hordes expected at the event, which formally opens Aug. 30, not to start hyperventilating about the presence of a few million hungry insects.\u003c/p>\n\u003cp>\"These bugs are more of a mild nuisance than a full-blown infestation that should cause any major concern,\" the post said.\u003c/p>\n\u003cp>Gizmodo published a piece Thursday that makes \u003ca href=\"http://gizmodo.com/weve-identified-those-bugs-infesting-burning-man-and-1725287661\" target=\"_blank\">a convincing attempt\u003c/a> to identify the bugs. The experts cited by the site say there are at least two and perhaps more species involves -- large green stink bugs (family \u003ca href=\"https://en.wikipedia.org/wiki/Pentatomidae\" target=\"_blank\">Pentatomidae\u003c/a>) and some much smaller critters called seed bugs (genus \u003ca href=\"http://www.arizonensis.org/sonoran/fieldguide/arthropoda/nysius.html\" target=\"_blank\">Nysius\u003c/a>).\u003c/p>\n\u003cp>The latest Burning Man post on the Six-Legged Apocalypse calls on participants to remember the event's \u003ca href=\"http://burningman.org/culture/philosophical-center/10-principles/\" target=\"_blank\">principle \u003c/a> of Radical Self-Reliance: \"Burning Man encourages the individual to discover, exercise and rely on his or her inner resources.\"\u003c/p>\n\u003cp>As I said at the outset, one almost feels sympathy for those at the mercy of the seed bug's probing proboscis. Then you encounter what might be called Radical Self-Righteousness.\u003c/p>\n\u003cp>You need look no further than the comments responding to Curley's original bug post to see that not everyone in the Greater Burning Man Enlightenment Sphere is on the same page.\u003c/p>\n\u003cp>One \u003ca href=\"http://blog.burningman.com/2015/08/building-brc/a-second-generation-and-yeah-those-bugs/#comment-1239737\" target=\"_blank\">commenter complained\u003c/a>, perhaps more than a bit plaintively, that the reported Bug-nado might ruin a trip she has made a big sacrifice for:\u003c/p>\n\u003cblockquote>\u003cp>I am not a rich girl, I went broke to come to the festival and be at the whim of the desert… But being that I have paralyzing, allergic reactions to bugs I am disheartened to know that the money I’ve spent to burn will now be spent hardly being able to move.\u003c/p>\n\u003cp>I hope BM does something to get rid of these bugs, because it’s going to be a very painful trip for me. I will still find my way through, however, without complaint. I can’t afford to have thrown my last $1200 down the drain.\u003c/p>\u003c/blockquote>\n\u003cp>You might imagine all the empathy that comment provoked in the Enlightenment Sphere. \u003ca href=\"http://blog.burningman.com/2015/08/building-brc/a-second-generation-and-yeah-those-bugs/#comment-1239798\" target=\"_blank\">For instance\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>The origin of the event isn’t to pander to peoples sensitivities. Read the first timers guide please to help reassess your perspective. As a physician with allergy specialization having paralyzing disability from insect stings is unheard of. If you used your last $1200 to come to a non-life sustaining event, I’m more concerned about your safety overall moving forward in the universe. We are guests on the playa, it’s not for us to destroy nature for our comfort....\u003c/p>\u003c/blockquote>\n\u003cp>One other commenter \u003ca href=\"http://blog.burningman.com/2015/08/building-brc/a-second-generation-and-yeah-those-bugs/#comment-1239700\" target=\"_blank\">pointed out\u003c/a> that people who are worried about bugs should relax, bring lots of \u003ca href=\"http://www2.epa.gov/insect-repellents/deet\" target=\"_blank\">DEET\u003c/a>, and remember that Black Rock Desert is toxic by nature.\u003c/p>\n\u003cp>\"You are breathing respirable glass and uranium dust,\" the commenter said. \"DEET’s like a rubber band wound next to a shotgun hole.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>No -- that and the 27,000-some vehicles out at the end of what amounts to a dead-end road -- not my idea of a party. But as others have pointed out, those desert bugs ought to be welcome as part of Burning Man's philosophy of Radical Inclusion.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update:\u003c/strong> Burning Man blogger John Curley reports that the strange bugs that unleashed waves of uncool angst among Burners old and new are \"all but gone.\" Read Curley's report here: \"\u003ca href=\"http://blog.burningman.com/2015/08/building-brc/bugs-what-bugs/\" target=\"_blank\">Bugs? What bugs?\u003c/a>\"\u003c/p>\n\u003cp>\u003cstrong>Original post, Thursday, Aug. 20:\u003c/strong> At first, one almost feels sympathy for The Greater Worldwide Burning Man Community -- not its real name -- about to descend on northwestern Nevada's Black Rock Desert.\u003c/p>\n\u003cp>That's because the site of the fiery annual festival of freedom, free expression, freewheeling inventiveness and free-floating dust is infested with six-legged invaders.\u003c/p>\n\u003cp>John Curley, a former San Francisco Chronicle sports and news editor -- now independent photographer and Burning Man blogger -- gave \u003ca href=\"http://blog.burningman.com/2015/08/building-brc/a-second-generation-and-yeah-those-bugs/\">the lowdown on the invasion\u003c/a> on Tuesday.\u003c/p>\n\u003cp>\"You may have seen the bug rumors on the internet,\" Curley wrote.\"We are here to tell you that they are all true. ... The bugs are real. They’re everywhere. They bite. They crawl all over you. They get up and in you.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gosh. That sounds uncomfortable. Imagine 60,000 or 70,000 people driving out to a remote desert for \u003cem>that\u003c/em>.\u003c/p>\n\u003cp>And maybe that's why the Burning Man blog published another post on Thursday -- this one not attributed to Curley -- headlined \"\u003ca href=\"http://blog.burningman.com/2015/08/environment/bugs-on-the-playa-dont-believe-the-buzz/\" target=\"_blank\">Bugs on the Playa -- Don't Believe the Buzz\u003c/a>.\"\u003c/p>\n\u003cp>The post calls the bugs \"an interesting new challenge\" and urged the hordes expected at the event, which formally opens Aug. 30, not to start hyperventilating about the presence of a few million hungry insects.\u003c/p>\n\u003cp>\"These bugs are more of a mild nuisance than a full-blown infestation that should cause any major concern,\" the post said.\u003c/p>\n\u003cp>Gizmodo published a piece Thursday that makes \u003ca href=\"http://gizmodo.com/weve-identified-those-bugs-infesting-burning-man-and-1725287661\" target=\"_blank\">a convincing attempt\u003c/a> to identify the bugs. The experts cited by the site say there are at least two and perhaps more species involves -- large green stink bugs (family \u003ca href=\"https://en.wikipedia.org/wiki/Pentatomidae\" target=\"_blank\">Pentatomidae\u003c/a>) and some much smaller critters called seed bugs (genus \u003ca href=\"http://www.arizonensis.org/sonoran/fieldguide/arthropoda/nysius.html\" target=\"_blank\">Nysius\u003c/a>).\u003c/p>\n\u003cp>The latest Burning Man post on the Six-Legged Apocalypse calls on participants to remember the event's \u003ca href=\"http://burningman.org/culture/philosophical-center/10-principles/\" target=\"_blank\">principle \u003c/a> of Radical Self-Reliance: \"Burning Man encourages the individual to discover, exercise and rely on his or her inner resources.\"\u003c/p>\n\u003cp>As I said at the outset, one almost feels sympathy for those at the mercy of the seed bug's probing proboscis. Then you encounter what might be called Radical Self-Righteousness.\u003c/p>\n\u003cp>You need look no further than the comments responding to Curley's original bug post to see that not everyone in the Greater Burning Man Enlightenment Sphere is on the same page.\u003c/p>\n\u003cp>One \u003ca href=\"http://blog.burningman.com/2015/08/building-brc/a-second-generation-and-yeah-those-bugs/#comment-1239737\" target=\"_blank\">commenter complained\u003c/a>, perhaps more than a bit plaintively, that the reported Bug-nado might ruin a trip she has made a big sacrifice for:\u003c/p>\n\u003cblockquote>\u003cp>I am not a rich girl, I went broke to come to the festival and be at the whim of the desert… But being that I have paralyzing, allergic reactions to bugs I am disheartened to know that the money I’ve spent to burn will now be spent hardly being able to move.\u003c/p>\n\u003cp>I hope BM does something to get rid of these bugs, because it’s going to be a very painful trip for me. I will still find my way through, however, without complaint. I can’t afford to have thrown my last $1200 down the drain.\u003c/p>\u003c/blockquote>\n\u003cp>You might imagine all the empathy that comment provoked in the Enlightenment Sphere. \u003ca href=\"http://blog.burningman.com/2015/08/building-brc/a-second-generation-and-yeah-those-bugs/#comment-1239798\" target=\"_blank\">For instance\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>The origin of the event isn’t to pander to peoples sensitivities. Read the first timers guide please to help reassess your perspective. As a physician with allergy specialization having paralyzing disability from insect stings is unheard of. If you used your last $1200 to come to a non-life sustaining event, I’m more concerned about your safety overall moving forward in the universe. We are guests on the playa, it’s not for us to destroy nature for our comfort....\u003c/p>\u003c/blockquote>\n\u003cp>One other commenter \u003ca href=\"http://blog.burningman.com/2015/08/building-brc/a-second-generation-and-yeah-those-bugs/#comment-1239700\" target=\"_blank\">pointed out\u003c/a> that people who are worried about bugs should relax, bring lots of \u003ca href=\"http://www2.epa.gov/insect-repellents/deet\" target=\"_blank\">DEET\u003c/a>, and remember that Black Rock Desert is toxic by nature.\u003c/p>\n\u003cp>\"You are breathing respirable glass and uranium dust,\" the commenter said. \"DEET’s like a rubber band wound next to a shotgun hole.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>No -- that and the 27,000-some vehicles out at the end of what amounts to a dead-end road -- not my idea of a party. But as others have pointed out, those desert bugs ought to be welcome as part of Burning Man's philosophy of Radical Inclusion.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Editor's Note: This post has been updated to include a response from Dr. Elisa Stephens, president of Academy of Art University, as well as audio from a related episode of KQED's Forum. \u003c/em>\u003c/p>\n\u003cp>San Francisco’s Academy of Art University, an institution that's been operating for 86 years, is the nation's biggest private art college. But only 32 percent of its full-time students graduate in six years -- compared with 59 percent for colleges nationally and as high as 90 percent for top-of-the-line art colleges like the Rhode Island School of Design.\u003c/p>\n\u003cp>The September issue of Forbes magazine calls out the for-profit Academy of Art in two investigative reports for having \u003ca href=\"http://www.forbes.com/sites/katiasavchuk/2015/08/19/black-arts-the-800-million-family-selling-art-degrees-and-false-hopes/\" target=\"_blank\">low graduation rates\u003c/a>, nondisclosure of job placements and a student body that's burdened with debt. Forbes also discloses that the Stephens family, which owns the college, has outstanding \u003ca href=\"http://www.forbes.com/sites/katiasavchuk/2015/08/19/how-a-for-profit-university-flouts-san-franciscos-land-use-laws/\" target=\"_blank\">planning code violations\u003c/a> for 31 of 40 buildings it owns throughout the city.\u003c/p>\n\u003cp>In an email response to the Forbes stories, the Academy of Art University said: “We are disappointed that the reporter neglected to interview our successful students and alumni, or spend time in our classrooms. We are very proud of our instructors, our students and the caliber of arts education we provide.”\u003c/p>\n\u003cp>On Monday, August 24, a representative for the university sent a \"formal letter of response\" written by Dr. Elisa Stephens, president of Academy of Art University, to KQED. The letter is addressed to the Forbes' editors.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[scribd id=275910004 key=key-BpncYXZTpX68RWdVeCw4 mode=scroll]\u003c/p>\n\u003cp>Forbes reporter Katia Savchuk discussed her investigation in an interview Wednesday, August 20 with KQED's Tara Siler.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/220029135\" 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>Savchuk and Sue Rowley, executive vice president for educational services at \u003ca href=\"http://info.academyart.edu/programs?network=s&cid=81730026791&campaignid=267052751&adgroupid=21893257031&match=e&k=academy%20of%20art%20university&placement=&device=c&authkey=fa262b34-61e7-4654-ba10-1ee9358c979e&pmcode=GSGEN&adposition=1t1&gclid=Cj0KEQjwmNuuBRDTu5rDjr2kxJsBEiQAWlm6UjQdvA9faYwxj3vDp19umfMrQ5712uGhzTQq4z3n6jYaAkZj8P8HAQ\" target=\"_blank\">Academy of Art University\u003c/a> joined \u003ca href=\"http://www.kqed.org/a/forum/R201508200930\" target=\"_blank\">KQED's Forum\u003c/a> on Thursday, August 21. You can listen to that discussion here:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/220149910\" 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor's Note: This post has been updated to include a response from Dr. Elisa Stephens, president of Academy of Art University, as well as audio from a related episode of KQED's Forum. \u003c/em>\u003c/p>\n\u003cp>San Francisco’s Academy of Art University, an institution that's been operating for 86 years, is the nation's biggest private art college. But only 32 percent of its full-time students graduate in six years -- compared with 59 percent for colleges nationally and as high as 90 percent for top-of-the-line art colleges like the Rhode Island School of Design.\u003c/p>\n\u003cp>The September issue of Forbes magazine calls out the for-profit Academy of Art in two investigative reports for having \u003ca href=\"http://www.forbes.com/sites/katiasavchuk/2015/08/19/black-arts-the-800-million-family-selling-art-degrees-and-false-hopes/\" target=\"_blank\">low graduation rates\u003c/a>, nondisclosure of job placements and a student body that's burdened with debt. Forbes also discloses that the Stephens family, which owns the college, has outstanding \u003ca href=\"http://www.forbes.com/sites/katiasavchuk/2015/08/19/how-a-for-profit-university-flouts-san-franciscos-land-use-laws/\" target=\"_blank\">planning code violations\u003c/a> for 31 of 40 buildings it owns throughout the city.\u003c/p>\n\u003cp>In an email response to the Forbes stories, the Academy of Art University said: “We are disappointed that the reporter neglected to interview our successful students and alumni, or spend time in our classrooms. We are very proud of our instructors, our students and the caliber of arts education we provide.”\u003c/p>\n\u003cp>On Monday, August 24, a representative for the university sent a \"formal letter of response\" written by Dr. Elisa Stephens, president of Academy of Art University, to KQED. The letter is addressed to the Forbes' editors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003ciframe\n class=\"scribd_iframe_embed\"\n src=\"//www.scribd.com/embeds/275910004/content?start_page=1&view_mode=&access_key=key-BpncYXZTpX68RWdVeCw4\"\n title=\"http://www.scribd.com/doc/275910004\"\n data-auto-height=\"true\" scrolling=\"no\" id=\"scribd_275910004\"\n width=\"100%\" height=\"500\" frameborder=\"0\">\u003c/iframe>\n \u003ca class=\"utils-parseShortcode-shortcodes-__scribdShortcode__scribd_footer\"\n href=\"http://www.scribd.com/doc/275910004\"\n target=\"_blank\" rel=\"noopener noreferrer\">View this document on Scribd\u003c/a>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Forbes reporter Katia Savchuk discussed her investigation in an interview Wednesday, August 20 with KQED's Tara Siler.\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/220029135&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/220029135'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Savchuk and Sue Rowley, executive vice president for educational services at \u003ca href=\"http://info.academyart.edu/programs?network=s&cid=81730026791&campaignid=267052751&adgroupid=21893257031&match=e&k=academy%20of%20art%20university&placement=&device=c&authkey=fa262b34-61e7-4654-ba10-1ee9358c979e&pmcode=GSGEN&adposition=1t1&gclid=Cj0KEQjwmNuuBRDTu5rDjr2kxJsBEiQAWlm6UjQdvA9faYwxj3vDp19umfMrQ5712uGhzTQq4z3n6jYaAkZj8P8HAQ\" target=\"_blank\">Academy of Art University\u003c/a> joined \u003ca href=\"http://www.kqed.org/a/forum/R201508200930\" target=\"_blank\">KQED's Forum\u003c/a> on Thursday, August 21. You can listen to that discussion here:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/220149910&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/220149910'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-origins-of-hella",
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"content": "\u003cp>Long associated with the Bay Area, the word ‘hella’ has gained widespread use. But how was the word born? Ventura Albor asked \u003ca href=\"https://www.kqed.org/news/series/baycurious\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Curious\u003c/a>:\u003c/p>\n\u003cp>\u003cstrong>How is it that “hella” became synonymous with the Bay?\u003c/strong>\u003c/p>\n\u003cp>Ventura’s question was inspired by his college days at UC Davis.\u003c/p>\n\u003cfigure id=\"attachment_11178097\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11178097\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-800x533.jpg\" alt=\"A UC Berkeley student poses for photos wearing a 'Hella Kitty' shirt from Pure 510, a local custom t-shirt business in Oakland, California.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A UC Berkeley student poses for photos wearing a ‘Hella Kitty’ shirt from Pure 510, a local custom t-shirt business in Oakland, California. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“L.A. folks would [home] in on it right away and be like, ‘Oh you’re from the Bay Area?’ ” he says. “I never really thought of it, I just thought everyone said hella.” \u003c/p>\n\u003ch3>Hella: A Linguistic Boundary\u003c/h3>\n\u003cp>Many Bay Area residents and Californians believe that hella — and its G-rated equivalent “hecka” — are Bay Area slang. The words, which mean “very” or “a lot of,” can be used multiple ways. You can say “I’m hella stoked” or “There were hella people at that party last night,” or even, “I was doing it for hella days.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mary Bucholtz, a linguist at the University of California, Santa Barbara, conducted a study in which people indicated their perceptions of how people talk in certain areas of California.\u003c/p>\n\u003caside class=\"alignleft\">\n\u003ch3>A Guide to Bay Area Slang\u003c/h3>\n\u003cp>\u003cstrong>Hella\u003c/strong> – very, really, extremely; many, a lot; in an extraordinary or impressive manner.\u003cbr>\n\u003cem>“That jacket’s hella dope!”\u003c/em>\u003cbr>\n\u003cstrong>Hyphy\u003c/strong> – hyper, excited\u003cbr>\n\u003cem>“I’m from the Bay where we hyphy and go dumb. From the soil where them rappers be getting their lingo from.” – E-40\u003c/em>\u003cbr>\n\u003cstrong>Off the chain\u003c/strong> – super fun, exciting, great\u003cbr>\n\u003cem>“This party tonight’s gonna be off the chain!”\u003c/em>\u003cbr>\n\u003cstrong>Fa sheezy/fo shizzle\u003c/strong> – for sure\u003cbr>\n\u003cem>“Saturday is off the heezy fo’sheezy.” – Jermaine Dupri\u003c/em>\u003cbr>\n\u003cstrong>Janky\u003c/strong> – poor quality, inferior, weird\u003cbr>\n\u003cem>“Ugh, this umbrella is hella janky.”\u003c/em>\u003cbr>\n\u003cstrong>Baller\u003c/strong> (n)/\u003cstrong>ballin’\u003c/strong> (v) – a ball player, or someone who’s winning “the game” (of life).\u003cbr>\n\u003cem>“Wanna be a baller, shot caller, 20-inch blades on the impala” – Lil’ Troy\u003c/em>\u003c/p>\n\u003c/aside>\n\u003cp>Hella was the most frequently cited word, and 78.4 percent of the people who mentioned it in the study said it was Northern California slang.\u003c/p>\n\u003cp>“For Southern Californians in particular, hella represents a crucial shibboleth separating the two major regions of the state,” says Bucholtz.\u003c/p>\n\u003cp>That’s true for Southern California transplant Bree DeRobbio, now living in San Jose. She remembers the first time she heard someone say hella.\u003c/p>\n\u003cp>“My reaction was ‘Oh my God, they really do say it.’ And I was amazed at all the different applications the word has,” she says.\u003c/p>\n\u003ch3>The Dictionary Says WHAT?\u003c/h3>\n\u003cp>There are at least two origin stories for hella: One places it in Toronto (yes, Canada) and the other in Oakland.\u003c/p>\n\u003cp>More on Oakland later, but first — Toronto? I mean, really?\u003c/p>\n\u003cp>Hella made its first appearance in the Oxford English Dictionary in 2002, and the dictionary says the word was first used in a 1987 article in the Toronto Star:\u003c/p>\n\u003cblockquote>\u003cp>“The horse went hella whoopin’ down the trail, trailing 50 feet or more of the best Berkley Trilene Monofilament line.”\u003c/p>\u003c/blockquote>\n\u003cp>(Sidenote: That part about the best Berkley Trilene Monofilament line refers to a type of fishing line — no relation to Berkeley, Calif.)\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>In fact, hella is identified as Northern American slang that was probably shortened from “helluva” or “hellacious.” But English-language historian Michael Adams says hella’s grammatical usage doesn’t quite align with what the Oxford English Dictionary says.\u003c/p>\n\u003cp>“I’m really skeptical of that etymology that hella comes from helluva because we don’t use hella grammatically in the same way that we would use helluva,” Adams says.\u003c/p>\n\u003cp>What Adams means is you can’t get “hella cute” from “helluva cute,” or say, “My dad’s a hella cook,” even though you could say, “My dad’s a helluva cook.”\u003c/p>\n\u003cp>He also has an explanation for why hella didn’t come from hellacious.\u003c/p>\n\u003cfigure id=\"attachment_10649553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10649553\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-800x532.jpg\" alt=\"Someone turned Fell Street in San Francisco into Hella Street. (kyle rw/Flickr)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-1440x958.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Someone turned Fell Street in San Francisco into Hella Street. (kyle rw/Flickr)\u003c/figcaption>\u003c/figure>\n\u003cp>“The suffix from hellacious is ‘—acious,’ like tenacious, and if you’re going to break a word, you’re usually going to break a word where there’s a boundary between its parts,” Adams says.\u003c/p>\n\u003cp>According to this theory, the natural break for hellacious would make it “hell-aysh,” not hella.\u003c/p>\n\u003ch3>From Oakland Teens to the Rest of the World\u003c/h3>\n\u003cp>UC Berkeley linguist Geoff Nunberg traces hella back a few more years, to Oakland, from two early citations in a 1987 \u003ca href=\"https://books.google.com/books?id=k-NIAQAAMAAJ&q=Second+Class+Finish:+The+Effects+of+Rituals+and+Routines+of+a+Working-class+High+School,+Volume+2&dq=Second+Class+Finish:+The+Effects+of+Rituals+and+Routines+of+a+Working-class+High+School,+Volume+2&hl=en&sa=X&ved=0CB4Q6AEwAGoVChMI6OGT39u2xwIVUFaICh3jbQDI\" target=\"_blank\" rel=\"noopener noreferrer\">dissertation\u003c/a> of a Berkeley student.\u003c/p>\n\u003cfigure id=\"attachment_10650083\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10650083 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1440x1080.jpg\" alt=\"Some in Oakland have embraced the word. Mayor Libby Schaaf often used it while campaigning, saying 'I hella love Oakland' and 'It is hella time for leadership in Oakland.'\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Some in Oakland have embraced the word. Mayor Libby Schaaf often used it while campaigning, saying ‘I hella love Oakland’ and ‘It is hella time for leadership in Oakland.’ \u003ccite>(cplbasilisk/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hella emerged somewhere in Northern California around the late 1970s, and although it spread to other places, it’s still associated with this region,” says Nunberg.\u003c/p>\n\u003cp>Historically, slang spreads from black English to white English and not in the other direction, which is why Nunberg says he suspects it started in Oakland.\u003c/p>\n\u003cp>Phrases like “cool” and “tell it like it is” are good examples.\u003c/p>\n\u003cp>“ ‘Cool’ was adopted by white hipsters and beatniks in the early ‘50s before spreading to teen slang. ‘Tell it like it is’ was used by black writers in the early ’60s and quickly became part of general white English,” he says.[aside tag='bay-curious' label='Looking for More Bay Curious?']\u003c/p>\n\u003cp>That lines up with what multimedia producer Sean Kennedy, an Oakland native, recalls.\u003c/p>\n\u003cp>He remembers saying hella with the kids on his Pop Warner football team and at King Estates Junior High School in the late ’70s.\u003c/p>\n\u003cp>“Very rarely in the African-American or black community do we pick up other people’s language and use them,” he says. “It’s usually the language we create and other people use them.”\u003c/p>\n\u003cp>At that time, hip-hop and street culture gained widespread popularity.\u003c/p>\n\u003cp>“It was used in a manner of explaining, ‘That looked hella good— that looked good’—something that was clean, or somebody acting crazy, ‘You’re hella crazy,’ ” Kennedy says.\u003c/p>\n\u003ch3>Bay Area Punks Debate Hella Vs. Hell Of\u003c/h3>\n\u003caside class=\"alignright\">\n\u003ch3>“Hell of Dumb” by the Mr. T. Experience\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"369\" height=\"277\" src=\"https://www.youtube.com/embed/-R_TW_ZqHw4\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>In early years, Bay Area youth debated whether the slang word was hella or actually “hell of.”\u003c/p>\n\u003cp>In Berkeley, the debate could get quite heated, says punk rocker Frank Portman. In 1997, he wrote a song called “Hell of Dumb,” poking fun at the issue with his band the Mr. T. Experience. He thinks the hella vs. hell of debate goes back to 1983.\u003c/p>\n\u003cp>“It was always very clear that it was hell of. It was not hella and if anyone ever said hella, which sometimes people did, they would always correct you with the attitude of a school marm correcting your grammar,” Portman says.\u003c/p>\n\u003ch3>Hella Now\u003c/h3>\n\u003cp>Since those early days, widespread use of hell of, hellacious and helluva has dwindled — leaving hella to stand alone.\u003c/p>\n\u003caside class=\"alignleft\">\n\u003ch3>Cartman uses hella in South Park\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"369\" height=\"208\" src=\"https://www.youtube.com/embed/7pohEb7DUac\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>Hella got a national audience in the South Park episode “Spookyfish,” from the second season.\u003c/p>\n\u003cp>Cartman taunts Stan and Kyle by singing, “You guys are hella stupid, you guys are hella lame, you guys are hella dumb hella, hella, hella.”\u003c/p>\n\u003cp>The word may be one of Northern California’s most notorious cultural exports.\u003c/p>\n\u003cp>You’re welcome, world.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Got a question you want to see the Bay Curious team take on? \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\" rel=\"noopener noreferrer\">Submit it!\u003c/a> Be sure to subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes\u003c/a>, \u003ca href=\"https://play.google.com/music/listen?u=0#/ps/Ipi2mc5aqfen4nr2daayiziiyuy\">Google Play\u003c/a> or \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\">NPR One\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long associated with the Bay Area, the word ‘hella’ has gained widespread use. But how was the word born? Ventura Albor asked \u003ca href=\"https://www.kqed.org/news/series/baycurious\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Curious\u003c/a>:\u003c/p>\n\u003cp>\u003cstrong>How is it that “hella” became synonymous with the Bay?\u003c/strong>\u003c/p>\n\u003cp>Ventura’s question was inspired by his college days at UC Davis.\u003c/p>\n\u003cfigure id=\"attachment_11178097\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11178097\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-800x533.jpg\" alt=\"A UC Berkeley student poses for photos wearing a 'Hella Kitty' shirt from Pure 510, a local custom t-shirt business in Oakland, California.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A UC Berkeley student poses for photos wearing a ‘Hella Kitty’ shirt from Pure 510, a local custom t-shirt business in Oakland, California. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“L.A. folks would [home] in on it right away and be like, ‘Oh you’re from the Bay Area?’ ” he says. “I never really thought of it, I just thought everyone said hella.” \u003c/p>\n\u003ch3>Hella: A Linguistic Boundary\u003c/h3>\n\u003cp>Many Bay Area residents and Californians believe that hella — and its G-rated equivalent “hecka” — are Bay Area slang. The words, which mean “very” or “a lot of,” can be used multiple ways. You can say “I’m hella stoked” or “There were hella people at that party last night,” or even, “I was doing it for hella days.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mary Bucholtz, a linguist at the University of California, Santa Barbara, conducted a study in which people indicated their perceptions of how people talk in certain areas of California.\u003c/p>\n\u003caside class=\"alignleft\">\n\u003ch3>A Guide to Bay Area Slang\u003c/h3>\n\u003cp>\u003cstrong>Hella\u003c/strong> – very, really, extremely; many, a lot; in an extraordinary or impressive manner.\u003cbr>\n\u003cem>“That jacket’s hella dope!”\u003c/em>\u003cbr>\n\u003cstrong>Hyphy\u003c/strong> – hyper, excited\u003cbr>\n\u003cem>“I’m from the Bay where we hyphy and go dumb. From the soil where them rappers be getting their lingo from.” – E-40\u003c/em>\u003cbr>\n\u003cstrong>Off the chain\u003c/strong> – super fun, exciting, great\u003cbr>\n\u003cem>“This party tonight’s gonna be off the chain!”\u003c/em>\u003cbr>\n\u003cstrong>Fa sheezy/fo shizzle\u003c/strong> – for sure\u003cbr>\n\u003cem>“Saturday is off the heezy fo’sheezy.” – Jermaine Dupri\u003c/em>\u003cbr>\n\u003cstrong>Janky\u003c/strong> – poor quality, inferior, weird\u003cbr>\n\u003cem>“Ugh, this umbrella is hella janky.”\u003c/em>\u003cbr>\n\u003cstrong>Baller\u003c/strong> (n)/\u003cstrong>ballin’\u003c/strong> (v) – a ball player, or someone who’s winning “the game” (of life).\u003cbr>\n\u003cem>“Wanna be a baller, shot caller, 20-inch blades on the impala” – Lil’ Troy\u003c/em>\u003c/p>\n\u003c/aside>\n\u003cp>Hella was the most frequently cited word, and 78.4 percent of the people who mentioned it in the study said it was Northern California slang.\u003c/p>\n\u003cp>“For Southern Californians in particular, hella represents a crucial shibboleth separating the two major regions of the state,” says Bucholtz.\u003c/p>\n\u003cp>That’s true for Southern California transplant Bree DeRobbio, now living in San Jose. She remembers the first time she heard someone say hella.\u003c/p>\n\u003cp>“My reaction was ‘Oh my God, they really do say it.’ And I was amazed at all the different applications the word has,” she says.\u003c/p>\n\u003ch3>The Dictionary Says WHAT?\u003c/h3>\n\u003cp>There are at least two origin stories for hella: One places it in Toronto (yes, Canada) and the other in Oakland.\u003c/p>\n\u003cp>More on Oakland later, but first — Toronto? I mean, really?\u003c/p>\n\u003cp>Hella made its first appearance in the Oxford English Dictionary in 2002, and the dictionary says the word was first used in a 1987 article in the Toronto Star:\u003c/p>\n\u003cblockquote>\u003cp>“The horse went hella whoopin’ down the trail, trailing 50 feet or more of the best Berkley Trilene Monofilament line.”\u003c/p>\u003c/blockquote>\n\u003cp>(Sidenote: That part about the best Berkley Trilene Monofilament line refers to a type of fishing line — no relation to Berkeley, Calif.)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In fact, hella is identified as Northern American slang that was probably shortened from “helluva” or “hellacious.” But English-language historian Michael Adams says hella’s grammatical usage doesn’t quite align with what the Oxford English Dictionary says.\u003c/p>\n\u003cp>“I’m really skeptical of that etymology that hella comes from helluva because we don’t use hella grammatically in the same way that we would use helluva,” Adams says.\u003c/p>\n\u003cp>What Adams means is you can’t get “hella cute” from “helluva cute,” or say, “My dad’s a hella cook,” even though you could say, “My dad’s a helluva cook.”\u003c/p>\n\u003cp>He also has an explanation for why hella didn’t come from hellacious.\u003c/p>\n\u003cfigure id=\"attachment_10649553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10649553\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-800x532.jpg\" alt=\"Someone turned Fell Street in San Francisco into Hella Street. (kyle rw/Flickr)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-1440x958.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Someone turned Fell Street in San Francisco into Hella Street. (kyle rw/Flickr)\u003c/figcaption>\u003c/figure>\n\u003cp>“The suffix from hellacious is ‘—acious,’ like tenacious, and if you’re going to break a word, you’re usually going to break a word where there’s a boundary between its parts,” Adams says.\u003c/p>\n\u003cp>According to this theory, the natural break for hellacious would make it “hell-aysh,” not hella.\u003c/p>\n\u003ch3>From Oakland Teens to the Rest of the World\u003c/h3>\n\u003cp>UC Berkeley linguist Geoff Nunberg traces hella back a few more years, to Oakland, from two early citations in a 1987 \u003ca href=\"https://books.google.com/books?id=k-NIAQAAMAAJ&q=Second+Class+Finish:+The+Effects+of+Rituals+and+Routines+of+a+Working-class+High+School,+Volume+2&dq=Second+Class+Finish:+The+Effects+of+Rituals+and+Routines+of+a+Working-class+High+School,+Volume+2&hl=en&sa=X&ved=0CB4Q6AEwAGoVChMI6OGT39u2xwIVUFaICh3jbQDI\" target=\"_blank\" rel=\"noopener noreferrer\">dissertation\u003c/a> of a Berkeley student.\u003c/p>\n\u003cfigure id=\"attachment_10650083\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10650083 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1440x1080.jpg\" alt=\"Some in Oakland have embraced the word. Mayor Libby Schaaf often used it while campaigning, saying 'I hella love Oakland' and 'It is hella time for leadership in Oakland.'\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Some in Oakland have embraced the word. Mayor Libby Schaaf often used it while campaigning, saying ‘I hella love Oakland’ and ‘It is hella time for leadership in Oakland.’ \u003ccite>(cplbasilisk/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hella emerged somewhere in Northern California around the late 1970s, and although it spread to other places, it’s still associated with this region,” says Nunberg.\u003c/p>\n\u003cp>Historically, slang spreads from black English to white English and not in the other direction, which is why Nunberg says he suspects it started in Oakland.\u003c/p>\n\u003cp>Phrases like “cool” and “tell it like it is” are good examples.\u003c/p>\n\u003cp>“ ‘Cool’ was adopted by white hipsters and beatniks in the early ‘50s before spreading to teen slang. ‘Tell it like it is’ was used by black writers in the early ’60s and quickly became part of general white English,” he says.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That lines up with what multimedia producer Sean Kennedy, an Oakland native, recalls.\u003c/p>\n\u003cp>He remembers saying hella with the kids on his Pop Warner football team and at King Estates Junior High School in the late ’70s.\u003c/p>\n\u003cp>“Very rarely in the African-American or black community do we pick up other people’s language and use them,” he says. “It’s usually the language we create and other people use them.”\u003c/p>\n\u003cp>At that time, hip-hop and street culture gained widespread popularity.\u003c/p>\n\u003cp>“It was used in a manner of explaining, ‘That looked hella good— that looked good’—something that was clean, or somebody acting crazy, ‘You’re hella crazy,’ ” Kennedy says.\u003c/p>\n\u003ch3>Bay Area Punks Debate Hella Vs. Hell Of\u003c/h3>\n\u003caside class=\"alignright\">\n\u003ch3>“Hell of Dumb” by the Mr. T. Experience\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"369\" height=\"277\" src=\"https://www.youtube.com/embed/-R_TW_ZqHw4\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>In early years, Bay Area youth debated whether the slang word was hella or actually “hell of.”\u003c/p>\n\u003cp>In Berkeley, the debate could get quite heated, says punk rocker Frank Portman. In 1997, he wrote a song called “Hell of Dumb,” poking fun at the issue with his band the Mr. T. Experience. He thinks the hella vs. hell of debate goes back to 1983.\u003c/p>\n\u003cp>“It was always very clear that it was hell of. It was not hella and if anyone ever said hella, which sometimes people did, they would always correct you with the attitude of a school marm correcting your grammar,” Portman says.\u003c/p>\n\u003ch3>Hella Now\u003c/h3>\n\u003cp>Since those early days, widespread use of hell of, hellacious and helluva has dwindled — leaving hella to stand alone.\u003c/p>\n\u003caside class=\"alignleft\">\n\u003ch3>Cartman uses hella in South Park\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"369\" height=\"208\" src=\"https://www.youtube.com/embed/7pohEb7DUac\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>Hella got a national audience in the South Park episode “Spookyfish,” from the second season.\u003c/p>\n\u003cp>Cartman taunts Stan and Kyle by singing, “You guys are hella stupid, you guys are hella lame, you guys are hella dumb hella, hella, hella.”\u003c/p>\n\u003cp>The word may be one of Northern California’s most notorious cultural exports.\u003c/p>\n\u003cp>You’re welcome, world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Got a question you want to see the Bay Curious team take on? \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\" rel=\"noopener noreferrer\">Submit it!\u003c/a> Be sure to subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes\u003c/a>, \u003ca href=\"https://play.google.com/music/listen?u=0#/ps/Ipi2mc5aqfen4nr2daayiziiyuy\">Google Play\u003c/a> or \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\">NPR One\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the Bay Area’s leading theater companies has a new artistic director. Orinda’s \u003ca href=\"http://www.calshakes.org\" target=\"_blank\" rel=\"noopener\">California Shakespeare Theater\u003c/a> (Cal Shakes) announced Wednesday that Eric Ting will join the company in November.\u003c/p>\n\u003cp>“He has this boundless enthusiasm for making art that is just contagious,” Cal Shakes managing director Susie Falk said.\u003c/p>\n\u003cp>Ting, 42, will become one of the few Chinese-Americans heading a major theater company.\u003c/p>\n\u003cp>Currently associate artistic director at the well-regarded Long Wharf Theater in New Haven, Ting takes over from Jon Moscone, whose 15 year tenure of Cal Shakes was marked not only by well-regarded productions of Shakespeare but also included dramas by modern playwrights — many of them of color.\u003c/p>\n\u003cp>Falk says CalShakes picked Ting partly because he’s committed to continuing those efforts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Making the work of Shakespeare and other classics available to more people,” Falk said of Ting’s approach. “[Ting believes] that this work belongs to everybody, and that theater shouldn’t be an elite experience.”\u003c/p>\n\u003cp>In a statement, Ting said he’s honored to join a theater company “whose mission and programming both on and off its stage so thoroughly embody what I believe a theater can and must be today.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v1sRg3udr4k\u003c/p>\n\u003cp>Falk said Ting will bring something new to the company. She said Moscone was often interested in how plays differed from each other, while Ting is more interested in their similarities. “Like when you put a play next to Shakespeare — how do those two plays talk to each other,” Falk said.\u003c/p>\n\u003cp>Ting studied directing and puppetry at West Virginia University, and then got an MFA from the International Actor Training Academy at the University of Tennessee.\u003c/p>\n\u003cp>Falk said Ting and Moscone are each picking two plays for the 2016 season, still to be announced.\u003c/p>\n\u003cp>“Eric Ting is an inspired choice for CalShakes,” said Brad Erickson, executive director of Theatre Bay Area, an umbrella organization for the region’s performing arts scene. “Eric is a well-known leader in the field who stands out for his dual commitment to bold artistry and the engagement of theater with the larger community and issues of social change.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ting will officially take over as artistic director Nov. 1. But Falk expects it will take him a few months to settle in. The director, together with his wife and infant daughter will be moving from Brooklyn to the challenging East Bay real estate market.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the Bay Area’s leading theater companies has a new artistic director. Orinda’s \u003ca href=\"http://www.calshakes.org\" target=\"_blank\" rel=\"noopener\">California Shakespeare Theater\u003c/a> (Cal Shakes) announced Wednesday that Eric Ting will join the company in November.\u003c/p>\n\u003cp>“He has this boundless enthusiasm for making art that is just contagious,” Cal Shakes managing director Susie Falk said.\u003c/p>\n\u003cp>Ting, 42, will become one of the few Chinese-Americans heading a major theater company.\u003c/p>\n\u003cp>Currently associate artistic director at the well-regarded Long Wharf Theater in New Haven, Ting takes over from Jon Moscone, whose 15 year tenure of Cal Shakes was marked not only by well-regarded productions of Shakespeare but also included dramas by modern playwrights — many of them of color.\u003c/p>\n\u003cp>Falk says CalShakes picked Ting partly because he’s committed to continuing those efforts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Making the work of Shakespeare and other classics available to more people,” Falk said of Ting’s approach. “[Ting believes] that this work belongs to everybody, and that theater shouldn’t be an elite experience.”\u003c/p>\n\u003cp>In a statement, Ting said he’s honored to join a theater company “whose mission and programming both on and off its stage so thoroughly embody what I believe a theater can and must be today.”\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/v1sRg3udr4k'\n title='//www.youtube.com/embed/v1sRg3udr4k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Falk said Ting will bring something new to the company. She said Moscone was often interested in how plays differed from each other, while Ting is more interested in their similarities. “Like when you put a play next to Shakespeare — how do those two plays talk to each other,” Falk said.\u003c/p>\n\u003cp>Ting studied directing and puppetry at West Virginia University, and then got an MFA from the International Actor Training Academy at the University of Tennessee.\u003c/p>\n\u003cp>Falk said Ting and Moscone are each picking two plays for the 2016 season, still to be announced.\u003c/p>\n\u003cp>“Eric Ting is an inspired choice for CalShakes,” said Brad Erickson, executive director of Theatre Bay Area, an umbrella organization for the region’s performing arts scene. “Eric is a well-known leader in the field who stands out for his dual commitment to bold artistry and the engagement of theater with the larger community and issues of social change.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ting will officially take over as artistic director Nov. 1. But Falk expects it will take him a few months to settle in. The director, together with his wife and infant daughter will be moving from Brooklyn to the challenging East Bay real estate market.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Amnesia's Permit Approved by Entertainment Commission",
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"content": "\u003cp>Bryant Tan’s job must be fun sometimes — it certainly appeared to be last night, when the Entertainment Commission president oversaw the approval of three separate venues’ “place of entertainment” permits, and wished them good luck.\u003c/p>\n\u003cp>One of those was Mission District live-music venue Amnesia, whose permit was granted in an outpouring of support from commissioners and community members alike. Officer Parker from the SFPD’s Mission Station came to the microphone to express excitement that the bar’s new owner Craig Wathen plans to continue to present “a diversity of live music.” And in terms of security, Parker was clear: as long as Wathen maintains the system already in place, “I see no reason to fix something that isn’t broken.”\u003c/p>\n\u003cp>In the chamber inside City Hall, it was clear from the onset via commissioners’ supportive comments and the packed house that the permit would be approved. However, public comment is usually opened anyway in such cases, and President Tan graciously allowed this. Before doing so, however, and “in the interests of time,” he called for a show of hands of those in favor of granting the permit. Every single audience member raised a hand. He then asked “Is anyone opposed?” No hands were raised.\u003c/p>\n\u003cp>A number of Amnesia regulars spoke during the ensuing public comment period, including the venue’s bookkeeper and close neighbor, Heidi-Jane Schwabe, who said she had passed a petition around the neighborhood. “And even someone who notoriously calls the police on everyone said ‘Oh, Amnesia?’ I’ll absolutely support that,” she said. She also noted the number of jobs created by the small bar. “This is the livelihood of a lot of people,” she said.\u003c/p>\n\u003cp>“Same house, same call,” in commissionese, means the six-member regulatory group is satisfied and expects to see a venue operating in a manner consistent with its past — Amnesia’s large community of musicians, friends, and neighbors seems to hope the same.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bryant Tan’s job must be fun sometimes — it certainly appeared to be last night, when the Entertainment Commission president oversaw the approval of three separate venues’ “place of entertainment” permits, and wished them good luck.\u003c/p>\n\u003cp>One of those was Mission District live-music venue Amnesia, whose permit was granted in an outpouring of support from commissioners and community members alike. Officer Parker from the SFPD’s Mission Station came to the microphone to express excitement that the bar’s new owner Craig Wathen plans to continue to present “a diversity of live music.” And in terms of security, Parker was clear: as long as Wathen maintains the system already in place, “I see no reason to fix something that isn’t broken.”\u003c/p>\n\u003cp>In the chamber inside City Hall, it was clear from the onset via commissioners’ supportive comments and the packed house that the permit would be approved. However, public comment is usually opened anyway in such cases, and President Tan graciously allowed this. Before doing so, however, and “in the interests of time,” he called for a show of hands of those in favor of granting the permit. Every single audience member raised a hand. He then asked “Is anyone opposed?” No hands were raised.\u003c/p>\n\u003cp>A number of Amnesia regulars spoke during the ensuing public comment period, including the venue’s bookkeeper and close neighbor, Heidi-Jane Schwabe, who said she had passed a petition around the neighborhood. “And even someone who notoriously calls the police on everyone said ‘Oh, Amnesia?’ I’ll absolutely support that,” she said. She also noted the number of jobs created by the small bar. “This is the livelihood of a lot of people,” she said.\u003c/p>\n\u003cp>“Same house, same call,” in commissionese, means the six-member regulatory group is satisfied and expects to see a venue operating in a manner consistent with its past — Amnesia’s large community of musicians, friends, and neighbors seems to hope the same.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Well, this comes as a surprise: After nearly a year of collective groaning following the announcement that the \u003ca href=\"http://www.elbo.com/\" target=\"_blank\" rel=\"noopener\">Elbo Room\u003c/a> would close in November of this year, the owner of the Mission District bar and venue announced on Facebook last night (Aug. 18) that the club’s lease had been extended through the end of the year, and will go month-to-month in 2016. Lovers of dark back booths and stiff well drinks served in pint glasses, rejoice!\u003c/p>\n\u003cp>From Matt Shapiro’s \u003ca href=\"https://www.facebook.com/matt.shapiro.1656/posts/10152978942002601?pnref=story\" target=\"_blank\" rel=\"noopener\">joyful post \u003c/a>[asterisks ours]:\u003c/p>\n\u003cblockquote>\u003cp>Big f***in News! Elbo Room’s lease is extended til the end of the year!!!!With monthly options in 2016. This came out of nowhere. As of yesterday we were told we needed to be completely out by November 9th.\u003c/p>\u003c/blockquote>\n\u003cp>In April, \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">as KQED Arts previously reported,\u003c/a> Shapiro had somberly delivered the official word that the club at 647 Valencia Street — which has a bar on the first floor and a stage and dancefloor on the second level — would be closing. Building owners Dennis and Susan Ring planned to replace it with with a five-story, nine-unit, “senior-friendly” condo development in which the \u003ca href=\"http://sfist.com/2014/11/10/elbo_room_to_become_retirement_room.php\" target=\"_blank\" rel=\"noopener\">couple themselves could live.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10905584\" class=\"wp-caption alignright\" style=\"max-width: 515px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/B2Gc94rCQAEiOfO-e1440020404594.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10905584\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/B2Gc94rCQAEiOfO-e1440020404594-400x174.jpg\" alt=\"An artist's rendering of the proposed condos that would replace the Elbo Room at 647 Valencia Street. \" width=\"515\" height=\"224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/B2Gc94rCQAEiOfO-e1440020404594-400x174.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/B2Gc94rCQAEiOfO-e1440020404594.jpg 594w\" sizes=\"(max-width: 515px) 100vw, 515px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An artist’s rendering of the proposed condos that would replace the Elbo Room at 647 Valencia Street.\u003c/figcaption>\u003c/figure>\n\u003cp>But the development faces delays, and Shapiro told KQED that Dennis Ring delivered news of the lease extension “in person.”\u003c/p>\n\u003cp>“The only thing he said was they realized it would be better for the building not to stand empty while they are waiting for the project to continue,” said Shapiro. “This really did come out of nowhere and Erik [Cantu, the bar’s co-owner] and I are both still in shock, and quite happy.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At a meeting last November \u003ca href=\"http://ww2.kqed.org/arts/2014/11/21/the-elbo-room-is-far-from-dying-but-theres-still-a-movement-to-save-it/\" target=\"_blank\" rel=\"noopener\">attended by KQED’s Kevin Jones\u003c/a>, supporters of the bar kicked around the idea of trying to get it designated as a historic building, pointing to its previous life as the lesbian bar Amelia’s (Shapiro and co. still hoist the old sign each Pride weekend in salute). But it’s unclear whether that or some other hitch in the permit process caused the “project” to take longer than the Rings were perhaps expecting. We’ll update this post if/when we know more.\u003c/p>\n\u003cp>In the meantime: See you at the bar?\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Screen-Shot-2015-08-19-at-2.34.28-PM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10905583 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Screen-Shot-2015-08-19-at-2.34.28-PM.png\" alt=\"Screen Shot 2015-08-19 at 2.34.28 PM\" width=\"499\" height=\"85\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Screen-Shot-2015-08-19-at-2.34.28-PM.png 499w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Screen-Shot-2015-08-19-at-2.34.28-PM-400x68.png 400w\" sizes=\"(max-width: 499px) 100vw, 499px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Well, this comes as a surprise: After nearly a year of collective groaning following the announcement that the \u003ca href=\"http://www.elbo.com/\" target=\"_blank\" rel=\"noopener\">Elbo Room\u003c/a> would close in November of this year, the owner of the Mission District bar and venue announced on Facebook last night (Aug. 18) that the club’s lease had been extended through the end of the year, and will go month-to-month in 2016. Lovers of dark back booths and stiff well drinks served in pint glasses, rejoice!\u003c/p>\n\u003cp>From Matt Shapiro’s \u003ca href=\"https://www.facebook.com/matt.shapiro.1656/posts/10152978942002601?pnref=story\" target=\"_blank\" rel=\"noopener\">joyful post \u003c/a>[asterisks ours]:\u003c/p>\n\u003cblockquote>\u003cp>Big f***in News! Elbo Room’s lease is extended til the end of the year!!!!With monthly options in 2016. This came out of nowhere. As of yesterday we were told we needed to be completely out by November 9th.\u003c/p>\u003c/blockquote>\n\u003cp>In April, \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">as KQED Arts previously reported,\u003c/a> Shapiro had somberly delivered the official word that the club at 647 Valencia Street — which has a bar on the first floor and a stage and dancefloor on the second level — would be closing. Building owners Dennis and Susan Ring planned to replace it with with a five-story, nine-unit, “senior-friendly” condo development in which the \u003ca href=\"http://sfist.com/2014/11/10/elbo_room_to_become_retirement_room.php\" target=\"_blank\" rel=\"noopener\">couple themselves could live.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10905584\" class=\"wp-caption alignright\" style=\"max-width: 515px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/B2Gc94rCQAEiOfO-e1440020404594.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10905584\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/B2Gc94rCQAEiOfO-e1440020404594-400x174.jpg\" alt=\"An artist's rendering of the proposed condos that would replace the Elbo Room at 647 Valencia Street. \" width=\"515\" height=\"224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/B2Gc94rCQAEiOfO-e1440020404594-400x174.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/B2Gc94rCQAEiOfO-e1440020404594.jpg 594w\" sizes=\"(max-width: 515px) 100vw, 515px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An artist’s rendering of the proposed condos that would replace the Elbo Room at 647 Valencia Street.\u003c/figcaption>\u003c/figure>\n\u003cp>But the development faces delays, and Shapiro told KQED that Dennis Ring delivered news of the lease extension “in person.”\u003c/p>\n\u003cp>“The only thing he said was they realized it would be better for the building not to stand empty while they are waiting for the project to continue,” said Shapiro. “This really did come out of nowhere and Erik [Cantu, the bar’s co-owner] and I are both still in shock, and quite happy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a meeting last November \u003ca href=\"http://ww2.kqed.org/arts/2014/11/21/the-elbo-room-is-far-from-dying-but-theres-still-a-movement-to-save-it/\" target=\"_blank\" rel=\"noopener\">attended by KQED’s Kevin Jones\u003c/a>, supporters of the bar kicked around the idea of trying to get it designated as a historic building, pointing to its previous life as the lesbian bar Amelia’s (Shapiro and co. still hoist the old sign each Pride weekend in salute). But it’s unclear whether that or some other hitch in the permit process caused the “project” to take longer than the Rings were perhaps expecting. We’ll update this post if/when we know more.\u003c/p>\n\u003cp>In the meantime: See you at the bar?\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Screen-Shot-2015-08-19-at-2.34.28-PM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10905583 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Screen-Shot-2015-08-19-at-2.34.28-PM.png\" alt=\"Screen Shot 2015-08-19 at 2.34.28 PM\" width=\"499\" height=\"85\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Screen-Shot-2015-08-19-at-2.34.28-PM.png 499w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Screen-Shot-2015-08-19-at-2.34.28-PM-400x68.png 400w\" sizes=\"(max-width: 499px) 100vw, 499px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Yvonne Craig, Best Known as 'Batgirl,' Dies at 78",
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"content": "\u003cp>Yvonne Craig, best known for her role as Batgirl in the iconic 1960s television series \u003cem>Batman,\u003c/em> died Monday. She was 78.\u003c/p>\n\u003cp>Craig died at her home in Pacific Palisades, Calif., as a result of complications from breast cancer that had spread to her liver. In a \u003ca href=\"http://www.yvonnecraig.com/news/2015/08/19/a-word-from-yvonne-craigs-family/\" target=\"_blank\" rel=\"noopener\">statement posted to her website\u003c/a>, family members said:\u003c/p>\n\u003cblockquote>\n\u003cp>“She had been in chemo almost continuously for the past two plus years since being diagnosed and that had weakened her immune system as well as her body. This didn’t dampen her sense of humor or her spirit, she intended to fight and win this battle. In the end, her mind still wanted to fight but her body had given up.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Craig was a trained dancer who had studied at the Ballet Russe de Monte Carlo and toured for three years. Those dancing skills came in handy when the character of Batgirl debuted on ABC’s popular superhero crime-fighting series in 1967. Craig was able to perform her own stunts alongside Adam West, who played Batman.\u003c/p>\n\u003cp>As with many characters on the show, she had to play two roles. By day, she was librarian Barbara Gordon, daughter of Gotham City police Commissioner James Gordon. But in times of need, she transformed into the caped crusader fighting crime alongside Batman and Robin. She even had a purple motorcycle with white lace trim.\u003c/p>\n\u003cp>\u003cem>Star Trek\u003c/em> fans will remember Craig’s work, too. She played Marta, the green-skinned Orion slave girl who wanted to kill Captain Kirk in Season 3.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1H2QvmWLT4s\u003c/p>\n\u003cp>Other roles include the 1963 movie \u003cem>It Happened at the World’s Fair\u003c/em> and 1964’s \u003cem>Kissin’ Cousins\u003c/em>, both staring Elvis Presley. She also made guest appearances on popular TV shows throughout the 1970s, including \u003cem>Starsky & Hutch\u003c/em>, \u003cem>The Six Million Dollar Man\u003c/em> and \u003cem>Kojak\u003c/em>.\u003c/p>\n\u003cp>More recently, she did voice work for the Nickelodeon animated series \u003cem>Olivia \u003c/em>about an imaginative and creative pig.\u003c/p>\n\u003cp>Outside of acting, Craig had a real-estate career and also was involved with philanthropy. She was an advocate for workers unions, free mammograms and equal pay for women.\u003c/p>\n\u003cp>The family’s statement said Craig had two wishes:\u003c/p>\n\u003cblockquote>\n\u003cp>“Wish Number One, is that her family, friends and fans would know how much she loved them and always treasured her time with them. Wish Number Two, was that no one waste a moment of their time in mourning for her loss in sadness but instead celebrate the awesome life she had been fortunate enough to live. She felt that she lived a wonderful life and was blessed in many ways.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Craig is survived by her husband, Kenneth Aldrich, as well as by her sister, Meridel Carson, and nephews Christopher and Todd Carson. \u003c/p>\n\u003cfigure id=\"attachment_10905405\" class=\"wp-caption aligncenter\" style=\"max-width: 474px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/yvonne-craig-as-marta-0f837dba4f4d8c9ea36843eebd0606b03d91f289.jpg\" alt=\"Yvonne Craig appears in a publicity photo for the TV series Star Trek in 1969. She played the role of Orion Marta in the episode titled 'Whom Gods Destroy.'\" width=\"474\" height=\"355\" class=\"size-full wp-image-10905405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/yvonne-craig-as-marta-0f837dba4f4d8c9ea36843eebd0606b03d91f289.jpg 474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/yvonne-craig-as-marta-0f837dba4f4d8c9ea36843eebd0606b03d91f289-400x300.jpg 400w\" sizes=\"(max-width: 474px) 100vw, 474px\">\u003cfigcaption class=\"wp-caption-text\">Yvonne Craig appears in a publicity photo for the TV series \u003cem>Star Trek\u003c/em> in 1969. She played the role of Orion Marta in the episode titled ‘Whom Gods Destroy.’ \u003ccite>(Silver Screen Collection/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=Yvonne+Craig%2C+Best+Known+As+%27Batgirl%2C%27+Dies+At+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yvonne Craig, best known for her role as Batgirl in the iconic 1960s television series \u003cem>Batman,\u003c/em> died Monday. She was 78.\u003c/p>\n\u003cp>Craig died at her home in Pacific Palisades, Calif., as a result of complications from breast cancer that had spread to her liver. In a \u003ca href=\"http://www.yvonnecraig.com/news/2015/08/19/a-word-from-yvonne-craigs-family/\" target=\"_blank\" rel=\"noopener\">statement posted to her website\u003c/a>, family members said:\u003c/p>\n\u003cblockquote>\n\u003cp>“She had been in chemo almost continuously for the past two plus years since being diagnosed and that had weakened her immune system as well as her body. This didn’t dampen her sense of humor or her spirit, she intended to fight and win this battle. In the end, her mind still wanted to fight but her body had given up.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Craig was a trained dancer who had studied at the Ballet Russe de Monte Carlo and toured for three years. Those dancing skills came in handy when the character of Batgirl debuted on ABC’s popular superhero crime-fighting series in 1967. Craig was able to perform her own stunts alongside Adam West, who played Batman.\u003c/p>\n\u003cp>As with many characters on the show, she had to play two roles. By day, she was librarian Barbara Gordon, daughter of Gotham City police Commissioner James Gordon. But in times of need, she transformed into the caped crusader fighting crime alongside Batman and Robin. She even had a purple motorcycle with white lace trim.\u003c/p>\n\u003cp>\u003cem>Star Trek\u003c/em> fans will remember Craig’s work, too. She played Marta, the green-skinned Orion slave girl who wanted to kill Captain Kirk in Season 3.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1H2QvmWLT4s'\n title='//www.youtube.com/embed/1H2QvmWLT4s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Other roles include the 1963 movie \u003cem>It Happened at the World’s Fair\u003c/em> and 1964’s \u003cem>Kissin’ Cousins\u003c/em>, both staring Elvis Presley. She also made guest appearances on popular TV shows throughout the 1970s, including \u003cem>Starsky & Hutch\u003c/em>, \u003cem>The Six Million Dollar Man\u003c/em> and \u003cem>Kojak\u003c/em>.\u003c/p>\n\u003cp>More recently, she did voice work for the Nickelodeon animated series \u003cem>Olivia \u003c/em>about an imaginative and creative pig.\u003c/p>\n\u003cp>Outside of acting, Craig had a real-estate career and also was involved with philanthropy. She was an advocate for workers unions, free mammograms and equal pay for women.\u003c/p>\n\u003cp>The family’s statement said Craig had two wishes:\u003c/p>\n\u003cblockquote>\n\u003cp>“Wish Number One, is that her family, friends and fans would know how much she loved them and always treasured her time with them. Wish Number Two, was that no one waste a moment of their time in mourning for her loss in sadness but instead celebrate the awesome life she had been fortunate enough to live. She felt that she lived a wonderful life and was blessed in many ways.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Craig is survived by her husband, Kenneth Aldrich, as well as by her sister, Meridel Carson, and nephews Christopher and Todd Carson. \u003c/p>\n\u003cfigure id=\"attachment_10905405\" class=\"wp-caption aligncenter\" style=\"max-width: 474px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/yvonne-craig-as-marta-0f837dba4f4d8c9ea36843eebd0606b03d91f289.jpg\" alt=\"Yvonne Craig appears in a publicity photo for the TV series Star Trek in 1969. She played the role of Orion Marta in the episode titled 'Whom Gods Destroy.'\" width=\"474\" height=\"355\" class=\"size-full wp-image-10905405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/yvonne-craig-as-marta-0f837dba4f4d8c9ea36843eebd0606b03d91f289.jpg 474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/yvonne-craig-as-marta-0f837dba4f4d8c9ea36843eebd0606b03d91f289-400x300.jpg 400w\" sizes=\"(max-width: 474px) 100vw, 474px\">\u003cfigcaption class=\"wp-caption-text\">Yvonne Craig appears in a publicity photo for the TV series \u003cem>Star Trek\u003c/em> in 1969. She played the role of Orion Marta in the episode titled ‘Whom Gods Destroy.’ \u003ccite>(Silver Screen Collection/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=Yvonne+Craig%2C+Best+Known+As+%27Batgirl%2C%27+Dies+At+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Is It Rolling, Bob?': Remembering Producer Bob Johnston",
"headTitle": "‘Is It Rolling, Bob?’: Remembering Producer Bob Johnston | KQED",
"content": "\u003cp>This past Friday, Aug. 14, the record producer Bob Johnston died in hospice care near his home in Nashville, Tenn. He was 83 years old.\u003cstrong>\u003cem>\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>More than any other single practitioner of that post, Johnston helped give shape, heft and durability to some of the most transformative American music of the past five decades, framing the sounds and intentions of an era — when invention was valued on par with accessibility; lines were confused and maps were being redrawn — and helping to foster a culture of autonomy and liberation for visionary artists that remains vital to this day, and continues to evolve.\u003c/p>\n\u003cp>As a staff producer for Columbia Records (and then as a free agent) Bob Johnston was a guiding force behind the artists on his watch — playing priest and lifeguard, counselor and agitator to such standard-bearers and upstarts as \u003ca href=\"http://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener\">Johnny Cash\u003c/a>, Marty Robbins, \u003ca href=\"http://www.npr.org/artists/15392685/leonard-cohen\" target=\"_blank\" rel=\"noopener\">Leonard Cohen\u003c/a>, \u003ca href=\"http://www.npr.org/artists/98847896/simon-garfunkel\" target=\"_blank\" rel=\"noopener\">Simon and Garfunkel\u003c/a>, and \u003ca href=\"http://www.npr.org/artists/15786738/the-byrds\" target=\"_blank\" rel=\"noopener\">The Byrds\u003c/a>, to name a scant few.\u003c/p>\n\u003cp>On behalf of Cash, Johnston stood up fearlessly against Columbia’s executives — who had threatened both men’s continued affiliation with the label should they follow through with the singer’s outlandish desire to record live concert albums at the maximum security prisons at Folsom and San Quentin — albums that proved to be not only blockbusters both, but definitive statements in burnishing the heroic and populist image of the rough-and-tumble Cash and helping to transfigure his standing from country star to national icon.\u003c/p>\n\u003cp>Leonard Cohen, already a successful novelist and poet in his native Canada, nonetheless regarded himself a novitiate as a musician, and was skittish in the studio. His debut album for Columbia — begun by legendary producer John Hammond, then handed off to John Simon — had proved arduous and creatively unsatisfying to Cohen, who felt it too dense and over-worked, leaving him unsure he would ever make another. But he knew Johnston’s work and reputation, and loved country music; on a chance encounter between the two in Los Angeles, Johnston promised to find Cohen a log cabin to rent in the woods outside of Nashville. He pledged as well to fight the label for Cohen’s right to make the kind of album he truly wanted to, and to help him see it through.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once in the studio together, Johnston pushed Cohen’s weary and soulful vocals far into the foreground, allowing each song’s story and its teller to trump the weather of whatever else might musically be happening around it. He insisted that the guarded Cohen fully inhabit his own authority as a poetic songwriter and transcendent performer. Following the studio sessions, Johnston was charged with assembling a touring band that could conjure in concert the mystic quality of the recorded songs, and said simply of his criteria that he wanted only, “people who look up — I didn’t want anybody looking down.”\u003c/p>\n\u003cp>To be sure, that says as much about Johnston’s musical ethos as anything could, favoring as he did musicians who were eager and able to disappear into the service of the sacred unnameable, who could abandon ego and trusted methodology in favor of real-time discovery.\u003c/p>\n\u003cp>For many of us, though, had Johnston only worked with \u003ca href=\"http://www.npr.org/artists/15193203/bob-dylan\" target=\"_blank\" rel=\"noopener\">Bob Dylan\u003c/a>, our collective debt to him would be immeasurable.\u003c/p>\n\u003cp>In the summer of 1965, there was a riot going on following the release of Dylan’s breakthrough single “\u003ca href=\"http://video.bobdylan.com/desktop.html\" target=\"_blank\" rel=\"noopener\">Like A Rolling Stone\u003c/a>” that found the one-time folk darling marrying the personal and cryptic imagery of the beat poets with the gritty, sensual swagger of electric blues. But when the young singer/songwriter reconvened in Columbia’s Studio A on 30th Street in Manhattan a few weeks later — itching to expand his newly minted and confounding revolution into a full-length album, following his \u003ca href=\"http://www.npr.org/2015/07/25/424977355/50-years-ago-bob-dylan-electrified-a-decade-with-one-concert\" target=\"_blank\" rel=\"noopener\">historic and controversial appearance\u003c/a> at the Newport Folk Festival over the weekend — Dylan arrived to find “Rolling Stone” producer Tom Wilson dismissed, and the amiable Texan Bob Johnston waiting coolly in his place. Gone too was the cast of seasoned stalwart musicians who typically populated a Columbia Records session, all having been replaced by a rag-tag group of young lions who proved to be every bit as ambitious and freaky as the singer himself. The resulting long-player — the groundbreaking \u003cem>Highway 61 Revisited — \u003c/em>still stands as a mountain upon the landscape, and as enduring a symbol of that turbulent decade as the Zapruder film.\u003c/p>\n\u003cp>Johnston went on to helm the \u003cem>other\u003c/em> Bob’s creative full blossom over the course of six albums — many of them masterworks, including the still-unparalleled \u003cem>Blonde On Blonde \u003c/em>double set of 1966. He did so not by stern direction, but by — there is no other way to say it — surrounding the fuming songwriter with light and a steadfast love that allowed the artist’s full commitment to every ranging possibility. Johnston, in essence, barred the doors and threw his physical body into the path of any company naysayers, while his young charge turned the label’s studios, in New York and \u003ca href=\"https://www.youtube.com/watch?v=eos_70yqX8E\" target=\"_blank\" rel=\"noopener\">later in Nashville\u003c/a>, from hit-factory into brothel wherein the ghost of Belle Starr might have entertained both Garcia Marquez and Howlin’ Wolf, each leaning in and leering from opposite ends of the divan.\u003c/p>\n\u003cp>Those of us who consider ourselves the fruit of such strange couplings will spend many hours in the coming days giving thanks for Bob Johnston’s life and courageous good works upon this earth.\u003c/p>\n\u003cp>May we all put a blanket on his bed.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Joe Henry is a songwriter, singer, recording artist and three-time Grammy-winning producer. In his work as a musician, he has collaborated with a disparate array of artists ranging from Ornette Coleman and Madonna to Bonnie Raitt, Harry Belafonte, Mose Allison and Ramblin’ Jack Elliott; from Bill Frisell and Salif Keita to Ani DiFranco, Solomon Burke, Bettye LaVette and Hugh Laurie.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>He is also the co-author, with his brother David Henry, of the book \u003c/em>Furious Cool: Richard Pryor and the World That Made Him\u003cem> (Algonquin, 2013).\u003c/em> \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=%27Is+It+Rolling%2C+Bob%3F%27%3A+Remembering+Producer+Bob+Johnston&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This past Friday, Aug. 14, the record producer Bob Johnston died in hospice care near his home in Nashville, Tenn. He was 83 years old.\u003cstrong>\u003cem>\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>More than any other single practitioner of that post, Johnston helped give shape, heft and durability to some of the most transformative American music of the past five decades, framing the sounds and intentions of an era — when invention was valued on par with accessibility; lines were confused and maps were being redrawn — and helping to foster a culture of autonomy and liberation for visionary artists that remains vital to this day, and continues to evolve.\u003c/p>\n\u003cp>As a staff producer for Columbia Records (and then as a free agent) Bob Johnston was a guiding force behind the artists on his watch — playing priest and lifeguard, counselor and agitator to such standard-bearers and upstarts as \u003ca href=\"http://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener\">Johnny Cash\u003c/a>, Marty Robbins, \u003ca href=\"http://www.npr.org/artists/15392685/leonard-cohen\" target=\"_blank\" rel=\"noopener\">Leonard Cohen\u003c/a>, \u003ca href=\"http://www.npr.org/artists/98847896/simon-garfunkel\" target=\"_blank\" rel=\"noopener\">Simon and Garfunkel\u003c/a>, and \u003ca href=\"http://www.npr.org/artists/15786738/the-byrds\" target=\"_blank\" rel=\"noopener\">The Byrds\u003c/a>, to name a scant few.\u003c/p>\n\u003cp>On behalf of Cash, Johnston stood up fearlessly against Columbia’s executives — who had threatened both men’s continued affiliation with the label should they follow through with the singer’s outlandish desire to record live concert albums at the maximum security prisons at Folsom and San Quentin — albums that proved to be not only blockbusters both, but definitive statements in burnishing the heroic and populist image of the rough-and-tumble Cash and helping to transfigure his standing from country star to national icon.\u003c/p>\n\u003cp>Leonard Cohen, already a successful novelist and poet in his native Canada, nonetheless regarded himself a novitiate as a musician, and was skittish in the studio. His debut album for Columbia — begun by legendary producer John Hammond, then handed off to John Simon — had proved arduous and creatively unsatisfying to Cohen, who felt it too dense and over-worked, leaving him unsure he would ever make another. But he knew Johnston’s work and reputation, and loved country music; on a chance encounter between the two in Los Angeles, Johnston promised to find Cohen a log cabin to rent in the woods outside of Nashville. He pledged as well to fight the label for Cohen’s right to make the kind of album he truly wanted to, and to help him see it through.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once in the studio together, Johnston pushed Cohen’s weary and soulful vocals far into the foreground, allowing each song’s story and its teller to trump the weather of whatever else might musically be happening around it. He insisted that the guarded Cohen fully inhabit his own authority as a poetic songwriter and transcendent performer. Following the studio sessions, Johnston was charged with assembling a touring band that could conjure in concert the mystic quality of the recorded songs, and said simply of his criteria that he wanted only, “people who look up — I didn’t want anybody looking down.”\u003c/p>\n\u003cp>To be sure, that says as much about Johnston’s musical ethos as anything could, favoring as he did musicians who were eager and able to disappear into the service of the sacred unnameable, who could abandon ego and trusted methodology in favor of real-time discovery.\u003c/p>\n\u003cp>For many of us, though, had Johnston only worked with \u003ca href=\"http://www.npr.org/artists/15193203/bob-dylan\" target=\"_blank\" rel=\"noopener\">Bob Dylan\u003c/a>, our collective debt to him would be immeasurable.\u003c/p>\n\u003cp>In the summer of 1965, there was a riot going on following the release of Dylan’s breakthrough single “\u003ca href=\"http://video.bobdylan.com/desktop.html\" target=\"_blank\" rel=\"noopener\">Like A Rolling Stone\u003c/a>” that found the one-time folk darling marrying the personal and cryptic imagery of the beat poets with the gritty, sensual swagger of electric blues. But when the young singer/songwriter reconvened in Columbia’s Studio A on 30th Street in Manhattan a few weeks later — itching to expand his newly minted and confounding revolution into a full-length album, following his \u003ca href=\"http://www.npr.org/2015/07/25/424977355/50-years-ago-bob-dylan-electrified-a-decade-with-one-concert\" target=\"_blank\" rel=\"noopener\">historic and controversial appearance\u003c/a> at the Newport Folk Festival over the weekend — Dylan arrived to find “Rolling Stone” producer Tom Wilson dismissed, and the amiable Texan Bob Johnston waiting coolly in his place. Gone too was the cast of seasoned stalwart musicians who typically populated a Columbia Records session, all having been replaced by a rag-tag group of young lions who proved to be every bit as ambitious and freaky as the singer himself. The resulting long-player — the groundbreaking \u003cem>Highway 61 Revisited — \u003c/em>still stands as a mountain upon the landscape, and as enduring a symbol of that turbulent decade as the Zapruder film.\u003c/p>\n\u003cp>Johnston went on to helm the \u003cem>other\u003c/em> Bob’s creative full blossom over the course of six albums — many of them masterworks, including the still-unparalleled \u003cem>Blonde On Blonde \u003c/em>double set of 1966. He did so not by stern direction, but by — there is no other way to say it — surrounding the fuming songwriter with light and a steadfast love that allowed the artist’s full commitment to every ranging possibility. Johnston, in essence, barred the doors and threw his physical body into the path of any company naysayers, while his young charge turned the label’s studios, in New York and \u003ca href=\"https://www.youtube.com/watch?v=eos_70yqX8E\" target=\"_blank\" rel=\"noopener\">later in Nashville\u003c/a>, from hit-factory into brothel wherein the ghost of Belle Starr might have entertained both Garcia Marquez and Howlin’ Wolf, each leaning in and leering from opposite ends of the divan.\u003c/p>\n\u003cp>Those of us who consider ourselves the fruit of such strange couplings will spend many hours in the coming days giving thanks for Bob Johnston’s life and courageous good works upon this earth.\u003c/p>\n\u003cp>May we all put a blanket on his bed.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Joe Henry is a songwriter, singer, recording artist and three-time Grammy-winning producer. In his work as a musician, he has collaborated with a disparate array of artists ranging from Ornette Coleman and Madonna to Bonnie Raitt, Harry Belafonte, Mose Allison and Ramblin’ Jack Elliott; from Bill Frisell and Salif Keita to Ani DiFranco, Solomon Burke, Bettye LaVette and Hugh Laurie.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>He is also the co-author, with his brother David Henry, of the book \u003c/em>Furious Cool: Richard Pryor and the World That Made Him\u003cem> (Algonquin, 2013).\u003c/em> \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=%27Is+It+Rolling%2C+Bob%3F%27%3A+Remembering+Producer+Bob+Johnston&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Sideshows: The Birth of Oakland's Hyphy Culture",
"title": "Sideshows: The Birth of Oakland's Hyphy Culture",
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"content": "\u003cp>Cars swerving back and forth, swinging side to side; the sound of tires screeching against concrete; the smell of burnt rubber. All of this makes up the sensory signature of events known as sideshows.\u003c/p>\n\u003cp>Sideshows have a \u003ca href=\"http://kron4.com/2015/06/26/oakland-police-warn-of-illegal-sideshows-this-summer/\" target=\"_blank\">bad reputation \u003c/a>as illegal, dangerous and occasionally violent street car shows, where gunshots may ring out and people could die. But for those who grew up in the early days, sideshows were not so much dangerous as they were innovative. They created a space for self-expression and originality that bubbled up on the streets of Deep East Oakland.\u003c/p>\n\u003cp>“It’s in the soil,” says \u003ca href=\"http://joehackman.com/2010/08/interview-sean-kennedy-good-news-podcast/\" target=\"_blank\">Sean Kennedy\u003c/a>, a multimedia producer and local hip-hop historian. “For some reason the air here in East Oakland breeds that type of creativity.”\u003c/p>\n\u003cp>https://youtu.be/BpjIy3rvfX4\u003c/p>\n\u003cp>\u003cb>Sideshow Beginnings \u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kennedy says it goes back to the early 1980s, when the music of the Sugar Hill Gang made it out here to the West Coast. “It seems like it started when hip-hop first got out here,” Kennedy said.\u003c/p>\n\u003cp>I meet Kennedy at the entrance to the Foods Co. in Foothill Square, so deep into East Oakland it is almost San Leandro. Kennedy says this is where it all began.\u003c/p>\n\u003cp>“There was a carnival that used to exist right here in Foothill Square, because there was a skating rink right here,” he says, pointing to what is now a Ross Dress for Less. “All the people would come down here to the skating rink and the carnival.” They would would bring their best cars and just cruise, he says.\u003c/p>\n\u003cp>https://youtu.be/ljUnyv5XUA8\u003c/p>\n\u003cp>Kennedy says that what many people think of as a sideshow these days, all doughnuts and destruction, was not the way it began. Back then, he says, “no one did doughnuts or spun their cars.” It was just peacocking, showing off the cars that were the pride and joy of many -- mostly male -- residents. “That,” Kennedy says, “was the original sideshow of East Oakland.”\u003c/p>\n\u003cp>People had cruised around in their souped up Chevys before, but it was as if the introduction of the new music taught the cars to dance.\u003c/p>\n\u003cp>In Kennedy's description, you can almost imagine the whole scene: Men slowly circling the parking lot in lovingly modified cars painted colors like cherry red or apple green. On the sidelines women watched, wearing tight skirts and showing off skin. The sideshow was a social event, a party in a parking lot, and showing off your car had a familiar goal: to woo women.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/219807957&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cb>The Sideshow as Cultural Marketplace\u003c/b>\u003c/p>\n\u003cp>As the sideshows spread, Kennedy says, they became a sort of cultural marketplace where people repped parties, hawked homemade fashion lines and shared the latest in music.\u003c/p>\n\u003cp>Yakpusua Zazaboi \u003ca href=\"http://www.sydewayz.com/index.htm#\" target=\"_blank\">documented sideshows\u003c/a> across East Oakland for his documentary series \"Sidewayz.\" When a proposal to \u003ca href=\"http://www.sfgate.com/bayarea/article/OAKLAND-Sideshow-spectator-law-expected-to-pass-2622930.php\" target=\"_blank\">make it illegal to attend sideshows\u003c/a> went before the Oakland City Council in 2005, Sidewayz videos were singled out in the \u003ca href=\"http://thenewspaper.com/rlc/docs/05-oakland.pdf\" target=\"_blank\">law's language\u003c/a>: “These videos portray the city in a negative light, encourage the proliferation of the activity and allow the promoters to popularize and profit from sideshows.” \u003ca href=\"http://www.sfgate.com/bayarea/article/OAKLAND-Council-votes-for-sideshow-crackdown-2655825.php\" target=\"_blank\">The law\u003c/a>, championed by then-Mayor Jerry Brown, passed in modified form, allowing those who watched the sideshows from the sidelines to be fined and even arrested.\u003c/p>\n\u003cp>But the sideshow, according to Zazaboi, was a thriving place, part craft fair, part improv performance, and always a place to catch the cultural zeitgeist. The sideshows, he said, were not just part of Oakland's unique hyphy culture, they formed the space in which hyphy was born. (Some of you might ask, \"What's hyphy?\" In fact, the Oxford English Dictionary recently added an entry, suggesting the word dates back to 2002 and giving the following definitions: \"1. Extremely rowdy, excited, or energetic. 2. A style of uptempo hip-hop music and frenetic dancing.\")\u003c/p>\n\u003cp>“You would come out and you would really understand what is popular in Oakland,” Zazaboi says. A key part of that was the music. “I think for about three or four years straight, we used to hear this song by a group called 3X Krazy.”\u003c/p>\n\u003cp>“It was just a baseline and it was so popular and would sound so good on really nice audio systems, it was almost like a sideshow theme,\" Zazaboi says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ptou06aABg4\u003c/p>\n\u003cp>When asked to name his pick for the theme of the sideshows, Sean Kennedy says there is really only one: Richie Rich’s sideshow song.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=l87Z1Z-40ao\u003c/p>\n\u003cp>“Now that's a classic,” Kennedy says. “When it comes to explaining the sideshow, in the early days.”\u003c/p>\n\u003cp>You can hear the whole sideshow in Richie Rich’s deep and sonorous voice. “In Oakland, California,\" he raps, \"every Saturday night brothers be riding, straight-laced zeniths, drop-tops, buckets, high performance.”\u003c/p>\n\u003cp>Music might have been the lifeblood of the sideshow, but according to Kennedy, the heart pumping that blood was the neighborhood's deep-rooted car culture.\u003c/p>\n\u003cp>\u003cstrong>Car Culture and the Sideshow\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10647512\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM.png\">\u003cimg class=\"size-thumbnail wp-image-10647512\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-400x399.png\" alt='\"A-1ing it.\"(@a1springservice/Instagram)' width=\"400\" height=\"399\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-400x399.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-64x64.png 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-96x96.png 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-128x128.png 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-75x75.png 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM.png 603w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"A-1ing it.\"(@a1springservice/Instagram)\u003c/figcaption>\u003c/figure>\n\u003cp>Ruben Flores greets a customer whose car he’s just modified at A1 Spring Service, a mechanic on the corner of MacArthur Boulevard and 98th Avenue.\u003c/p>\n\u003cp>This was -- and still is -- the go-to place to bring your car for modifications.\u003c/p>\n\u003cp>Flores, who went to Castlemont, the neighborhood high school, got the job straight out of school.\u003c/p>\n\u003cp>“The owner of the shop, he was losing a man, a mechanic, so he came down to the high school to ask about the auto shop program.”\u003c/p>\n\u003cp>Flores was hired on the spot, and he has been here ever since. Now he owns the place.\u003c/p>\n\u003cp>\"The first day of work became the longest day of work, 38 years later,” Flores says, laughing as he shakes his head. Those years have given Flores a passenger seat to car culture in Deep East Oakland. He confirms what Sean Kennedy told me-- that in the beginning, it wasn’t about souping up cars to go fast. “It was going lower,” Flores says. “Low and slow.”\u003c/p>\n\u003cp>Low and slow, Flores said, was a way to show off the beauty of your car. Flores said his shop became known for fixing up cars in a signature style.\u003c/p>\n\u003cp>“What A1 means, in the car culture,” Flores said, “is the stance is higher in the front and lower in the back. So they have that pointing --towards-the-moon type of look.”\u003c/p>\n\u003cp>Yakpasua Zazaboi said everyone knew about A1. “That was the place to go,” he said. “People would say, I have my car sitting A1, it was because of the name of the shop.”\u003c/p>\n\u003cp>But the sideshows began to change and evolve with time; they went from low and slow to fast and loose, with drivers performing tricks with increasing levels of difficulty and danger. The Oakland Police Department began to take notice.\u003c/p>\n\u003cp>Zazaboi says sideshows veered from “a nice slow cruising type of an event to a much faster speed, away-from-the-cops type of an event.”\u003c/p>\n\u003cp>\u003cstrong>Sideshows Run Into the Law\u003c/strong>\u003c/p>\n\u003cp>Everyone has a story about when and how things got out of hand. Zazaboi says it was when guys with cheap cars started doing doughnuts to get attention.\u003c/p>\n\u003cp>Sean Kennedy says it was when the new built-for-speed Mustangs came on the market in the 1980s.\u003c/p>\n\u003cp>Maybe it was the death of a young girl, in a police chase during a sideshow in the mid-'90s.\u003c/p>\n\u003cp>Whatever the exact moment, the crackdown by Oakland police and the city came quickly. New laws were introduced that let the city impound any car involved in a sideshow. Then came the 2005 ordinance, which allowed police to \u003ca href=\"http://www.sfgate.com/bayarea/article/OAKLAND-Council-votes-for-sideshow-crackdown-2655825.php\" target=\"_blank\">permanently confiscate\u003c/a> any car directly involved in a sideshow. According to Zazaboi, that made it personal, because the cars were not just painted pieces of metal to the men who drove them.\u003c/p>\n\u003cp>“Their car is an extension of their ego,” Zazaboi says of sideshow participants. “You take away their car, you kill their ego, and that is exactly what they did out here in Oakland.”\u003c/p>\n\u003cp>Sean Kennedy says that response complicated the already tense relationship between police and the community.\u003c/p>\n\u003cp>\"Does that create an animosity to the police?\" Kennedy asks. \"It becomes a war at that point. And then it becomes a situation where the rebellion is, 'We're going to have sideshows anyway.'\"\u003c/p>\n\u003cp>Both Kennedy and Zazaboi say that while local politicians criminalized the sideshow, local media demonized it, with story after story of violent, out-of-control youth taking over the streets.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FfuzDz9XCxc\u003c/p>\n\u003cp>Kennedy admits that bad stuff did go down, and there was by necessity a kind of nomadic, extra-legal element to the sideshows. People brought guns and sold drugs; sometimes fights broke out. And yes, young men acted stupid. But he says all that was just as likely to happen at a Raiders game.\u003c/p>\n\u003cp>Kennedy said despite all that, the sideshow did not breed criminal behavior. The bad behavior, he says, would have been on display with or without the sideshows. Kennedy believes the sideshows were targeted.\u003c/p>\n\u003cp>\"It's not about a car show,\" he says. \"At that point, it's about arresting black youth in Oakland.\"\u003c/p>\n\u003cp>He says the sideshow made it easy to paint East Oakland youth into an already-made stereotype: \"Young black kids who don’t have anything to do with their lives, out there playing around in these cars, carrying guns and selling drugs.”\u003c/p>\n\u003cp>\u003cstrong>Celebrating the Sideshow\u003c/strong>\u003c/p>\n\u003cp>What was lost in that narrative, Kennedy says, was the ingenuity of the sideshow: the mechanical skills it took to work on the cars, the driving skills it took to get them moving and dancing, the coordination to plan what are in essence the Bay Area's first pop-up events.\u003c/p>\n\u003cp>Kennedy acknowledges his perspective has changed with age. Now that he has a few years on him, he is a little more weary of making cars spin like whirling dervishes.\u003c/p>\n\u003cp>\"As much as I love sideshows,\" he says, \"it’s a dangerous culture when it comes to spinning around a half-a-ton vehicle with no barriers and people standing there.\"\u003c/p>\n\u003cp>That is why Kennedy, among others, supported a push to legalize sideshows that gained some ground in the late 2000s. The suggestion was to bring sideshows out of the shadows and turn them into neighborhood street parties. They could even make money, proponents argued.\u003c/p>\n\u003cp>But opponents, like Councilman Larry Reid, who represents Deep East Oakland, countered that it was folly for the city to sanction an illegal activity.\u003c/p>\n\u003cp>Reid says the sideshows slowed down for a bit, but in the last year they've once again become a regular weekend event. He said they take over the street every weekend from Friday to Sunday, around 106th and MacArthur. That is right by Foothill Square, where more than three decades ago, according to Sean Kennedy, sideshows began.\u003c/p>\n\u003cp>\"It is just crazy what the residents along the MacArthur corridor have to endure,\" Reid said. In the past few weeks, right here, there have been incidents, including \u003ca href=\"http://www.sfgate.com/news/article/Suspect-rams-CHP-officer-after-Oakland-sideshow-6447489.php\" target=\"_blank\">this past weekend\u003c/a> when a sideshow participant rammed into a California Highway Patrol car.\u003c/p>\n\u003cp>If you ask Yakpusau Zazaboi, he will say what is happening now is not even a real sideshow.\u003c/p>\n\u003cp>\"I break it down like this now,\" Zazaboi says. \"This is how you know it's a sideshow. If there are clean cars and women out there, you might have a sideshow. If it's a bunch of buckets and a whole bunch of dudes clowning around looking at each other -- you do not have sideshow.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The definition of just what makes a sideshow is constantly in flux. Every generation has its own version, just like every sideshow has people who say it is either a criminal act or a space for the creation of culture. Maybe, just maybe, there is a little bit of both, hanging out at the sideshow.\u003c/p>\n\n",
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"excerpt": "Sideshows have a bad reputation, but they also have a long tradition and East Oakland roots. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cars swerving back and forth, swinging side to side; the sound of tires screeching against concrete; the smell of burnt rubber. All of this makes up the sensory signature of events known as sideshows.\u003c/p>\n\u003cp>Sideshows have a \u003ca href=\"http://kron4.com/2015/06/26/oakland-police-warn-of-illegal-sideshows-this-summer/\" target=\"_blank\">bad reputation \u003c/a>as illegal, dangerous and occasionally violent street car shows, where gunshots may ring out and people could die. But for those who grew up in the early days, sideshows were not so much dangerous as they were innovative. They created a space for self-expression and originality that bubbled up on the streets of Deep East Oakland.\u003c/p>\n\u003cp>“It’s in the soil,” says \u003ca href=\"http://joehackman.com/2010/08/interview-sean-kennedy-good-news-podcast/\" target=\"_blank\">Sean Kennedy\u003c/a>, a multimedia producer and local hip-hop historian. “For some reason the air here in East Oakland breeds that type of creativity.”\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/BpjIy3rvfX4'\n title='//www.youtube.com/embed/BpjIy3rvfX4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Sideshow Beginnings \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kennedy says it goes back to the early 1980s, when the music of the Sugar Hill Gang made it out here to the West Coast. “It seems like it started when hip-hop first got out here,” Kennedy said.\u003c/p>\n\u003cp>I meet Kennedy at the entrance to the Foods Co. in Foothill Square, so deep into East Oakland it is almost San Leandro. Kennedy says this is where it all began.\u003c/p>\n\u003cp>“There was a carnival that used to exist right here in Foothill Square, because there was a skating rink right here,” he says, pointing to what is now a Ross Dress for Less. “All the people would come down here to the skating rink and the carnival.” They would would bring their best cars and just cruise, he says.\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/ljUnyv5XUA8'\n title='//www.youtube.com/embed/ljUnyv5XUA8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kennedy says that what many people think of as a sideshow these days, all doughnuts and destruction, was not the way it began. Back then, he says, “no one did doughnuts or spun their cars.” It was just peacocking, showing off the cars that were the pride and joy of many -- mostly male -- residents. “That,” Kennedy says, “was the original sideshow of East Oakland.”\u003c/p>\n\u003cp>People had cruised around in their souped up Chevys before, but it was as if the introduction of the new music taught the cars to dance.\u003c/p>\n\u003cp>In Kennedy's description, you can almost imagine the whole scene: Men slowly circling the parking lot in lovingly modified cars painted colors like cherry red or apple green. On the sidelines women watched, wearing tight skirts and showing off skin. The sideshow was a social event, a party in a parking lot, and showing off your car had a familiar goal: to woo women.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/219807957&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cb>The Sideshow as Cultural Marketplace\u003c/b>\u003c/p>\n\u003cp>As the sideshows spread, Kennedy says, they became a sort of cultural marketplace where people repped parties, hawked homemade fashion lines and shared the latest in music.\u003c/p>\n\u003cp>Yakpusua Zazaboi \u003ca href=\"http://www.sydewayz.com/index.htm#\" target=\"_blank\">documented sideshows\u003c/a> across East Oakland for his documentary series \"Sidewayz.\" When a proposal to \u003ca href=\"http://www.sfgate.com/bayarea/article/OAKLAND-Sideshow-spectator-law-expected-to-pass-2622930.php\" target=\"_blank\">make it illegal to attend sideshows\u003c/a> went before the Oakland City Council in 2005, Sidewayz videos were singled out in the \u003ca href=\"http://thenewspaper.com/rlc/docs/05-oakland.pdf\" target=\"_blank\">law's language\u003c/a>: “These videos portray the city in a negative light, encourage the proliferation of the activity and allow the promoters to popularize and profit from sideshows.” \u003ca href=\"http://www.sfgate.com/bayarea/article/OAKLAND-Council-votes-for-sideshow-crackdown-2655825.php\" target=\"_blank\">The law\u003c/a>, championed by then-Mayor Jerry Brown, passed in modified form, allowing those who watched the sideshows from the sidelines to be fined and even arrested.\u003c/p>\n\u003cp>But the sideshow, according to Zazaboi, was a thriving place, part craft fair, part improv performance, and always a place to catch the cultural zeitgeist. The sideshows, he said, were not just part of Oakland's unique hyphy culture, they formed the space in which hyphy was born. (Some of you might ask, \"What's hyphy?\" In fact, the Oxford English Dictionary recently added an entry, suggesting the word dates back to 2002 and giving the following definitions: \"1. Extremely rowdy, excited, or energetic. 2. A style of uptempo hip-hop music and frenetic dancing.\")\u003c/p>\n\u003cp>“You would come out and you would really understand what is popular in Oakland,” Zazaboi says. A key part of that was the music. “I think for about three or four years straight, we used to hear this song by a group called 3X Krazy.”\u003c/p>\n\u003cp>“It was just a baseline and it was so popular and would sound so good on really nice audio systems, it was almost like a sideshow theme,\" Zazaboi says.\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/ptou06aABg4'\n title='//www.youtube.com/embed/ptou06aABg4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When asked to name his pick for the theme of the sideshows, Sean Kennedy says there is really only one: Richie Rich’s sideshow song.\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/l87Z1Z-40ao'\n title='//www.youtube.com/embed/l87Z1Z-40ao'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Now that's a classic,” Kennedy says. “When it comes to explaining the sideshow, in the early days.”\u003c/p>\n\u003cp>You can hear the whole sideshow in Richie Rich’s deep and sonorous voice. “In Oakland, California,\" he raps, \"every Saturday night brothers be riding, straight-laced zeniths, drop-tops, buckets, high performance.”\u003c/p>\n\u003cp>Music might have been the lifeblood of the sideshow, but according to Kennedy, the heart pumping that blood was the neighborhood's deep-rooted car culture.\u003c/p>\n\u003cp>\u003cstrong>Car Culture and the Sideshow\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10647512\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM.png\">\u003cimg class=\"size-thumbnail wp-image-10647512\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-400x399.png\" alt='\"A-1ing it.\"(@a1springservice/Instagram)' width=\"400\" height=\"399\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-400x399.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-64x64.png 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-96x96.png 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-128x128.png 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM-75x75.png 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/Screen-Shot-2015-08-17-at-6.10.41-PM.png 603w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"A-1ing it.\"(@a1springservice/Instagram)\u003c/figcaption>\u003c/figure>\n\u003cp>Ruben Flores greets a customer whose car he’s just modified at A1 Spring Service, a mechanic on the corner of MacArthur Boulevard and 98th Avenue.\u003c/p>\n\u003cp>This was -- and still is -- the go-to place to bring your car for modifications.\u003c/p>\n\u003cp>Flores, who went to Castlemont, the neighborhood high school, got the job straight out of school.\u003c/p>\n\u003cp>“The owner of the shop, he was losing a man, a mechanic, so he came down to the high school to ask about the auto shop program.”\u003c/p>\n\u003cp>Flores was hired on the spot, and he has been here ever since. Now he owns the place.\u003c/p>\n\u003cp>\"The first day of work became the longest day of work, 38 years later,” Flores says, laughing as he shakes his head. Those years have given Flores a passenger seat to car culture in Deep East Oakland. He confirms what Sean Kennedy told me-- that in the beginning, it wasn’t about souping up cars to go fast. “It was going lower,” Flores says. “Low and slow.”\u003c/p>\n\u003cp>Low and slow, Flores said, was a way to show off the beauty of your car. Flores said his shop became known for fixing up cars in a signature style.\u003c/p>\n\u003cp>“What A1 means, in the car culture,” Flores said, “is the stance is higher in the front and lower in the back. So they have that pointing --towards-the-moon type of look.”\u003c/p>\n\u003cp>Yakpasua Zazaboi said everyone knew about A1. “That was the place to go,” he said. “People would say, I have my car sitting A1, it was because of the name of the shop.”\u003c/p>\n\u003cp>But the sideshows began to change and evolve with time; they went from low and slow to fast and loose, with drivers performing tricks with increasing levels of difficulty and danger. The Oakland Police Department began to take notice.\u003c/p>\n\u003cp>Zazaboi says sideshows veered from “a nice slow cruising type of an event to a much faster speed, away-from-the-cops type of an event.”\u003c/p>\n\u003cp>\u003cstrong>Sideshows Run Into the Law\u003c/strong>\u003c/p>\n\u003cp>Everyone has a story about when and how things got out of hand. Zazaboi says it was when guys with cheap cars started doing doughnuts to get attention.\u003c/p>\n\u003cp>Sean Kennedy says it was when the new built-for-speed Mustangs came on the market in the 1980s.\u003c/p>\n\u003cp>Maybe it was the death of a young girl, in a police chase during a sideshow in the mid-'90s.\u003c/p>\n\u003cp>Whatever the exact moment, the crackdown by Oakland police and the city came quickly. New laws were introduced that let the city impound any car involved in a sideshow. Then came the 2005 ordinance, which allowed police to \u003ca href=\"http://www.sfgate.com/bayarea/article/OAKLAND-Council-votes-for-sideshow-crackdown-2655825.php\" target=\"_blank\">permanently confiscate\u003c/a> any car directly involved in a sideshow. According to Zazaboi, that made it personal, because the cars were not just painted pieces of metal to the men who drove them.\u003c/p>\n\u003cp>“Their car is an extension of their ego,” Zazaboi says of sideshow participants. “You take away their car, you kill their ego, and that is exactly what they did out here in Oakland.”\u003c/p>\n\u003cp>Sean Kennedy says that response complicated the already tense relationship between police and the community.\u003c/p>\n\u003cp>\"Does that create an animosity to the police?\" Kennedy asks. \"It becomes a war at that point. And then it becomes a situation where the rebellion is, 'We're going to have sideshows anyway.'\"\u003c/p>\n\u003cp>Both Kennedy and Zazaboi say that while local politicians criminalized the sideshow, local media demonized it, with story after story of violent, out-of-control youth taking over the streets.\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/FfuzDz9XCxc'\n title='//www.youtube.com/embed/FfuzDz9XCxc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kennedy admits that bad stuff did go down, and there was by necessity a kind of nomadic, extra-legal element to the sideshows. People brought guns and sold drugs; sometimes fights broke out. And yes, young men acted stupid. But he says all that was just as likely to happen at a Raiders game.\u003c/p>\n\u003cp>Kennedy said despite all that, the sideshow did not breed criminal behavior. The bad behavior, he says, would have been on display with or without the sideshows. Kennedy believes the sideshows were targeted.\u003c/p>\n\u003cp>\"It's not about a car show,\" he says. \"At that point, it's about arresting black youth in Oakland.\"\u003c/p>\n\u003cp>He says the sideshow made it easy to paint East Oakland youth into an already-made stereotype: \"Young black kids who don’t have anything to do with their lives, out there playing around in these cars, carrying guns and selling drugs.”\u003c/p>\n\u003cp>\u003cstrong>Celebrating the Sideshow\u003c/strong>\u003c/p>\n\u003cp>What was lost in that narrative, Kennedy says, was the ingenuity of the sideshow: the mechanical skills it took to work on the cars, the driving skills it took to get them moving and dancing, the coordination to plan what are in essence the Bay Area's first pop-up events.\u003c/p>\n\u003cp>Kennedy acknowledges his perspective has changed with age. Now that he has a few years on him, he is a little more weary of making cars spin like whirling dervishes.\u003c/p>\n\u003cp>\"As much as I love sideshows,\" he says, \"it’s a dangerous culture when it comes to spinning around a half-a-ton vehicle with no barriers and people standing there.\"\u003c/p>\n\u003cp>That is why Kennedy, among others, supported a push to legalize sideshows that gained some ground in the late 2000s. The suggestion was to bring sideshows out of the shadows and turn them into neighborhood street parties. They could even make money, proponents argued.\u003c/p>\n\u003cp>But opponents, like Councilman Larry Reid, who represents Deep East Oakland, countered that it was folly for the city to sanction an illegal activity.\u003c/p>\n\u003cp>Reid says the sideshows slowed down for a bit, but in the last year they've once again become a regular weekend event. He said they take over the street every weekend from Friday to Sunday, around 106th and MacArthur. That is right by Foothill Square, where more than three decades ago, according to Sean Kennedy, sideshows began.\u003c/p>\n\u003cp>\"It is just crazy what the residents along the MacArthur corridor have to endure,\" Reid said. In the past few weeks, right here, there have been incidents, including \u003ca href=\"http://www.sfgate.com/news/article/Suspect-rams-CHP-officer-after-Oakland-sideshow-6447489.php\" target=\"_blank\">this past weekend\u003c/a> when a sideshow participant rammed into a California Highway Patrol car.\u003c/p>\n\u003cp>If you ask Yakpusau Zazaboi, he will say what is happening now is not even a real sideshow.\u003c/p>\n\u003cp>\"I break it down like this now,\" Zazaboi says. \"This is how you know it's a sideshow. If there are clean cars and women out there, you might have a sideshow. If it's a bunch of buckets and a whole bunch of dudes clowning around looking at each other -- you do not have sideshow.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The definition of just what makes a sideshow is constantly in flux. Every generation has its own version, just like every sideshow has people who say it is either a criminal act or a space for the creation of culture. Maybe, just maybe, there is a little bit of both, hanging out at the sideshow.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"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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"order": 9
},
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"id": "freakonomics-radio",
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"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"
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},
"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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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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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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},
"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",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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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/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"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": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"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": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"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": {
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"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/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"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": {
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"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": {
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"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",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
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