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"content": "\u003cp>Oakland has a new \u003ca href=\"http://www.oaklandlibrary.org/teens/events-programs/youth-poet-laureate-program\" target=\"_blank\" rel=\"noopener\">Youth Poet Laureate.\u003c/a>\u003c/p>\n\u003cp>She is Tova Ricardo, a 16 year old junior at the\u003ca href=\"http://www.bentleyschool.net/page\" target=\"_blank\" rel=\"noopener\"> Bentley School\u003c/a> in Lafayette. Ricardo was selected Saturday evening after a reading at\u003ca href=\"http://www.proartsgallery.org/\" target=\"_blank\" rel=\"noopener\"> Pro-Arts Gallery\u003c/a> in Oakland across from Oakland City Hall.\u003c/p>\n\u003cp>Ricardo was one of seven semi-finalists at the reading, one of the opening events for \u003ca href=\"http://beastcrawl.weebly.com/\" target=\"_blank\" rel=\"noopener\">Oakland’s Beast Literary Crawl\u003c/a>. The room was packed with more than a hundred family members and poetry lovers as Ricardo and fellow Oakland teens read and chanted angry and jubilant poems about such themes as family, immigration, and how black lives matter.\u003c/p>\n\u003cfigure id=\"attachment_10835871\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2502.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10835871\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2502-1180x885.jpg\" alt=\"16 year old Litzy Castillo, a student at MetWest High School, thrills the crowd with her poem\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">16 year old Litzy Castillo, a student at MetWest High School, thrills the crowd with her poem \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The youth poet laureate program, begun in 2012, is sponsored by the writing training organization \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a> and the Oakland Public Library.\u003c/p>\n\u003cp>Ricardo read a poem that was a tribute to her grandfather, a Korean war veteran, and his tiger tattoo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I thought of the tiger tattoo that flaunted its paws across the forearms of bronze steel muscles that replicated scribbly lines to the six year old instead of contorted rivers,” Ricardo read. “The tiger tattoo who belonged to the southern rugged fields of southern rugged men that roared as a distraction at the family dining table as the seven year old spilled the rice and beans in the midst of admiring the ancient artwork.”\u003c/p>\n\u003cp>Oakland Mayor Libby Schaaf presented Ricardo with a scholarship check for $5,000.\u003c/p>\n\u003cfigure id=\"attachment_10835873\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2499.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10835873\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2499-1180x885.jpg\" alt='Ericson Amaya reading his poem about immigration, \"Harriet Tubman was our first coyote.\"' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ericson Amaya reading his poem about immigration, “Harriet Tubman was our first coyote.” \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>“Poetry has been the one thing that has kept me sane on this crazy crazy planet,” Ricardo, the winning poet, said in a brief acceptance speech. “And I just want us, the youth, to just change this world, to go out there and fight this crazy, crazy system that’s trying to knock all of us down and just speak our truth, because that’s the only thing that’s going to save us. We’re going to save us.”\u003c/p>\n\u003cp>Ricardo’s writing teacher, Peter Hagen, was at the ceremony. Hagen said Ricardo had only taken his class once before becoming earning the title. “She just ripped the doors off,” Hagen said.\u003c/p>\n\u003cp>Other youth poets performed their works alongside Ricardo. 18 year old Emerson Amaya, a student at Coliseum College Prep Academy, read a poem that he described as being about “the black brown unity that Oakland really needs.”\u003c/p>\n\u003cp>“The most powerful thing is when we have young folks together sharing space and telling stories,” Youth Speaks Teaching Artist Gabriel Cortez said. Cortez who emceed the reading.\u003c/p>\n\u003cp>Ricardo takes over youth poet laureate duties from the 2014 laureate Sophie Elkin, a student at Oakland School for the Arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Oakland Public Library and Youth Speaks will schedule more readings for Ricardo this coming year at schools and senior centers.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland has a new \u003ca href=\"http://www.oaklandlibrary.org/teens/events-programs/youth-poet-laureate-program\" target=\"_blank\" rel=\"noopener\">Youth Poet Laureate.\u003c/a>\u003c/p>\n\u003cp>She is Tova Ricardo, a 16 year old junior at the\u003ca href=\"http://www.bentleyschool.net/page\" target=\"_blank\" rel=\"noopener\"> Bentley School\u003c/a> in Lafayette. Ricardo was selected Saturday evening after a reading at\u003ca href=\"http://www.proartsgallery.org/\" target=\"_blank\" rel=\"noopener\"> Pro-Arts Gallery\u003c/a> in Oakland across from Oakland City Hall.\u003c/p>\n\u003cp>Ricardo was one of seven semi-finalists at the reading, one of the opening events for \u003ca href=\"http://beastcrawl.weebly.com/\" target=\"_blank\" rel=\"noopener\">Oakland’s Beast Literary Crawl\u003c/a>. The room was packed with more than a hundred family members and poetry lovers as Ricardo and fellow Oakland teens read and chanted angry and jubilant poems about such themes as family, immigration, and how black lives matter.\u003c/p>\n\u003cfigure id=\"attachment_10835871\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2502.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10835871\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2502-1180x885.jpg\" alt=\"16 year old Litzy Castillo, a student at MetWest High School, thrills the crowd with her poem\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">16 year old Litzy Castillo, a student at MetWest High School, thrills the crowd with her poem \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The youth poet laureate program, begun in 2012, is sponsored by the writing training organization \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a> and the Oakland Public Library.\u003c/p>\n\u003cp>Ricardo read a poem that was a tribute to her grandfather, a Korean war veteran, and his tiger tattoo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I thought of the tiger tattoo that flaunted its paws across the forearms of bronze steel muscles that replicated scribbly lines to the six year old instead of contorted rivers,” Ricardo read. “The tiger tattoo who belonged to the southern rugged fields of southern rugged men that roared as a distraction at the family dining table as the seven year old spilled the rice and beans in the midst of admiring the ancient artwork.”\u003c/p>\n\u003cp>Oakland Mayor Libby Schaaf presented Ricardo with a scholarship check for $5,000.\u003c/p>\n\u003cfigure id=\"attachment_10835873\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2499.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10835873\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2499-1180x885.jpg\" alt='Ericson Amaya reading his poem about immigration, \"Harriet Tubman was our first coyote.\"' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ericson Amaya reading his poem about immigration, “Harriet Tubman was our first coyote.” \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>“Poetry has been the one thing that has kept me sane on this crazy crazy planet,” Ricardo, the winning poet, said in a brief acceptance speech. “And I just want us, the youth, to just change this world, to go out there and fight this crazy, crazy system that’s trying to knock all of us down and just speak our truth, because that’s the only thing that’s going to save us. We’re going to save us.”\u003c/p>\n\u003cp>Ricardo’s writing teacher, Peter Hagen, was at the ceremony. Hagen said Ricardo had only taken his class once before becoming earning the title. “She just ripped the doors off,” Hagen said.\u003c/p>\n\u003cp>Other youth poets performed their works alongside Ricardo. 18 year old Emerson Amaya, a student at Coliseum College Prep Academy, read a poem that he described as being about “the black brown unity that Oakland really needs.”\u003c/p>\n\u003cp>“The most powerful thing is when we have young folks together sharing space and telling stories,” Youth Speaks Teaching Artist Gabriel Cortez said. Cortez who emceed the reading.\u003c/p>\n\u003cp>Ricardo takes over youth poet laureate duties from the 2014 laureate Sophie Elkin, a student at Oakland School for the Arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Oakland Public Library and Youth Speaks will schedule more readings for Ricardo this coming year at schools and senior centers.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Portland Record Label Offers Women a Pay-Gap Discount",
"headTitle": "Portland Record Label Offers Women a Pay-Gap Discount | KQED",
"content": "\u003cp>Earlier this week, Portland, Ore. record company M’lady’s Records announced a new policy. Starting today, women will pay 77 percent of list price for all of their mail orders.\u003c/p>\n\u003cp>That number might sound familiar: The U.S. Bureau of Labor Statistics \u003ca href=\"http://www.bls.gov/opub/reports/cps/highlights-of-womens-earnings-in-2013.pdf\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that among full-time employees, women still make less than men. The oft quoted ratio is $0.77 for ever ydollar made by a man. (Though there are \u003ca href=\"http://www.slate.com/articles/double_x/doublex/2013/08/gender_pay_gap_the_familiar_line_that_women_make_77_cents_to_every_man_s.html\" target=\"_blank\" rel=\"noopener\">different ways to interpret\u003c/a> the precise disparity.)\u003c/p>\n\u003cp>M’lady’s is not the first company to instate such a policy: A Brooklyn bar and a \u003ca href=\"http://lessthan100.org/\" target=\"_blank\" rel=\"noopener\">Pittsburgh pop-up boutique\u003c/a> have both recently drawn attention for charging based on the same price structure. “This number gets hotly debated all the time,” says M’lady’s Records’ Brett Lyman. “But it’s a good place to start, I reckon.”\u003c/p>\n\u003cp>But M’lady’s did not make the change for a day, as the bar did, and is not a traveling project aimed at education, as the boutiqu’se is. It’s a small record company, self-described as “radical[ly] feminist and willfully obstinate,” and is reliant on sales to survive. M’lady’s Records says it will keep the change in place “until that number gets tuned up and/or we go down in flames.”\u003c/p>\n\u003cp>After the announcement of the new policy, we sent a few questions to Lyman. His answers were prompt, passionate and colorful.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Had this plan been cooking for a while, or was it a sudden decision?\u003c/strong>\u003c/p>\n\u003cp>A bit of both; we’re just tired of record labels being these petit bourgeois institutions that don’t really have much impact on their communities. Most just seem inert to me; vague curatorial exercises largely rooted in making money or pacifying some parochial sub-culture (the latter is particularly popular here in the Pacific Northwest). One could (almost) be forgiven for buying into all that Silicon Valley garbage that we don’t need curators or organizers anymore … which is complete silliness, and really more of a reflection of the Randian solipsism that has infected most of so-called underground culture. Record labels have historically been hugely influential in creating context, the most neglected of artistic values currently … as the great British stand-up Stewart Lee is fond of saying, “context is not a myth” … It’s rare enough these days to see labels operate with an ethos, and rarer still to see that ethos extended to how they conduct their non-creative affairs. So … time to start lobbing some (admittedly tiny) grenades into the lobby. Hopefully it’ll ruin someone’s brunch plans.\u003c/p>\n\u003cp>\u003cstrong>How much will this discount affect M’LR’s bottom line?\u003c/strong>\u003c/p>\n\u003cp>At the risk of sounding flippant … don’t care much. The bottom line for this label is about engaging with this amorphous and elusive community some people call “the underground.” That bottom line has kept us going through the growing pains of trying to manage a self-financed DIY record outfit. If we were in this to stay fiscally sound, it would have been abandoned before it even started. We’d just go make espresso in a food truck … and grow a beard.\u003c/p>\n\u003cp>\u003cstrong>Were you inspired by other shops or companies? \u003c/strong>\u003c/p>\n\u003cp>Sort of, but only in opposition. The cost and valuation of music has been under siege for almost 20 years now, and I think it’s led to a very safe counterculture, wherein people are less likely to be insane or unpopular, lest the show offers/sync licenses dry up. Can’t get 20 seconds of your song into a Cheetos ad unless you play the game, rigged as it is. All of this ties into a larger concern of ours to do with the ancillary music professions (publicists, licensing departments) really becoming the new curators. Unlike labels, these companies are really just “cool” proxies/conduits for advertising. And f*** advertising, especially in its current state.\u003c/p>\n\u003cp>\u003cstrong>How’s the announcement gone over with your audience? \u003c/strong>\u003c/p>\n\u003cp>Very well received, no complaints, though this may have something to do with announcing that any fellas that did grouse would have to pay double. Since we don’t advertise in any real way or hire publicists to spiel for us, we’ve been afforded the greatest luxury of choosing who we wanna communicate with, and slowly refining that audience over the past few years. Thusly … not a lot of antagonists in the mix, at least not via the communication channels we employ (mailing list, “social” media, etc).\u003c/p>\n\u003cp>\u003cstrong>How do you verify who’s placing these mail orders?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Well, most of our orders are paid for via online payment services where one would need an account and verify their identity that way … if anyone’s gonna go to the trouble of conjuring a fake identity and getting fake credit cards in their name just so they can order some punk records from li’l old us, fair play — that 23 percent has been EARNED. \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=Portland+Record+Label+Offers+Women+A+Pay-Gap+Discount&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this week, Portland, Ore. record company M’lady’s Records announced a new policy. Starting today, women will pay 77 percent of list price for all of their mail orders.\u003c/p>\n\u003cp>That number might sound familiar: The U.S. Bureau of Labor Statistics \u003ca href=\"http://www.bls.gov/opub/reports/cps/highlights-of-womens-earnings-in-2013.pdf\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that among full-time employees, women still make less than men. The oft quoted ratio is $0.77 for ever ydollar made by a man. (Though there are \u003ca href=\"http://www.slate.com/articles/double_x/doublex/2013/08/gender_pay_gap_the_familiar_line_that_women_make_77_cents_to_every_man_s.html\" target=\"_blank\" rel=\"noopener\">different ways to interpret\u003c/a> the precise disparity.)\u003c/p>\n\u003cp>M’lady’s is not the first company to instate such a policy: A Brooklyn bar and a \u003ca href=\"http://lessthan100.org/\" target=\"_blank\" rel=\"noopener\">Pittsburgh pop-up boutique\u003c/a> have both recently drawn attention for charging based on the same price structure. “This number gets hotly debated all the time,” says M’lady’s Records’ Brett Lyman. “But it’s a good place to start, I reckon.”\u003c/p>\n\u003cp>But M’lady’s did not make the change for a day, as the bar did, and is not a traveling project aimed at education, as the boutiqu’se is. It’s a small record company, self-described as “radical[ly] feminist and willfully obstinate,” and is reliant on sales to survive. M’lady’s Records says it will keep the change in place “until that number gets tuned up and/or we go down in flames.”\u003c/p>\n\u003cp>After the announcement of the new policy, we sent a few questions to Lyman. His answers were prompt, passionate and colorful.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Had this plan been cooking for a while, or was it a sudden decision?\u003c/strong>\u003c/p>\n\u003cp>A bit of both; we’re just tired of record labels being these petit bourgeois institutions that don’t really have much impact on their communities. Most just seem inert to me; vague curatorial exercises largely rooted in making money or pacifying some parochial sub-culture (the latter is particularly popular here in the Pacific Northwest). One could (almost) be forgiven for buying into all that Silicon Valley garbage that we don’t need curators or organizers anymore … which is complete silliness, and really more of a reflection of the Randian solipsism that has infected most of so-called underground culture. Record labels have historically been hugely influential in creating context, the most neglected of artistic values currently … as the great British stand-up Stewart Lee is fond of saying, “context is not a myth” … It’s rare enough these days to see labels operate with an ethos, and rarer still to see that ethos extended to how they conduct their non-creative affairs. So … time to start lobbing some (admittedly tiny) grenades into the lobby. Hopefully it’ll ruin someone’s brunch plans.\u003c/p>\n\u003cp>\u003cstrong>How much will this discount affect M’LR’s bottom line?\u003c/strong>\u003c/p>\n\u003cp>At the risk of sounding flippant … don’t care much. The bottom line for this label is about engaging with this amorphous and elusive community some people call “the underground.” That bottom line has kept us going through the growing pains of trying to manage a self-financed DIY record outfit. If we were in this to stay fiscally sound, it would have been abandoned before it even started. We’d just go make espresso in a food truck … and grow a beard.\u003c/p>\n\u003cp>\u003cstrong>Were you inspired by other shops or companies? \u003c/strong>\u003c/p>\n\u003cp>Sort of, but only in opposition. The cost and valuation of music has been under siege for almost 20 years now, and I think it’s led to a very safe counterculture, wherein people are less likely to be insane or unpopular, lest the show offers/sync licenses dry up. Can’t get 20 seconds of your song into a Cheetos ad unless you play the game, rigged as it is. All of this ties into a larger concern of ours to do with the ancillary music professions (publicists, licensing departments) really becoming the new curators. Unlike labels, these companies are really just “cool” proxies/conduits for advertising. And f*** advertising, especially in its current state.\u003c/p>\n\u003cp>\u003cstrong>How’s the announcement gone over with your audience? \u003c/strong>\u003c/p>\n\u003cp>Very well received, no complaints, though this may have something to do with announcing that any fellas that did grouse would have to pay double. Since we don’t advertise in any real way or hire publicists to spiel for us, we’ve been afforded the greatest luxury of choosing who we wanna communicate with, and slowly refining that audience over the past few years. Thusly … not a lot of antagonists in the mix, at least not via the communication channels we employ (mailing list, “social” media, etc).\u003c/p>\n\u003cp>\u003cstrong>How do you verify who’s placing these mail orders?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Well, most of our orders are paid for via online payment services where one would need an account and verify their identity that way … if anyone’s gonna go to the trouble of conjuring a fake identity and getting fake credit cards in their name just so they can order some punk records from li’l old us, fair play — that 23 percent has been EARNED. \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=Portland+Record+Label+Offers+Women+A+Pay-Gap+Discount&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "In San Pedro, a Battle Over the 'Sunken City'",
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"content": "\u003cp>It might look like a post-apocalyptic wasteland, but it’s in the city of Los Angeles. The ruins of Sunken City are part of the community of San Pedro, at LA’s southernmost tip.\u003c/p>\n\u003cp>Even though it’s closed to the public, Sunken City is a haven for graffiti artists and young people looking to party. Some residents want to open the area to the public during daylight hours, but others worry it’ll just lead to more noise, trash and rowdy behavior.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/214192043\" 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>Sunken City is a sprawl of broken pieces of sidewalk and foundations of houses covered in thick, colorful splashes of graffiti. Pipes and railroad lines jut out at odd angles. The dirt trails are littered with broken glass and trash. But it’s oddly serene. Palm trees sway in the light breeze coming off the ocean, and seagulls fly overhead.\u003c/p>\n\u003cp>“I come out here because I get away from the city. It’s not as busy,” said Anthony Bora, who came to scope out the area on a recent Saturday afternoon with his girlfriend. \"This is one of the most beautiful views that I’ve seen in Southern California.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A 1929 landslide caused the ground to shift slowly, about 11 inches a day. It was slow enough to allow most of the homes to be moved safely, although two actually did fall into the ocean. Geologists say the ground continues to erode because of bentonite clay in the soil, which combined with water makes the land unstable.\u003c/p>\n\u003cfigure id=\"attachment_10594468\" class=\"wp-caption alignright\" style=\"max-width: 1902px\">\u003cimg class=\"size-full wp-image-10594468\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_5498.jpg\" alt=\"Anthony Bora likes to explore Sunken City’s winding trails and graffiti, and admire the view. “This is one of the most beautiful views that I’ve seen in Southern California,” he said.\" width=\"1902\" height=\"1427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498.jpg 1902w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-960x720.jpg 960w\" sizes=\"(max-width: 1902px) 100vw, 1902px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Bora likes to explore Sunken City’s winding trails and graffiti and admire the view. “This is one of the most beautiful views that I’ve seen in Southern California,” he said. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunken City has been a forbidden playground for decades. Accidental falls and suicides also happen frequently. The city installed a fence in 1987 to keep out partiers, but that hasn’t done much to stem the tide. There are “no trespassing” signs all over. To get in, you have to either climb under or around an 8-foot-tall wrought iron fence, or find a break in it.\u003c/p>\n\u003cp>“Sometimes you see dolphins and whales out here, you know, for free. And people come here sometimes, young kids, they drink and, you know, do bonfires,” said Mohammed Sharif Jali, who lives down the street and comes to Sunken City to practice guitar and relax.\u003c/p>\n\u003cp>Not all of Sunken City’s visitors are so easygoing. Neighbors say visitors get loud and obnoxious at night. Yvonne Borgo has had enough.\u003c/p>\n\u003cfigure id=\"attachment_10594469\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10594469\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_5524.jpg\" alt=\"Mohammed Sharif Jali lives down the street from Sunken City. “Sometimes you see dolphins and whales out here,” he said.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mohammed Sharif Jali lives down the street from Sunken City. “Sometimes you see dolphins and whales out here,” he said. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We live about three doors from Sunken City,” Borgo said. “There’s kids here all times of day and night, dropping trash, partying, coming up at four in the morning from being down on the cliffs. It’s really tough.”\u003c/p>\n\u003cp>Some other neighbors, George Armstrong and William Gameroz, grew up in San Pedro in the 1950s and ‘60s, when it was a quiet town. Now they say it’s become a lawless area where police don’t go.\u003c/p>\n\u003cp>“I don’t understand it. I’ve called the police several times, you know, about the people I hear doing drugs,” Gameroz said.\u003c/p>\n\u003cp>“Yeah, it’s almost a joke, asking for law enforcement to patrol the area,\" said Armstrong. \"They don’t come down here unless there’s an absolute reason, like somebody got shot the other day or someone fell over the cliff, or they’re chasing somebody.”\u003c/p>\n\u003cp>The local neighborhood council and residents’ association have asked LA's Department of Recreation and Parks, which oversees the area, to consider opening it up to the public during the day, so people don’t have to break the law to go there. The proposal includes an automated gate that locks at sunset.\u003c/p>\n\u003cfigure id=\"attachment_10594471\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10594471\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_5496.jpg\" alt=\"Yvonne and Al Borgo live down the street from Sunken City, and are fed up with late-night revelers making noise and leaving trash and graffiti behind.\" width=\"1920\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-960x1280.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yvonne and Al Borgo live down the street from Sunken City and are fed up with late-night revelers making noise and leaving trash and graffiti behind. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parks department won’t comment until a feasibility study is finished. Supporters of the idea say coastal access is a right for everyone, and the city faces a low risk of liability.\u003c/p>\n\u003cp>Walker’s Cafe is just a stone’s throw from the fence separating Sunken City from the rest of San Pedro. There’s a line of Harleys parked out front. At the counter, Samira Silva is finishing her burger and fries. She’s from Brazil and lives in Fresno. She read about Sunken City on a website of exotic sites in LA and wishes it were open to the public.\u003c/p>\n\u003cp>“I think it’s a good idea, because I don’t like having to jump fences to get in there, and on the website it said that it was open for everybody,” she said.\u003c/p>\n\u003cp>But Anthony Bora said he hopes it stays off the beaten path, because that’s how he likes it.\u003c/p>\n\u003cp>“I think it’s the whole idea of I can go around the fence and get out here, that makes it kind of cool. It is a really quiet place, you can come relax and enjoy your day off, whereas if it’s open to the public, you’re gonna have a friggin’ dog park out here, you’re gonna have concerts, and a bunch of random stuff that people come here to get away from.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whether Sunken City remains officially off limits or not, curious visitors will no doubt continue to find a way in.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It might look like a post-apocalyptic wasteland, but it’s in the city of Los Angeles. The ruins of Sunken City are part of the community of San Pedro, at LA’s southernmost tip.\u003c/p>\n\u003cp>Even though it’s closed to the public, Sunken City is a haven for graffiti artists and young people looking to party. Some residents want to open the area to the public during daylight hours, but others worry it’ll just lead to more noise, trash and rowdy behavior.\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/214192043&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/214192043'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Sunken City is a sprawl of broken pieces of sidewalk and foundations of houses covered in thick, colorful splashes of graffiti. Pipes and railroad lines jut out at odd angles. The dirt trails are littered with broken glass and trash. But it’s oddly serene. Palm trees sway in the light breeze coming off the ocean, and seagulls fly overhead.\u003c/p>\n\u003cp>“I come out here because I get away from the city. It’s not as busy,” said Anthony Bora, who came to scope out the area on a recent Saturday afternoon with his girlfriend. \"This is one of the most beautiful views that I’ve seen in Southern California.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A 1929 landslide caused the ground to shift slowly, about 11 inches a day. It was slow enough to allow most of the homes to be moved safely, although two actually did fall into the ocean. Geologists say the ground continues to erode because of bentonite clay in the soil, which combined with water makes the land unstable.\u003c/p>\n\u003cfigure id=\"attachment_10594468\" class=\"wp-caption alignright\" style=\"max-width: 1902px\">\u003cimg class=\"size-full wp-image-10594468\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_5498.jpg\" alt=\"Anthony Bora likes to explore Sunken City’s winding trails and graffiti, and admire the view. “This is one of the most beautiful views that I’ve seen in Southern California,” he said.\" width=\"1902\" height=\"1427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498.jpg 1902w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-960x720.jpg 960w\" sizes=\"(max-width: 1902px) 100vw, 1902px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Bora likes to explore Sunken City’s winding trails and graffiti and admire the view. “This is one of the most beautiful views that I’ve seen in Southern California,” he said. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunken City has been a forbidden playground for decades. Accidental falls and suicides also happen frequently. The city installed a fence in 1987 to keep out partiers, but that hasn’t done much to stem the tide. There are “no trespassing” signs all over. To get in, you have to either climb under or around an 8-foot-tall wrought iron fence, or find a break in it.\u003c/p>\n\u003cp>“Sometimes you see dolphins and whales out here, you know, for free. And people come here sometimes, young kids, they drink and, you know, do bonfires,” said Mohammed Sharif Jali, who lives down the street and comes to Sunken City to practice guitar and relax.\u003c/p>\n\u003cp>Not all of Sunken City’s visitors are so easygoing. Neighbors say visitors get loud and obnoxious at night. Yvonne Borgo has had enough.\u003c/p>\n\u003cfigure id=\"attachment_10594469\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10594469\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_5524.jpg\" alt=\"Mohammed Sharif Jali lives down the street from Sunken City. “Sometimes you see dolphins and whales out here,” he said.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mohammed Sharif Jali lives down the street from Sunken City. “Sometimes you see dolphins and whales out here,” he said. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We live about three doors from Sunken City,” Borgo said. “There’s kids here all times of day and night, dropping trash, partying, coming up at four in the morning from being down on the cliffs. It’s really tough.”\u003c/p>\n\u003cp>Some other neighbors, George Armstrong and William Gameroz, grew up in San Pedro in the 1950s and ‘60s, when it was a quiet town. Now they say it’s become a lawless area where police don’t go.\u003c/p>\n\u003cp>“I don’t understand it. I’ve called the police several times, you know, about the people I hear doing drugs,” Gameroz said.\u003c/p>\n\u003cp>“Yeah, it’s almost a joke, asking for law enforcement to patrol the area,\" said Armstrong. \"They don’t come down here unless there’s an absolute reason, like somebody got shot the other day or someone fell over the cliff, or they’re chasing somebody.”\u003c/p>\n\u003cp>The local neighborhood council and residents’ association have asked LA's Department of Recreation and Parks, which oversees the area, to consider opening it up to the public during the day, so people don’t have to break the law to go there. The proposal includes an automated gate that locks at sunset.\u003c/p>\n\u003cfigure id=\"attachment_10594471\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10594471\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_5496.jpg\" alt=\"Yvonne and Al Borgo live down the street from Sunken City, and are fed up with late-night revelers making noise and leaving trash and graffiti behind.\" width=\"1920\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-960x1280.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yvonne and Al Borgo live down the street from Sunken City and are fed up with late-night revelers making noise and leaving trash and graffiti behind. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parks department won’t comment until a feasibility study is finished. Supporters of the idea say coastal access is a right for everyone, and the city faces a low risk of liability.\u003c/p>\n\u003cp>Walker’s Cafe is just a stone’s throw from the fence separating Sunken City from the rest of San Pedro. There’s a line of Harleys parked out front. At the counter, Samira Silva is finishing her burger and fries. She’s from Brazil and lives in Fresno. She read about Sunken City on a website of exotic sites in LA and wishes it were open to the public.\u003c/p>\n\u003cp>“I think it’s a good idea, because I don’t like having to jump fences to get in there, and on the website it said that it was open for everybody,” she said.\u003c/p>\n\u003cp>But Anthony Bora said he hopes it stays off the beaten path, because that’s how he likes it.\u003c/p>\n\u003cp>“I think it’s the whole idea of I can go around the fence and get out here, that makes it kind of cool. It is a really quiet place, you can come relax and enjoy your day off, whereas if it’s open to the public, you’re gonna have a friggin’ dog park out here, you’re gonna have concerts, and a bunch of random stuff that people come here to get away from.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whether Sunken City remains officially off limits or not, curious visitors will no doubt continue to find a way in.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.imdb.com/name/nm0715953/\" target=\"_blank\" rel=\"noopener\">Roger Rees\u003c/a>, the Tony Award-winning Welsh-born actor and director who got his start on the stage but also appeared in film and television shows such as \u003cem>Cheers\u003c/em> and \u003cem>The West Wing\u003c/em>, died Friday night in New York at age 71 after what his spokesman described as a “brief illness.”\u003c/p>\n\u003cp>The Associated Press says Rees “had abruptly left \u003cem>The Visit\u003c/em> on Broadway in late May to undergo a medical procedure.”\u003c/p>\n\u003cp>Rees played the Sheriff of Rottingham in Mel Brooks’ \u003cem>Robin Hood: Men in Tights\u003c/em> (1993) and had roles in \u003cem>The Scorpion King\u003c/em> (2002) and \u003cem>The Pink Panther\u003c/em> (2006).\u003c/p>\n\u003cp>The AP writes:\u003c/p>\n\u003cblockquote>\n\u003cp>“Rees played the snobbish Robin Colcord on TV’s \u003cem>Cheers\u003c/em> — he was known for his condescending remarks and rivalry with Sam Malone and for dating Rebecca Howe — and the British ambassador, Lord John Marbury, in \u003cem>The West Wing\u003c/em>. Other recent TV credits include \u003cem>Elementary\u003c/em> and \u003cem>The Good Wife.\u003c/em>\u003c/p>\n\u003cp>“But he was probably best known onstage for playing the title character in the Royal Shakespeare Company’s original production of Charles Dickens’ \u003cem>The Life and Adventures of Nicholas Nickleby\u003c/em> in England and on Broadway. He won an Olivier Award and then a Tony. When it was adapted to TV, he earned an Emmy Award nomination.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://www.playbill.com/news/article/roger-rees-stage-actor-made-famous-by-nicholas-nickleby-dies-at-71-351533\" target=\"_blank\" rel=\"noopener\">Playbill.com\u003c/a> says:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>Nicholas Nickleby\u003c/em> was unlike anything else ever seen on the London or New York stages when it arrived in the early 1980s. David Edgar adapted Dickens’ 1839 tale of the fortune-tossed, but loyal and good-hearted Nicholas who, after losing his father, must struggle to support his mother and sister, all without the help of his uncle Ralph, a heartless businessman.\u003c/p>\n\u003cp>“John Caird and Trevor Nunn co-directed the piece, which was performed in two parts, each four hours in length, for which audiences had to buy two separate tickets. An unlikely prospect to become a hot ticket, the show became a critical and popular sensation after it opened at the Aldrich Theatre in 1980. It arguably inaugurated an era of marathon theatre spectacles which continues to this day.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Rees is survived by his husband, author Rick Elice. \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=Roger+Rees%2C+Welsh-Born+Stage%2C+Screen+And+TV+Actor%2C+Dies+At+71&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.imdb.com/name/nm0715953/\" target=\"_blank\" rel=\"noopener\">Roger Rees\u003c/a>, the Tony Award-winning Welsh-born actor and director who got his start on the stage but also appeared in film and television shows such as \u003cem>Cheers\u003c/em> and \u003cem>The West Wing\u003c/em>, died Friday night in New York at age 71 after what his spokesman described as a “brief illness.”\u003c/p>\n\u003cp>The Associated Press says Rees “had abruptly left \u003cem>The Visit\u003c/em> on Broadway in late May to undergo a medical procedure.”\u003c/p>\n\u003cp>Rees played the Sheriff of Rottingham in Mel Brooks’ \u003cem>Robin Hood: Men in Tights\u003c/em> (1993) and had roles in \u003cem>The Scorpion King\u003c/em> (2002) and \u003cem>The Pink Panther\u003c/em> (2006).\u003c/p>\n\u003cp>The AP writes:\u003c/p>\n\u003cblockquote>\n\u003cp>“Rees played the snobbish Robin Colcord on TV’s \u003cem>Cheers\u003c/em> — he was known for his condescending remarks and rivalry with Sam Malone and for dating Rebecca Howe — and the British ambassador, Lord John Marbury, in \u003cem>The West Wing\u003c/em>. Other recent TV credits include \u003cem>Elementary\u003c/em> and \u003cem>The Good Wife.\u003c/em>\u003c/p>\n\u003cp>“But he was probably best known onstage for playing the title character in the Royal Shakespeare Company’s original production of Charles Dickens’ \u003cem>The Life and Adventures of Nicholas Nickleby\u003c/em> in England and on Broadway. He won an Olivier Award and then a Tony. When it was adapted to TV, he earned an Emmy Award nomination.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://www.playbill.com/news/article/roger-rees-stage-actor-made-famous-by-nicholas-nickleby-dies-at-71-351533\" target=\"_blank\" rel=\"noopener\">Playbill.com\u003c/a> says:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>Nicholas Nickleby\u003c/em> was unlike anything else ever seen on the London or New York stages when it arrived in the early 1980s. David Edgar adapted Dickens’ 1839 tale of the fortune-tossed, but loyal and good-hearted Nicholas who, after losing his father, must struggle to support his mother and sister, all without the help of his uncle Ralph, a heartless businessman.\u003c/p>\n\u003cp>“John Caird and Trevor Nunn co-directed the piece, which was performed in two parts, each four hours in length, for which audiences had to buy two separate tickets. An unlikely prospect to become a hot ticket, the show became a critical and popular sensation after it opened at the Aldrich Theatre in 1980. It arguably inaugurated an era of marathon theatre spectacles which continues to this day.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Rees is survived by his husband, author Rick Elice. \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=Roger+Rees%2C+Welsh-Born+Stage%2C+Screen+And+TV+Actor%2C+Dies+At+71&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Supreme Court Justice Tells All in Thurgood Marshall Solo Show",
"headTitle": "Supreme Court Justice Tells All in Thurgood Marshall Solo Show | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/thurgood/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Thurgood’\u003c/h2>\n\u003cdiv class=\"event-desc\">Lorraine Hansberry Theatre presents a solo show about Thurgood Marshall.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through July 25\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Lorraine Hansberry Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/thurgood/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Everybody’s been talking about the Supreme Court in the last couple of weeks as the nation responds to the historic June 26 \u003ca href=\"http://www.kqed.org/a/forum/R201506260900\">marriage equality ruling\u003c/a> confirming same-sex couples’ right to tie the knot.\u003c/p>\n\u003cp>As such, the timing couldn’t be more prescient for the Lorraine Hansberry Theatre’s production of \u003cem>Thurgood — \u003c/em>a solo show about Thurgood Marshall, the first African-American justice of the Supreme Court. Before that, Marshall was a great civil rights lawyer who represented the the National Association for the Advancement of Colored People (NAACP) in \u003cem>Brown vs. Board of Education\u003c/em>, the landmark 1954 Supreme Court case that unanimously declared racially segregated public schools unconstitutional.\u003c/p>\n\u003cp>Long San Francisco’s most prominent African-American theater company, the Lorraine Hansberry has kept a relatively low profile since it vacated its last home at the Post Street Theatre three years ago. The currently-nomadic organization is offering its subscribers “passport seasons” of plays produced by other theaters, such as Marin Theatre Company and American Conservatory Theater (ACT). It also produces occasional homegrown fare including staged readings, holiday shows or one-off events.\u003c/p>\n\u003cp>Now, the company returns with a full three-week run of \u003cem>Thurgood\u003c/em> starring its artistic director, veteran ACT actor Steven Anthony Jones.\u003c/p>\n\u003cp>In this biographical monologue by George Stevens Jr., Marshall visits his alma mater, Howard University, for a lecture in which he reviews his life and career from the streets of Baltimore to the highest court in the land.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jones took some time out from rehearsals to talk about the show.\u003c/p>\n\u003cfigure id=\"attachment_10826454\" class=\"wp-caption alignright\" style=\"max-width: 542px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ThurgoodB.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826454\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ThurgoodB.jpg\" alt=\"Steven Anthony Jones as Supreme Court Justice Thurgood Marshall in George Stevens Jr.'s biographical monologue Thurgood. (Photo: Gina Snow)\" width=\"542\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThurgoodB.jpg 542w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThurgoodB-400x590.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThurgoodB-407x600.jpg 407w\" sizes=\"(max-width: 542px) 100vw, 542px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Steven Anthony Jones as Supreme Court Justice Thurgood Marshall in George Stevens Jr.’s biographical monologue \u003ci>Thurgood\u003c/i>. (Photo: Gina Snow/Lorraine Hansberry Theatre)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How would you describe \u003cem>Thurgood\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>If we’re going to talk in general terms, it is another of those one-man shows in which historical characters talk about their lives. The only reason that’s interesting is because that historical character was so important. I think we have forgotten what a major figure Thurgood Marshall was in the 20th century, in the civil rights movement particularly. The playwright couldn’t have known the storm of events—the emergence of “Black Lives Matter,” the examination of how the police conduct themselves, the fact that we have a black president, the controversy over the death penalty, the taking down of the Confederate flag. All of these things have come together in the news and in American society. And this play, in Thurgood Marshall’s voice, speaks out about all of that stuff. I mean, it’s as though the play were written six months ago.\u003c/p>\n\u003cp>\u003cstrong>This production turned out to be pretty timely, with so much excitement around the Supreme Court right now. \u003c/strong>\u003c/p>\n\u003cp>I can’t give myself credit for that. I would be lying if I said that I’d anticipated any of it. My initial thought was that this is a really important person historically and it harkens back to his being a leader in the civil rights movement. Race is always a topic. But Marshall and the people who worked with him risked their lives. Some people \u003cem>lost\u003c/em> their lives so that we today could live the way that we live. The Supreme Court, \u003cem>Brown v. Board of Education\u003c/em>, the \u003ca href=\"https://en.wikipedia.org/wiki/Loving_v._Virginia\" target=\"_blank\" rel=\"noopener\">\u003cem>Loving\u003c/em> case\u003c/a> and the marriage equality movement are all game changers. The basis of Marshall’s strategy was the 14th Amendment. The judgment that the Supreme Court handed down on marriage equality was based on the 14th Amendment. I absolutely could never have foreseen that. I didn’t think I’d live to see a black president. For a lot of reasons, I feel like this is an amazing time.\u003c/p>\n\u003cp>\u003cstrong>What does this play have to say to the present moment? What could we stand to learn from Marshall’s story?\u003c/strong>\u003c/p>\n\u003cp>Marshall went to school with Langston Hughes and he credits Hughes with getting him to give up the party life when they were in college. So he finishes the play with a quote from a \u003ca href=\"http://www.poets.org/poetsorg/poem/let-america-be-america-again\" target=\"_blank\" rel=\"noopener\">Hughes poem\u003c/a>: “America never was America to me, and yet I swear this oath–America will be!” I really think that sums it up. Many people will freely admit, in terms of race, income equality and other issues that are important and that are recognized by a broad spectrum of people, there’s a whole lot left to do. For a lot of people, including LGBT and the poor, “America never was America, but America \u003cem>will be,”\u003c/em> because there are good people with their shoulders to the wheel that are continuing the work that Thurgood Marshall began.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Thurgood\u003c/em> runs through July 25, 2015 at the Creativity Theater in San Francisco. For \u003ca href=\"http://LHTSF.org\">tickets and information\u003c/a> visit LHTSF.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/thurgood/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Thurgood’\u003c/h2>\n\u003cdiv class=\"event-desc\">Lorraine Hansberry Theatre presents a solo show about Thurgood Marshall.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through July 25\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Lorraine Hansberry Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/thurgood/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Everybody’s been talking about the Supreme Court in the last couple of weeks as the nation responds to the historic June 26 \u003ca href=\"http://www.kqed.org/a/forum/R201506260900\">marriage equality ruling\u003c/a> confirming same-sex couples’ right to tie the knot.\u003c/p>\n\u003cp>As such, the timing couldn’t be more prescient for the Lorraine Hansberry Theatre’s production of \u003cem>Thurgood — \u003c/em>a solo show about Thurgood Marshall, the first African-American justice of the Supreme Court. Before that, Marshall was a great civil rights lawyer who represented the the National Association for the Advancement of Colored People (NAACP) in \u003cem>Brown vs. Board of Education\u003c/em>, the landmark 1954 Supreme Court case that unanimously declared racially segregated public schools unconstitutional.\u003c/p>\n\u003cp>Long San Francisco’s most prominent African-American theater company, the Lorraine Hansberry has kept a relatively low profile since it vacated its last home at the Post Street Theatre three years ago. The currently-nomadic organization is offering its subscribers “passport seasons” of plays produced by other theaters, such as Marin Theatre Company and American Conservatory Theater (ACT). It also produces occasional homegrown fare including staged readings, holiday shows or one-off events.\u003c/p>\n\u003cp>Now, the company returns with a full three-week run of \u003cem>Thurgood\u003c/em> starring its artistic director, veteran ACT actor Steven Anthony Jones.\u003c/p>\n\u003cp>In this biographical monologue by George Stevens Jr., Marshall visits his alma mater, Howard University, for a lecture in which he reviews his life and career from the streets of Baltimore to the highest court in the land.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jones took some time out from rehearsals to talk about the show.\u003c/p>\n\u003cfigure id=\"attachment_10826454\" class=\"wp-caption alignright\" style=\"max-width: 542px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ThurgoodB.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826454\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ThurgoodB.jpg\" alt=\"Steven Anthony Jones as Supreme Court Justice Thurgood Marshall in George Stevens Jr.'s biographical monologue Thurgood. (Photo: Gina Snow)\" width=\"542\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThurgoodB.jpg 542w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThurgoodB-400x590.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThurgoodB-407x600.jpg 407w\" sizes=\"(max-width: 542px) 100vw, 542px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Steven Anthony Jones as Supreme Court Justice Thurgood Marshall in George Stevens Jr.’s biographical monologue \u003ci>Thurgood\u003c/i>. (Photo: Gina Snow/Lorraine Hansberry Theatre)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How would you describe \u003cem>Thurgood\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>If we’re going to talk in general terms, it is another of those one-man shows in which historical characters talk about their lives. The only reason that’s interesting is because that historical character was so important. I think we have forgotten what a major figure Thurgood Marshall was in the 20th century, in the civil rights movement particularly. The playwright couldn’t have known the storm of events—the emergence of “Black Lives Matter,” the examination of how the police conduct themselves, the fact that we have a black president, the controversy over the death penalty, the taking down of the Confederate flag. All of these things have come together in the news and in American society. And this play, in Thurgood Marshall’s voice, speaks out about all of that stuff. I mean, it’s as though the play were written six months ago.\u003c/p>\n\u003cp>\u003cstrong>This production turned out to be pretty timely, with so much excitement around the Supreme Court right now. \u003c/strong>\u003c/p>\n\u003cp>I can’t give myself credit for that. I would be lying if I said that I’d anticipated any of it. My initial thought was that this is a really important person historically and it harkens back to his being a leader in the civil rights movement. Race is always a topic. But Marshall and the people who worked with him risked their lives. Some people \u003cem>lost\u003c/em> their lives so that we today could live the way that we live. The Supreme Court, \u003cem>Brown v. Board of Education\u003c/em>, the \u003ca href=\"https://en.wikipedia.org/wiki/Loving_v._Virginia\" target=\"_blank\" rel=\"noopener\">\u003cem>Loving\u003c/em> case\u003c/a> and the marriage equality movement are all game changers. The basis of Marshall’s strategy was the 14th Amendment. The judgment that the Supreme Court handed down on marriage equality was based on the 14th Amendment. I absolutely could never have foreseen that. I didn’t think I’d live to see a black president. For a lot of reasons, I feel like this is an amazing time.\u003c/p>\n\u003cp>\u003cstrong>What does this play have to say to the present moment? What could we stand to learn from Marshall’s story?\u003c/strong>\u003c/p>\n\u003cp>Marshall went to school with Langston Hughes and he credits Hughes with getting him to give up the party life when they were in college. So he finishes the play with a quote from a \u003ca href=\"http://www.poets.org/poetsorg/poem/let-america-be-america-again\" target=\"_blank\" rel=\"noopener\">Hughes poem\u003c/a>: “America never was America to me, and yet I swear this oath–America will be!” I really think that sums it up. Many people will freely admit, in terms of race, income equality and other issues that are important and that are recognized by a broad spectrum of people, there’s a whole lot left to do. For a lot of people, including LGBT and the poor, “America never was America, but America \u003cem>will be,”\u003c/em> because there are good people with their shoulders to the wheel that are continuing the work that Thurgood Marshall began.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Thurgood\u003c/em> runs through July 25, 2015 at the Creativity Theater in San Francisco. For \u003ca href=\"http://LHTSF.org\">tickets and information\u003c/a> visit LHTSF.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "An Afternoon at Pettingell Book Bindery in Berkeley",
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"content": "\u003cp>\u003cem>In the first of a three-part series on expert craftspeople in Berkeley, Melati Citrawireja, a summer 2015 photo intern for Berkeleyside, visits a Berkeley bookbindery run for the past 21 years by Klaus-Ullrich Rötzscher.\u003c/em>\u003c/p>\n\u003cp>As I push open the glass door to \u003ca href=\"http://pettingellbookbindery.com/\">Pettingell Book Bindery\u003c/a> on Bancroft Avenue, I am greeted with a pleasant quietness, a rare occurrence in the busy hub of downtown Berkeley. The owner and master bookbinder, Klaus-Ullrich Rötzscher, greets me warmly and invites me into his workspace.\u003c/p>\n\u003cp>Rötzscher is a middle-aged tall and slender fellow, wearing a glue-coated apron and wire-rimmed spectacles. The long, narrow room is dimly lit, with quirky artwork and tchotchkes lining the walls. Ribbons, rolls of colorful paper and old tools fill every nook.\u003c/p>\n\u003cp>“I designed this place myself, and I am skinny,’ he jokes in his thick German accent as we squeeze through the walkway. “Actually, the bindery was set up this way when I bought it and I just filled it with more crap.” A Javanese wooden puppet dangling from a shelf seems to wink as I pass.\u003c/p>\n\u003cp>Rötzscher quickly tunes his Pandora to a French jazz station and gets to work pulling out a stack of greatly worn books and a few tools. Today’s job entails stripping off the tired spines of a first edition “Winnie the Pooh” book and a Wizard of Oz series from the 1940s, bringing them back to life with new foundations, polyvinyl acetate glue and patient care.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This practice is actually very stressful and physical,” Rötzscher admits. “People don’t realize it, but books are heavy. When you work with them for this long, you really feel it. I am tired in the evenings … It’s easier if you really love it. I’m lucky to be in a position where I like what I do.”\u003c/p>\n\u003cp>Shreds of yellowed paper fall to the floor as Rötzscher works. He stops briefly every few minutes to scoop the confetti into a trash bin or to gather a thought as he recounts his career as a bookbinder, a time that has defined over 40 years of his life.\u003c/p>\n\u003cp>Rötzscher began bookbinding in Leipzig, Germany, with an apprenticeship at Schürer Bookbindery in 1972. Asked what spurred him to pursue the vocation, he says simply, “I always liked books, and I always liked working with my hands.” After this two-year training, he followed a trail of opportunities, moving first to Frankfurt and then to Munich, Bavaria. After eight years of work and study, he graduated in 1980 with two master's degrees. Later that year he moved to San Francisco, eventually opening his own bindery in 1987.\u003c/p>\n\u003cp>“San Francisco was good business, but stressful. The type of work was very precise and high-end. I thought, I can’t do this anymore.”\u003c/p>\n\u003cp>After almost a decade, he decided to escape the bustle of the city and move with his wife at the time and their two kids across the bay, buying Pettingell in Berkeley in 1994. “Now it’s meditative and quiet, and I can be as stressed as I want.”\u003c/p>\n\u003cp>When asked what he might have become if he hadn’t pursued the craft of bookbinding, he ponders for a long moment. “I don’t know. I can’t imagine. Maybe a detective. Maybe it’s a romantic notion because I like mystery novels.” After another beat, he continues, “I think it’s good if you don’t know what you would have done. I have no regrets. It’s been a good life.”\u003c/p>\n\u003cp>The phone rings and he lets the machine take it. “My proudest moment is that I could send my kids through college without going into debt. It was not easy, but I made it.”\u003c/p>\n\u003cp>During my two-hour visit to the book bindery, one customer swings by with a stack of prayer books that need rebinding.\u003c/p>\n\u003cp>“Business is harder these days,” admits Rötzscher. “For example, years ago, around graduation time, I was busy with dissertation theses. These days that is gone. But other things opened up, like self-publishing and memoirs. You know, it’s just changing. We have to adapt.”\u003c/p>\n\u003cp>Rötzscher currently spends his days working on these self-published books, along with family heirlooms, dictionaries, novels and manuscripts.\u003c/p>\n\u003cp>Additionally, as a way to fill in spare hours and to nurture his creativity, Rötzscher has recently released a line of hand-made journals, called \u003ca href=\"http://italianstationeryblog.com/pettingell-bookbindery-florentine-collections/#more-2044\">the Florentine Collection\u003c/a> (inspired by his love for the ancient Italian city). Bound in different covers, including sheepskin, suede and patterned paper, and stamped with various golden emblems, they reflect his simple yet elegant aesthetic.\u003c/p>\n\u003cp>“These days we are so disengaged. When you buy something, you don’t know who made it. You know it’s made in China or Germany, but the human connection is gone. When you look at something like this” — Rötzscher gestures to a stack of freshly-glued Florentine books patiently serving their time in the book press — “you can say it’s made by a craftsman. You can really say it’s handmade.”\u003c/p>\n\u003cp>And Rötzscher believes there is life yet in the bookbinding craft.\u003c/p>\n\u003cp>“I definitely think there’s a future in bookbinding. I wouldn’t say it’s a lost art, it just depends on what you want to do,” says Rötzscher.\u003c/p>\n\u003cp>He goes on to explain how the Bay Area has actually seen an increase in bookbinding in recent years, a change from the two or three that existed when he first came to America. To his knowledge, there are now six commercial bookbinderies, and many more independent binders who operate under the radar from their homes as a part-time job or a hobby. This produces some competition for him but, because most bookbinders specialize in a particular aspect of the craft, he doesn’t mind.\u003c/p>\n\u003cp>“I specialize in old books,” he says, “because no one wants to do it. It’s not sexy, and there’s no money in it.” He pulls out a large family Bible that he has recently fixed, gently unwrapping it from a cocoon of gauze. The cover is made of textured maroon leather, and it’s obvious that it carries extensive history. He points out places where the leather had worn away so much that he’d had to replace it, recreating the signature patterns and creases.\u003c/p>\n\u003cp>Toward the end of my afternoon at Pettingell, Rötzscher turns to me and imparts a piece of wisdom: “When you start something you have no idea where you’ll end up. That’s the beauty of life.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://pettingellbookbindery.com/\">Pettingell Book Bindery\u003c/a> is at 2181 Bancroft Way, Berkeley, 94704. Tel: 510-845-3653. Connect with the business on\u003ca href=\"https://www.facebook.com/Number1Bindery\"> Facebook\u003c/a> and on \u003ca href=\"https://www.pinterest.com/Pettingellbook/pins/\">Pinterest\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Melati Citrawireja, a development studies undergraduate at UC Berkeley, is currently pursuing a career in visual journalism. She was a summer 2015 photo intern at Berkeleyside. More of her work can be found online at \u003ca href=\"http://www.melatiphotography.com/\">Melati Photography\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Do you rely on Berkeleyside for your local news? You can support independent local journalism by\u003ca href=\"http://www.berkeleyside.com/support-berkeleyside/\">becoming a Berkeleyside Member\u003c/a>. \u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>In the first of a three-part series on expert craftspeople in Berkeley, Melati Citrawireja, a summer 2015 photo intern for Berkeleyside, visits a Berkeley bookbindery run for the past 21 years by Klaus-Ullrich Rötzscher.\u003c/em>\u003c/p>\n\u003cp>As I push open the glass door to \u003ca href=\"http://pettingellbookbindery.com/\">Pettingell Book Bindery\u003c/a> on Bancroft Avenue, I am greeted with a pleasant quietness, a rare occurrence in the busy hub of downtown Berkeley. The owner and master bookbinder, Klaus-Ullrich Rötzscher, greets me warmly and invites me into his workspace.\u003c/p>\n\u003cp>Rötzscher is a middle-aged tall and slender fellow, wearing a glue-coated apron and wire-rimmed spectacles. The long, narrow room is dimly lit, with quirky artwork and tchotchkes lining the walls. Ribbons, rolls of colorful paper and old tools fill every nook.\u003c/p>\n\u003cp>“I designed this place myself, and I am skinny,’ he jokes in his thick German accent as we squeeze through the walkway. “Actually, the bindery was set up this way when I bought it and I just filled it with more crap.” A Javanese wooden puppet dangling from a shelf seems to wink as I pass.\u003c/p>\n\u003cp>Rötzscher quickly tunes his Pandora to a French jazz station and gets to work pulling out a stack of greatly worn books and a few tools. Today’s job entails stripping off the tired spines of a first edition “Winnie the Pooh” book and a Wizard of Oz series from the 1940s, bringing them back to life with new foundations, polyvinyl acetate glue and patient care.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This practice is actually very stressful and physical,” Rötzscher admits. “People don’t realize it, but books are heavy. When you work with them for this long, you really feel it. I am tired in the evenings … It’s easier if you really love it. I’m lucky to be in a position where I like what I do.”\u003c/p>\n\u003cp>Shreds of yellowed paper fall to the floor as Rötzscher works. He stops briefly every few minutes to scoop the confetti into a trash bin or to gather a thought as he recounts his career as a bookbinder, a time that has defined over 40 years of his life.\u003c/p>\n\u003cp>Rötzscher began bookbinding in Leipzig, Germany, with an apprenticeship at Schürer Bookbindery in 1972. Asked what spurred him to pursue the vocation, he says simply, “I always liked books, and I always liked working with my hands.” After this two-year training, he followed a trail of opportunities, moving first to Frankfurt and then to Munich, Bavaria. After eight years of work and study, he graduated in 1980 with two master's degrees. Later that year he moved to San Francisco, eventually opening his own bindery in 1987.\u003c/p>\n\u003cp>“San Francisco was good business, but stressful. The type of work was very precise and high-end. I thought, I can’t do this anymore.”\u003c/p>\n\u003cp>After almost a decade, he decided to escape the bustle of the city and move with his wife at the time and their two kids across the bay, buying Pettingell in Berkeley in 1994. “Now it’s meditative and quiet, and I can be as stressed as I want.”\u003c/p>\n\u003cp>When asked what he might have become if he hadn’t pursued the craft of bookbinding, he ponders for a long moment. “I don’t know. I can’t imagine. Maybe a detective. Maybe it’s a romantic notion because I like mystery novels.” After another beat, he continues, “I think it’s good if you don’t know what you would have done. I have no regrets. It’s been a good life.”\u003c/p>\n\u003cp>The phone rings and he lets the machine take it. “My proudest moment is that I could send my kids through college without going into debt. It was not easy, but I made it.”\u003c/p>\n\u003cp>During my two-hour visit to the book bindery, one customer swings by with a stack of prayer books that need rebinding.\u003c/p>\n\u003cp>“Business is harder these days,” admits Rötzscher. “For example, years ago, around graduation time, I was busy with dissertation theses. These days that is gone. But other things opened up, like self-publishing and memoirs. You know, it’s just changing. We have to adapt.”\u003c/p>\n\u003cp>Rötzscher currently spends his days working on these self-published books, along with family heirlooms, dictionaries, novels and manuscripts.\u003c/p>\n\u003cp>Additionally, as a way to fill in spare hours and to nurture his creativity, Rötzscher has recently released a line of hand-made journals, called \u003ca href=\"http://italianstationeryblog.com/pettingell-bookbindery-florentine-collections/#more-2044\">the Florentine Collection\u003c/a> (inspired by his love for the ancient Italian city). Bound in different covers, including sheepskin, suede and patterned paper, and stamped with various golden emblems, they reflect his simple yet elegant aesthetic.\u003c/p>\n\u003cp>“These days we are so disengaged. When you buy something, you don’t know who made it. You know it’s made in China or Germany, but the human connection is gone. When you look at something like this” — Rötzscher gestures to a stack of freshly-glued Florentine books patiently serving their time in the book press — “you can say it’s made by a craftsman. You can really say it’s handmade.”\u003c/p>\n\u003cp>And Rötzscher believes there is life yet in the bookbinding craft.\u003c/p>\n\u003cp>“I definitely think there’s a future in bookbinding. I wouldn’t say it’s a lost art, it just depends on what you want to do,” says Rötzscher.\u003c/p>\n\u003cp>He goes on to explain how the Bay Area has actually seen an increase in bookbinding in recent years, a change from the two or three that existed when he first came to America. To his knowledge, there are now six commercial bookbinderies, and many more independent binders who operate under the radar from their homes as a part-time job or a hobby. This produces some competition for him but, because most bookbinders specialize in a particular aspect of the craft, he doesn’t mind.\u003c/p>\n\u003cp>“I specialize in old books,” he says, “because no one wants to do it. It’s not sexy, and there’s no money in it.” He pulls out a large family Bible that he has recently fixed, gently unwrapping it from a cocoon of gauze. The cover is made of textured maroon leather, and it’s obvious that it carries extensive history. He points out places where the leather had worn away so much that he’d had to replace it, recreating the signature patterns and creases.\u003c/p>\n\u003cp>Toward the end of my afternoon at Pettingell, Rötzscher turns to me and imparts a piece of wisdom: “When you start something you have no idea where you’ll end up. That’s the beauty of life.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://pettingellbookbindery.com/\">Pettingell Book Bindery\u003c/a> is at 2181 Bancroft Way, Berkeley, 94704. Tel: 510-845-3653. Connect with the business on\u003ca href=\"https://www.facebook.com/Number1Bindery\"> Facebook\u003c/a> and on \u003ca href=\"https://www.pinterest.com/Pettingellbook/pins/\">Pinterest\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Melati Citrawireja, a development studies undergraduate at UC Berkeley, is currently pursuing a career in visual journalism. She was a summer 2015 photo intern at Berkeleyside. More of her work can be found online at \u003ca href=\"http://www.melatiphotography.com/\">Melati Photography\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In 2001, during a flight in the tiny Cessna he’d chartered, photographer \u003ca href=\"http://davidmaisel.com\" target=\"_blank\" rel=\"noopener\">David Maisel\u003c/a> felt his fingers grow so numb from the cold that he began to lose dexterity operating his medium-format camera. When Maisel told the pilot, the man laughed. It’s not the cold, the pilot explained, it’s your brain. \u003c/p>\n\u003cp>[contextly_auto_sidebar id=”umUhcWIaUnJ6tPVb6f8FEvqgMJdx9GSf”]\u003c/p>\n\u003cp>The pilot had soared up to 10,000 feet, circling and banking the plane for hours at a time, and Maisel’s brain was indeed starved of oxygen. Loss of dexterity, extreme cold and heat, and cramped conditions are all challenges the photographer must endure as he uses altitude to compose his stunning images. \u003c/p>\n\u003cp>“Shooting from the air gives me a perspective that’s not usual. It also allows for gathering information that you ordinarily wouldn’t be able to see,” Maisel said. “It also allows for a graphic intensity to the images. When you’re removing the sky and most sense of scale from the frame, the images become abstract.”\u003c/p>\n\u003cp>The results from that day’s flight, titled \u003ca href=\"http://davidmaisel.com/portfolio-item/the-lake-project/#1\" target=\"_blank\" rel=\"noopener\">The Lake Project\u003c/a>, are a series of surreal and otherworldly pictures of salt flats that are all that remain of what was once California’s biggest natural lake. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For more than three decades, David Maisel has been making aerial photographs of Western lands that have suffered “traumatic” interventions by human beings. These include \u003ca href=\"http://davidmaisel.com/portfolio-item/american-mine/#1\" target=\"_blank\" rel=\"noopener\">open pit mines\u003c/a>, large swaths of \u003ca href=\"http://davidmaisel.com/portfolio-item/the-forest/#1\" target=\"_blank\" rel=\"noopener\">clear-cut forests\u003c/a> and \u003ca href=\"http://davidmaisel.com/portfolio-item/oblivion/#1\" target=\"_blank\" rel=\"noopener\">over-developed urban areas\u003c/a>.\u003c/p>\n\u003cp>“I don’t consider myself an environmental photographer,” Maisel said. “I don’t even consider myself a landscape photographer…the pictures are a starting point to seeing how traumatic these sites are and how natural resource collection is incredibly damaging.” \u003c/p>\n\u003cp>In May, the KQED Arts crew hit the road to follow the Marin County- based photographer as he returned to Owens Lake, located on the eastern side of the Sierra Nevada, about 200 miles north of Los Angeles. In 1913 the City of Los Angeles diverted the Owens River, the sole source of water to the lake, to flow into the newly constructed L.A. Aqueduct. Within ten years, the lake had completely dried up, exposing the soils and minerals to high winds, creating toxic dust storms. \u003c/p>\n\u003caside class=\"pullquote alignright\">\nShooting from the air gives me a perspective that’s not usual… When you’re removing the sky and most sense of scale from the frame, the images become abstract.\u003cbr>\n\u003ccite>David Maisel\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>The Los Angeles Department of Water and Power has tried over the years to keep down the dust by irrigating the lake, covering it with gravel, and planting vegetation to recreate natural habitat. The massive engineering project has changed the way Owens Lake appears from outer space, providing incredible shapes, forms and colors that fascinate Maisel. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maisel’s next series is focused on Dugway Proving Ground in Utah, a military site larger than the state of Rhode Island, where the U.S. government tests and develops defense systems against chemical and biological weapons. It took him more than a decade to obtain permission from the U.S. military to photograph the site from both the ground and the air. Maisel plans to include the Dugway images, along with his latest Owens Lake photographs, in a new exhibition opening Jan. 7, 2016 at \u003ca href=\"http://www.hainesgallery.com\" target=\"_blank\" rel=\"noopener\">the Haines Gallery\u003c/a> in San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For more than three decades, David Maisel has been making aerial photographs of Western lands that have suffered “traumatic” interventions by human beings. These include \u003ca href=\"http://davidmaisel.com/portfolio-item/american-mine/#1\" target=\"_blank\" rel=\"noopener\">open pit mines\u003c/a>, large swaths of \u003ca href=\"http://davidmaisel.com/portfolio-item/the-forest/#1\" target=\"_blank\" rel=\"noopener\">clear-cut forests\u003c/a> and \u003ca href=\"http://davidmaisel.com/portfolio-item/oblivion/#1\" target=\"_blank\" rel=\"noopener\">over-developed urban areas\u003c/a>.\u003c/p>\n\u003cp>“I don’t consider myself an environmental photographer,” Maisel said. “I don’t even consider myself a landscape photographer…the pictures are a starting point to seeing how traumatic these sites are and how natural resource collection is incredibly damaging.” \u003c/p>\n\u003cp>In May, the KQED Arts crew hit the road to follow the Marin County- based photographer as he returned to Owens Lake, located on the eastern side of the Sierra Nevada, about 200 miles north of Los Angeles. In 1913 the City of Los Angeles diverted the Owens River, the sole source of water to the lake, to flow into the newly constructed L.A. Aqueduct. Within ten years, the lake had completely dried up, exposing the soils and minerals to high winds, creating toxic dust storms. \u003c/p>\n\u003caside class=\"pullquote alignright\">\nShooting from the air gives me a perspective that’s not usual… When you’re removing the sky and most sense of scale from the frame, the images become abstract.\u003cbr>\n\u003ccite>David Maisel\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>The Los Angeles Department of Water and Power has tried over the years to keep down the dust by irrigating the lake, covering it with gravel, and planting vegetation to recreate natural habitat. The massive engineering project has changed the way Owens Lake appears from outer space, providing incredible shapes, forms and colors that fascinate Maisel. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maisel’s next series is focused on Dugway Proving Ground in Utah, a military site larger than the state of Rhode Island, where the U.S. government tests and develops defense systems against chemical and biological weapons. It took him more than a decade to obtain permission from the U.S. military to photograph the site from both the ground and the air. Maisel plans to include the Dugway images, along with his latest Owens Lake photographs, in a new exhibition opening Jan. 7, 2016 at \u003ca href=\"http://www.hainesgallery.com\" target=\"_blank\" rel=\"noopener\">the Haines Gallery\u003c/a> in San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Cosby Revelation: How a Decade-Old Deposition Came to Light",
"headTitle": "The Cosby Revelation: How a Decade-Old Deposition Came to Light | KQED",
"content": "\u003cp>On Monday, a decade-old deposition became the talk of the nation.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/06/420652103/report-cosby-admitted-giving-woman-sedative-quaaludes\" target=\"_blank\" rel=\"noopener\">As we reported\u003c/a>, in it comedian Bill Cosby admits that he gave sedatives to at least one woman whom he wanted to have sex with.\u003c/p>\n\u003cp>The deposition was given by Cosby during the discovery phase of a civil lawsuit against the comedian. At the time, the judge presiding over the case sealed the records of the case while lawyers from both sides gathered evidence. While that was going on the two parties came to a settlement, signed a confidentiality agreement and the temporary seal — and the case for that matter — was forgotten.\u003c/p>\n\u003cp>So, how and why did this deposition become public now?\u003c/p>\n\u003cp>The simple answer is that after accusations of sexual assault re-emerged against Cosby, the Associated Press asked the court to unseal the documents and the court agreed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Legally it’s more interesting. U.S. District Judge Eduardo Robreno \u003ca href=\"https://www.documentcloud.org/documents/2158930-cosby-order.html\" target=\"_blank\" rel=\"noopener\">issued a 25-page memo\u003c/a> outlining his reasoning. Here’s how he explains it:\u003c/p>\n\u003cp>— The \u003ca href=\"https://www.paed.uscourts.gov/documents/locrules/civil/cvrules.pdf\" target=\"_blank\" rel=\"noopener\">court’s rules\u003c/a> state that unless there is an objection, documents filed in the court will be unsealed automatically two years after the conclusion of litigation.\u003c/p>\n\u003cp>— When the AP filed a request to have the documents unsealed, Cosby’s attorneys objected, saying it would violate Cosby’s right to privacy by making public, among other things, “intimate knowledge about his sex life.” Cosby’s lawyer also argued that the release would embarrass Cosby and would violate the confidentiality agreement signed by the two parties.\u003c/p>\n\u003cp>— Robreno dismissed all those arguments.\u003c/p>\n\u003cp>— Perhaps the most intriguing part is that Robreno concluded that Cosby should be thought of as a public servant. Previous courts have held that public servants, or politicians, give up some of the privacy protections afforded to regular citizens or even public figures.\u003c/p>\n\u003cp>— So, how did Robreno make that leap? He argued that while Cosby is clearly a public figure, when he talks about issues of public policy like unwed mothers and crime, he becomes a “public moralist,” which is akin to being a public servant. Robreno writes:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q1.jpg\" alt=\"cosby-order-Q1\" width=\"553\" height=\"134\" class=\"aligncenter size-full wp-image-10824599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q1.jpg 553w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q1-400x97.jpg 400w\" sizes=\"(max-width: 553px) 100vw, 553px\">\u003c/p>\n\u003cp>Later:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q2.jpg\" alt=\"cosby-order-Q2\" width=\"552\" height=\"231\" class=\"aligncenter size-full wp-image-10824600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q2.jpg 552w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q2-400x167.jpg 400w\" sizes=\"(max-width: 552px) 100vw, 552px\">\u003c/p>\n\u003cp>— In the footnotes, Robreno specifically points out \u003ca href=\"http://www.eightcitiesmap.com/transcript_bc.htm\">Cosby’s speech\u003c/a> at the 50th anniversary commemoration of the \u003cem>Brown v. Board of Education\u003c/em>. In it, Cosby lays into the black community. Cosby said: “Ladies and gentlemen, in our cities and public schools we have 50 percent drop out. In our own neighborhood, we have men in prison. No longer is a person embarrassed because they’re pregnant without a husband. No longer is a boy considered an embarrassment if he tries to run away from being the father of the unmarried child.”\u003c/p>\n\u003cp>— The release of these documents, \u003ca href=\"https://www.documentcloud.org/documents/2158930-cosby-order.html#document/p19/a225693\">Robreno argues\u003c/a>, is therefore important for the public to weigh “the stark contrast between Bill Cosby, the public moralist and Bill Cosby, the subject of serious allegations concerning improper (and perhaps criminal) conduct …”\u003c/p>\n\u003cp>— On the embarrassment claim, the judge counters:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q3.jpg\" alt=\"cosby-order-Q3\" width=\"546\" height=\"276\" class=\"aligncenter size-full wp-image-10824601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q3.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q3-400x202.jpg 400w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003c/p>\n\u003cp>— Finally, as to the confidentiality agreement, Robreno says the two parties never filed the settlement agreement with the court, so the court has no obligation to honor it: \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q4.jpg\" alt=\"cosby-order-Q4\" width=\"547\" height=\"314\" class=\"aligncenter size-full wp-image-10824602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q4.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q4-400x230.jpg 400w\" sizes=\"(max-width: 547px) 100vw, 547px\">\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=The+Cosby+Revelation%3A+How+A+Decade-Old+Deposition+Came+To+Light&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Monday, a decade-old deposition became the talk of the nation.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/06/420652103/report-cosby-admitted-giving-woman-sedative-quaaludes\" target=\"_blank\" rel=\"noopener\">As we reported\u003c/a>, in it comedian Bill Cosby admits that he gave sedatives to at least one woman whom he wanted to have sex with.\u003c/p>\n\u003cp>The deposition was given by Cosby during the discovery phase of a civil lawsuit against the comedian. At the time, the judge presiding over the case sealed the records of the case while lawyers from both sides gathered evidence. While that was going on the two parties came to a settlement, signed a confidentiality agreement and the temporary seal — and the case for that matter — was forgotten.\u003c/p>\n\u003cp>So, how and why did this deposition become public now?\u003c/p>\n\u003cp>The simple answer is that after accusations of sexual assault re-emerged against Cosby, the Associated Press asked the court to unseal the documents and the court agreed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Legally it’s more interesting. U.S. District Judge Eduardo Robreno \u003ca href=\"https://www.documentcloud.org/documents/2158930-cosby-order.html\" target=\"_blank\" rel=\"noopener\">issued a 25-page memo\u003c/a> outlining his reasoning. Here’s how he explains it:\u003c/p>\n\u003cp>— The \u003ca href=\"https://www.paed.uscourts.gov/documents/locrules/civil/cvrules.pdf\" target=\"_blank\" rel=\"noopener\">court’s rules\u003c/a> state that unless there is an objection, documents filed in the court will be unsealed automatically two years after the conclusion of litigation.\u003c/p>\n\u003cp>— When the AP filed a request to have the documents unsealed, Cosby’s attorneys objected, saying it would violate Cosby’s right to privacy by making public, among other things, “intimate knowledge about his sex life.” Cosby’s lawyer also argued that the release would embarrass Cosby and would violate the confidentiality agreement signed by the two parties.\u003c/p>\n\u003cp>— Robreno dismissed all those arguments.\u003c/p>\n\u003cp>— Perhaps the most intriguing part is that Robreno concluded that Cosby should be thought of as a public servant. Previous courts have held that public servants, or politicians, give up some of the privacy protections afforded to regular citizens or even public figures.\u003c/p>\n\u003cp>— So, how did Robreno make that leap? He argued that while Cosby is clearly a public figure, when he talks about issues of public policy like unwed mothers and crime, he becomes a “public moralist,” which is akin to being a public servant. Robreno writes:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q1.jpg\" alt=\"cosby-order-Q1\" width=\"553\" height=\"134\" class=\"aligncenter size-full wp-image-10824599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q1.jpg 553w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q1-400x97.jpg 400w\" sizes=\"(max-width: 553px) 100vw, 553px\">\u003c/p>\n\u003cp>Later:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q2.jpg\" alt=\"cosby-order-Q2\" width=\"552\" height=\"231\" class=\"aligncenter size-full wp-image-10824600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q2.jpg 552w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q2-400x167.jpg 400w\" sizes=\"(max-width: 552px) 100vw, 552px\">\u003c/p>\n\u003cp>— In the footnotes, Robreno specifically points out \u003ca href=\"http://www.eightcitiesmap.com/transcript_bc.htm\">Cosby’s speech\u003c/a> at the 50th anniversary commemoration of the \u003cem>Brown v. Board of Education\u003c/em>. In it, Cosby lays into the black community. Cosby said: “Ladies and gentlemen, in our cities and public schools we have 50 percent drop out. In our own neighborhood, we have men in prison. No longer is a person embarrassed because they’re pregnant without a husband. No longer is a boy considered an embarrassment if he tries to run away from being the father of the unmarried child.”\u003c/p>\n\u003cp>— The release of these documents, \u003ca href=\"https://www.documentcloud.org/documents/2158930-cosby-order.html#document/p19/a225693\">Robreno argues\u003c/a>, is therefore important for the public to weigh “the stark contrast between Bill Cosby, the public moralist and Bill Cosby, the subject of serious allegations concerning improper (and perhaps criminal) conduct …”\u003c/p>\n\u003cp>— On the embarrassment claim, the judge counters:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q3.jpg\" alt=\"cosby-order-Q3\" width=\"546\" height=\"276\" class=\"aligncenter size-full wp-image-10824601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q3.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q3-400x202.jpg 400w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003c/p>\n\u003cp>— Finally, as to the confidentiality agreement, Robreno says the two parties never filed the settlement agreement with the court, so the court has no obligation to honor it: \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q4.jpg\" alt=\"cosby-order-Q4\" width=\"547\" height=\"314\" class=\"aligncenter size-full wp-image-10824602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q4.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q4-400x230.jpg 400w\" sizes=\"(max-width: 547px) 100vw, 547px\">\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=The+Cosby+Revelation%3A+How+A+Decade-Old+Deposition+Came+To+Light&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jerry Weintraub, the legendary producer behind such hits as \u003cem>The Karate Kid\u003c/em> and \u003cem>Ocean’s Eleven,\u003c/em> died Monday in Santa Barbara, Calif. He was 77.\u003c/p>\n\u003cp>The cause was cardiac arrest, according to Rogers & Cowan, the PR firm.\u003c/p>\n\u003cp>Weintraub began his career as a talent agent for MCA in the 1950s, representing clients such as Jack Paar. He then became a leading concert promoter, handling acts like Elvis Presley and Bob Dylan. His first production venture was Robert Altman’s \u003cem>Nashville,\u003c/em> which garnered five Academy Award nominations.\u003c/p>\n\u003cp>“I’m not afraid of anything,” Weintraub \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=125829398\" target=\"_blank\" rel=\"noopener\">told NPR in a 2010 interview\u003c/a>. “I’m never afraid of failing. I failed many times. Failure only teaches you how to be successful next time.”\u003c/p>\n\u003cp>Here’s more from \u003ca href=\"http://www.hollywoodreporter.com/news/jerry-weintraub-dead-producer-dies-806941\" target=\"_blank\" rel=\"noopener\">Hollywood Reporter\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“A promoter and impresario in the old sense, Weintraub was a larger-than-life, Damon Runyon-esque character. A steely, hard-charging personality, he was wildly successful in a ranging entertainment career that spanned over 50 years.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Producer+Jerry+Weintraub+Dies+At+77&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jerry Weintraub, the legendary producer behind such hits as \u003cem>The Karate Kid\u003c/em> and \u003cem>Ocean’s Eleven,\u003c/em> died Monday in Santa Barbara, Calif. He was 77.\u003c/p>\n\u003cp>The cause was cardiac arrest, according to Rogers & Cowan, the PR firm.\u003c/p>\n\u003cp>Weintraub began his career as a talent agent for MCA in the 1950s, representing clients such as Jack Paar. He then became a leading concert promoter, handling acts like Elvis Presley and Bob Dylan. His first production venture was Robert Altman’s \u003cem>Nashville,\u003c/em> which garnered five Academy Award nominations.\u003c/p>\n\u003cp>“I’m not afraid of anything,” Weintraub \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=125829398\" target=\"_blank\" rel=\"noopener\">told NPR in a 2010 interview\u003c/a>. “I’m never afraid of failing. I failed many times. Failure only teaches you how to be successful next time.”\u003c/p>\n\u003cp>Here’s more from \u003ca href=\"http://www.hollywoodreporter.com/news/jerry-weintraub-dead-producer-dies-806941\" target=\"_blank\" rel=\"noopener\">Hollywood Reporter\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“A promoter and impresario in the old sense, Weintraub was a larger-than-life, Damon Runyon-esque character. A steely, hard-charging personality, he was wildly successful in a ranging entertainment career that spanned over 50 years.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Producer+Jerry+Weintraub+Dies+At+77&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The\u003ca href=\"http://www.arabfilmfestival.org/\" target=\"_blank\" rel=\"noopener\"> Arab Film Festival\u003c/a> (AFF), one of the largest independent showcases of Arab movies outside of the Arab world, is being kicked out of its San Francisco office months before it hosts its next festival, scheduled for Oct. 16-25 of this year.\u003c/p>\n\u003cp>\u003ca href=\"http://www.pradogroup.com/\" target=\"_blank\" rel=\"noopener\">The Prado Group\u003c/a>, a privately held real estate development and investment management company based in San Francisco, purchased the building that houses the AFF’s office nine months ago. The company has given the AFF until the end of August to move out.\u003c/p>\n\u003cp>The Prado Group didn’t notify the AFF about how much its rent was going to increase, according to AFF executive director Serge Bakalian.\u003c/p>\n\u003cp>“When they called for a meeting, I was expecting them to say ‘It’s going to be two times your current rent,'” Bakalian said. “But they didn’t even give us an option. They just said, ‘Here’s 60 days.’ I asked for a couple months and to their credit, they did give us an extra month.”\u003c/p>\n\u003cp>The Prado Group has yet to reply to KQED’s request for comment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The AFF was started in San Jose in 1996 with a mission to “enhance understanding of Arab culture and foster a space for independent Arab filmmakers to screen their work for the public.” Since then, the AFF has expanded globally with satellite festivals in Berlin, London, San Diego and Los Angeles.\u003c/p>\n\u003cp>The AFF has operated in San Francisco since 2002 and has been located at its Mission District offices for the past six years.\u003c/p>\n\u003cp>Before receiving the eviction notice, the AFF had been planning to expand its staff from seven paid personnel to eight, and add two interns. \u003c/p>\n\u003cp>A \u003ca href=\"https://www.tilt.com/tilts/keep-nonprofits-in-san-francisco/description\" target=\"_blank\" rel=\"noopener\">crowd-funding campaign\u003c/a> has been started to help keep the AFF in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated with more details as it develops.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The\u003ca href=\"http://www.arabfilmfestival.org/\" target=\"_blank\" rel=\"noopener\"> Arab Film Festival\u003c/a> (AFF), one of the largest independent showcases of Arab movies outside of the Arab world, is being kicked out of its San Francisco office months before it hosts its next festival, scheduled for Oct. 16-25 of this year.\u003c/p>\n\u003cp>\u003ca href=\"http://www.pradogroup.com/\" target=\"_blank\" rel=\"noopener\">The Prado Group\u003c/a>, a privately held real estate development and investment management company based in San Francisco, purchased the building that houses the AFF’s office nine months ago. The company has given the AFF until the end of August to move out.\u003c/p>\n\u003cp>The Prado Group didn’t notify the AFF about how much its rent was going to increase, according to AFF executive director Serge Bakalian.\u003c/p>\n\u003cp>“When they called for a meeting, I was expecting them to say ‘It’s going to be two times your current rent,'” Bakalian said. “But they didn’t even give us an option. They just said, ‘Here’s 60 days.’ I asked for a couple months and to their credit, they did give us an extra month.”\u003c/p>\n\u003cp>The Prado Group has yet to reply to KQED’s request for comment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The AFF was started in San Jose in 1996 with a mission to “enhance understanding of Arab culture and foster a space for independent Arab filmmakers to screen their work for the public.” Since then, the AFF has expanded globally with satellite festivals in Berlin, London, San Diego and Los Angeles.\u003c/p>\n\u003cp>The AFF has operated in San Francisco since 2002 and has been located at its Mission District offices for the past six years.\u003c/p>\n\u003cp>Before receiving the eviction notice, the AFF had been planning to expand its staff from seven paid personnel to eight, and add two interns. \u003c/p>\n\u003cp>A \u003ca href=\"https://www.tilt.com/tilts/keep-nonprofits-in-san-francisco/description\" target=\"_blank\" rel=\"noopener\">crowd-funding campaign\u003c/a> has been started to help keep the AFF in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated with more details as it develops.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In West Oakland, mint-green paint covers up a large swath of letters on the side of a concrete wall. Lauren Westreich has already brought out the paint four times since relocating her business here in February. She remembers helping paint her neighbor’s wall, too, which was hit by graffiti 30 feet high.\u003c/p>\n\u003cp>“Somebody came in literally the next day and took a spray can of paint and just scribbled on the wall every inch of freshly painted surface,” said Westreich.\u003c/p>\n\u003cp>The city’s cost of cleaning up graffiti has been increasing, not including the dollars spent by private business owners like Westreich. While the city is hungry to keep and grow business in areas like West Oakland, a new task force with limited resources is trying to address an old symbol of urban grit in the face of a changing Oakland.\u003c/p>\n\u003cp>The suspects are not from around here, says Assistant to the City Administrator Joe DeVries.\u003c/p>\n\u003cp>“I caught a couple of guys with spray paint in their back pockets taking pictures of their work and they had Washington plates. I caught another guy doing this, taking pictures of the graffiti art, with Oregon plates over in West Oakland,” said DeVries, who is a member of the city’s new graffiti task force.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On a Wednesday morning, DeVries looks through a green book that has pictures of Oakland graffiti. Colorful monikers fill the pages; he calls them “criminal vandals.” The task force he’s a part of is trying to track who is tagging what and how much money each name has cost the city and private business.\u003c/p>\n\u003cfigure id=\"attachment_10585950\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10585950 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-800x600.jpg\" alt=\"City administrator Joe DeVries say Oakland is trying to build cases against illegal graffiti writers.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">City staffer Joe DeVries say Oakland is trying to build cases against illegal graffiti writers.\u003c/figcaption>\u003c/figure>\n\u003cp>In 2013, Oakland passed a law that allowed the city to fine people caught tagging or defacing property without the owner’s consent. The idea is to help the city recoup costs without sending the case to court, where the level of proof is higher, said DeVries. The city hasn’t fined anyone under the law yet, he said, but there are two major cases that the task force is working on.\u003c/p>\n\u003cp>DeVries said Oakland has had success with its illegal dumping task force, which has caught around 150 people and gathered about $50,000 in fines over the past year. But it’s easy for people to take a snapshot of a license plate from a phone, he said. With graffiti, it’s harder to identify people in pictures and prove their guilt.\u003c/p>\n\u003cp>\u003cstrong>Graffiti Costs Increasing\u003c/strong>\u003c/p>\n\u003cp>Meanwhile, Oakland saw an increase of more than 50 percent in costs for graffiti cleanup between 2012 and 2014. Last year, the city spent $1.2 million on graffiti. Caltrans is also cleaning up more graffiti on state-owned property in the city. In fiscal year 2012, that totaled 339,985 square feet (roughly six football fields). But the real costs, to private businesses, can’t be calculated, DeVries said.\u003c/p>\n\u003cfigure id=\"attachment_10586027\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10586027\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-800x533.jpg\" alt=\"If cited, an Oakland business owner has 10 days to clean up graffiti.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">If cited, an Oakland business owner has 10 days to clean up graffiti. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland requires businesses to remove graffiti on their own. DeVries said the city doesn’t have the resources to provide paint each time a building is defaced. But he said city officials also don’t drive around picking out buildings to cite. Oakland relies on complaints to the Public Works call center and the city’s \u003ca href=\"http://en.seeclickfix.com/oakland\" target=\"_blank\" rel=\"noopener\">SeeClickFix website\u003c/a>, which allows anyone to report blight and other problems directly. There were more than 6,000 graffiti complaints last year, according to the city’s open data website.\u003c/p>\n\u003cp>“The perpetrators of the graffiti know this is a low-level crime,” said Michael Herling, chairman of the group West Oakland Business Alert, which has identified graffiti as one of nine obstacles to keeping and growing business in the neighborhood.\u003c/p>\n\u003cp>Herling’s West Oakland janitorial company faces a concrete wall that’s part of the recycling center across the street. While not a fan of graffiti, Herling admits there’s a big difference between the type of colorful pieces on that wall, called burners, and the “throw-ups” right next door to him.\u003c/p>\n\u003cp>\u003cem>(\u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=d2hgKsrOvkk\">\u003cem>Click here to see a video explaining the different types of graffit\u003c/em>i\u003c/a>)\u003c/p>\n\u003cp>“One side is actually kind of cool art and the other side is graffiti,” he said.\u003c/p>\n\u003cfigure id=\"attachment_10587933\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10587933 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-800x600.jpg\" alt=\"Across the street from Michael Herling's business in West Oakland is the 'cool art.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Across the street from Michael Herling’s business in West Oakland is the ‘cool art.’ \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10587934\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10587934 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-800x600.jpg\" alt='Across from the \"cool art\" is the more typical graffiti that business argue leads to blight and other problems.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">On Herling’s side of the street is the more typical graffiti that West Oakland business owners say hurts business growth. \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Murals as Solution\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/2015/05/19/why-dont-murals-get-covered-by-graffiti-in-the-mission\">As KQED reported\u003c/a> in its Bay Curious series, some street art gets more respect from graffiti writers than others. Herling said that he hasn’t seen any tags on the tops of the large, more artistic pieces across the street. That’s why some cities see value in spending money on murals. In the 2013-14 city budget, $400,000 was allocated for graffiti abatement, with a concentration on murals.\u003c/p>\n\u003cp>But getting that money has been like “pulling teeth,” said Desi Mundo, founder of Community Rejuvenation Project, which has painted more than 100 murals around the city. The allocation for murals has been the only proactive step the city has taken to address graffiti, he said, and Oakland’s new law that allows the city to fine people caught writing graffiti isn’t going to help.\u003c/p>\n\u003cp>“It’s a waste of time, a waste of funds,” he said.\u003c/p>\n\u003cp>Mundo says the only solution is supporting more public art like murals, \u003ca href=\"http://www.contracostatimes.com/news/ci_24389671/extortion-art-oakland-grapples-graffiti\">which have also been controversial\u003c/a> for some business owners who fear retaliation if they don’t allow graffiti artists the right to use their buildings. Mundo dismisses that, but he also knows some illegal graffiti writers don’t respect private owners.\u003c/p>\n\u003cp>To them, “a blank wall is a blank wall,” he said.\u003c/p>\n\u003cp>Mundo says murals offer a way to connect with communities where they’re at. One of his most recent projects is the Alice Street mural downtown, which pays tribute to community leaders and the city’s culture.\u003c/p>\n\u003cp>“We want to see community-led projects that reflect back on the history,” Mundo said.\u003c/p>\n\u003cfigure id=\"attachment_10587986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10587986 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Desi Mundo says murals should reflect the communities they are in. \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Mundo recognizes that there has been a shift in the demographics of graffiti writers in Oakland and that “there’s definitely a greater disconnection between the neighborhood and the people who are going out and painting illegally.” At the same time, what’s making Oakland attractive to these outsiders is the city’s vibrant arts and culture scene, he said.\u003c/p>\n\u003cp>“Oakland is capitalizing on the very thing they’re trying to destroy.”\u003c/p>\n\u003cp>DeVries said he would support property owners and graffiti writers who want to work harmoniously to find more community spaces for graffiti art. But the city’s resources are thin, he said, and the conversation would have to begin with graffiti writers.\u003c/p>\n\u003cp>“We would likely embrace it if the community embraced it. But if the community is feeling literally vandalized and terrorized by this, we’re not going to embrace that,” he said.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10585968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10585968 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-800x600.jpg\" alt=\"West Oakland business owner Lauren Westreich says her business has been hit by graffiti four times since opening in February. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">West Oakland business owner Lauren Westreich says her business has been hit by graffiti four times since opening in February. (Devin Katayama/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Right now, businesses are feeling vandalized, and they’re not getting very far addressing the problem. If a business is cited, it has 10 days to clean up the graffiti, but some have said they can’t paint over it quickly enough.\u003c/p>\n\u003cp>Business owners like Lauren Westreich continue to report and paint out graffiti immediately.\u003c/p>\n\u003cp>“It’s very difficult to continue to do it when it feels like there isn’t a robust response because of limited resources and time,” she said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Westreich said spending time and money on problems like graffiti and illegal dumping detracts attention and resources from much larger problems Oakland faces, like economic and social justice.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In West Oakland, mint-green paint covers up a large swath of letters on the side of a concrete wall. Lauren Westreich has already brought out the paint four times since relocating her business here in February. She remembers helping paint her neighbor’s wall, too, which was hit by graffiti 30 feet high.\u003c/p>\n\u003cp>“Somebody came in literally the next day and took a spray can of paint and just scribbled on the wall every inch of freshly painted surface,” said Westreich.\u003c/p>\n\u003cp>The city’s cost of cleaning up graffiti has been increasing, not including the dollars spent by private business owners like Westreich. While the city is hungry to keep and grow business in areas like West Oakland, a new task force with limited resources is trying to address an old symbol of urban grit in the face of a changing Oakland.\u003c/p>\n\u003cp>The suspects are not from around here, says Assistant to the City Administrator Joe DeVries.\u003c/p>\n\u003cp>“I caught a couple of guys with spray paint in their back pockets taking pictures of their work and they had Washington plates. I caught another guy doing this, taking pictures of the graffiti art, with Oregon plates over in West Oakland,” said DeVries, who is a member of the city’s new graffiti task force.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On a Wednesday morning, DeVries looks through a green book that has pictures of Oakland graffiti. Colorful monikers fill the pages; he calls them “criminal vandals.” The task force he’s a part of is trying to track who is tagging what and how much money each name has cost the city and private business.\u003c/p>\n\u003cfigure id=\"attachment_10585950\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10585950 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-800x600.jpg\" alt=\"City administrator Joe DeVries say Oakland is trying to build cases against illegal graffiti writers.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">City staffer Joe DeVries say Oakland is trying to build cases against illegal graffiti writers.\u003c/figcaption>\u003c/figure>\n\u003cp>In 2013, Oakland passed a law that allowed the city to fine people caught tagging or defacing property without the owner’s consent. The idea is to help the city recoup costs without sending the case to court, where the level of proof is higher, said DeVries. The city hasn’t fined anyone under the law yet, he said, but there are two major cases that the task force is working on.\u003c/p>\n\u003cp>DeVries said Oakland has had success with its illegal dumping task force, which has caught around 150 people and gathered about $50,000 in fines over the past year. But it’s easy for people to take a snapshot of a license plate from a phone, he said. With graffiti, it’s harder to identify people in pictures and prove their guilt.\u003c/p>\n\u003cp>\u003cstrong>Graffiti Costs Increasing\u003c/strong>\u003c/p>\n\u003cp>Meanwhile, Oakland saw an increase of more than 50 percent in costs for graffiti cleanup between 2012 and 2014. Last year, the city spent $1.2 million on graffiti. Caltrans is also cleaning up more graffiti on state-owned property in the city. In fiscal year 2012, that totaled 339,985 square feet (roughly six football fields). But the real costs, to private businesses, can’t be calculated, DeVries said.\u003c/p>\n\u003cfigure id=\"attachment_10586027\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10586027\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-800x533.jpg\" alt=\"If cited, an Oakland business owner has 10 days to clean up graffiti.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">If cited, an Oakland business owner has 10 days to clean up graffiti. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland requires businesses to remove graffiti on their own. DeVries said the city doesn’t have the resources to provide paint each time a building is defaced. But he said city officials also don’t drive around picking out buildings to cite. Oakland relies on complaints to the Public Works call center and the city’s \u003ca href=\"http://en.seeclickfix.com/oakland\" target=\"_blank\" rel=\"noopener\">SeeClickFix website\u003c/a>, which allows anyone to report blight and other problems directly. There were more than 6,000 graffiti complaints last year, according to the city’s open data website.\u003c/p>\n\u003cp>“The perpetrators of the graffiti know this is a low-level crime,” said Michael Herling, chairman of the group West Oakland Business Alert, which has identified graffiti as one of nine obstacles to keeping and growing business in the neighborhood.\u003c/p>\n\u003cp>Herling’s West Oakland janitorial company faces a concrete wall that’s part of the recycling center across the street. While not a fan of graffiti, Herling admits there’s a big difference between the type of colorful pieces on that wall, called burners, and the “throw-ups” right next door to him.\u003c/p>\n\u003cp>\u003cem>(\u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=d2hgKsrOvkk\">\u003cem>Click here to see a video explaining the different types of graffit\u003c/em>i\u003c/a>)\u003c/p>\n\u003cp>“One side is actually kind of cool art and the other side is graffiti,” he said.\u003c/p>\n\u003cfigure id=\"attachment_10587933\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10587933 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-800x600.jpg\" alt=\"Across the street from Michael Herling's business in West Oakland is the 'cool art.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Across the street from Michael Herling’s business in West Oakland is the ‘cool art.’ \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10587934\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10587934 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-800x600.jpg\" alt='Across from the \"cool art\" is the more typical graffiti that business argue leads to blight and other problems.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">On Herling’s side of the street is the more typical graffiti that West Oakland business owners say hurts business growth. \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Murals as Solution\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/2015/05/19/why-dont-murals-get-covered-by-graffiti-in-the-mission\">As KQED reported\u003c/a> in its Bay Curious series, some street art gets more respect from graffiti writers than others. Herling said that he hasn’t seen any tags on the tops of the large, more artistic pieces across the street. That’s why some cities see value in spending money on murals. In the 2013-14 city budget, $400,000 was allocated for graffiti abatement, with a concentration on murals.\u003c/p>\n\u003cp>But getting that money has been like “pulling teeth,” said Desi Mundo, founder of Community Rejuvenation Project, which has painted more than 100 murals around the city. The allocation for murals has been the only proactive step the city has taken to address graffiti, he said, and Oakland’s new law that allows the city to fine people caught writing graffiti isn’t going to help.\u003c/p>\n\u003cp>“It’s a waste of time, a waste of funds,” he said.\u003c/p>\n\u003cp>Mundo says the only solution is supporting more public art like murals, \u003ca href=\"http://www.contracostatimes.com/news/ci_24389671/extortion-art-oakland-grapples-graffiti\">which have also been controversial\u003c/a> for some business owners who fear retaliation if they don’t allow graffiti artists the right to use their buildings. Mundo dismisses that, but he also knows some illegal graffiti writers don’t respect private owners.\u003c/p>\n\u003cp>To them, “a blank wall is a blank wall,” he said.\u003c/p>\n\u003cp>Mundo says murals offer a way to connect with communities where they’re at. One of his most recent projects is the Alice Street mural downtown, which pays tribute to community leaders and the city’s culture.\u003c/p>\n\u003cp>“We want to see community-led projects that reflect back on the history,” Mundo said.\u003c/p>\n\u003cfigure id=\"attachment_10587986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10587986 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Desi Mundo says murals should reflect the communities they are in. \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Mundo recognizes that there has been a shift in the demographics of graffiti writers in Oakland and that “there’s definitely a greater disconnection between the neighborhood and the people who are going out and painting illegally.” At the same time, what’s making Oakland attractive to these outsiders is the city’s vibrant arts and culture scene, he said.\u003c/p>\n\u003cp>“Oakland is capitalizing on the very thing they’re trying to destroy.”\u003c/p>\n\u003cp>DeVries said he would support property owners and graffiti writers who want to work harmoniously to find more community spaces for graffiti art. But the city’s resources are thin, he said, and the conversation would have to begin with graffiti writers.\u003c/p>\n\u003cp>“We would likely embrace it if the community embraced it. But if the community is feeling literally vandalized and terrorized by this, we’re not going to embrace that,” he said.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10585968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10585968 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-800x600.jpg\" alt=\"West Oakland business owner Lauren Westreich says her business has been hit by graffiti four times since opening in February. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">West Oakland business owner Lauren Westreich says her business has been hit by graffiti four times since opening in February. (Devin Katayama/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Right now, businesses are feeling vandalized, and they’re not getting very far addressing the problem. If a business is cited, it has 10 days to clean up the graffiti, but some have said they can’t paint over it quickly enough.\u003c/p>\n\u003cp>Business owners like Lauren Westreich continue to report and paint out graffiti immediately.\u003c/p>\n\u003cp>“It’s very difficult to continue to do it when it feels like there isn’t a robust response because of limited resources and time,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Westreich said spending time and money on problems like graffiti and illegal dumping detracts attention and resources from much larger problems Oakland faces, like economic and social justice.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Weekly USO Dinners Create Extended Family For Military",
"title": "Weekly USO Dinners Create Extended Family For Military",
"headTitle": "California Foodways | The California Report | KQED News",
"content": "\u003cp>The Fourth of July is a time when many friends and relatives come together to watch fireworks and have a barbecue, but members of the military are often deployed or stationed far from their extended families.\u003c/p>\n\u003cp>There’s a place in San Diego, though, where active-duty service members, their spouses and kids can always share a meal with their extended military family: the USO Downtown Center.\u003c/p>\n\u003cp>That’s where I meet Scotty Wells, a self-described Navy wife, who’s here with her husband, Petty Officer 1st Class Benjamin Wells. She tells me about his job.\u003c/p>\n\u003cp>“He is a mine man in the Navy,” she says, naming a job I never even knew existed.\u003c/p>\n\u003cp>“They go in first to make sure the big aircraft carriers won't set off any mines and explode,” she explains. “And some of the mines, oh my goodness! They're as big as a car. They're huge. It scares me to death.”\u003c/p>\n\u003cfigure id=\"attachment_10586815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10586815\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/USO_1-800x530.jpg\" alt=\"Scotty and Benjamin Wells and their five kids come to the USO for the extended family. Their own are back in Ohio.\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-400x265.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-1440x954.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-960x636.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scotty and Benjamin Wells and their five kids come to the USO for the extended family. Their own are back in Ohio. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So tonight, she’s happy to be out to dinner with her husband and their five children: Wesley, 11; Reagan, 7; twins Charlie and Ryen, who are 6; and 4-year-old Parker, who insists on being called Parker Princess. They’re among 200 people waiting in the United Service Organization's spacious first floor. A handful of service members sit at computers, sending email. Families gather around a pool table and tumble into couches next to a large-screen TV.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They’re all waiting for their number to be called, so they can go upstairs to a clean, bright room lined with folding tables, each with a collection of noisemakers, which the kids are pulled to like magnets. It’s a kind of joyful chaos.\u003c/p>\n\u003cp>A few feet away in an industrial kitchen, volunteers work on the finishing touches for dinner.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/213883066\" 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>“We’re having spaghetti and meatballs … with Zuppa Toscana soup ... broccoli, salad and French bread,” says volunteer Sabrina Price. She has to stand on a stool to stir the huge pot of tomato sauce.\u003c/p>\n\u003cp>“We made the spaghetti sauce from scratch. There are whole bay leaves in there, fresh oregano and parsley.”\u003c/p>\n\u003cp>The USO has been supporting active-duty service members (and National Guard and Reserve) and their families since 1941. \u003ca href=\"http://usosandiego.org/\">San Diego’s Downtown Center\u003c/a> hosts dinner every week, says director Tiana Caylor.\u003c/p>\n\u003caside class=\"pullquote alignleft\">“We do Tuesday night dinners because food speaks volumes. When you're at home, the first thing you do is you go into the fridge. You ask Mom to make you a sandwich. It's our way of being a home away from home. And food is a love language.\"\u003cbr>\n\u003ccite>Tiana Caylor, Director of USO's San Diego Downtown Center\u003c/cite>\u003c/aside>\n\u003cp>“We do Tuesday night dinners because food speaks volumes,\" she says. \"When you're at home, the first thing you do is you go into the fridge. You ask Mom to make you a sandwich. It's our way of being a home away from home. And food is a love language.\"\u003c/p>\n\u003cp>“It's like having a family dinner,” says Kameron Richardson, holding her 3-month-old baby. She’s here with her best friend, who’s also a Navy spouse. Richardson’s husband is deployed on a carrier that hasn’t reached its destination, so she doesn’t know where he is.\u003c/p>\n\u003cp>“He’s an airman, so he brings in the planes when they come in on the ships,\" she says.\u003c/p>\n\u003cp>They’ve been together for six years. Since her husband joined the Navy almost three years ago, “we've spent more time apart than we have together,\" Richardson says with a bit of a laugh.\u003c/p>\n\u003cp>Here, she can meet people who know what she’s going through. “We can talk about stuff that you can't really talk about, with even your own family, because they don't really understand all the time.”\u003c/p>\n\u003cp>A few seats away, Barbara Melendez tells me she’s a hospital corpsman, a medic for the Navy and Marines. She’s sitting with her daughters: Maida, age 6, and Melinda, age 5. They’re USO regulars.\u003c/p>\n\u003cfigure id=\"attachment_10586861\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10586861\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/USO_2-800x491.jpg\" alt=\"Hospital Corpsman Barbara Melendez and her daughters Maida and Melinda are USO regulars.\" width=\"800\" height=\"491\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-800x491.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-400x245.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-1440x884.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-1180x724.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-960x589.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hospital Corpsman Barbara Melendez and her daughters Maida and Melinda are USO regulars. \u003ccite>(Lisa Morehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We love it here,” says Melendez. “Every once in a while they do a pantry where we get beans and rice and muffins. That helps me out tremendously.” The single mom says it can be tough in this economy, and in San Diego, to get by.\u003c/p>\n\u003cp>She’s grateful for the USO and the volunteers. “You seem to lose your faith in humanity sometimes, but then there's places like this where people come together and prove, ‘Hey, we still care. We still notice.’ ”\u003c/p>\n\u003cp>As the meal ends, Scotty Wells gets a rare moment to reflect on her future. It means the world to her to be raising these five great kids, and on top of that, she says, “My dream is just to grow old and sit on a porch someday with my husband. I know that might sound stupid, but it's what I want.”\u003c/p>\n\u003cp>She adds quietly, “I don’t want to lose my husband.”\u003c/p>\n\u003cp>Wells remembers a really difficult time, when he was deployed for four months, and she had newborn twins plus a 1- and 5-year-old at home.\u003c/p>\n\u003cp>“I can't even tell you how many times I brought that stroller here. I did that frequently, because you make friends, and they move,” she says, a fact of life for many military families in military towns. “So then you have nobody here.\"\u003c/p>\n\u003cp>She adds, \"Sometimes, you just get lonely, so you come to dinner.”\u003c/p>\n\u003cp>That’s something she can do every Tuesday night at the USO.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The series \u003ca href=\"http://www.californiafoodways.com/\">California Foodways\u003c/a> is supported by \u003ca href=\"http://www.calhum.org/\">Cal Humanities\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Fourth of July is a time when many friends and relatives come together to watch fireworks and have a barbecue, but members of the military are often deployed or stationed far from their extended families.\u003c/p>\n\u003cp>There’s a place in San Diego, though, where active-duty service members, their spouses and kids can always share a meal with their extended military family: the USO Downtown Center.\u003c/p>\n\u003cp>That’s where I meet Scotty Wells, a self-described Navy wife, who’s here with her husband, Petty Officer 1st Class Benjamin Wells. She tells me about his job.\u003c/p>\n\u003cp>“He is a mine man in the Navy,” she says, naming a job I never even knew existed.\u003c/p>\n\u003cp>“They go in first to make sure the big aircraft carriers won't set off any mines and explode,” she explains. “And some of the mines, oh my goodness! They're as big as a car. They're huge. It scares me to death.”\u003c/p>\n\u003cfigure id=\"attachment_10586815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10586815\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/USO_1-800x530.jpg\" alt=\"Scotty and Benjamin Wells and their five kids come to the USO for the extended family. Their own are back in Ohio.\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-400x265.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-1440x954.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-960x636.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scotty and Benjamin Wells and their five kids come to the USO for the extended family. Their own are back in Ohio. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So tonight, she’s happy to be out to dinner with her husband and their five children: Wesley, 11; Reagan, 7; twins Charlie and Ryen, who are 6; and 4-year-old Parker, who insists on being called Parker Princess. They’re among 200 people waiting in the United Service Organization's spacious first floor. A handful of service members sit at computers, sending email. Families gather around a pool table and tumble into couches next to a large-screen TV.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They’re all waiting for their number to be called, so they can go upstairs to a clean, bright room lined with folding tables, each with a collection of noisemakers, which the kids are pulled to like magnets. It’s a kind of joyful chaos.\u003c/p>\n\u003cp>A few feet away in an industrial kitchen, volunteers work on the finishing touches for dinner.\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/213883066&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/213883066'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“We’re having spaghetti and meatballs … with Zuppa Toscana soup ... broccoli, salad and French bread,” says volunteer Sabrina Price. She has to stand on a stool to stir the huge pot of tomato sauce.\u003c/p>\n\u003cp>“We made the spaghetti sauce from scratch. There are whole bay leaves in there, fresh oregano and parsley.”\u003c/p>\n\u003cp>The USO has been supporting active-duty service members (and National Guard and Reserve) and their families since 1941. \u003ca href=\"http://usosandiego.org/\">San Diego’s Downtown Center\u003c/a> hosts dinner every week, says director Tiana Caylor.\u003c/p>\n\u003caside class=\"pullquote alignleft\">“We do Tuesday night dinners because food speaks volumes. When you're at home, the first thing you do is you go into the fridge. You ask Mom to make you a sandwich. It's our way of being a home away from home. And food is a love language.\"\u003cbr>\n\u003ccite>Tiana Caylor, Director of USO's San Diego Downtown Center\u003c/cite>\u003c/aside>\n\u003cp>“We do Tuesday night dinners because food speaks volumes,\" she says. \"When you're at home, the first thing you do is you go into the fridge. You ask Mom to make you a sandwich. It's our way of being a home away from home. And food is a love language.\"\u003c/p>\n\u003cp>“It's like having a family dinner,” says Kameron Richardson, holding her 3-month-old baby. She’s here with her best friend, who’s also a Navy spouse. Richardson’s husband is deployed on a carrier that hasn’t reached its destination, so she doesn’t know where he is.\u003c/p>\n\u003cp>“He’s an airman, so he brings in the planes when they come in on the ships,\" she says.\u003c/p>\n\u003cp>They’ve been together for six years. Since her husband joined the Navy almost three years ago, “we've spent more time apart than we have together,\" Richardson says with a bit of a laugh.\u003c/p>\n\u003cp>Here, she can meet people who know what she’s going through. “We can talk about stuff that you can't really talk about, with even your own family, because they don't really understand all the time.”\u003c/p>\n\u003cp>A few seats away, Barbara Melendez tells me she’s a hospital corpsman, a medic for the Navy and Marines. She’s sitting with her daughters: Maida, age 6, and Melinda, age 5. They’re USO regulars.\u003c/p>\n\u003cfigure id=\"attachment_10586861\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10586861\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/USO_2-800x491.jpg\" alt=\"Hospital Corpsman Barbara Melendez and her daughters Maida and Melinda are USO regulars.\" width=\"800\" height=\"491\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-800x491.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-400x245.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-1440x884.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-1180x724.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-960x589.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hospital Corpsman Barbara Melendez and her daughters Maida and Melinda are USO regulars. \u003ccite>(Lisa Morehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We love it here,” says Melendez. “Every once in a while they do a pantry where we get beans and rice and muffins. That helps me out tremendously.” The single mom says it can be tough in this economy, and in San Diego, to get by.\u003c/p>\n\u003cp>She’s grateful for the USO and the volunteers. “You seem to lose your faith in humanity sometimes, but then there's places like this where people come together and prove, ‘Hey, we still care. We still notice.’ ”\u003c/p>\n\u003cp>As the meal ends, Scotty Wells gets a rare moment to reflect on her future. It means the world to her to be raising these five great kids, and on top of that, she says, “My dream is just to grow old and sit on a porch someday with my husband. I know that might sound stupid, but it's what I want.”\u003c/p>\n\u003cp>She adds quietly, “I don’t want to lose my husband.”\u003c/p>\n\u003cp>Wells remembers a really difficult time, when he was deployed for four months, and she had newborn twins plus a 1- and 5-year-old at home.\u003c/p>\n\u003cp>“I can't even tell you how many times I brought that stroller here. I did that frequently, because you make friends, and they move,” she says, a fact of life for many military families in military towns. “So then you have nobody here.\"\u003c/p>\n\u003cp>She adds, \"Sometimes, you just get lonely, so you come to dinner.”\u003c/p>\n\u003cp>That’s something she can do every Tuesday night at the USO.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The series \u003ca href=\"http://www.californiafoodways.com/\">California Foodways\u003c/a> is supported by \u003ca href=\"http://www.calhum.org/\">Cal Humanities\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"science-friday": {
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