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"disqusTitle": "Archive Preserves People’s Memories of South Asia’s Partition",
"title": "Archive Preserves People’s Memories of South Asia’s Partition",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>This weekend, Indians and Pakistanis around the world celebrate their country’s respective independence days. It’s been 68 years since the subcontinent was hastily divided along religious lines into \u003ca href=\"http://newsvote.bbc.co.uk/2/hi/south_asia/6924732.stm\" target=\"_blank\">two countries\u003c/a>.\u003c/p>\n\u003cp>People on both sides of the border share traumatic memories of partition. Now a new archive, located in Berkeley, is collecting the stories of people who lived through the partition.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/219660768\" 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>\u003ca href=\"https://www.youtube.com/watch?v=_5dyEjkzs_U\" target=\"_blank\">Ravi Chopra\u003c/a> shared his story as part of the archive. He says those kind of memories never fade away.\u003c/p>\n\u003cp>“You have played with them, you have lived with them, you have eaten together! And the same people [are] coming and burning your houses and killing you and looting everything,” Chopra says about the riots he witnessed in 1947.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Guneeta Singh Bhalla, founder of the \u003ca href=\"http://www.1947partitionarchive.org/\" target=\"_blank\">1947 Partition Archive\u003c/a>, says she grew up listening to her grandparents’ frightening tales of partition.\u003c/p>\n\u003cp>“My grandmother had told me harrowing stories of the train rides that they took to come to India,” Bhalla says. “Also at one point how [she said] she was in a jeep with her brother and they literally were having to drive over dead bodies.”\u003c/p>\n\u003cfigure id=\"attachment_10637014\" class=\"wp-caption aligncenter\" style=\"max-width: 924px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut.jpg\">\u003cimg class=\"size-full wp-image-10637014\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut.jpg\" alt=\"Millions of people were displaced from their ancestral homes as partition divided South Asia along religious lines. Many refugees took the harrowing journey via train.\" width=\"924\" height=\"690\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut.jpg 924w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut-400x299.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut-800x597.jpg 800w\" sizes=\"(max-width: 924px) 100vw, 924px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Millions of people were displaced from their ancestral homes as partition divided South Asia along religious lines. Many refugees took the harrowing journey via train. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>About 15 million people were displaced during the partition, the largest mass migration of the 20th century. But at the time, western media praised it as a triumph of democracy.\u003c/p>\n\u003cp>Bhalla says she never even learned about partition in her high school history class. Years later, she took a trip to Hiroshima that inspired her.\u003c/p>\n\u003cp>“I saw the oral testimony archives there,” she explains. “For me it was sort of that moment, it clicked. It was like OH. Wow. \u003ci>This\u003c/i> is what we need to do. My grandmother needs to tell her own story.”\u003c/p>\n\u003cp>So she created the 1947 Partition Archive, in a small office in downtown Berkeley. In the last 4 years they’ve collected about 2,000 video and audio testimonies.They plan to publish them in a few years. Some people are telling their story for the first time, like \u003ca href=\"https://www.youtube.com/watch?v=Lcx6O2Fltrc\" target=\"_blank\">Ali Shan\u003c/a>.\u003c/p>\n\u003cp>He was 6 years old in 1947. His life changed when a mob attacked his ancestral town, near the newly created India/Pakistan border. In his video testimony as he struggles to tell his story, its evident that the memories still haunt him.\u003c/p>\n\u003cp>“I was standing there not knowing what's happening. He, the gunman, was only about 10 feet away,” Shan says, with a shake in his voice. “You know, he shot at me few times. Every time he missed. So I start running.”\u003c/p>\n\u003cp>During that attack, Shan saw his mother and brother murdered and he was orphaned. It was months before he was reunited with some distant relatives. They already crossed the border into Pakistan.\u003c/p>\n\u003cfigure id=\"attachment_10637015\" class=\"wp-caption alignright\" style=\"max-width: 923px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut.jpg\">\u003cimg class=\"size-full wp-image-10637015\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut.jpg\" alt=\"British officials visit a scene from the Punjab riots. The province of Punjab was split in two during partition and in the aftermath had some of the most violent riots.\" width=\"923\" height=\"784\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut.jpg 923w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut-400x340.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut-800x680.jpg 800w\" sizes=\"(max-width: 923px) 100vw, 923px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">British officials visit a scene from the Punjab riots. The province of Punjab was split in two during partition and in the aftermath had some of the most violent riots. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you don’t have a mother, father, and your own home and family, all the relatives are there to help you, but its not the same, it never was,” Shan says.\u003c/p>\n\u003cp>The archive has dispatched volunteers, called citizen historians, to record these stories. Most stories come from people in India, Pakistan and Bangladesh. But many come from South Asians living in the U.S.\u003c/p>\n\u003cp>An event at Santa Clara University spread the word about the archive among the South Asian community here. As witnesses told their stories, a packed audience hung on their every word.\u003c/p>\n\u003cp>Bhalla says hearing these first hand accounts inspires others to share their stories.\u003c/p>\n\u003cp>“Because partition has been at the crux of so much politics in South Asia and even war that a lot of that memory has been sort of shoved under the carpet,” she says. “Maybe not on purpose, maybe that's just been the circumstance. But yeah, the people haven't had an opportunity to share their stories and that's the gap that we're trying to fill.”\u003c/p>\n\u003cp>Bhalla says she regrets that she never got the chance to record her grandmother’s story. And time is running out for other survivors.\u003c/p>\n\u003cp>“Those who experienced partition as teenagers are in their 80s today. And those who were young adults are in their 90s and over 100,” Bhalla says. “So there's a really huge urgency in getting these stories recorded as fast as possible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The archive wants 8,000 more stories recorded by 2017, the 70th anniversary of partition, while witnesses are still alive.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This weekend, Indians and Pakistanis around the world celebrate their country’s respective independence days. It’s been 68 years since the subcontinent was hastily divided along religious lines into \u003ca href=\"http://newsvote.bbc.co.uk/2/hi/south_asia/6924732.stm\" target=\"_blank\">two countries\u003c/a>.\u003c/p>\n\u003cp>People on both sides of the border share traumatic memories of partition. Now a new archive, located in Berkeley, is collecting the stories of people who lived through the partition.\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/219660768&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/219660768'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=_5dyEjkzs_U\" target=\"_blank\">Ravi Chopra\u003c/a> shared his story as part of the archive. He says those kind of memories never fade away.\u003c/p>\n\u003cp>“You have played with them, you have lived with them, you have eaten together! And the same people [are] coming and burning your houses and killing you and looting everything,” Chopra says about the riots he witnessed in 1947.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Guneeta Singh Bhalla, founder of the \u003ca href=\"http://www.1947partitionarchive.org/\" target=\"_blank\">1947 Partition Archive\u003c/a>, says she grew up listening to her grandparents’ frightening tales of partition.\u003c/p>\n\u003cp>“My grandmother had told me harrowing stories of the train rides that they took to come to India,” Bhalla says. “Also at one point how [she said] she was in a jeep with her brother and they literally were having to drive over dead bodies.”\u003c/p>\n\u003cfigure id=\"attachment_10637014\" class=\"wp-caption aligncenter\" style=\"max-width: 924px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut.jpg\">\u003cimg class=\"size-full wp-image-10637014\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut.jpg\" alt=\"Millions of people were displaced from their ancestral homes as partition divided South Asia along religious lines. Many refugees took the harrowing journey via train.\" width=\"924\" height=\"690\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut.jpg 924w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut-400x299.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut-800x597.jpg 800w\" sizes=\"(max-width: 924px) 100vw, 924px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Millions of people were displaced from their ancestral homes as partition divided South Asia along religious lines. Many refugees took the harrowing journey via train. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>About 15 million people were displaced during the partition, the largest mass migration of the 20th century. But at the time, western media praised it as a triumph of democracy.\u003c/p>\n\u003cp>Bhalla says she never even learned about partition in her high school history class. Years later, she took a trip to Hiroshima that inspired her.\u003c/p>\n\u003cp>“I saw the oral testimony archives there,” she explains. “For me it was sort of that moment, it clicked. It was like OH. Wow. \u003ci>This\u003c/i> is what we need to do. My grandmother needs to tell her own story.”\u003c/p>\n\u003cp>So she created the 1947 Partition Archive, in a small office in downtown Berkeley. In the last 4 years they’ve collected about 2,000 video and audio testimonies.They plan to publish them in a few years. Some people are telling their story for the first time, like \u003ca href=\"https://www.youtube.com/watch?v=Lcx6O2Fltrc\" target=\"_blank\">Ali Shan\u003c/a>.\u003c/p>\n\u003cp>He was 6 years old in 1947. His life changed when a mob attacked his ancestral town, near the newly created India/Pakistan border. In his video testimony as he struggles to tell his story, its evident that the memories still haunt him.\u003c/p>\n\u003cp>“I was standing there not knowing what's happening. He, the gunman, was only about 10 feet away,” Shan says, with a shake in his voice. “You know, he shot at me few times. Every time he missed. So I start running.”\u003c/p>\n\u003cp>During that attack, Shan saw his mother and brother murdered and he was orphaned. It was months before he was reunited with some distant relatives. They already crossed the border into Pakistan.\u003c/p>\n\u003cfigure id=\"attachment_10637015\" class=\"wp-caption alignright\" style=\"max-width: 923px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut.jpg\">\u003cimg class=\"size-full wp-image-10637015\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut.jpg\" alt=\"British officials visit a scene from the Punjab riots. The province of Punjab was split in two during partition and in the aftermath had some of the most violent riots.\" width=\"923\" height=\"784\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut.jpg 923w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut-400x340.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut-800x680.jpg 800w\" sizes=\"(max-width: 923px) 100vw, 923px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">British officials visit a scene from the Punjab riots. The province of Punjab was split in two during partition and in the aftermath had some of the most violent riots. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you don’t have a mother, father, and your own home and family, all the relatives are there to help you, but its not the same, it never was,” Shan says.\u003c/p>\n\u003cp>The archive has dispatched volunteers, called citizen historians, to record these stories. Most stories come from people in India, Pakistan and Bangladesh. But many come from South Asians living in the U.S.\u003c/p>\n\u003cp>An event at Santa Clara University spread the word about the archive among the South Asian community here. As witnesses told their stories, a packed audience hung on their every word.\u003c/p>\n\u003cp>Bhalla says hearing these first hand accounts inspires others to share their stories.\u003c/p>\n\u003cp>“Because partition has been at the crux of so much politics in South Asia and even war that a lot of that memory has been sort of shoved under the carpet,” she says. “Maybe not on purpose, maybe that's just been the circumstance. But yeah, the people haven't had an opportunity to share their stories and that's the gap that we're trying to fill.”\u003c/p>\n\u003cp>Bhalla says she regrets that she never got the chance to record her grandmother’s story. And time is running out for other survivors.\u003c/p>\n\u003cp>“Those who experienced partition as teenagers are in their 80s today. And those who were young adults are in their 90s and over 100,” Bhalla says. “So there's a really huge urgency in getting these stories recorded as fast as possible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The archive wants 8,000 more stories recorded by 2017, the 70th anniversary of partition, while witnesses are still alive.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Rediscovering L.A. Through Old Restaurant Menus",
"title": "Rediscovering L.A. Through Old Restaurant Menus",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Los Angeles has a rich culinary history, due to the waves of immigrants who settled in Southern California and brought their food traditions with them. The restaurants they opened can tell us a lot about how people use food to shape their own identities of community, culture and class. A new book and exhibit of old LA restaurant menus reveals how the city has evolved, through food.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/219661319\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>The Library Foundation of Los Angeles is presenting the exhibit, called “\u003ca href=\"http://toliveanddinela.com/\">To Live and Dine in L.A.: Menus and the Making of the Modern City\u003c/a>,” in the Getty Gallery at the Los Angeles Central Library until Nov. 13. There’s also a new coffee table book of the same name. It’s written by \u003ca href=\"http://annenberg.usc.edu/faculty/communication-journalism/josh-kun\">Josh Kun\u003c/a>, an associate professor at the University of Southern California.\u003c/p>\n\u003cp>“So much of what we try to do in the book is use restaurants as a way to think about the kind of layered histories of Los Angeles,\" Kun says, \"what’s been built over constantly, whose stories have been erased to build new stories on top of those, how every single space that we enter bears the traces of all the spaces that came before it.\"\u003c/p>\n\u003cfigure id=\"attachment_10643254\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg\">\u003cimg class=\"size-full wp-image-10643254\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg\" alt=\"Menu cover from the Golden Pagoda restaurant.\" width=\"1920\" height=\"3015\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-400x628.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-800x1256.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-1440x2261.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-1180x1853.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-960x1508.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Menu cover from the Golden Pagoda restaurant. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10643259\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg\">\u003cimg class=\"wp-image-10643259 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg\" alt=\"RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED\" width=\"1920\" height=\"1512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-400x315.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-800x630.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-1440x1134.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-1180x929.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-960x756.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Autographs fill the Golden Pagoda menu. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Evan Kleiman, a chef and the host of KCRW’s weekly radio show \u003ca href=\"http://www.kcrw.com/news-culture/shows/good-food\">Good Food\u003c/a>, remembers one such restaurant from her childhood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was called \u003ca href=\"http://www.ebay.com/itm/Matchbook-Cover-Casa-De-Ibarra-Los-Angeles-CA-Mexican-Food/400970592084?_trksid=p2047675.c100011.m1850&_trkparms=aid%3D222007%26algo%3DSIC.MBE%26ao%3D1%26asc%3D29981%26meid%3D0c126acd1eb4490aa684a12653694f2a%26pid%3D100011%26rk%3D2%26rkt%3D10%26sd%3D121690843142\">Casa de Ibarra\u003c/a>,\" she recalls. \"And it was the place where I learned how to tuck my leftover food into a flour tortilla and roll it up. One of the waiters there taught me.\"\u003c/p>\n\u003cp>Now it’s a hipster taqueria called \u003ca href=\"http://www.diablotaco.com/\">Diablo Urban Taco Fabricator\u003c/a>.\u003c/p>\n\u003cp>“And before that, when I was a teenager, it was a place called Temple of the Rainbow, where I learned how to make carrot smoothies and bake bread that weighed 20 pounds per loaf,” Kleiman says.\u003c/p>\n\u003cp>Photos from the library’s archives of old LA restaurants line the walls of the exhibit. The photos include fancy French restaurants and taco trucks, and such establishments as Forbidden Palace Chinese Food, Daddy Grants Old Time Pit Barbecue, and Don the Beachcomber’s tiki bar.\u003c/p>\n\u003cp>The menus are a feast for the eyes. There are about 50 of them housed in glass display cases, and about 200 in the book. They have old-timey letterpress fonts, vintage illustrations, and list offerings like avocado filled with fresh seafood and Thousand Island dressing. They were pulled from the LA Public Library’s collection of 12,000 menus.\u003c/p>\n\u003cp>“Menus tell a story of a city,\" says John Szabo, the city librarian of the Los Angeles Public Library. \"And to know LA, you need to know food in LA, and you need to know about dining in LA, and that’s one of the things that our menu collection does.\"\u003c/p>\n\u003cp>At the outset, Kun reached out to chefs to collaborate on the project, including \u003ca href=\"http://kogibbq.com/\">Kogi\u003c/a> founder Roy Choi. The exhibit includes video screens playing interviews with some of those chefs, including Bricia Lopez of Guelaguetza, and Cynthia Hawkins, owner of Hawkins House of Burgers in Watts.\u003c/p>\n\u003cp>“There’s not that many places you can eat really good quality food in Watts. I’m just being honest with you,” Hawkins \u003ca href=\"https://vimeo.com/130594078\">says in the video\u003c/a>. “Maybe a good restaurant would come here, but it’s really sad to say that there’s not that many places in Watts that people can eat really good, quality food, and that’s so sad.”\u003c/p>\n\u003cp>That’s one of the themes of the project: food inequality. Los Angeles County has more people who lack access to healthy food than \u003ca href=\"http://www.publichealth.lacounty.gov/ha/reports/LAHealthBrief2011/FoodInsecurity/Food_Insecurity_2015Fs.pdf\">any other county\u003c/a> in the U.S. And as rising rent prices push immigrant families out of some neighborhoods, Kun says new restaurants mark those changes.\u003c/p>\n\u003cp>“If a restaurant can open up in a working class neighborhood with $25 appetizers and survive, what does that mean?\" Kun asks. \"It sends a message that, like, hey, it’s OK, come on in, water’s warm, and opens the floodgates in a lot of ways.”\u003c/p>\n\u003cp>Take Grand Central Market in downtown LA. It’s a food court where \u003ca href=\"http://www.laweekly.com/restaurants/at-grand-central-market-a-new-wave-of-vendors-is-changing-up-an-la-mainstay-5016013\">a lot of upscale places\u003c/a> are opening up, including a juice bar, an oyster bar and a fancy cheese shop.\u003c/p>\n\u003cp>“You know, I don’t really like to call it gentrified because I don’t think that’s what it is. It’s not coming to a neighborhood that didn’t have this kind of history,” says Micah Wexler, owner of Wexler’s Deli. “Downtown was at one time a very vibrant, celebrated place, and we’re trying to bring it back to that.”\u003c/p>\n\u003cfigure id=\"attachment_10643427\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg\">\u003cimg class=\"size-full wp-image-10643427\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg\" alt=\"Menu cover from the Brown Derby restaurant.\" width=\"1920\" height=\"2504\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-400x522.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-800x1043.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-1440x1878.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-1180x1539.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-960x1252.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Menu cover from the Brown Derby restaurant. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10643429\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg\">\u003cimg class=\"size-full wp-image-10643429\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg\" alt=\"A Brown Derby menu from September 1953.\" width=\"1920\" height=\"1230\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-800x513.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-1440x923.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-1180x756.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-960x615.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Brown Derby menu from September 1953. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the book, Kun invited chefs to “remix” old menus and give them a modern spin. Wexler chose the menu for a 1931 banquet to honor Albert Einstein at the Ambassador Hotel, featuring an item called “Chicken Saute Ambassador.” Wexler had to research how such a dish would have been prepared. Turns out, it was served in a white wine cream sauce.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the exhibit there’s also a pile of blank menus on which visitors can describe their version of Los Angeles in a meal. Kun says he knew that given the scope of this project, it would be impossible to represent every story in the history of food in LA. These crowd-sourced menus are his effort to let people of all backgrounds leave their own mark on this story. And it shows that the food of LA continues to evolve, just like the city itself.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Los Angeles has a rich culinary history, due to the waves of immigrants who settled in Southern California and brought their food traditions with them. The restaurants they opened can tell us a lot about how people use food to shape their own identities of community, culture and class. A new book and exhibit of old LA restaurant menus reveals how the city has evolved, through food.\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/219661319&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/219661319'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Library Foundation of Los Angeles is presenting the exhibit, called “\u003ca href=\"http://toliveanddinela.com/\">To Live and Dine in L.A.: Menus and the Making of the Modern City\u003c/a>,” in the Getty Gallery at the Los Angeles Central Library until Nov. 13. There’s also a new coffee table book of the same name. It’s written by \u003ca href=\"http://annenberg.usc.edu/faculty/communication-journalism/josh-kun\">Josh Kun\u003c/a>, an associate professor at the University of Southern California.\u003c/p>\n\u003cp>“So much of what we try to do in the book is use restaurants as a way to think about the kind of layered histories of Los Angeles,\" Kun says, \"what’s been built over constantly, whose stories have been erased to build new stories on top of those, how every single space that we enter bears the traces of all the spaces that came before it.\"\u003c/p>\n\u003cfigure id=\"attachment_10643254\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg\">\u003cimg class=\"size-full wp-image-10643254\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg\" alt=\"Menu cover from the Golden Pagoda restaurant.\" width=\"1920\" height=\"3015\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-400x628.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-800x1256.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-1440x2261.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-1180x1853.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-960x1508.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Menu cover from the Golden Pagoda restaurant. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10643259\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg\">\u003cimg class=\"wp-image-10643259 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg\" alt=\"RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED\" width=\"1920\" height=\"1512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-400x315.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-800x630.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-1440x1134.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-1180x929.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-960x756.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Autographs fill the Golden Pagoda menu. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Evan Kleiman, a chef and the host of KCRW’s weekly radio show \u003ca href=\"http://www.kcrw.com/news-culture/shows/good-food\">Good Food\u003c/a>, remembers one such restaurant from her childhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was called \u003ca href=\"http://www.ebay.com/itm/Matchbook-Cover-Casa-De-Ibarra-Los-Angeles-CA-Mexican-Food/400970592084?_trksid=p2047675.c100011.m1850&_trkparms=aid%3D222007%26algo%3DSIC.MBE%26ao%3D1%26asc%3D29981%26meid%3D0c126acd1eb4490aa684a12653694f2a%26pid%3D100011%26rk%3D2%26rkt%3D10%26sd%3D121690843142\">Casa de Ibarra\u003c/a>,\" she recalls. \"And it was the place where I learned how to tuck my leftover food into a flour tortilla and roll it up. One of the waiters there taught me.\"\u003c/p>\n\u003cp>Now it’s a hipster taqueria called \u003ca href=\"http://www.diablotaco.com/\">Diablo Urban Taco Fabricator\u003c/a>.\u003c/p>\n\u003cp>“And before that, when I was a teenager, it was a place called Temple of the Rainbow, where I learned how to make carrot smoothies and bake bread that weighed 20 pounds per loaf,” Kleiman says.\u003c/p>\n\u003cp>Photos from the library’s archives of old LA restaurants line the walls of the exhibit. The photos include fancy French restaurants and taco trucks, and such establishments as Forbidden Palace Chinese Food, Daddy Grants Old Time Pit Barbecue, and Don the Beachcomber’s tiki bar.\u003c/p>\n\u003cp>The menus are a feast for the eyes. There are about 50 of them housed in glass display cases, and about 200 in the book. They have old-timey letterpress fonts, vintage illustrations, and list offerings like avocado filled with fresh seafood and Thousand Island dressing. They were pulled from the LA Public Library’s collection of 12,000 menus.\u003c/p>\n\u003cp>“Menus tell a story of a city,\" says John Szabo, the city librarian of the Los Angeles Public Library. \"And to know LA, you need to know food in LA, and you need to know about dining in LA, and that’s one of the things that our menu collection does.\"\u003c/p>\n\u003cp>At the outset, Kun reached out to chefs to collaborate on the project, including \u003ca href=\"http://kogibbq.com/\">Kogi\u003c/a> founder Roy Choi. The exhibit includes video screens playing interviews with some of those chefs, including Bricia Lopez of Guelaguetza, and Cynthia Hawkins, owner of Hawkins House of Burgers in Watts.\u003c/p>\n\u003cp>“There’s not that many places you can eat really good quality food in Watts. I’m just being honest with you,” Hawkins \u003ca href=\"https://vimeo.com/130594078\">says in the video\u003c/a>. “Maybe a good restaurant would come here, but it’s really sad to say that there’s not that many places in Watts that people can eat really good, quality food, and that’s so sad.”\u003c/p>\n\u003cp>That’s one of the themes of the project: food inequality. Los Angeles County has more people who lack access to healthy food than \u003ca href=\"http://www.publichealth.lacounty.gov/ha/reports/LAHealthBrief2011/FoodInsecurity/Food_Insecurity_2015Fs.pdf\">any other county\u003c/a> in the U.S. And as rising rent prices push immigrant families out of some neighborhoods, Kun says new restaurants mark those changes.\u003c/p>\n\u003cp>“If a restaurant can open up in a working class neighborhood with $25 appetizers and survive, what does that mean?\" Kun asks. \"It sends a message that, like, hey, it’s OK, come on in, water’s warm, and opens the floodgates in a lot of ways.”\u003c/p>\n\u003cp>Take Grand Central Market in downtown LA. It’s a food court where \u003ca href=\"http://www.laweekly.com/restaurants/at-grand-central-market-a-new-wave-of-vendors-is-changing-up-an-la-mainstay-5016013\">a lot of upscale places\u003c/a> are opening up, including a juice bar, an oyster bar and a fancy cheese shop.\u003c/p>\n\u003cp>“You know, I don’t really like to call it gentrified because I don’t think that’s what it is. It’s not coming to a neighborhood that didn’t have this kind of history,” says Micah Wexler, owner of Wexler’s Deli. “Downtown was at one time a very vibrant, celebrated place, and we’re trying to bring it back to that.”\u003c/p>\n\u003cfigure id=\"attachment_10643427\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg\">\u003cimg class=\"size-full wp-image-10643427\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg\" alt=\"Menu cover from the Brown Derby restaurant.\" width=\"1920\" height=\"2504\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-400x522.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-800x1043.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-1440x1878.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-1180x1539.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-960x1252.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Menu cover from the Brown Derby restaurant. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10643429\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg\">\u003cimg class=\"size-full wp-image-10643429\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg\" alt=\"A Brown Derby menu from September 1953.\" width=\"1920\" height=\"1230\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-800x513.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-1440x923.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-1180x756.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-960x615.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Brown Derby menu from September 1953. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the book, Kun invited chefs to “remix” old menus and give them a modern spin. Wexler chose the menu for a 1931 banquet to honor Albert Einstein at the Ambassador Hotel, featuring an item called “Chicken Saute Ambassador.” Wexler had to research how such a dish would have been prepared. Turns out, it was served in a white wine cream sauce.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the exhibit there’s also a pile of blank menus on which visitors can describe their version of Los Angeles in a meal. Kun says he knew that given the scope of this project, it would be impossible to represent every story in the history of food in LA. These crowd-sourced menus are his effort to let people of all backgrounds leave their own mark on this story. And it shows that the food of LA continues to evolve, just like the city itself.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Artist Sues Oakland Auto Dealer Over Mural's Removal",
"headTitle": "Artist Sues Oakland Auto Dealer Over Mural’s Removal | KQED",
"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/219125229″ 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>Who controls the fate of a mural decades after its painted? What happens if the building’s renter completely covers it with white paint, but only after the art has been badly tagged by graffiti?\u003c/p>\n\u003cp>The answers to those questions may be provided by a federal court if muralist \u003ca href=\"https://www.facebook.com/dan.fontes.5\" target=\"_blank\" rel=\"noopener\">Dan Fontes \u003c/a>has his way. Fontes is seeking $400,000 in damages from the current and former operators of \u003ca href=\"http://www.autocomnissanofoakland.com/?gclid=CL7OyuempMcCFViRfgodIgIG5w\" target=\"_blank\" rel=\"noopener\">Autocom Nissan \u003c/a>at Broadway and 27th Streets in Oakland.\u003c/p>\n\u003cp>Fontes finished painting the mural in 1987, after receiving a $35,000 commission. It was eye-catching. Almost 90 feet long and more than 20 feet tall, the piece showed an idyllic Oakland landscape—puffy clouds in a blue sky, reflected in a blue Lake Merritt, ruffled by the wind.\u003c/p>\n\u003cp>“This is Dan Fontes’ baby,” said intellectual property attorney \u003ca href=\"http://www.50balmy.com/about/brooke-oliver/\" target=\"_blank\" rel=\"noopener\">Brooke Oliver\u003c/a>, who represents Fontes in the lawsuit. “It’s his best work. And it’s hard to imagine how anyone can look at a piece of art like that and just want to paint it out.”\u003c/p>\n\u003cfigure id=\"attachment_10892445\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_461007193.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10892445 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_461007193-1180x885.jpg\" alt=\"The white wall where the mural used to be at Autocom Nissan in Oakland.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The white wall where the mural used to be at Autocom Nissan in Oakland. \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oliver argues that when the dealership painted over the mural in 2013, they violated the \u003ca href=\"https://www.law.cornell.edu/uscode/text/17/106A\" target=\"_blank\" rel=\"noopener\">U.S. Visual Artist Rights Act (VARA)\u003c/a>, a law dating back to 1990. Among other things, the law requires a building owner to give an artist a 90-day notice before the mural is removed or painted over, so the artist can take back or at least document the work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Managers at the dealership had no comment Tuesday. But Jose Perez, an officer of the dealership, wrote a letter to Oliver more than a year ago explaining why he decided to whitewash the wall.\u003c/p>\n\u003cp>Perez wrote that he told the landlord, the former dealership owner, and the city of Oakland of his intention to paint over the mural, and that the three failed to tell him of any legal obligation to inform Fontes of his plans. Perez also wrote that he decided to paint over the mural because it was “in bad shape… desecrated by graffiti,” with “only a fragment of the mural” still visible.\u003c/p>\n\u003cp>Perez also wrote that he is “saddened by the loss of the ‘Lake Merritt Mural,’ and my condolences go out to Mr. Fontes.”\u003c/p>\n\u003cp>But Oliver said Fontes had anticipated that the mural might get tagged, and had used special hundred year paints that would stand up to cleanings and repair.\u003c/p>\n\u003cp>Under VARA, Oliver says Fontes has “a strong claim for negligent conservation of the mural. When a work of fine art is tagged or damaged, the appropriate and legal duty of the building owner is to conserve it properly using a conservator. It doesn’t include just painting it over.”\u003c/p>\n\u003cp>VARA clearly protects artwork done after 1990, when the law was passed. Oliver recently won a \u003ca href=\"http://www.santacruzsentinel.com/arts-and-entertainment/20150807/santa-cruz-owes-30k-apology-in-beach-flats-mural-whitewashing-suit\" target=\"_blank\" rel=\"noopener\">$30,000 settlement and an apology from the city of Santa Cruz for artist Victor Cervantes\u003c/a>, after the city painted over a mural he did in 1993 at a Beach Flats public park.\u003c/p>\n\u003cp>Fontes’ Lake Merritt mural was finished in 1987, before VARA was passed. But Oliver argues VARA protects older murals where title has never been transferred by the artist to anyone else.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And this mural,” she said, “has never been sold.”\u003c/p>\n\n",
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"excerpt": "Local artist Dan Fontes is suing an Oakland car dealership for painting over his Lake Merritt mural without any warning.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/219125229″&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/219125229″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Who controls the fate of a mural decades after its painted? What happens if the building’s renter completely covers it with white paint, but only after the art has been badly tagged by graffiti?\u003c/p>\n\u003cp>The answers to those questions may be provided by a federal court if muralist \u003ca href=\"https://www.facebook.com/dan.fontes.5\" target=\"_blank\" rel=\"noopener\">Dan Fontes \u003c/a>has his way. Fontes is seeking $400,000 in damages from the current and former operators of \u003ca href=\"http://www.autocomnissanofoakland.com/?gclid=CL7OyuempMcCFViRfgodIgIG5w\" target=\"_blank\" rel=\"noopener\">Autocom Nissan \u003c/a>at Broadway and 27th Streets in Oakland.\u003c/p>\n\u003cp>Fontes finished painting the mural in 1987, after receiving a $35,000 commission. It was eye-catching. Almost 90 feet long and more than 20 feet tall, the piece showed an idyllic Oakland landscape—puffy clouds in a blue sky, reflected in a blue Lake Merritt, ruffled by the wind.\u003c/p>\n\u003cp>“This is Dan Fontes’ baby,” said intellectual property attorney \u003ca href=\"http://www.50balmy.com/about/brooke-oliver/\" target=\"_blank\" rel=\"noopener\">Brooke Oliver\u003c/a>, who represents Fontes in the lawsuit. “It’s his best work. And it’s hard to imagine how anyone can look at a piece of art like that and just want to paint it out.”\u003c/p>\n\u003cfigure id=\"attachment_10892445\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_461007193.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10892445 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_461007193-1180x885.jpg\" alt=\"The white wall where the mural used to be at Autocom Nissan in Oakland.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The white wall where the mural used to be at Autocom Nissan in Oakland. \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oliver argues that when the dealership painted over the mural in 2013, they violated the \u003ca href=\"https://www.law.cornell.edu/uscode/text/17/106A\" target=\"_blank\" rel=\"noopener\">U.S. Visual Artist Rights Act (VARA)\u003c/a>, a law dating back to 1990. Among other things, the law requires a building owner to give an artist a 90-day notice before the mural is removed or painted over, so the artist can take back or at least document the work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Managers at the dealership had no comment Tuesday. But Jose Perez, an officer of the dealership, wrote a letter to Oliver more than a year ago explaining why he decided to whitewash the wall.\u003c/p>\n\u003cp>Perez wrote that he told the landlord, the former dealership owner, and the city of Oakland of his intention to paint over the mural, and that the three failed to tell him of any legal obligation to inform Fontes of his plans. Perez also wrote that he decided to paint over the mural because it was “in bad shape… desecrated by graffiti,” with “only a fragment of the mural” still visible.\u003c/p>\n\u003cp>Perez also wrote that he is “saddened by the loss of the ‘Lake Merritt Mural,’ and my condolences go out to Mr. Fontes.”\u003c/p>\n\u003cp>But Oliver said Fontes had anticipated that the mural might get tagged, and had used special hundred year paints that would stand up to cleanings and repair.\u003c/p>\n\u003cp>Under VARA, Oliver says Fontes has “a strong claim for negligent conservation of the mural. When a work of fine art is tagged or damaged, the appropriate and legal duty of the building owner is to conserve it properly using a conservator. It doesn’t include just painting it over.”\u003c/p>\n\u003cp>VARA clearly protects artwork done after 1990, when the law was passed. Oliver recently won a \u003ca href=\"http://www.santacruzsentinel.com/arts-and-entertainment/20150807/santa-cruz-owes-30k-apology-in-beach-flats-mural-whitewashing-suit\" target=\"_blank\" rel=\"noopener\">$30,000 settlement and an apology from the city of Santa Cruz for artist Victor Cervantes\u003c/a>, after the city painted over a mural he did in 1993 at a Beach Flats public park.\u003c/p>\n\u003cp>Fontes’ Lake Merritt mural was finished in 1987, before VARA was passed. But Oliver argues VARA protects older murals where title has never been transferred by the artist to anyone else.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And this mural,” she said, “has never been sold.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Reflection, Celebration Mark 50th Anniversary of Watts Unrest",
"title": "Reflection, Celebration Mark 50th Anniversary of Watts Unrest",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>On August 11, 1965, in South Los Angeles, the neighborhood of Watts exploded into \u003ca href=\"https://www.youtube.com/watch?v=7JqhfZV-cms\" target=\"_blank\">six days of rioting\u003c/a> fueled by years of police misconduct, diminishing economic opportunity and flat-out racism.\u003c/p>\n\u003cp>By the end, 34 people were dead and dozens of blocks of the community burned to the ground.\u003c/p>\n\u003cp>This year's 50th anniversary of the revolt, as many locals prefer to call it, was marked with a solemn remembrance and a joyful celebration at the annual \u003ca href=\"https://www.facebook.com/WattsSummerFestival\" target=\"_blank\">Watts Summer Festival\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/218765683&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The event arose from the destruction of 1965 and kicked off the following year with the hope of channeling the community's anger into music, the arts and activism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ted Watkins Memorial Park had its own role during those tumultuous days in the summer of ’65.\u003c/p>\n\u003cp>“I was here, I was 5-years-old when it happened,” says Dee Dee Pitcher Henderson. She grew up and still lives across from the park on 103rd Street.\u003c/p>\n\u003cp>“This park you’re standing in right now was the base for the National Guard, and we couldn’t come out after a certain time because we had a curfew,” she says.\u003c/p>\n\u003cp>Before the riots, 103rd Street was a vibrant commercial hub. Henderson’s mother had a shop there.\u003c/p>\n\u003cp>“So her store was the only one that didn’t get burned,\" she recalls. \"My dad got shot in the riots. There used to be a grocery store that sits on the corner. And I remember that store exploding while we were standing in the front yard.”\u003c/p>\n\u003cp>It’s been a struggle to keep the annual festival going, Henderson says.\u003c/p>\n\u003cp>While the park could easily accommodate several thousand people, only a few hundred mill around on a picture postcard sunny Southern California afternoon.\u003c/p>\n\u003cp>It’s also an older crowd, filled with people who share vivid memories of '65.\u003c/p>\n\u003cfigure id=\"attachment_10638058\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE.jpg\">\u003cimg class=\"size-medium wp-image-10638058\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-800x511.jpg\" alt=\"Congresswoman Maxine Waters was among the celebrants at Saturday's 49th Watts Summer Festival. Waters represents the Watts area. \" width=\"800\" height=\"511\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-800x511.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-1440x920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-1180x754.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Congresswoman Maxine Waters was among the celebrants at Saturday's 49th Watts Summer Festival. Waters represents the Watts area. \u003ccite>(Steven Cuevas / KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hell, I got arrested,” Amen Rahh tells the crowd from the festival stage.\u003c/p>\n\u003cp>“You understand, I was a political prisoner in juvenile hall for 45 days,” says Rahh, a retired black studies professor.\u003c/p>\n\u003cp>Rahh also grew up in Watts and as a young man took part in what he prefers to call the rebellion.\u003c/p>\n\u003cp>I ask Rahh how he would he advise his much younger self if he could go back in time. Would he try to persuade that kid to stay inside, to pull his friends away from the violence?\u003c/p>\n\u003cp>“I’d do the same thing,\" he answers.\u003c/p>\n\u003cp>“It had to be done to develop a better-respecting relationship with law enforcement. It just didn’t go far enough to the total criminal justice system,” says Rahh, referring to both past and very recent high-profile police-involved shootings.\u003c/p>\n\u003cp>Rahh says while the destruction and loss of life 50 years ago was regrettable, it also inspired activism that led to the creation of a community hospital, youth centers, health clinics and more.\u003c/p>\n\u003cp>“And there was a love and respect for each other after the rebellion,” says Rahh.\u003c/p>\n\u003cp>Then he adds, “But you got to understand, the Watts that used to be has changed and it’s mostly an immigrant city now.”\u003c/p>\n\u003cp>Many black residents moved out after the riots. Thousands more left in the following decades as gang violence surged and crack cocaine flooded neighborhoods. Affordable housing was built north of L.A. in the Antelope Valley and east in the blue-collar suburbs of the Inland Empire.\u003c/p>\n\u003cp>Over the decades, there has been some change for the better in Watts.\u003c/p>\n\u003cp>Just 10 years ago, in 2005, there were 20 murders in Watts. There have been none so far this year. Police foot patrols have increased in troubled parts of the community.\u003c/p>\n\u003cp>Funding for public projects continues to be plowed into the community, including a new children’s center designed by famed architect Frank Gehry.\u003c/p>\n\u003cp>But Dee Dee Pitcher Henderson says the economy has never fully rebounded. There are few retail businesses and just one independently owned non fast-food restaurant.\u003c/p>\n\u003cp>“If you want to go shopping you got to go outside the area,” says Henderson. “Everywhere around Watts has been built up, Huntington Park, Lynwood, Compton, everywhere has built up around us and we’re still kind of like stagnated.”\u003c/p>\n\u003cp>And other problems also persist: gang violence, high unemployment and a quiet tension between many black and newer Latino residents.\u003c/p>\n\u003cp>Enter \u003ca href=\"http://www.thedangerman.com/\">Dangerman\u003c/a>.\u003c/p>\n\u003cp>“A real-life urban superhero,” says the man who calls himself Dangerman.\u003c/p>\n\u003cp>Dressed head to toe in a sky blue superhero outfit and matching face mask, actor-comedian Roger Tinsley created Dangerman about 20 years ago to promote literacy, safety and good nutrition among youth in low-income minority neighborhoods.\u003c/p>\n\u003cp>“I’m much busier than ever because now we have kids every day dying,” says Tinsley.\u003c/p>\n\u003cp>“We talk about Black Lives Matter. Well, not only do black lives matter when police are involved but black lives matter in our cities every day,” says Tinsley. “It’s a struggle every day for our young people in this country”\u003c/p>\n\u003cp>Near a playground at the edge of the festival a group of kids gather around a charismatic young poet named \u003ca href=\"http://www.yngrobb.webs.com/\">Robert Williams\u003c/a>. He was born a good 25 years after the Watts riots.\u003c/p>\n\u003cp>While he understands the circumstances that sparked the unrest 50 years ago, he has a tough time making sense of the violence.\u003c/p>\n\u003cfigure id=\"attachment_10638063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/watts-fest-young-robb-2.jpg\">\u003cimg class=\"size-medium wp-image-10638063\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/watts-fest-young-robb-2-800x560.jpg\" alt=\"Compton poet Robert Williams aka Young Robb unleashes some of his socially conscious rhymes for some kids at the Watts Summer Festival\" width=\"800\" height=\"560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-800x560.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-400x280.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-1440x1007.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-1180x825.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-960x672.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Compton poet Robert Williams aka Young Robb unleashes some of his socially conscious rhymes for some kids at the Watts Summer Festival \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Don’t burn down your own community. If you love your community then clean it up, stand up for it,” says Williams.\u003c/p>\n\u003cp>“Hopefully the generation has changed where a lot of people can understand to take care instead of destroy. Let’s stick together and create something, let’s not just get together and destroy,” says Williams.\u003c/p>\n\u003cp>On the festival stage, \u003ca href=\"http://www.expressyourself.net/\">Charles Wright\u003c/a> and the Watts 103rd Street Rhythm Band tear through songs that made them local legends back in the mid-1960s.\u003c/p>\n\u003cp>Wright jumps into the crowd for a sing-along on one of his biggest hits (later sampled by South L.A. rappers N.W.A) “Express Yourself.”\u003c/p>\n\u003cfigure id=\"attachment_10638067\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-Wright-2.jpg\">\u003cimg class=\"size-medium wp-image-10638067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-800x533.jpg\" alt=\"Los Angeles R&B legend Charles Wright performing at the annual Watts Summer Festival\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Los Angeles R&B legend Charles Wright performing at the annual Watts Summer Festival \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s a celebratory moment on an otherwise grim anniversary. One that 50 years on reminds people how much has been accomplished -- and how much more remains to be done.\u003c/p>\n\n",
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"excerpt": "A music festival reflects the continuing hopes and struggles of a community once torn by violent upheaval.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On August 11, 1965, in South Los Angeles, the neighborhood of Watts exploded into \u003ca href=\"https://www.youtube.com/watch?v=7JqhfZV-cms\" target=\"_blank\">six days of rioting\u003c/a> fueled by years of police misconduct, diminishing economic opportunity and flat-out racism.\u003c/p>\n\u003cp>By the end, 34 people were dead and dozens of blocks of the community burned to the ground.\u003c/p>\n\u003cp>This year's 50th anniversary of the revolt, as many locals prefer to call it, was marked with a solemn remembrance and a joyful celebration at the annual \u003ca href=\"https://www.facebook.com/WattsSummerFestival\" target=\"_blank\">Watts Summer Festival\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/218765683&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The event arose from the destruction of 1965 and kicked off the following year with the hope of channeling the community's anger into music, the arts and activism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ted Watkins Memorial Park had its own role during those tumultuous days in the summer of ’65.\u003c/p>\n\u003cp>“I was here, I was 5-years-old when it happened,” says Dee Dee Pitcher Henderson. She grew up and still lives across from the park on 103rd Street.\u003c/p>\n\u003cp>“This park you’re standing in right now was the base for the National Guard, and we couldn’t come out after a certain time because we had a curfew,” she says.\u003c/p>\n\u003cp>Before the riots, 103rd Street was a vibrant commercial hub. Henderson’s mother had a shop there.\u003c/p>\n\u003cp>“So her store was the only one that didn’t get burned,\" she recalls. \"My dad got shot in the riots. There used to be a grocery store that sits on the corner. And I remember that store exploding while we were standing in the front yard.”\u003c/p>\n\u003cp>It’s been a struggle to keep the annual festival going, Henderson says.\u003c/p>\n\u003cp>While the park could easily accommodate several thousand people, only a few hundred mill around on a picture postcard sunny Southern California afternoon.\u003c/p>\n\u003cp>It’s also an older crowd, filled with people who share vivid memories of '65.\u003c/p>\n\u003cfigure id=\"attachment_10638058\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE.jpg\">\u003cimg class=\"size-medium wp-image-10638058\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-800x511.jpg\" alt=\"Congresswoman Maxine Waters was among the celebrants at Saturday's 49th Watts Summer Festival. Waters represents the Watts area. \" width=\"800\" height=\"511\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-800x511.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-1440x920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-1180x754.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Congresswoman Maxine Waters was among the celebrants at Saturday's 49th Watts Summer Festival. Waters represents the Watts area. \u003ccite>(Steven Cuevas / KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hell, I got arrested,” Amen Rahh tells the crowd from the festival stage.\u003c/p>\n\u003cp>“You understand, I was a political prisoner in juvenile hall for 45 days,” says Rahh, a retired black studies professor.\u003c/p>\n\u003cp>Rahh also grew up in Watts and as a young man took part in what he prefers to call the rebellion.\u003c/p>\n\u003cp>I ask Rahh how he would he advise his much younger self if he could go back in time. Would he try to persuade that kid to stay inside, to pull his friends away from the violence?\u003c/p>\n\u003cp>“I’d do the same thing,\" he answers.\u003c/p>\n\u003cp>“It had to be done to develop a better-respecting relationship with law enforcement. It just didn’t go far enough to the total criminal justice system,” says Rahh, referring to both past and very recent high-profile police-involved shootings.\u003c/p>\n\u003cp>Rahh says while the destruction and loss of life 50 years ago was regrettable, it also inspired activism that led to the creation of a community hospital, youth centers, health clinics and more.\u003c/p>\n\u003cp>“And there was a love and respect for each other after the rebellion,” says Rahh.\u003c/p>\n\u003cp>Then he adds, “But you got to understand, the Watts that used to be has changed and it’s mostly an immigrant city now.”\u003c/p>\n\u003cp>Many black residents moved out after the riots. Thousands more left in the following decades as gang violence surged and crack cocaine flooded neighborhoods. Affordable housing was built north of L.A. in the Antelope Valley and east in the blue-collar suburbs of the Inland Empire.\u003c/p>\n\u003cp>Over the decades, there has been some change for the better in Watts.\u003c/p>\n\u003cp>Just 10 years ago, in 2005, there were 20 murders in Watts. There have been none so far this year. Police foot patrols have increased in troubled parts of the community.\u003c/p>\n\u003cp>Funding for public projects continues to be plowed into the community, including a new children’s center designed by famed architect Frank Gehry.\u003c/p>\n\u003cp>But Dee Dee Pitcher Henderson says the economy has never fully rebounded. There are few retail businesses and just one independently owned non fast-food restaurant.\u003c/p>\n\u003cp>“If you want to go shopping you got to go outside the area,” says Henderson. “Everywhere around Watts has been built up, Huntington Park, Lynwood, Compton, everywhere has built up around us and we’re still kind of like stagnated.”\u003c/p>\n\u003cp>And other problems also persist: gang violence, high unemployment and a quiet tension between many black and newer Latino residents.\u003c/p>\n\u003cp>Enter \u003ca href=\"http://www.thedangerman.com/\">Dangerman\u003c/a>.\u003c/p>\n\u003cp>“A real-life urban superhero,” says the man who calls himself Dangerman.\u003c/p>\n\u003cp>Dressed head to toe in a sky blue superhero outfit and matching face mask, actor-comedian Roger Tinsley created Dangerman about 20 years ago to promote literacy, safety and good nutrition among youth in low-income minority neighborhoods.\u003c/p>\n\u003cp>“I’m much busier than ever because now we have kids every day dying,” says Tinsley.\u003c/p>\n\u003cp>“We talk about Black Lives Matter. Well, not only do black lives matter when police are involved but black lives matter in our cities every day,” says Tinsley. “It’s a struggle every day for our young people in this country”\u003c/p>\n\u003cp>Near a playground at the edge of the festival a group of kids gather around a charismatic young poet named \u003ca href=\"http://www.yngrobb.webs.com/\">Robert Williams\u003c/a>. He was born a good 25 years after the Watts riots.\u003c/p>\n\u003cp>While he understands the circumstances that sparked the unrest 50 years ago, he has a tough time making sense of the violence.\u003c/p>\n\u003cfigure id=\"attachment_10638063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/watts-fest-young-robb-2.jpg\">\u003cimg class=\"size-medium wp-image-10638063\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/watts-fest-young-robb-2-800x560.jpg\" alt=\"Compton poet Robert Williams aka Young Robb unleashes some of his socially conscious rhymes for some kids at the Watts Summer Festival\" width=\"800\" height=\"560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-800x560.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-400x280.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-1440x1007.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-1180x825.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-960x672.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Compton poet Robert Williams aka Young Robb unleashes some of his socially conscious rhymes for some kids at the Watts Summer Festival \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Don’t burn down your own community. If you love your community then clean it up, stand up for it,” says Williams.\u003c/p>\n\u003cp>“Hopefully the generation has changed where a lot of people can understand to take care instead of destroy. Let’s stick together and create something, let’s not just get together and destroy,” says Williams.\u003c/p>\n\u003cp>On the festival stage, \u003ca href=\"http://www.expressyourself.net/\">Charles Wright\u003c/a> and the Watts 103rd Street Rhythm Band tear through songs that made them local legends back in the mid-1960s.\u003c/p>\n\u003cp>Wright jumps into the crowd for a sing-along on one of his biggest hits (later sampled by South L.A. rappers N.W.A) “Express Yourself.”\u003c/p>\n\u003cfigure id=\"attachment_10638067\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-Wright-2.jpg\">\u003cimg class=\"size-medium wp-image-10638067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-800x533.jpg\" alt=\"Los Angeles R&B legend Charles Wright performing at the annual Watts Summer Festival\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Los Angeles R&B legend Charles Wright performing at the annual Watts Summer Festival \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a celebratory moment on an otherwise grim anniversary. One that 50 years on reminds people how much has been accomplished -- and how much more remains to be done.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Given San Francisco’s current real estate development boom and its undeniably destructive impact on \u003ca href=\"http://ww2.kqed.org/arts/2015/07/01/viracocha-mission-district-music-venue-to-close/\" target=\"_blank\" rel=\"noopener\">music venues\u003c/a>, it’s nice to be able to report a bit of good news for the city’s scene: \u003ca href=\"http://www.socialhallsf.com/\" target=\"_blank\" rel=\"noopener\">Social Hall SF\u003c/a>, a new music venue, will open next month in the Polk Gulch, in the same building as the Regency Ballroom.\u003c/p>\n\u003cp>Run by Goldenvoice — the promotion company behind the Regency, as well as the Warfield and a slew of venues in SoCal — the venue has a capacity for 600 people standing or 425 seated. It’s located inside the 106-year-old Scottish Rites Bodies Regency Center at 1270 Sutter Street (a historic building, though it is not, as has often been misconstrued by music fans of a certain age, the modern-day version of the \u003ca href=\"https://en.wikipedia.org/wiki/The_Avalon\" target=\"_blank\" rel=\"noopener\">Avalon Ballroom\u003c/a>, which was at 1268 Sutter).\u003c/p>\n\u003cp>Social Hall SF will host “electronic club nights, seated comedy events, rock concerts and more,” according to a release from Goldenvoice, and we have to agree that the club’s initial calendar is refreshingly eclectic: It kicks off Sept. 12 with internationally touring drag performer Alaska Thunderf–k; other notable dates include a two-night run for indie-electro band Neon Indian on Sept. 22 and 23, South African loop pedal guitarist Jeremy Loops on Oct. 15, LA indie-pop darlings The Bird and the Bee on Oct. 28, and legendary MC Kool Keith performing as his intergalactic alter-ego Dr. Octagon (in what’s sure to be a high-energy Halloween weekend performance) on Oct. 30.\u003c/p>\n\u003cp>Tickets for all shows currently listed will go on sale this Friday, Aug. 14.\u003c/p>\n\u003cp>Goldenvoice reports that the venue has been undergoing renovations for a year, and is ready to roll out new sound and lighting systems to go with the concert stage and, of course, a new bar. Worth noting, younger readers: “Most” shows at the venue will be all-ages, a designation that’s getting \u003ca href=\"http://www.modernluxury.com/san-francisco/story/sorry-punks-the-missions-all-ages-punk-venue-has-shut-down\" target=\"_blank\" rel=\"noopener\">harder to find in the city as of late\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Check out the Social Hall’s \u003ca href=\"http://www.socialhallsf.com/venue-info/faqs\" target=\"_blank\" rel=\"noopener\">FAQ\u003c/a> for more info, including details about the venue’s bar, parking, and perhaps most importantly, the answer to the question “Can we bring glow sticks?”(Answer: “glow gloves” only. We’ll take it.)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Given San Francisco’s current real estate development boom and its undeniably destructive impact on \u003ca href=\"http://ww2.kqed.org/arts/2015/07/01/viracocha-mission-district-music-venue-to-close/\" target=\"_blank\" rel=\"noopener\">music venues\u003c/a>, it’s nice to be able to report a bit of good news for the city’s scene: \u003ca href=\"http://www.socialhallsf.com/\" target=\"_blank\" rel=\"noopener\">Social Hall SF\u003c/a>, a new music venue, will open next month in the Polk Gulch, in the same building as the Regency Ballroom.\u003c/p>\n\u003cp>Run by Goldenvoice — the promotion company behind the Regency, as well as the Warfield and a slew of venues in SoCal — the venue has a capacity for 600 people standing or 425 seated. It’s located inside the 106-year-old Scottish Rites Bodies Regency Center at 1270 Sutter Street (a historic building, though it is not, as has often been misconstrued by music fans of a certain age, the modern-day version of the \u003ca href=\"https://en.wikipedia.org/wiki/The_Avalon\" target=\"_blank\" rel=\"noopener\">Avalon Ballroom\u003c/a>, which was at 1268 Sutter).\u003c/p>\n\u003cp>Social Hall SF will host “electronic club nights, seated comedy events, rock concerts and more,” according to a release from Goldenvoice, and we have to agree that the club’s initial calendar is refreshingly eclectic: It kicks off Sept. 12 with internationally touring drag performer Alaska Thunderf–k; other notable dates include a two-night run for indie-electro band Neon Indian on Sept. 22 and 23, South African loop pedal guitarist Jeremy Loops on Oct. 15, LA indie-pop darlings The Bird and the Bee on Oct. 28, and legendary MC Kool Keith performing as his intergalactic alter-ego Dr. Octagon (in what’s sure to be a high-energy Halloween weekend performance) on Oct. 30.\u003c/p>\n\u003cp>Tickets for all shows currently listed will go on sale this Friday, Aug. 14.\u003c/p>\n\u003cp>Goldenvoice reports that the venue has been undergoing renovations for a year, and is ready to roll out new sound and lighting systems to go with the concert stage and, of course, a new bar. Worth noting, younger readers: “Most” shows at the venue will be all-ages, a designation that’s getting \u003ca href=\"http://www.modernluxury.com/san-francisco/story/sorry-punks-the-missions-all-ages-punk-venue-has-shut-down\" target=\"_blank\" rel=\"noopener\">harder to find in the city as of late\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Check out the Social Hall’s \u003ca href=\"http://www.socialhallsf.com/venue-info/faqs\" target=\"_blank\" rel=\"noopener\">FAQ\u003c/a> for more info, including details about the venue’s bar, parking, and perhaps most importantly, the answer to the question “Can we bring glow sticks?”(Answer: “glow gloves” only. We’ll take it.)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "20 Years Ago Today, 'Captain Trips' Died and the Dot-Com Boom Took Off",
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"content": "\u003cp>[dropcap]T[/dropcap]here are some days when, over a few unforgettable hours, the world seems to shift on its axis. They often involve flames, explosions and splintering steel.\u003c/p>\n\u003cp>Other days mark a similar tectonic shift, if only symbolically. One happened 20 years ago on the morning of Aug. 9, 1995, when the Age of Aquarius and the dot-com boom briefly collided, signaling a transition from one era to the next.\u003c/p>\n\u003cp>The first event occurred just before dawn when guitarist Jerry Garcia, founder of the Grateful Dead and one of the iconic symbols of a generation shaped by music, love, and community, \u003ca href=\"http://6thfloor.blogs.nytimes.com/2013/08/09/the-day-jerry-garcia-died/?_r=0\">was found dead\u003c/a> at Serenity Knolls, a rehab facility in Marin County, just north of San Francisco.\u003c/p>\n\u003cp>He had checked into the site a few days earlier to clean up for an upcoming fall tour. A long-term drug problem, involving mostly heroin and cocaine, had turned Garcia’s diabetic and overweight body into a death trap.\u003c/p>\n\u003cp>[jerrygarcia]\u003c/p>\n\u003cp>“He was sometimes so incapacitated he couldn’t function,” writes Grateful Dead drummer Bill Kreutzmann in his book, \"Deal: My Three Decades of Drumming, Dreams, and Drugs with the Grateful Dead.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While on stage, Garcia forgot lyrics, missed notes and could often seem listless and disoriented. The gray-bearded guru had significant health problems, made worse by cigarette smoking and the stress of the Dead’s tour schedule. In 1986, he nearly died when he slipped into a diabetic coma, but the Grim Reaper wasn’t ready just then. On Aug. 9, 1995, it was.\u003c/p>\n\u003cp>Garcia was found unresponsive in bed just after 4 a.m. A staff nurse and local paramedics frantically administered CPR, but it was too late: Jerry Garcia, who had just turned 53, was dead of a heart attack.\u003c/p>\n\u003cp>As Garcia’s body was driven down a winding wooded road to the local coroner, a wildly different scene was occurring 3,000 miles to the east, at Manhattan’s Nasdaq stock market. It was 9:30 a.m. and Netscape Communications was about to go public.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8WRo3j5XS-A\u003c/p>\n\u003cp>\u003cstrong>Dawn of a New Era\u003c/strong>\u003c/p>\n\u003cp>Many investors had high hopes for \u003ca href=\"http://www.marketwatch.com/story/netscape-ipo-ignited-the-boom-taught-some-hard-lessons-20058518550\">Netscape\u003c/a>, which, just eight months earlier, had released the first version of its groundbreaking Web browser, helping to simplify and transform the online experience. The stock was to be offered at $14 per share, but with so much interest they made a high-stakes gamble and doubled the initial price to $28 per share.\u003c/p>\n\u003cp>Nothing prepared investors for what happened next. Demand for the Netscape shares was so intense that for almost two hours after the opening bell, trading in Netscape shares couldn't open, as the bids were overwhelming the asks. When it finally opened, the share price shot up. And up.\u003c/p>\n\u003cfigure id=\"attachment_10634431\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/1101960219_400.jpg\">\u003cimg class=\"size-thumbnail wp-image-10634431\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/1101960219_400-400x527.jpg\" alt=\"A Time magazine cover from February 1996 featured Netscape's Marc Andreessen.\" width=\"400\" height=\"527\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Time magazine cover from February 1996 featured Netscape's Marc Andreessen. \u003ccite>(TIME Magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within a few moments it hit $71, then later peaked at $75. Venture capitalist John Doerr, an early investor, later recalled: “When I checked the price, I was numb.”\u003c/p>\n\u003cp>By day’s end, Netscape’s stock price had settled in at $58.25, giving the company a market value of $2.9 billion. The firm was only 16 months old and had yet to make a profit, but none of that seemed to matter on the day the Netscape bottle rocket lit up the sky.\u003c/p>\n\u003cp>he Netscape IPO was to tech entrepreneurs what the Beatles appearance on the Ed Sullivan show was to pop music fans -- the astonishing moment when a mental door flew open and a new world awaited, in glorious Technicolor.\u003c/p>\n\u003cp>A decade later, \u003ca href=\"http://archive.fortune.com/magazines/fortune/fortune_archive/2005/07/25/8266639/index.htm\">Adam Lashinsky spelled out \u003c/a>what Netscape’s IPO meant in Fortune:\u003cem> \u003c/em>\u003c/p>\n\u003cp>“More than any other company, it set the technological, social, and financial tone of the Internet age. Its founders, Marc Andreessen and Jim Clark -- a baby-faced 24-year-old programmer from the Midwest and a restless middle-aged tech pioneer who badly wanted to strike gold again -- inspired a generation of entrepreneurs to try to become tech millionaires.”\u003c/p>\n\u003cp>A month after Netscape went public, eBay was founded. The following spring, Stanford students Larry Page and Sergey Brin began developing a Web-based “crawling” technology called BackRub, laying the foundation for the creation of Google.\u003c/p>\n\u003cp>The success of the IPO created the term “Netscape Moment” -- a giddy point that marks the starting gun of a new industry and age. Many business historians say the dot-com boom began that day. Soon, everyone was pestering their broker for tips on new companies. Day trading of stocks via online brokers such as Ameritrade or Etrade was now considered a career.\u003c/p>\n\u003cp>Companies like \u003ca href=\"http://www.redhat.com/en/about/company\">Red Hat Software\u003c/a>, \u003ca href=\"https://www.akamai.com/us/en/about/company-history.jsp\">Akamai Technologies\u003c/a> and \u003ca href=\"http://www.theglobe.com/\">theGlobe.com\u003c/a> would surpass even Netscape’s heights, seeing their shares rise more than 400 percent in their first day of trading -- an excitement that former Federal Reserve Chairman Alan Greenspan famously called “irrational exuberance.”\u003c/p>\n\u003cp>Was it? Business was radically and quickly reshaped worldwide by inexpensive communications based on a browser-based Internet. It was the biggest era of U.S. wealth creation in generations. Within five years, the tech-heavy Nasdaq soared from 1,000 companies to more than 5,100.\u003c/p>\n\u003cp>\u003cstrong>Spontaneous Wake\u003c/strong>\u003c/p>\n\u003cp>Back in San Francisco, the early glimmers of the Internet gold rush meant little to mourning Grateful Dead fans, who had lost an irreplaceable musical god. A spontaneous citywide wake developed. Mayor Frank Jordan ordered city flags to fly at half-staff\u003c/p>\n\u003cp>Hundreds gathered in Haight-Ashbury, the low-rent neighborhood that formed a spiritual base for 1960s counterculture. Some sat on the stoop of 710 Ashbury, the ornate house where the Grateful Dead briefly lived, to console, cry, talk it out and get high. Thousands of mourners gathered in Golden Gate Park, listening to tapes of the Dead and creating a makeshift shrine to Jerry.\u003c/p>\n\u003cp>[jerrygarciamourners]\u003c/p>\n\u003cp>That night, Dead guitarist Bob Weir went ahead with a scheduled solo show in Hampton Beach, N.H. “If our dear, departed friend proved anything to us,” Weir told the crowd, “he proved that great music can make sad times better.”\u003c/p>\n\u003cp>But Deadheads high and low knew better -- an age had passed. Sen. Patrick Leahy said the news of Garcia’s death felt “like I had been kicked in the stomach.” A month earlier, at the band’s final gig with Garcia in Chicago, they ended the show with the song “Box of Rain” and its prescient lyrics: “Such a long long time to be gone/and a short time to be there.”\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>\"So Many Roads\" From Garcia's Final Concert\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"400\" height=\"300\" src=\"https://www.youtube.com/embed/6sFyRQPraJ8\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>For Garcia and many Deadheads, that short time was now over. The group had survived the death of other active members -- founding member Ron \"Pigpen\" McKernan succumbed to an internal hemorrhage in 1973, and keyboardist Brent Mydland died from a drug overdose in 1990 -- but the loss of their colorful leader, affectionately known as Captain Trips, was insurmountable. Within four months of Garcia’s passing, the band that had meant so much to so many officially called it quits.\u003c/p>\n\u003cp>At the closing bell of the stock market, Netscape shareholders were also in a state of shock, although a delightful one. Many were now staggeringly wealthy. Jim Clark’s 20 percent share was suddenly worth $663 million. Champagne bottles were popped open; toasts were made.\u003c/p>\n\u003cp>Heady days were still ahead, but nothing compared with the surreal euphoria of that first day. Netscape’s stock peaked in late 1995 at $171 share, before its market share began to slip. AOL acquired the company in 1999 for $10 billion, but by 2002 it was sliding rapidly and had less than 10 percent of the browser market. In early 2008, AOL finally pulled the plug on the Netscape browser.\u003c/p>\n\u003cp>But on that warm August day in 1995, Netheads and Deadheads shared a moment of high drama and importance -- one group thrilling to a colorful dawn, the other wistfully watching a darkening sunset. The zeitgeist was changing. The fading notes of the psychedelic age started to be drowned out by the buzz of red-hot startups. LSD was replaced by IPO. Idealism was out; stock options were in.\u003c/p>\n\u003cp>Some people made the connection at the time, and soon after Garcia’s death some black humor began circulating in the Silicon Valley high-tech community:\u003c/p>\n\u003cp>\u003cem>What were Jerry Garcia’s last words?\u003c/em>\u003c/p>\n\u003cp>\u003cem>“Netscape opened at WHAT?!”\u003c/em>\u003c/p>\n\u003cp>Today is the 20th anniversary of that momentous day.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>James Daly is a Bay Area journalist and entrepreneur -- frequently both. He's launched successful publications for TED Curator Chris Anderson (TED Books, Business 2.0) and filmmaker George Lucas (Edutopia), serving as editor in chief of all. Daly has also worked and written for Wired, Forbes, Rolling Stone, Sonoma, Spin, Red Herring, i-D, the San Francisco Chronicle and the Los Angeles Times. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While on stage, Garcia forgot lyrics, missed notes and could often seem listless and disoriented. The gray-bearded guru had significant health problems, made worse by cigarette smoking and the stress of the Dead’s tour schedule. In 1986, he nearly died when he slipped into a diabetic coma, but the Grim Reaper wasn’t ready just then. On Aug. 9, 1995, it was.\u003c/p>\n\u003cp>Garcia was found unresponsive in bed just after 4 a.m. A staff nurse and local paramedics frantically administered CPR, but it was too late: Jerry Garcia, who had just turned 53, was dead of a heart attack.\u003c/p>\n\u003cp>As Garcia’s body was driven down a winding wooded road to the local coroner, a wildly different scene was occurring 3,000 miles to the east, at Manhattan’s Nasdaq stock market. It was 9:30 a.m. and Netscape Communications was about to go public.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8WRo3j5XS-A'\n title='//www.youtube.com/embed/8WRo3j5XS-A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dawn of a New Era\u003c/strong>\u003c/p>\n\u003cp>Many investors had high hopes for \u003ca href=\"http://www.marketwatch.com/story/netscape-ipo-ignited-the-boom-taught-some-hard-lessons-20058518550\">Netscape\u003c/a>, which, just eight months earlier, had released the first version of its groundbreaking Web browser, helping to simplify and transform the online experience. The stock was to be offered at $14 per share, but with so much interest they made a high-stakes gamble and doubled the initial price to $28 per share.\u003c/p>\n\u003cp>Nothing prepared investors for what happened next. Demand for the Netscape shares was so intense that for almost two hours after the opening bell, trading in Netscape shares couldn't open, as the bids were overwhelming the asks. When it finally opened, the share price shot up. And up.\u003c/p>\n\u003cfigure id=\"attachment_10634431\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/1101960219_400.jpg\">\u003cimg class=\"size-thumbnail wp-image-10634431\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/1101960219_400-400x527.jpg\" alt=\"A Time magazine cover from February 1996 featured Netscape's Marc Andreessen.\" width=\"400\" height=\"527\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Time magazine cover from February 1996 featured Netscape's Marc Andreessen. \u003ccite>(TIME Magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within a few moments it hit $71, then later peaked at $75. Venture capitalist John Doerr, an early investor, later recalled: “When I checked the price, I was numb.”\u003c/p>\n\u003cp>By day’s end, Netscape’s stock price had settled in at $58.25, giving the company a market value of $2.9 billion. The firm was only 16 months old and had yet to make a profit, but none of that seemed to matter on the day the Netscape bottle rocket lit up the sky.\u003c/p>\n\u003cp>he Netscape IPO was to tech entrepreneurs what the Beatles appearance on the Ed Sullivan show was to pop music fans -- the astonishing moment when a mental door flew open and a new world awaited, in glorious Technicolor.\u003c/p>\n\u003cp>A decade later, \u003ca href=\"http://archive.fortune.com/magazines/fortune/fortune_archive/2005/07/25/8266639/index.htm\">Adam Lashinsky spelled out \u003c/a>what Netscape’s IPO meant in Fortune:\u003cem> \u003c/em>\u003c/p>\n\u003cp>“More than any other company, it set the technological, social, and financial tone of the Internet age. Its founders, Marc Andreessen and Jim Clark -- a baby-faced 24-year-old programmer from the Midwest and a restless middle-aged tech pioneer who badly wanted to strike gold again -- inspired a generation of entrepreneurs to try to become tech millionaires.”\u003c/p>\n\u003cp>A month after Netscape went public, eBay was founded. The following spring, Stanford students Larry Page and Sergey Brin began developing a Web-based “crawling” technology called BackRub, laying the foundation for the creation of Google.\u003c/p>\n\u003cp>The success of the IPO created the term “Netscape Moment” -- a giddy point that marks the starting gun of a new industry and age. Many business historians say the dot-com boom began that day. Soon, everyone was pestering their broker for tips on new companies. Day trading of stocks via online brokers such as Ameritrade or Etrade was now considered a career.\u003c/p>\n\u003cp>Companies like \u003ca href=\"http://www.redhat.com/en/about/company\">Red Hat Software\u003c/a>, \u003ca href=\"https://www.akamai.com/us/en/about/company-history.jsp\">Akamai Technologies\u003c/a> and \u003ca href=\"http://www.theglobe.com/\">theGlobe.com\u003c/a> would surpass even Netscape’s heights, seeing their shares rise more than 400 percent in their first day of trading -- an excitement that former Federal Reserve Chairman Alan Greenspan famously called “irrational exuberance.”\u003c/p>\n\u003cp>Was it? Business was radically and quickly reshaped worldwide by inexpensive communications based on a browser-based Internet. It was the biggest era of U.S. wealth creation in generations. Within five years, the tech-heavy Nasdaq soared from 1,000 companies to more than 5,100.\u003c/p>\n\u003cp>\u003cstrong>Spontaneous Wake\u003c/strong>\u003c/p>\n\u003cp>Back in San Francisco, the early glimmers of the Internet gold rush meant little to mourning Grateful Dead fans, who had lost an irreplaceable musical god. A spontaneous citywide wake developed. Mayor Frank Jordan ordered city flags to fly at half-staff\u003c/p>\n\u003cp>Hundreds gathered in Haight-Ashbury, the low-rent neighborhood that formed a spiritual base for 1960s counterculture. Some sat on the stoop of 710 Ashbury, the ornate house where the Grateful Dead briefly lived, to console, cry, talk it out and get high. Thousands of mourners gathered in Golden Gate Park, listening to tapes of the Dead and creating a makeshift shrine to Jerry.\u003c/p>\n\u003cp>[jerrygarciamourners]\u003c/p>\n\u003cp>That night, Dead guitarist Bob Weir went ahead with a scheduled solo show in Hampton Beach, N.H. “If our dear, departed friend proved anything to us,” Weir told the crowd, “he proved that great music can make sad times better.”\u003c/p>\n\u003cp>But Deadheads high and low knew better -- an age had passed. Sen. Patrick Leahy said the news of Garcia’s death felt “like I had been kicked in the stomach.” A month earlier, at the band’s final gig with Garcia in Chicago, they ended the show with the song “Box of Rain” and its prescient lyrics: “Such a long long time to be gone/and a short time to be there.”\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>\"So Many Roads\" From Garcia's Final Concert\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"400\" height=\"300\" src=\"https://www.youtube.com/embed/6sFyRQPraJ8\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>For Garcia and many Deadheads, that short time was now over. The group had survived the death of other active members -- founding member Ron \"Pigpen\" McKernan succumbed to an internal hemorrhage in 1973, and keyboardist Brent Mydland died from a drug overdose in 1990 -- but the loss of their colorful leader, affectionately known as Captain Trips, was insurmountable. Within four months of Garcia’s passing, the band that had meant so much to so many officially called it quits.\u003c/p>\n\u003cp>At the closing bell of the stock market, Netscape shareholders were also in a state of shock, although a delightful one. Many were now staggeringly wealthy. Jim Clark’s 20 percent share was suddenly worth $663 million. Champagne bottles were popped open; toasts were made.\u003c/p>\n\u003cp>Heady days were still ahead, but nothing compared with the surreal euphoria of that first day. Netscape’s stock peaked in late 1995 at $171 share, before its market share began to slip. AOL acquired the company in 1999 for $10 billion, but by 2002 it was sliding rapidly and had less than 10 percent of the browser market. In early 2008, AOL finally pulled the plug on the Netscape browser.\u003c/p>\n\u003cp>But on that warm August day in 1995, Netheads and Deadheads shared a moment of high drama and importance -- one group thrilling to a colorful dawn, the other wistfully watching a darkening sunset. The zeitgeist was changing. The fading notes of the psychedelic age started to be drowned out by the buzz of red-hot startups. LSD was replaced by IPO. Idealism was out; stock options were in.\u003c/p>\n\u003cp>Some people made the connection at the time, and soon after Garcia’s death some black humor began circulating in the Silicon Valley high-tech community:\u003c/p>\n\u003cp>\u003cem>What were Jerry Garcia’s last words?\u003c/em>\u003c/p>\n\u003cp>\u003cem>“Netscape opened at WHAT?!”\u003c/em>\u003c/p>\n\u003cp>Today is the 20th anniversary of that momentous day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>James Daly is a Bay Area journalist and entrepreneur -- frequently both. He's launched successful publications for TED Curator Chris Anderson (TED Books, Business 2.0) and filmmaker George Lucas (Edutopia), serving as editor in chief of all. Daly has also worked and written for Wired, Forbes, Rolling Stone, Sonoma, Spin, Red Herring, i-D, the San Francisco Chronicle and the Los Angeles Times. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Alison Freer once turned a man into a bush. She made another guy into a jalapeno, and yet another into a taco. But she’s not a vengeful practitioner of sorcery. Freer is a Hollywood costume designer. \u003c/p>\n\u003cp>For 15 years she’s worked in the show biz trenches, nipping, ripping and tucking on desperate deadlines in a job based more on big imagination than big budgets. Now she’s written \u003ca href=\"http://www.amazon.com/How-Get-Dressed-Costume-Designers/dp/1607747065/ref=sr_1_1?ie=UTF8&qid=1438904226&sr=8-1&keywords=how+to+get+dressed+alison+freer\" target=\"_blank\">\"How to Get Dressed\u003c/a>,\" a book utilizing her creative insider knowledge on making the most of what you wear.\u003c/p>\n\u003cp>It’s 6 a.m. at a studio in east Hollywood. In the dressing room of the Amazon kid’s show \u003ca href=\"http://www.amazon.com/Gortimer-vs-Frog-Ultimate-Doom/dp/B00I3MPMPA\" target=\"_blank\">Gortimer Gibbons' Life on Normal Street\u003c/a>, Freer and her three-woman team are already hard at work on actor Nate Torrence.\u003c/p>\n\u003cp>“Nate is playing a fictional character who is half pirate, half fireman,” explains Freer between slugs of coffee. “He lives in another state and flew in for his fitting this morning, and he works in about an hour and a half, so we’re frantically figuring out something for him to wear.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/218278187\" 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>When the appropriate fireman/pirate look has been achieved, Freer grabs her java and follows costumes that are racked and rolled to the soundstage. The show’s director, Luke Matheny, huddles briefly with Freer over the last minute script changes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We have a kids’ show that we move pretty fast on,” says Matheny. “We don’t have much time and not much money, so you need a really resourceful person to make those characters come to life. I think Scorsese says that the character is the costume, and Alison can really roll with the punches and make something out of nothing very quickly.”\u003c/p>\n\u003cp>Improvisation and ingenuity rule the day in Freer’s world.\u003c/p>\n\u003cp>“It’s very much like the A-Team,” she explains. “What do we have? We have a coat hanger and some gum and this weird piece of wood. What can we make out of it? To this day, it’s still the same. Every job.”\u003c/p>\n\u003cp>Costume design is in her blood.\u003c/p>\n\u003cp>“My great-great-grandmother was a seamstress for the Ringling Bros. circus in Sarasota, Florida,” says Freer, “and my great-grandmother, a child at the time, worked in complete violation of child labor laws making bridles for show ponies and clown costumes. So they taught me certain heritage skills that I feel like have fallen by the wayside a little bit -- skills that helped me as a costumer and now are really the backbone of this book.”\u003c/p>\n\u003cp>With sections like “Ironing Is for Suckers,” “How to Frankenstein a Bra that Works for You,” and “Spit Removes Blood Like, Whoa,” Freer’s \"How to Get Dressed\" updates that heritage. And, after reading some 60 previous books on the self-help fashion shelf, she came to a realization:\u003c/p>\n\u003cp>“They were not practical for the everyday girl. They talked about buying investment pieces, which, if you can afford it, is a great thing to do. But if you’re a 19-year-old girl entering the workforce, what you want to hear is how to have the sleeves taken up on a blazer from Forever 21 so you don’t look like you’re wearing your mom’s clothing.\u003c/p>\n\u003cp>“What’s happening at Chanel and Givenchy and all these places doesn’t apply to you. I realized there wasn’t anything intensely practical, and in my day job I traffic in the practical only. It’s results oriented or it goes out the door.”\u003c/p>\n\u003cp>In her 1918 Craftsman house near downtown Los Angeles, Freer has a bedroom-turned-wardrobe vault devoted to her obsessive lust for fashion.\u003c/p>\n\u003cp>“This is my horrifying closet,” she says, chuckling. “This is my life’s work, this is my greatest accomplishment.”\u003c/p>\n\u003cp>It’s wall-to-wall clothing. All manner of stuff. Dresses, hats, kimonos, a pickle costume. And boxes of shoes. Lots of boxes of shoes. Freer has them stacked and labeled meticulously. She hunkers down to examine one.\u003c/p>\n\u003cp>“What do we have right here? Grey Doc Martens, floral. Blue Doc Martens, floral. Black and gold lace-up heels. I like this: silver glitter boots times two. That tells me I have a double of those. I liked those so much I bought them twice.”\u003c/p>\n\u003cp>It was this closet that launched her career. A friend of a friend was a commercial director. He dropped by one day, “And he said, ‘Wow, look at all these clothes. Are you a costume designer?' And I had no idea what that meant, but it sounded very glamorous and I said yes, yes I am. I lied, basically.”\u003c/p>\n\u003cp>The truth is, Freer’s previous career taught her invaluable skills for the jump to laboring in Tinseltown.\u003c/p>\n\u003cp>“I worked retail for 15 years of my life. Anybody who walked into the door of any store that I worked at, I could tell immediately, should I be nice to them? Should I be a little bit mean? Should I be coquettish? What personality should I take on to sell them on my ideas? Because that’s really all it is. Psychology and salesmanship really are the two skills I use daily.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Freer works constantly and her book has climbed quickly up the Amazon rankings, although she says she’s happy working behind the scenes, far from the red carpet. But think of her the next time you’re watching TV -- and you see a man dressed as a taco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alison Freer once turned a man into a bush. She made another guy into a jalapeno, and yet another into a taco. But she’s not a vengeful practitioner of sorcery. Freer is a Hollywood costume designer. \u003c/p>\n\u003cp>For 15 years she’s worked in the show biz trenches, nipping, ripping and tucking on desperate deadlines in a job based more on big imagination than big budgets. Now she’s written \u003ca href=\"http://www.amazon.com/How-Get-Dressed-Costume-Designers/dp/1607747065/ref=sr_1_1?ie=UTF8&qid=1438904226&sr=8-1&keywords=how+to+get+dressed+alison+freer\" target=\"_blank\">\"How to Get Dressed\u003c/a>,\" a book utilizing her creative insider knowledge on making the most of what you wear.\u003c/p>\n\u003cp>It’s 6 a.m. at a studio in east Hollywood. In the dressing room of the Amazon kid’s show \u003ca href=\"http://www.amazon.com/Gortimer-vs-Frog-Ultimate-Doom/dp/B00I3MPMPA\" target=\"_blank\">Gortimer Gibbons' Life on Normal Street\u003c/a>, Freer and her three-woman team are already hard at work on actor Nate Torrence.\u003c/p>\n\u003cp>“Nate is playing a fictional character who is half pirate, half fireman,” explains Freer between slugs of coffee. “He lives in another state and flew in for his fitting this morning, and he works in about an hour and a half, so we’re frantically figuring out something for him to wear.”\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/218278187&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/218278187'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When the appropriate fireman/pirate look has been achieved, Freer grabs her java and follows costumes that are racked and rolled to the soundstage. The show’s director, Luke Matheny, huddles briefly with Freer over the last minute script changes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have a kids’ show that we move pretty fast on,” says Matheny. “We don’t have much time and not much money, so you need a really resourceful person to make those characters come to life. I think Scorsese says that the character is the costume, and Alison can really roll with the punches and make something out of nothing very quickly.”\u003c/p>\n\u003cp>Improvisation and ingenuity rule the day in Freer’s world.\u003c/p>\n\u003cp>“It’s very much like the A-Team,” she explains. “What do we have? We have a coat hanger and some gum and this weird piece of wood. What can we make out of it? To this day, it’s still the same. Every job.”\u003c/p>\n\u003cp>Costume design is in her blood.\u003c/p>\n\u003cp>“My great-great-grandmother was a seamstress for the Ringling Bros. circus in Sarasota, Florida,” says Freer, “and my great-grandmother, a child at the time, worked in complete violation of child labor laws making bridles for show ponies and clown costumes. So they taught me certain heritage skills that I feel like have fallen by the wayside a little bit -- skills that helped me as a costumer and now are really the backbone of this book.”\u003c/p>\n\u003cp>With sections like “Ironing Is for Suckers,” “How to Frankenstein a Bra that Works for You,” and “Spit Removes Blood Like, Whoa,” Freer’s \"How to Get Dressed\" updates that heritage. And, after reading some 60 previous books on the self-help fashion shelf, she came to a realization:\u003c/p>\n\u003cp>“They were not practical for the everyday girl. They talked about buying investment pieces, which, if you can afford it, is a great thing to do. But if you’re a 19-year-old girl entering the workforce, what you want to hear is how to have the sleeves taken up on a blazer from Forever 21 so you don’t look like you’re wearing your mom’s clothing.\u003c/p>\n\u003cp>“What’s happening at Chanel and Givenchy and all these places doesn’t apply to you. I realized there wasn’t anything intensely practical, and in my day job I traffic in the practical only. It’s results oriented or it goes out the door.”\u003c/p>\n\u003cp>In her 1918 Craftsman house near downtown Los Angeles, Freer has a bedroom-turned-wardrobe vault devoted to her obsessive lust for fashion.\u003c/p>\n\u003cp>“This is my horrifying closet,” she says, chuckling. “This is my life’s work, this is my greatest accomplishment.”\u003c/p>\n\u003cp>It’s wall-to-wall clothing. All manner of stuff. Dresses, hats, kimonos, a pickle costume. And boxes of shoes. Lots of boxes of shoes. Freer has them stacked and labeled meticulously. She hunkers down to examine one.\u003c/p>\n\u003cp>“What do we have right here? Grey Doc Martens, floral. Blue Doc Martens, floral. Black and gold lace-up heels. I like this: silver glitter boots times two. That tells me I have a double of those. I liked those so much I bought them twice.”\u003c/p>\n\u003cp>It was this closet that launched her career. A friend of a friend was a commercial director. He dropped by one day, “And he said, ‘Wow, look at all these clothes. Are you a costume designer?' And I had no idea what that meant, but it sounded very glamorous and I said yes, yes I am. I lied, basically.”\u003c/p>\n\u003cp>The truth is, Freer’s previous career taught her invaluable skills for the jump to laboring in Tinseltown.\u003c/p>\n\u003cp>“I worked retail for 15 years of my life. Anybody who walked into the door of any store that I worked at, I could tell immediately, should I be nice to them? Should I be a little bit mean? Should I be coquettish? What personality should I take on to sell them on my ideas? Because that’s really all it is. Psychology and salesmanship really are the two skills I use daily.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Freer works constantly and her book has climbed quickly up the Amazon rankings, although she says she’s happy working behind the scenes, far from the red carpet. But think of her the next time you’re watching TV -- and you see a man dressed as a taco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The L.A. Rebellion: How the Watts Riots Helped Spark a Cinematic Revolution",
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"content": "\u003cp>In Haile Gerima’s 1975 student film \u003ca href=\"https://www.youtube.com/watch?v=Himxf4s_qgk\">“Bush Mama,”\u003c/a> the character T.C., played by actor Johnny Weathers, leans up against the bars of his jail cell and speaks directly to the camera.\u003c/p>\n\u003cp>“Now ya see this white boy,” says T.C. referring to a white guard.\u003c/p>\n\u003cp>“To guard niggers is within his blood,” says T.C., fingers wrapped tight around the cell bars.\u003c/p>\n\u003cp>“His roots is maybe ‘overseer,’ and we still the son of the slave. That’s what I inherited … all of us!”\u003c/p>\n\u003cfigure id=\"attachment_10633182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"591\" class=\"wp-image-10633182 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1440x1064.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1180x872.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-960x710.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Johnny Weathers in a scene from from Haile Gerima’s film “Bush Mama” \u003ccite>(Haile Germia / Youtube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bush Mama” is one of the landmark films to come out of the first wave of black student filmmakers at UCLA, a tightly knit band of experimental, ideological and fiercely independent artists known as the \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/story-la-rebellion\">L.A. Rebellion\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They’d turn the riot-torn streets of Watts and other south L.A. communities into the real-life soundstage for work that bucked the Hollywood system.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/218278055″ 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>In “Bush Mama,” a disillusioned Vietnam War veteran, T.C., is convicted of a crime he didn’t commit. And life at home is starting to unravel for his pregnant wife Dorothy.\u003c/p>\n\u003cp>Much of the film is told through their correspondence.\u003c/p>\n\u003cp>The film was largely improvisational. Scenes filmed on the streets of Watts were shot without permits.\u003c/p>\n\u003cp>“Everything was guerilla style, from getting the equipment out of UCLA to shooting without permits,” says UCLA Film & Television Archive Director Christopher Horak. “’Bush Mama’ opens with the police arresting the crew.”\u003c/p>\n\u003cp>Gerima said he and other young black filmmakers at UCLA wanted to make movies depicting African-American life as it really was — a deliberate counterattack to the outlandish jive-talking hyper-violence of ’70s blaxploitation films like “Super Fly” and its countless imitators.\u003c/p>\n\u003cp>“We revolted so much. We didn’t want to see, respect any Euro-American cinema, even the good ones,” Gerima told an audience at New York’s New School of Media Studies during a retrospective of his work.\u003c/p>\n\u003cp>Gerima says the aim was to elevate, not denigrate African-American life and culture.\u003c/p>\n\u003cfigure id=\"attachment_10633180\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg\" alt=\"Charles Burnett's film "Killer of Sheep" is a landmark of the L.A. Rebellion shot in and around Watts in the early '70s.\" width=\"750\" height=\"500\" class=\"size-full wp-image-10633180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Charles Burnett’s film “Killer of Sheep” is a landmark of the L.A. Rebellion shot in and around Watts in the early ’70s. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the (UCLA) film school, we say if black people did jazz, what do they do in film? And so we were responding in a very critical way, saying these narrative devices that were racist for us,” Gerima says.\u003c/p>\n\u003cp>The integration of UCLA’s film school began in earnest during the Civil Rights and anti-war movements of the late 1960s, spurred on in the violent wake of the 1965 \u003ca href=\"https://www.youtube.com/watch?v=8zV9X-E6gc0\">Watts riots\u003c/a>, or “rebellion” as many people prefer to call the week of civil unrest.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘Everyone had to be some cool, slick jive mama…And I wanted to see something else.’\u003ccite>Filmmaker Julie Dash\u003c/cite>\u003c/aside>\n\u003cp>“And so it’s really the first generation of minority students at UCLA, and they were not necessarily welcomed,” Horak says.\u003c/p>\n\u003cp>He says what distinguished these filmmakers were a mix of radical politics and gritty street style.\u003c/p>\n\u003cp>“Students as well as professors at UCLA just were not used to seeing that type of content presented in that kind of way,” Horak says.\u003c/p>\n\u003cp>“We were not seen as normal,” laughs director \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/julie-dash\">Julie Dash\u003c/a>.\u003c/p>\n\u003cp>Dash, a New York native, arrived in California in the mid-1970s to pursue graduate studies at UCLA. She would go on to make a number of acclaimed films including 1991’s “Daughters of the Dust.” Dash says the filmmakers who made up L.A. Rebellion stood out for other reasons, too.\u003c/p>\n\u003cp>“Because we spent our lives on campus all the time, in sleeping bags, we just worked around the clock,” Dash says.\u003c/p>\n\u003cfigure id=\"attachment_10634116\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10634116\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Los Angeles stands in for Uganda in Julie Dash’s 1977 short film “The Diary of an African Nun,” based on a short story by Alice Walker. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Either working on our personal films or someone else’s film, and we just found ourselves living pretty much on campus all the time,” Dash says.\u003c/p>\n\u003cp>And the way more senior student directors like Haile Gerima depicted black Los Angeles was a revelation to Dash.\u003c/p>\n\u003cp>“That was not the place that played in my mind when I thought of California, I thought of palm trees and everything you see on television, that narrative of life,” Dash says.\u003c/p>\n\u003cp>One of the most celebrated films to emerge from the L.A. Rebellion is Charles Burnett’s \u003ca href=\"https://www.youtube.com/watch?v=-nXw-8MXhVE\">“Killer of Sheep.”\u003c/a>\u003c/p>\n\u003cp>Burnett, influenced in part by post-War War II Italian neo-realist films that used war-torn cities as their backdrop, took a similar approach.\u003c/p>\n\u003cp>Shot in black and white, the story revolves around a slaughterhouse worker named Stan and his family. Their daily struggles unfold in the blue-collar homes, dusty vacant lots and the crooked alleyways of Watts.\u003c/p>\n\u003cp>Burnett, who went on to make a number of more commercial films like “The Glass Shield” and “To Sleep with Anger,” was unavailable for an interview.\u003c/p>\n\u003cp>But in the commentary from the long-awaited DVD release of “Killer of Sheep,” he talks about his time at UCLA.\u003c/p>\n\u003cp>“We were going to make a difference and introduce new narratives about the black experience and we were reacting against all the negative stereotypes that Hollywood continued to produce,” Burnett says. “You know, turn back to our own stories and try to tell them.”\u003c/p>\n\u003cfigure id=\"attachment_10634102\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10634102\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from Charles Burnett’s 1973 short film “The Horse.” \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from the occasional screening at a library or local theater, the films of L.A. Rebellion would go largely unseen off campus. A lot of the original prints would disappear into attics, garages and in one case, a backyard chicken coop in Compton.\u003c/p>\n\u003cp>“And we found it in the dirt at the very back of the shed after cleaning out for like a whole day,” laughs UCLA’s Christopher Horak.\u003c/p>\n\u003cp>In 2011, UCLA launched in initiative to track down and restore the film of the era.\u003c/p>\n\u003cp>That includes Julie Dash’s first student feature “Illusions,” shot on the UCLA campus.\u003c/p>\n\u003cp>It set the tone for the kind of films Dash would go on to make. Most famously, the critically acclaimed “Daughters of the Dust” — the first feature film directed by an African-American woman to get a major theatrical release and a story Dash was developing while still at UCLA.\u003c/p>\n\u003cp>“I just wanted to explore the culture of African-American women that I was not really seeing,” Dash says.\u003c/p>\n\u003cp>“Everyone had to be some cool, slick jive mama,” Dash laughs. “And I wanted to see something else.”\u003c/p>\n\u003cfigure id=\"attachment_10634103\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10634103\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lonette McKee in Julie Dash’s 1982 student film “Illusions.” \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their limited exposure, films and filmmakers from L.A. Rebellion left an indelible mark on future black filmmakers like \u003ca href=\"http://www.openculture.com/2014/11/spike-lees-list-of-95-essential-movies.html\">Spike Lee\u003c/a> and John Singleton, both of whom acknowledge the influence of films like “Killer of Sheep” and “Daughters of the Dust.”\u003c/p>\n\u003cp>“The best work holds up really well and there were amazing discoveries we made in this whole process,” says Horak.\u003c/p>\n\u003cp>Many of the films from the L.A. Rebellion era will be included in a 25-DVD box set that will be distributed to schools, libraries and other institutions later this year along with a book published by University of California Press chronicling the movement.\u003c/p>\n\u003cp>“They were very meaningful and they continue to be meaningful,” Dash says. “They document a time period and they document very specific voices we had not seen or heard before. That’s why they’re like treasures.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Treasures that continue to be unearthed, literally dusted off and placed alongside some of the finest films of the era.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Haile Gerima’s 1975 student film \u003ca href=\"https://www.youtube.com/watch?v=Himxf4s_qgk\">“Bush Mama,”\u003c/a> the character T.C., played by actor Johnny Weathers, leans up against the bars of his jail cell and speaks directly to the camera.\u003c/p>\n\u003cp>“Now ya see this white boy,” says T.C. referring to a white guard.\u003c/p>\n\u003cp>“To guard niggers is within his blood,” says T.C., fingers wrapped tight around the cell bars.\u003c/p>\n\u003cp>“His roots is maybe ‘overseer,’ and we still the son of the slave. That’s what I inherited … all of us!”\u003c/p>\n\u003cfigure id=\"attachment_10633182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"591\" class=\"wp-image-10633182 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1440x1064.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1180x872.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-960x710.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Johnny Weathers in a scene from from Haile Gerima’s film “Bush Mama” \u003ccite>(Haile Germia / Youtube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bush Mama” is one of the landmark films to come out of the first wave of black student filmmakers at UCLA, a tightly knit band of experimental, ideological and fiercely independent artists known as the \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/story-la-rebellion\">L.A. Rebellion\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They’d turn the riot-torn streets of Watts and other south L.A. communities into the real-life soundstage for work that bucked the Hollywood system.\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/218278055″&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/218278055″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In “Bush Mama,” a disillusioned Vietnam War veteran, T.C., is convicted of a crime he didn’t commit. And life at home is starting to unravel for his pregnant wife Dorothy.\u003c/p>\n\u003cp>Much of the film is told through their correspondence.\u003c/p>\n\u003cp>The film was largely improvisational. Scenes filmed on the streets of Watts were shot without permits.\u003c/p>\n\u003cp>“Everything was guerilla style, from getting the equipment out of UCLA to shooting without permits,” says UCLA Film & Television Archive Director Christopher Horak. “’Bush Mama’ opens with the police arresting the crew.”\u003c/p>\n\u003cp>Gerima said he and other young black filmmakers at UCLA wanted to make movies depicting African-American life as it really was — a deliberate counterattack to the outlandish jive-talking hyper-violence of ’70s blaxploitation films like “Super Fly” and its countless imitators.\u003c/p>\n\u003cp>“We revolted so much. We didn’t want to see, respect any Euro-American cinema, even the good ones,” Gerima told an audience at New York’s New School of Media Studies during a retrospective of his work.\u003c/p>\n\u003cp>Gerima says the aim was to elevate, not denigrate African-American life and culture.\u003c/p>\n\u003cfigure id=\"attachment_10633180\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg\" alt=\"Charles Burnett's film "Killer of Sheep" is a landmark of the L.A. Rebellion shot in and around Watts in the early '70s.\" width=\"750\" height=\"500\" class=\"size-full wp-image-10633180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Charles Burnett’s film “Killer of Sheep” is a landmark of the L.A. Rebellion shot in and around Watts in the early ’70s. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the (UCLA) film school, we say if black people did jazz, what do they do in film? And so we were responding in a very critical way, saying these narrative devices that were racist for us,” Gerima says.\u003c/p>\n\u003cp>The integration of UCLA’s film school began in earnest during the Civil Rights and anti-war movements of the late 1960s, spurred on in the violent wake of the 1965 \u003ca href=\"https://www.youtube.com/watch?v=8zV9X-E6gc0\">Watts riots\u003c/a>, or “rebellion” as many people prefer to call the week of civil unrest.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘Everyone had to be some cool, slick jive mama…And I wanted to see something else.’\u003ccite>Filmmaker Julie Dash\u003c/cite>\u003c/aside>\n\u003cp>“And so it’s really the first generation of minority students at UCLA, and they were not necessarily welcomed,” Horak says.\u003c/p>\n\u003cp>He says what distinguished these filmmakers were a mix of radical politics and gritty street style.\u003c/p>\n\u003cp>“Students as well as professors at UCLA just were not used to seeing that type of content presented in that kind of way,” Horak says.\u003c/p>\n\u003cp>“We were not seen as normal,” laughs director \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/julie-dash\">Julie Dash\u003c/a>.\u003c/p>\n\u003cp>Dash, a New York native, arrived in California in the mid-1970s to pursue graduate studies at UCLA. She would go on to make a number of acclaimed films including 1991’s “Daughters of the Dust.” Dash says the filmmakers who made up L.A. Rebellion stood out for other reasons, too.\u003c/p>\n\u003cp>“Because we spent our lives on campus all the time, in sleeping bags, we just worked around the clock,” Dash says.\u003c/p>\n\u003cfigure id=\"attachment_10634116\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10634116\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Los Angeles stands in for Uganda in Julie Dash’s 1977 short film “The Diary of an African Nun,” based on a short story by Alice Walker. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Either working on our personal films or someone else’s film, and we just found ourselves living pretty much on campus all the time,” Dash says.\u003c/p>\n\u003cp>And the way more senior student directors like Haile Gerima depicted black Los Angeles was a revelation to Dash.\u003c/p>\n\u003cp>“That was not the place that played in my mind when I thought of California, I thought of palm trees and everything you see on television, that narrative of life,” Dash says.\u003c/p>\n\u003cp>One of the most celebrated films to emerge from the L.A. Rebellion is Charles Burnett’s \u003ca href=\"https://www.youtube.com/watch?v=-nXw-8MXhVE\">“Killer of Sheep.”\u003c/a>\u003c/p>\n\u003cp>Burnett, influenced in part by post-War War II Italian neo-realist films that used war-torn cities as their backdrop, took a similar approach.\u003c/p>\n\u003cp>Shot in black and white, the story revolves around a slaughterhouse worker named Stan and his family. Their daily struggles unfold in the blue-collar homes, dusty vacant lots and the crooked alleyways of Watts.\u003c/p>\n\u003cp>Burnett, who went on to make a number of more commercial films like “The Glass Shield” and “To Sleep with Anger,” was unavailable for an interview.\u003c/p>\n\u003cp>But in the commentary from the long-awaited DVD release of “Killer of Sheep,” he talks about his time at UCLA.\u003c/p>\n\u003cp>“We were going to make a difference and introduce new narratives about the black experience and we were reacting against all the negative stereotypes that Hollywood continued to produce,” Burnett says. “You know, turn back to our own stories and try to tell them.”\u003c/p>\n\u003cfigure id=\"attachment_10634102\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10634102\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from Charles Burnett’s 1973 short film “The Horse.” \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from the occasional screening at a library or local theater, the films of L.A. Rebellion would go largely unseen off campus. A lot of the original prints would disappear into attics, garages and in one case, a backyard chicken coop in Compton.\u003c/p>\n\u003cp>“And we found it in the dirt at the very back of the shed after cleaning out for like a whole day,” laughs UCLA’s Christopher Horak.\u003c/p>\n\u003cp>In 2011, UCLA launched in initiative to track down and restore the film of the era.\u003c/p>\n\u003cp>That includes Julie Dash’s first student feature “Illusions,” shot on the UCLA campus.\u003c/p>\n\u003cp>It set the tone for the kind of films Dash would go on to make. Most famously, the critically acclaimed “Daughters of the Dust” — the first feature film directed by an African-American woman to get a major theatrical release and a story Dash was developing while still at UCLA.\u003c/p>\n\u003cp>“I just wanted to explore the culture of African-American women that I was not really seeing,” Dash says.\u003c/p>\n\u003cp>“Everyone had to be some cool, slick jive mama,” Dash laughs. “And I wanted to see something else.”\u003c/p>\n\u003cfigure id=\"attachment_10634103\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10634103\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lonette McKee in Julie Dash’s 1982 student film “Illusions.” \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their limited exposure, films and filmmakers from L.A. Rebellion left an indelible mark on future black filmmakers like \u003ca href=\"http://www.openculture.com/2014/11/spike-lees-list-of-95-essential-movies.html\">Spike Lee\u003c/a> and John Singleton, both of whom acknowledge the influence of films like “Killer of Sheep” and “Daughters of the Dust.”\u003c/p>\n\u003cp>“The best work holds up really well and there were amazing discoveries we made in this whole process,” says Horak.\u003c/p>\n\u003cp>Many of the films from the L.A. Rebellion era will be included in a 25-DVD box set that will be distributed to schools, libraries and other institutions later this year along with a book published by University of California Press chronicling the movement.\u003c/p>\n\u003cp>“They were very meaningful and they continue to be meaningful,” Dash says. “They document a time period and they document very specific voices we had not seen or heard before. That’s why they’re like treasures.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Treasures that continue to be unearthed, literally dusted off and placed alongside some of the finest films of the era.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "made-in-oakland-in-1916-first-asian-american-film-still-inspires",
"title": "Made in Oakland in 1916, First Asian American Film Still Inspires",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/218248496″ 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\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/curse-of-quon-gwan/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Curse of Quon Gwan’\u003c/h2>\n\u003cdiv class=\"event-desc\">A screening of the first film to be made by Chinese Americans in the U.S.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Oakland Asian Cultural Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/curse-of-quon-gwan/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003ca href=\"http://www.csus.edu/ethn/faculty%20and%20staff/mark.html\" target=\"_blank\" rel=\"noopener\">Gregory Mark\u003c/a> remembers exactly when he found out about his grandmother Violet Wong’s brief silent film career. It was 1969, and she took him into the basement of the family home.\u003c/p>\n\u003cp>“And in the corner of the basement,” Mark said in a recent interview, “she pointed to a canister that had three reels of film. And she said to me, and I remember her exact words: ‘You do something about this.’”\u003c/p>\n\u003cp>The film was \u003ca href=\"https://vimeo.com/ondemand/38504/127781435\" target=\"_blank\" rel=\"noopener\">\u003cem>The Curse of Quon Gwon\u003c/em>,\u003c/a> and Violet was one of its stars. Marion, Violet’s sister-in-law and Mark’s great aunt, wrote, directed and co-starred in the film with Violet in 1916, a time when the movie business wasn’t a friendly place for women or people of color — still an issue in Hollywood today.\u003c/p>\n\u003cfigure id=\"attachment_10881879\" class=\"wp-caption alignright\" style=\"max-width: 259px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10881879\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-2.jpg\" alt='A still from \"The Curse of Quon Gwon\"' width=\"259\" height=\"194\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from “The Curse of Quon Gwon”\u003c/figcaption>\u003c/figure>\n\u003cp>Mark had the three surviving reels of \u003cem>Curse\u003c/em> copied to 16mm film, and a few years later, he and some cousins watched \u003cem>Curse\u003c/em> with his grandmother.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We were all young men at that time period,” Mark recalled. “We teased her and said, ‘Oh grandma you’re so hot, you’re so beautiful’. And she loved every single moment of that, because we saw her as a 20-year-old woman in the film.”\u003c/p>\n\u003cp>Curse tells a melodramatic love story about two thoroughly-Americanized Chinese immigrants. It’s set mostly in Oakland, where Marion, Violet and their families lived. Mark, who teaches ethnic studies at Sacramento State, thinks the film was clearly designed to defy stereotypes common at the time about Chinese Americans, a persecuted minority in the U.S..\u003c/p>\n\u003cfigure id=\"attachment_10881880\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10881880\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-3-929x1180.jpg\" alt='A news clipping about Marion Wong, who wrote, directed, and starred in the early silent film \"The Curse of Quon Gwon\"' width=\"640\" height=\"813\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-929x1180.jpg 929w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-400x508.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-473x600.jpg 473w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-1180x1498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-960x1219.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3.jpg 1260w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A news clipping about Marion Wong, who wrote, directed, and starred in the early silent film “The Curse of Quon Gwon”\u003c/figcaption>\u003c/figure>\n\u003cp>“Her intention was to show the world that we were everyday people,” Mark said. “That we were not all opium fiends, the women (were not all) prostitutes. Everyone (wasn’t) a laundryman.”\u003c/p>\n\u003cp>Mark says Marion Wong tried to get distributors to put \u003cem>Curse\u003c/em> in theaters, but she was turned down. Mark thinks part of the reason was prejudice against a woman of color, but he says there was also a limited market, with just 63,000 Chinese Americans living in the U.S. at the time.\u003c/p>\n\u003cp>There was no question about \u003cem>The Curse of Quon Gwon’s\u003c/em> historic importance as the first film made in the U.S. by an Asian American, back when Mark brought it to the attention of filmmaker \u003ca href=\"http://deepfocusproductions.com/biography.php\" target=\"_blank\" rel=\"noopener\">Arthur Dong\u003c/a>. He brought the 35mm nitrate reels to the attention of the \u003ca href=\"http://www.oscars.org/film-archive\" target=\"_blank\" rel=\"noopener\">Academy Film Archive,\u003c/a> which restored the film in 2005. It was added a year later to the \u003ca href=\"http://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/\" target=\"_blank\" rel=\"noopener\">National Film Registry\u003c/a>.\u003c/p>\n\u003cp>\u003cem>The Curse of Quon Gwon\u003c/em> has been shown a few times since then. But Mark says this screening is meant to “do something,” as Violet Wong requested, for the next generation of Wong’s descendants.\u003c/p>\n\u003cp>Mark’s daughter Alexa says people sometimes ask her how it is she speaks English so well, even though she’s a third generation American, proving that the movie’s themes seem as critical today as they did 100 years ago.\u003c/p>\n\u003cp>“There’s still the fight for feminism,” Alexa Mark said. “And this film just seems to have just everything we’re still fighting for embodied into one piece.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Gregory Mark expects dozens of the filmmakers descendants to attend a public screening of the film Sunday afternoon (August 9) at the \u003ca href=\"http://oacc.cc/\" target=\"_blank\" rel=\"noopener\">Oakland Asian Cultural Center\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10881884\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10881884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-4.jpg\" alt='Screening of \"The Curse of Quon Gwon\"' width=\"960\" height=\"741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-4.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-4-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-4-777x600.jpg 777w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screening of “The Curse of Quon Gwon”\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/218248496″&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/218248496″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\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/curse-of-quon-gwan/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Curse of Quon Gwan’\u003c/h2>\n\u003cdiv class=\"event-desc\">A screening of the first film to be made by Chinese Americans in the U.S.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Oakland Asian Cultural Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/curse-of-quon-gwan/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003ca href=\"http://www.csus.edu/ethn/faculty%20and%20staff/mark.html\" target=\"_blank\" rel=\"noopener\">Gregory Mark\u003c/a> remembers exactly when he found out about his grandmother Violet Wong’s brief silent film career. It was 1969, and she took him into the basement of the family home.\u003c/p>\n\u003cp>“And in the corner of the basement,” Mark said in a recent interview, “she pointed to a canister that had three reels of film. And she said to me, and I remember her exact words: ‘You do something about this.’”\u003c/p>\n\u003cp>The film was \u003ca href=\"https://vimeo.com/ondemand/38504/127781435\" target=\"_blank\" rel=\"noopener\">\u003cem>The Curse of Quon Gwon\u003c/em>,\u003c/a> and Violet was one of its stars. Marion, Violet’s sister-in-law and Mark’s great aunt, wrote, directed and co-starred in the film with Violet in 1916, a time when the movie business wasn’t a friendly place for women or people of color — still an issue in Hollywood today.\u003c/p>\n\u003cfigure id=\"attachment_10881879\" class=\"wp-caption alignright\" style=\"max-width: 259px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10881879\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-2.jpg\" alt='A still from \"The Curse of Quon Gwon\"' width=\"259\" height=\"194\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from “The Curse of Quon Gwon”\u003c/figcaption>\u003c/figure>\n\u003cp>Mark had the three surviving reels of \u003cem>Curse\u003c/em> copied to 16mm film, and a few years later, he and some cousins watched \u003cem>Curse\u003c/em> with his grandmother.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We were all young men at that time period,” Mark recalled. “We teased her and said, ‘Oh grandma you’re so hot, you’re so beautiful’. And she loved every single moment of that, because we saw her as a 20-year-old woman in the film.”\u003c/p>\n\u003cp>Curse tells a melodramatic love story about two thoroughly-Americanized Chinese immigrants. It’s set mostly in Oakland, where Marion, Violet and their families lived. Mark, who teaches ethnic studies at Sacramento State, thinks the film was clearly designed to defy stereotypes common at the time about Chinese Americans, a persecuted minority in the U.S..\u003c/p>\n\u003cfigure id=\"attachment_10881880\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10881880\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-3-929x1180.jpg\" alt='A news clipping about Marion Wong, who wrote, directed, and starred in the early silent film \"The Curse of Quon Gwon\"' width=\"640\" height=\"813\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-929x1180.jpg 929w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-400x508.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-473x600.jpg 473w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-1180x1498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-960x1219.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3.jpg 1260w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A news clipping about Marion Wong, who wrote, directed, and starred in the early silent film “The Curse of Quon Gwon”\u003c/figcaption>\u003c/figure>\n\u003cp>“Her intention was to show the world that we were everyday people,” Mark said. “That we were not all opium fiends, the women (were not all) prostitutes. Everyone (wasn’t) a laundryman.”\u003c/p>\n\u003cp>Mark says Marion Wong tried to get distributors to put \u003cem>Curse\u003c/em> in theaters, but she was turned down. Mark thinks part of the reason was prejudice against a woman of color, but he says there was also a limited market, with just 63,000 Chinese Americans living in the U.S. at the time.\u003c/p>\n\u003cp>There was no question about \u003cem>The Curse of Quon Gwon’s\u003c/em> historic importance as the first film made in the U.S. by an Asian American, back when Mark brought it to the attention of filmmaker \u003ca href=\"http://deepfocusproductions.com/biography.php\" target=\"_blank\" rel=\"noopener\">Arthur Dong\u003c/a>. He brought the 35mm nitrate reels to the attention of the \u003ca href=\"http://www.oscars.org/film-archive\" target=\"_blank\" rel=\"noopener\">Academy Film Archive,\u003c/a> which restored the film in 2005. It was added a year later to the \u003ca href=\"http://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/\" target=\"_blank\" rel=\"noopener\">National Film Registry\u003c/a>.\u003c/p>\n\u003cp>\u003cem>The Curse of Quon Gwon\u003c/em> has been shown a few times since then. But Mark says this screening is meant to “do something,” as Violet Wong requested, for the next generation of Wong’s descendants.\u003c/p>\n\u003cp>Mark’s daughter Alexa says people sometimes ask her how it is she speaks English so well, even though she’s a third generation American, proving that the movie’s themes seem as critical today as they did 100 years ago.\u003c/p>\n\u003cp>“There’s still the fight for feminism,” Alexa Mark said. “And this film just seems to have just everything we’re still fighting for embodied into one piece.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Gregory Mark expects dozens of the filmmakers descendants to attend a public screening of the film Sunday afternoon (August 9) at the \u003ca href=\"http://oacc.cc/\" target=\"_blank\" rel=\"noopener\">Oakland Asian Cultural Center\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10881884\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10881884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-4.jpg\" alt='Screening of \"The Curse of Quon Gwon\"' width=\"960\" height=\"741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-4.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-4-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-4-777x600.jpg 777w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screening of “The Curse of Quon Gwon”\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Composer Mason Bates to Create New Steve Jobs Opera",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://www.imdb.com/title/tt2080374/\" target=\"_blank\" rel=\"noopener\">Steve Jobs\u003c/a>\u003c/em> the movie was recently filmed at San Francisco Opera, and now a Steve Jobs opera by a Bay Area-based composer will receive its world premiere in Santa Fe. The world-renowned Santa Fe Opera announced the commission of an opera about the iconic Bay Area tech entrepreneur for its 2017 season. \u003cem>The (R)evolution of Steve Jobs\u003c/em> will be composed by Burlingame resident \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener\">Mason Bates\u003c/a> with a libretto from \u003ca href=\"http://www.markcampbellwords.com/\">Mark Campbell\u003c/a>.\u003c/p>\n\u003cp>Bates is famous as a track suit wearing DJ and the second most performed living composer after John Adams, while Campbell is best known as the librettist for the opera \u003cem>\u003ca href=\"http://www.kevinputs.com/SilentNight/\" target=\"_blank\" rel=\"noopener\">Silent Night\u003c/a>\u003c/em>, which won a Pulitzer prize for composer Kevin Puts in 2012. Bates answered some questions about the Jobs work, his first opera.\u003c/p>\n\u003cp>\u003cstrong>What is it about Steve Jobs? Sure, he was charismatic and he was instrumental in getting Apple’s sleek products in everybody’s pockets. But isn’t there something vaguely ironic about an opera about someone whose work routinely interrupts classical music performances?\u003c/strong>\u003c/p>\n\u003cp>The ubiquity of his devices speaks to how much he changed human communication. How can you simplify the richness of our lives onto sleek little devices when people are so messy? That tension lies at the heart of the opera, as does Jobs’ journey from hippie to mogul to — ultimately — a someone with a deeper understanding of true human connection.\u003c/p>\n\u003cp>\u003cstrong>The opera will be workshopped this September in San Francisco in collaboration with Cal Performances at UC Berkeley, and with additional support from San Francisco Conservatory of Music. How does that work? Does that mean you will be working with students from those organizations?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The principal roles will be cast from Santa Fe Opera’s stunning apprentice program, and the ensemble singers will be SF Conservatory students. So yes, there will be a mix of students and professionals. The workshop will be private, I might add, simply because we want some privacy to make mistakes.\u003c/p>\n\u003cp>\u003cstrong>What is the structure of this opera? How many principal characters do you envision for the work? Will there be a chorus?\u003c/strong>\u003c/p>\n\u003cp>We didn’t see the need for a chorus in an opera that takes place, in many scenes at least, in a garage with a handful of people. The principal roles are Steve, his wife Laurene, Kobun [Kobun Chino Otogowa, Jobs’ spiritual advisor], Woz [early business partner Steve Wozniak], and girlfriend Chrisann [Brennan].\u003c/p>\n\u003cp>\u003cstrong>You use electronic sounds in your work and often perform with orchestras. Do you anticipate being in the pit for this opera?\u003c/strong>\u003c/p>\n\u003cp>Absolutely! I think many musicians see the opera pit as a magical place — unless of course you’ve played a thousand Broadway shows, in which case it’s the pits.\u003c/p>\n\u003cp>\u003cstrong>Santa Fe Opera performs at a stunning open-air theater in the desert near the town of Santa Fe. Are there special considerations for composing for this space?\u003c/strong>\u003c/p>\n\u003cp>There are some scenic opportunities. For example, the scenes between Jobs and spiritual advisor Kobun would be wonderful with a desert backdrop.\u003c/p>\n\u003cp>\u003cstrong>Are there contemporary operas that you particularly like or living composers you especially admire? \u003c/strong>\u003c/p>\n\u003cp>I like operas about people. Not products, not ideas. I like roles, and I like memorable music. The music needn’t be simple or tonal, but if it is distinctive enough to be remembered, the opera can impact you much more deeply. [Gyorgy] Ligeti has a wonderful opera called \u003cem>Le Grand Macabre\u003c/em>, and, on the other end of the stylistic spectrum, Mark Adamo has created stunning works that marry words and music so perfectly. Most of all, I love the operas of Benjamin Britten. Innovative music can bring to life compelling stories that haunt you.\u003c/p>\n\u003cp>\u003ci>Listen to a report filed by KQED’s Peter Jon Shuler about the Santa Fe Opera commissioning the opera about Jobs:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/218132185″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://www.imdb.com/title/tt2080374/\" target=\"_blank\" rel=\"noopener\">Steve Jobs\u003c/a>\u003c/em> the movie was recently filmed at San Francisco Opera, and now a Steve Jobs opera by a Bay Area-based composer will receive its world premiere in Santa Fe. The world-renowned Santa Fe Opera announced the commission of an opera about the iconic Bay Area tech entrepreneur for its 2017 season. \u003cem>The (R)evolution of Steve Jobs\u003c/em> will be composed by Burlingame resident \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener\">Mason Bates\u003c/a> with a libretto from \u003ca href=\"http://www.markcampbellwords.com/\">Mark Campbell\u003c/a>.\u003c/p>\n\u003cp>Bates is famous as a track suit wearing DJ and the second most performed living composer after John Adams, while Campbell is best known as the librettist for the opera \u003cem>\u003ca href=\"http://www.kevinputs.com/SilentNight/\" target=\"_blank\" rel=\"noopener\">Silent Night\u003c/a>\u003c/em>, which won a Pulitzer prize for composer Kevin Puts in 2012. Bates answered some questions about the Jobs work, his first opera.\u003c/p>\n\u003cp>\u003cstrong>What is it about Steve Jobs? Sure, he was charismatic and he was instrumental in getting Apple’s sleek products in everybody’s pockets. But isn’t there something vaguely ironic about an opera about someone whose work routinely interrupts classical music performances?\u003c/strong>\u003c/p>\n\u003cp>The ubiquity of his devices speaks to how much he changed human communication. How can you simplify the richness of our lives onto sleek little devices when people are so messy? That tension lies at the heart of the opera, as does Jobs’ journey from hippie to mogul to — ultimately — a someone with a deeper understanding of true human connection.\u003c/p>\n\u003cp>\u003cstrong>The opera will be workshopped this September in San Francisco in collaboration with Cal Performances at UC Berkeley, and with additional support from San Francisco Conservatory of Music. How does that work? Does that mean you will be working with students from those organizations?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This ragtag Oakland storefront at 23rd Street and Telegraph Avenue was at the geographic center of the original \u003ca href=\"http://oaklandartmurmur.org/\" target=\"_blank\" rel=\"noopener\">Art Murmur\u003c/a> in 2006. It’s an all-in-one art gallery, classroom, clothing shop and activist meeting space. The volunteer-run collective operating \u003ca href=\"http://rpscollective.org/\" target=\"_blank\" rel=\"noopener\">Rock Paper Scissors\u003c/a> exemplifies the city’s social justice-seeking, DIY art and activism scene.\u003c/p>\n\u003cp>But with Oakland rents soaring, they’ve been priced out of their space. August’s will be the last \u003ca href=\"http://www.oaklandfirstfridays.org/\" target=\"_blank\" rel=\"noopener\">First Friday\u003c/a> street fair and Art Murmur gallery stroll for the collective — the last remaining organization of those that helped start the monthly festival almost a decade ago.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/218061535″ 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>On a recent East Bay summer evening, volunteers gathered inside the storefront to learn how to become pen pals with LGBTQ prisoners.\u003c/p>\n\u003cp>“It can get really complicated, because if someone’s legal name is John but they go by Jennifer, for instance, you have to put J or John on the outside of the envelope,” said Beja Alisheva, co-facilitator of \u003ca href=\"https://flyingoverwalls.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Flying Over Walls\u003c/a>, a queer/trans prisoner solidarity organization.\u003c/p>\n\u003cfigure id=\"attachment_10632273\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632273 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-800x513.jpg\" alt=\"Flying Over Walls volunteers gather at Rock Paper Scissors to write letters to LGBTQ prisoners.\" width=\"800\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-400x257.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-1440x924.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-1180x757.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-960x616.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128.jpg 1646w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Flying Over Walls volunteers gather at Rock Paper Scissors to write letters to LGBTQ prisoners. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are lots of rules about how the envelopes sent into prisons can be decorated, so they won’t be confiscated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“No glitter?” Louis Smith asked incredulously.\u003c/p>\n\u003cp>The letter-writing get-together was just one of dozens of gatherings held at Rock Paper Scissors every month, ranging from writing workshops to a sewing lab and jewelry-making for teens.\u003c/p>\n\u003cp>“When we first came to Rock Paper Scissors looking for a space, they said of course,” Alisheva said. “Obviously, we don’t have a lot of money. It’s not something that brings in a lot of revenue, but that didn’t matter to them.”\u003c/p>\n\u003cp>She added: “It was such a relief when we finally landed here, so now we’re not sure where we’re going to end up.”\u003c/p>\n\u003cp>That’s a sentiment shared with the quirky, creative space’s regulars.\u003c/p>\n\u003cp>“Gentrification is real,” said Alexandra Rigaud, an assistant with the collective’s youth program. “We are getting pushed out, and we did start First Friday … Now we are paying for it.”\u003c/p>\n\u003cp>It’s becoming a common story all over the Bay Area. The artists who, in recent times, made a neighborhood “hip” are being driven out, in part due to their own success.\u003c/p>\n\u003cp>“The neighborhood has changed a lot,” said Kristi Holohan, the collective’s youth, community and interim gallery director. “We are basically like sandwiched in between two bars, there are some really high-end galleries.”\u003c/p>\n\u003cfigure id=\"attachment_10632275\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632275 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-800x450.jpg\" alt=\"The Rock Paper Scissors storefront on 23rd Street and Telegraph Avenue.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Rock Paper Scissors storefront on 23rd Street and Telegraph Avenue. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland Mayor Libby Schaaf said the plight of Rock Paper Scissors raises a much bigger question as the city continues to boom.\u003c/p>\n\u003cp>“It’s not just the housing affordability that is a potential crisis for us,” she said. “The threat of displacement of our small businesses, of our cultural institutions, of our nonprofits — those are also community stabilization issues that absolutely need to be solved.”\u003c/p>\n\u003cp>Schaaf said the city’s “solutions are more limited” because \u003ca href=\"http://www.leginfo.ca.gov/cgi-bin/displaycode?section=civ&group=01001-02000&file=1954.25-1954.31\" target=\"_blank\" rel=\"noopener\">state law prevents\u003c/a> rent stabilization for commercial space. The mayor said she’s creating a new Artist Affordable Housing and Workspace Task Force, but that’s yet to be staffed.\u003c/p>\n\u003cp>Anyka Barber, who founded \u003ca href=\"http://www.bettiono.com/\" target=\"_blank\" rel=\"noopener\">Betti Ono\u003c/a> gallery in downtown Oakland, said the city needs to do more.\u003c/p>\n\u003cp>“In order for it to continue to be a world-class city and build on the strengths that it has, especially around culture and arts, we really have to have the investment match the brand recognition,” she said.\u003c/p>\n\u003cp>Barber is a lead organizer of the \u003ca href=\"https://www.facebook.com/KeepOAKCreative\" target=\"_blank\" rel=\"noopener\">Oakland Creative Neighborhoods Coalition\u003c/a> — a newly formed group that’s calling for the re-establishment of Oakland’s Arts Commission, which had its funding and staff eliminated more than five years ago.\u003c/p>\n\u003cp>“There’s a lot of talk about the economic development side of arts experiences or cultural experiences, based on people visiting, what kinds of funds or revenues that brings back to the city,” Barber said. “Currently, it looks like maybe 1.3 percent of the total city budget is funding or investing in community development or cultural programs. That does not reflect equity.”\u003c/p>\n\u003cfigure id=\"attachment_10632276\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632276 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-800x450.jpg\" alt=\"The Rock Paper Scissors Collective's mission statement.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Rock Paper Scissors Collective’s mission statement. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The coalition’s demands were left out of the recently adopted 2016-17 city budget.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rock Paper Scissors, meanwhile, has until the end of the month to find a new space or close up shop and try to raise more money. The collective is seeking volunteers to \u003ca href=\"http://rpscollective.org/help-rock-paper-scissors-pack-and-move/\" target=\"_blank\" rel=\"noopener\">help pack up and move\u003c/a> to a yet-to-be-determined location.\u003c/p>\n\n",
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"excerpt": "August's First Friday marks a sad milestone for one of the organizations that created the monthly street event.",
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"title": "Rock Paper Scissors Is Priced Out: End of an Era for Oakland Art Scene | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This ragtag Oakland storefront at 23rd Street and Telegraph Avenue was at the geographic center of the original \u003ca href=\"http://oaklandartmurmur.org/\" target=\"_blank\" rel=\"noopener\">Art Murmur\u003c/a> in 2006. It’s an all-in-one art gallery, classroom, clothing shop and activist meeting space. The volunteer-run collective operating \u003ca href=\"http://rpscollective.org/\" target=\"_blank\" rel=\"noopener\">Rock Paper Scissors\u003c/a> exemplifies the city’s social justice-seeking, DIY art and activism scene.\u003c/p>\n\u003cp>But with Oakland rents soaring, they’ve been priced out of their space. August’s will be the last \u003ca href=\"http://www.oaklandfirstfridays.org/\" target=\"_blank\" rel=\"noopener\">First Friday\u003c/a> street fair and Art Murmur gallery stroll for the collective — the last remaining organization of those that helped start the monthly festival almost a decade ago.\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/218061535″&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/218061535″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>On a recent East Bay summer evening, volunteers gathered inside the storefront to learn how to become pen pals with LGBTQ prisoners.\u003c/p>\n\u003cp>“It can get really complicated, because if someone’s legal name is John but they go by Jennifer, for instance, you have to put J or John on the outside of the envelope,” said Beja Alisheva, co-facilitator of \u003ca href=\"https://flyingoverwalls.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Flying Over Walls\u003c/a>, a queer/trans prisoner solidarity organization.\u003c/p>\n\u003cfigure id=\"attachment_10632273\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632273 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-800x513.jpg\" alt=\"Flying Over Walls volunteers gather at Rock Paper Scissors to write letters to LGBTQ prisoners.\" width=\"800\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-400x257.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-1440x924.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-1180x757.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-960x616.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128.jpg 1646w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Flying Over Walls volunteers gather at Rock Paper Scissors to write letters to LGBTQ prisoners. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are lots of rules about how the envelopes sent into prisons can be decorated, so they won’t be confiscated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“No glitter?” Louis Smith asked incredulously.\u003c/p>\n\u003cp>The letter-writing get-together was just one of dozens of gatherings held at Rock Paper Scissors every month, ranging from writing workshops to a sewing lab and jewelry-making for teens.\u003c/p>\n\u003cp>“When we first came to Rock Paper Scissors looking for a space, they said of course,” Alisheva said. “Obviously, we don’t have a lot of money. It’s not something that brings in a lot of revenue, but that didn’t matter to them.”\u003c/p>\n\u003cp>She added: “It was such a relief when we finally landed here, so now we’re not sure where we’re going to end up.”\u003c/p>\n\u003cp>That’s a sentiment shared with the quirky, creative space’s regulars.\u003c/p>\n\u003cp>“Gentrification is real,” said Alexandra Rigaud, an assistant with the collective’s youth program. “We are getting pushed out, and we did start First Friday … Now we are paying for it.”\u003c/p>\n\u003cp>It’s becoming a common story all over the Bay Area. The artists who, in recent times, made a neighborhood “hip” are being driven out, in part due to their own success.\u003c/p>\n\u003cp>“The neighborhood has changed a lot,” said Kristi Holohan, the collective’s youth, community and interim gallery director. “We are basically like sandwiched in between two bars, there are some really high-end galleries.”\u003c/p>\n\u003cfigure id=\"attachment_10632275\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632275 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-800x450.jpg\" alt=\"The Rock Paper Scissors storefront on 23rd Street and Telegraph Avenue.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Rock Paper Scissors storefront on 23rd Street and Telegraph Avenue. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland Mayor Libby Schaaf said the plight of Rock Paper Scissors raises a much bigger question as the city continues to boom.\u003c/p>\n\u003cp>“It’s not just the housing affordability that is a potential crisis for us,” she said. “The threat of displacement of our small businesses, of our cultural institutions, of our nonprofits — those are also community stabilization issues that absolutely need to be solved.”\u003c/p>\n\u003cp>Schaaf said the city’s “solutions are more limited” because \u003ca href=\"http://www.leginfo.ca.gov/cgi-bin/displaycode?section=civ&group=01001-02000&file=1954.25-1954.31\" target=\"_blank\" rel=\"noopener\">state law prevents\u003c/a> rent stabilization for commercial space. The mayor said she’s creating a new Artist Affordable Housing and Workspace Task Force, but that’s yet to be staffed.\u003c/p>\n\u003cp>Anyka Barber, who founded \u003ca href=\"http://www.bettiono.com/\" target=\"_blank\" rel=\"noopener\">Betti Ono\u003c/a> gallery in downtown Oakland, said the city needs to do more.\u003c/p>\n\u003cp>“In order for it to continue to be a world-class city and build on the strengths that it has, especially around culture and arts, we really have to have the investment match the brand recognition,” she said.\u003c/p>\n\u003cp>Barber is a lead organizer of the \u003ca href=\"https://www.facebook.com/KeepOAKCreative\" target=\"_blank\" rel=\"noopener\">Oakland Creative Neighborhoods Coalition\u003c/a> — a newly formed group that’s calling for the re-establishment of Oakland’s Arts Commission, which had its funding and staff eliminated more than five years ago.\u003c/p>\n\u003cp>“There’s a lot of talk about the economic development side of arts experiences or cultural experiences, based on people visiting, what kinds of funds or revenues that brings back to the city,” Barber said. “Currently, it looks like maybe 1.3 percent of the total city budget is funding or investing in community development or cultural programs. That does not reflect equity.”\u003c/p>\n\u003cfigure id=\"attachment_10632276\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632276 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-800x450.jpg\" alt=\"The Rock Paper Scissors Collective's mission statement.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Rock Paper Scissors Collective’s mission statement. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The coalition’s demands were left out of the recently adopted 2016-17 city budget.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rock Paper Scissors, meanwhile, has until the end of the month to find a new space or close up shop and try to raise more money. The collective is seeking volunteers to \u003ca href=\"http://rpscollective.org/help-rock-paper-scissors-pack-and-move/\" target=\"_blank\" rel=\"noopener\">help pack up and move\u003c/a> to a yet-to-be-determined location.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Opera Receives First Performances Outside Europe in 300 Years",
"headTitle": "Opera Receives First Performances Outside Europe in 300 Years | 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/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘American Bach Soloists Summer Festival’\u003c/h2>\n\u003cdiv class=\"event-desc\">This year’s summer festival from one of the region’s foremost Baroque music organizations includes the first performances outside of Europe of the 1709 opera ‘Semele’ by Marin Marais.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 16\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Caroline H Hume Concert Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>This summer, Bay Area audiences will get the chance to witness an opera that hasn’t been seen outside of Europe since the 18th century. Marin Marais’ \u003cem>Sémélé\u003c/em> — based on Ovid’s myth about the origins of Bacchus, the Roman god of wine — includes scenes of drunkenness, love, infidelity, jealousy, and fiery immolation.\u003c/p>\n\u003cp>The 1709 opera is part of the sixth American Bach Soloists (ABS) Festival and Academy — an annual event dedicated to historically informed performances of Baroque music. \u003cspan class=\"default10pxExtraLineSpace\">Conductor and ABS co-founder \u003c/span>Jeffrey Thomas leads concerts focused on Bach’s French contemporaries at the court of Versailles and answers some questions about the programming this year.\u003c/p>\n\u003cfigure id=\"attachment_10843875\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10843875\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-800x451.jpg\" alt=\"American Bach Soloists Festival Orchestra.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-1400x789.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">American Bach Soloists Festival Orchestra. \u003ccite>(Photo courtesy of Gene Kosoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why did American Bach Soloists decide to feature Marin Marais’ \u003ci>Sémélé\u003c/i> in the festival this year?\u003c/strong>\u003c/p>\n\u003cp>Each festival season, we have had a focus of some sort on a type of music or a particular national style. Whereas we have performed music from the French Baroque before, both during regular ABS seasons and at the Festival (Rameau’s \u003cem>Pigmalion\u003c/em> in July 2012 and works by Charpentier and Couperin during regular seasons), we hadn’t yet chosen that theme as a subject. The music and the culture of the period is, of course, extravagant as one would expect considering the opulent and rich tastes of Louis XIV and XV, so it seemed like a wonderful idea. Additionally, for the benefit of our Academy participants, studies of performance practice of the French Baroque are essential. A large part of the Baroque repertoire stems from this background, and it is quite different in many aspects from the music of all other national schools at the time.\u003c/p>\n\u003cp>\u003cstrong>Why has it taken so long for \u003ci>Sémélé\u003c/i> to be performed outside of Europe?\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The revival of interest in \u003cem>Sémélé\u003c/em>, like the revival of interest in its composer, is a relatively recent phenomenon. Since the first modern performances in France in the mid-2000s, the complete opera is only now leaving the continent. Its dances have been performed in the United States and recorded by a Canadian baroque ensemble (Montreal Baroque Orchestra), but the ABS Festival presents the first opportunity to experience this gorgeous opera live without going to France. Other organizations and conductors have performed and recorded lots of Lully and Rameau, the two major figures in French Baroque opera, and Marais – smack in the middle – is a bridge. Transitional figures are always interesting and Marais provides an example of what the \u003cem>tragedie en musique\u003c/em> [musical tragedy] was like after Lully’s death and before the innovations of Rameau.\u003c/p>\n\u003cfigure id=\"attachment_10870846\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Marais.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10870846\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Marais.jpg\" alt=\"Marin Marais\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Marais.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Marais-400x300.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marin Marais painted by André Bouys in 1704. \u003ccite>(Courtesy of American Bach Soloists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Marin Marais was a master viol player and an accomplished composer for that instrument. How did he come to briefly direct the Paris Opera and present his own operas?\u003c/strong>\u003c/p>\n\u003cp>The stronghold that Jean-Baptiste Lully held on the Paris Opera for many years was so significant that it took a series of composers – who had already been a part of organization – to fill in for a good number of years following Lully’s death. Marais was one of those.\u003c/p>\n\u003cp>\u003cstrong>This opera, which has a prologue and five acts, is based on a mere 62 lines in Ovid’s Metamorphoses (Book III:253-315). How long is the opera?\u003c/strong>\u003c/p>\n\u003cp>There is about 2 hours and 20 minutes of music. The Prologue is substantial — about 30 minutes. In performance, the first half (Prologue—Act I—Act II) will be about 1:20, and the second half (Act III—Act IV—Act V) will be about one hour.\u003c/p>\n\u003cp>\u003cstrong>There are two other Baroque operas based on the Semele myth, John Eccles’ 1707 work and Handel’s piece from 1742. What makes the story so compelling?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I think that is about the power that some hold over others, but that seems to be an omnipresent theme in mythology in general. I don’t think that there is anything terribly unique about this particular story in terms of its relevance or content, but it is one that has been told in a number of ways. There are the more polite versions (as we find in the Marais setting) that present the events as a matter of love and attractions, and there are less polite versions that tell us of the harshness of tyrannical dominance.\u003c/p>\n\n",
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"excerpt": "American Bach Soloists conductor Jeffrey Thomas explains why his organization is presenting the first ever production of Marin Marais' 1709 opera 'Sémélé' as part of the Bach Soloists' summer festival. ",
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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/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘American Bach Soloists Summer Festival’\u003c/h2>\n\u003cdiv class=\"event-desc\">This year’s summer festival from one of the region’s foremost Baroque music organizations includes the first performances outside of Europe of the 1709 opera ‘Semele’ by Marin Marais.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 16\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Caroline H Hume Concert Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>This summer, Bay Area audiences will get the chance to witness an opera that hasn’t been seen outside of Europe since the 18th century. Marin Marais’ \u003cem>Sémélé\u003c/em> — based on Ovid’s myth about the origins of Bacchus, the Roman god of wine — includes scenes of drunkenness, love, infidelity, jealousy, and fiery immolation.\u003c/p>\n\u003cp>The 1709 opera is part of the sixth American Bach Soloists (ABS) Festival and Academy — an annual event dedicated to historically informed performances of Baroque music. \u003cspan class=\"default10pxExtraLineSpace\">Conductor and ABS co-founder \u003c/span>Jeffrey Thomas leads concerts focused on Bach’s French contemporaries at the court of Versailles and answers some questions about the programming this year.\u003c/p>\n\u003cfigure id=\"attachment_10843875\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10843875\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-800x451.jpg\" alt=\"American Bach Soloists Festival Orchestra.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-1400x789.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">American Bach Soloists Festival Orchestra. \u003ccite>(Photo courtesy of Gene Kosoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why did American Bach Soloists decide to feature Marin Marais’ \u003ci>Sémélé\u003c/i> in the festival this year?\u003c/strong>\u003c/p>\n\u003cp>Each festival season, we have had a focus of some sort on a type of music or a particular national style. Whereas we have performed music from the French Baroque before, both during regular ABS seasons and at the Festival (Rameau’s \u003cem>Pigmalion\u003c/em> in July 2012 and works by Charpentier and Couperin during regular seasons), we hadn’t yet chosen that theme as a subject. The music and the culture of the period is, of course, extravagant as one would expect considering the opulent and rich tastes of Louis XIV and XV, so it seemed like a wonderful idea. Additionally, for the benefit of our Academy participants, studies of performance practice of the French Baroque are essential. A large part of the Baroque repertoire stems from this background, and it is quite different in many aspects from the music of all other national schools at the time.\u003c/p>\n\u003cp>\u003cstrong>Why has it taken so long for \u003ci>Sémélé\u003c/i> to be performed outside of Europe?\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The revival of interest in \u003cem>Sémélé\u003c/em>, like the revival of interest in its composer, is a relatively recent phenomenon. Since the first modern performances in France in the mid-2000s, the complete opera is only now leaving the continent. Its dances have been performed in the United States and recorded by a Canadian baroque ensemble (Montreal Baroque Orchestra), but the ABS Festival presents the first opportunity to experience this gorgeous opera live without going to France. Other organizations and conductors have performed and recorded lots of Lully and Rameau, the two major figures in French Baroque opera, and Marais – smack in the middle – is a bridge. Transitional figures are always interesting and Marais provides an example of what the \u003cem>tragedie en musique\u003c/em> [musical tragedy] was like after Lully’s death and before the innovations of Rameau.\u003c/p>\n\u003cfigure id=\"attachment_10870846\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Marais.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10870846\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Marais.jpg\" alt=\"Marin Marais\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Marais.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Marais-400x300.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marin Marais painted by André Bouys in 1704. \u003ccite>(Courtesy of American Bach Soloists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Marin Marais was a master viol player and an accomplished composer for that instrument. How did he come to briefly direct the Paris Opera and present his own operas?\u003c/strong>\u003c/p>\n\u003cp>The stronghold that Jean-Baptiste Lully held on the Paris Opera for many years was so significant that it took a series of composers – who had already been a part of organization – to fill in for a good number of years following Lully’s death. Marais was one of those.\u003c/p>\n\u003cp>\u003cstrong>This opera, which has a prologue and five acts, is based on a mere 62 lines in Ovid’s Metamorphoses (Book III:253-315). How long is the opera?\u003c/strong>\u003c/p>\n\u003cp>There is about 2 hours and 20 minutes of music. The Prologue is substantial — about 30 minutes. In performance, the first half (Prologue—Act I—Act II) will be about 1:20, and the second half (Act III—Act IV—Act V) will be about one hour.\u003c/p>\n\u003cp>\u003cstrong>There are two other Baroque operas based on the Semele myth, John Eccles’ 1707 work and Handel’s piece from 1742. What makes the story so compelling?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I think that is about the power that some hold over others, but that seems to be an omnipresent theme in mythology in general. I don’t think that there is anything terribly unique about this particular story in terms of its relevance or content, but it is one that has been told in a number of ways. There are the more polite versions (as we find in the Marais setting) that present the events as a matter of love and attractions, and there are less polite versions that tell us of the harshness of tyrannical dominance.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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