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"content": "\u003cp>Librarians around the Bay Area have been celebrating after the US Senate passed a measure reforming a notorious section of the Patriot Act Tuesday.\u003c/p>\n\u003cp>Section 215, passed right after 9/11, gave the National Security Agency and the FBI wide powers to request information on the activities of library users without a warrant.\u003c/p>\n\u003cp>“It really lowered the legal standard at getting at records,” says Deborah Caldwell-Stone, Director of Office of Intellectual Freedom at the American Library Association.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/208683311″ 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>She and others argue that libraries are a sacred space for democracy. They are places for people to find books and use computers to access any subject, no matter how controversial, without the government looking over their shoulder. And Caldwell-Stone says that’s a right protected by the first amendment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Inevitably anyone who thinks they’re being observed,” says Caldwell-Stone, “is going to curtail what they read in some way, because they’re afraid of being sanctioned some way.”\u003c/p>\n\u003cp>The library association has lobbied hard for the reforms, dubbed the Freedom Act, which were passed last month by the House and by the Senate on Tuesday.\u003c/p>\n\u003cp>The bill limits what law enforcement agencies, including the National Security Agency (NSA), can request from libraries.\u003c/p>\n\u003cp>“Instead of obtaining just giant swathes of information in bulk,” says Sarah Houghton, San Rafael Public Library Director, and a leading critic of the Patriot Act, “the NSA has to ask for data, but on a very specific entity. But they also have to demonstrate that that individual is associated with a foreign power or terrorist group or other threat of some kind. So that is a huge change.”\u003c/p>\n\u003cp>The reforms also make it harder for the FBI to impose a gag order on librarians when they’re served with what are called National Security Letters demanding information on a patron. At least Houghton hopes that’s the case. “Much is left unsaid about how this will be executed in practice.”\u003c/p>\n\u003cp>In fact San Jose City Librarian Jill Bourne says Bay Area libraries have had standards in place for years to protect the privacy of their patrons. \u003c/p>\n\u003cp>“We actually don’t keep a lot of information,” Bourne says. “And that’s intentional. So when a person checks in a library book it is expunged from their record. When you look online, our systems are set up to erase the cache for every user. So we wouldn’t necessarily have a lot of data for them to look at.”\u003c/p>\n\u003cp>But Bourne notes those protections only go so far because libraries get access to the internet from large telecom companies. “We can’t really guarantee our patrons,” she says, “that the information that goes out through the internet couldn’t be reportable by that telecommunications company… And so we’ve kind of shifted into the business of educating our patrons around privacy issues online, and how to protect themselves.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bourne says that’s why the San Jose library is developing a game app with the Knight Foundation that would educate people about how to protect their online privacy.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Librarians around the Bay Area have been celebrating after the US Senate passed a measure reforming a notorious section of the Patriot Act Tuesday.\u003c/p>\n\u003cp>Section 215, passed right after 9/11, gave the National Security Agency and the FBI wide powers to request information on the activities of library users without a warrant.\u003c/p>\n\u003cp>“It really lowered the legal standard at getting at records,” says Deborah Caldwell-Stone, Director of Office of Intellectual Freedom at the American Library Association.\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/208683311″&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/208683311″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>She and others argue that libraries are a sacred space for democracy. They are places for people to find books and use computers to access any subject, no matter how controversial, without the government looking over their shoulder. And Caldwell-Stone says that’s a right protected by the first amendment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Inevitably anyone who thinks they’re being observed,” says Caldwell-Stone, “is going to curtail what they read in some way, because they’re afraid of being sanctioned some way.”\u003c/p>\n\u003cp>The library association has lobbied hard for the reforms, dubbed the Freedom Act, which were passed last month by the House and by the Senate on Tuesday.\u003c/p>\n\u003cp>The bill limits what law enforcement agencies, including the National Security Agency (NSA), can request from libraries.\u003c/p>\n\u003cp>“Instead of obtaining just giant swathes of information in bulk,” says Sarah Houghton, San Rafael Public Library Director, and a leading critic of the Patriot Act, “the NSA has to ask for data, but on a very specific entity. But they also have to demonstrate that that individual is associated with a foreign power or terrorist group or other threat of some kind. So that is a huge change.”\u003c/p>\n\u003cp>The reforms also make it harder for the FBI to impose a gag order on librarians when they’re served with what are called National Security Letters demanding information on a patron. At least Houghton hopes that’s the case. “Much is left unsaid about how this will be executed in practice.”\u003c/p>\n\u003cp>In fact San Jose City Librarian Jill Bourne says Bay Area libraries have had standards in place for years to protect the privacy of their patrons. \u003c/p>\n\u003cp>“We actually don’t keep a lot of information,” Bourne says. “And that’s intentional. So when a person checks in a library book it is expunged from their record. When you look online, our systems are set up to erase the cache for every user. So we wouldn’t necessarily have a lot of data for them to look at.”\u003c/p>\n\u003cp>But Bourne notes those protections only go so far because libraries get access to the internet from large telecom companies. “We can’t really guarantee our patrons,” she says, “that the information that goes out through the internet couldn’t be reportable by that telecommunications company… And so we’ve kind of shifted into the business of educating our patrons around privacy issues online, and how to protect themselves.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bourne says that’s why the San Jose library is developing a game app with the Knight Foundation that would educate people about how to protect their online privacy.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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/this-golden-state-part-one-delano/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>\u003cem>This Golden State Part One: Delano\u003c/em>\u003c/h2>\n\u003cdiv class=\"event-desc\">MacArthur Genius Fellow Luis Alfaro’s newest play\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 21 to June 14, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Magic Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/this-golden-state-part-one-delano/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003ca href=\"http://dramaticarts.usc.edu/luis-alfaro/\" target=\"_blank\" rel=\"noopener\">Luis Alfaro\u003c/a> often writes plays about Latinos in California, with an unexpected framing device: Greek drama.\u003c/p>\n\u003cp>For instance, \u003ca href=\"http://magictheatre.org/oedipus-el-rey\" target=\"_blank\" rel=\"noopener\">Oedipus El Rey\u003c/a>, winner of a \u003ca href=\"http://www.theatrebayarea.org/?page=GlickmanAward\" target=\"_blank\" rel=\"noopener\">Glickman award\u003c/a> (which is awarded to the best new play that had its world premiere in the Bay Area), resets the famous Ancient Greek tale of father-son rivalry and motherly love in a Kern County prison and the Los Angeles barrios.\u003c/p>\n\u003cp>Now the \u003ca href=\"http://www.macfound.org/fellows/548/\" target=\"_blank\" rel=\"noopener\">MacArthur winning playwright\u003c/a> has shrugged off those ancient forms and written the first in a trilogy of plays about a minister reviving a Pentecostal church in the town of Delano called \u003cem>This Golden State\u003c/em>. The Magic has co-commissioned the trilogy with the \u003ca href=\"https://www.osfashland.org/\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a>, where Alfaro is resident playwright.\u003c/p>\n\u003cp>Located in the Southern San Joaquin Valley, \u003ca href=\"http://en.wikipedia.org/wiki/Delano,_California\" target=\"_blank\" rel=\"noopener\">Delano\u003c/a> is famous for being the birthplace of the \u003ca href=\"http://www.ufw.org/\" target=\"_blank\" rel=\"noopener\">United Farmworkers Union (UFW)\u003c/a>. Alfaro says he spent his summers there, on what he laughingly called summer holidays. Really, he picked fruit and vegetables alongside his parents, who were active in the UFW.\u003c/p>\n\u003cp>I talked to Alfaro recently about \u003cem>This Golden State\u003c/em>, which he said explores, “the nature of spirituality and faith, and what it takes to be in California during a major drought when you work the land.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>How much of your own experience growing up in Los Angeles and Delano do we see in the experiences of the characters?\u003c/strong>\u003c/p>\n\u003cp>My father was a very, very staunch catholic, my mother was a hard-core pentecostal, and somehow they managed to respect each other. I was at Alleluia Churches Saturday night and an altar boy at the catholic church Sunday mornings. So I did a lot of religion when I was a kid.\u003c/p>\n\u003cp>Mostly what I’m talking about is how pentecostalism for a lot of immigrants is a new American religion. I mean it’s the \u003ca href=\"http://www.nytimes.com/2005/01/09/weekinreview/more-religion-but-not-the-oldtime-kind.html\" target=\"_blank\" rel=\"noopener\">fastest growing religion in the world\u003c/a>, especially for immigrants.\u003c/p>\n\u003cp>Having been raised both a catholic and what we call an apostolic pentecostal, it’s interesting to see the way both churches operate.\u003c/p>\n\u003cp>You come to this country and there’s a kind of assimilation that happens, whether you like it or not. It’s interesting that it’s reflected in a religion that’s a little louder, involves tambourines and speaking in tongues, and things of that sort.\u003c/p>\n\u003cp>So when you come to the play, you’re actually coming to a bit of a church service. There’s some singing and you receive a little “missalette,” a miniature hymnal, with some hymns in it. You’re really walking into what looks like an old church in Delano, California.\u003c/p>\n\u003cfigure id=\"attachment_10719160\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10719160\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-1180x811.jpg\" alt=\"Elias (Sean San Jose*) receives counseling from Brother Abel (Ron Knapp*) \" width=\"640\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-1180x811.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-960x660.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Elias (Sean San Jose) receives counseling from Brother Abel (Ron Knapp) \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did your family deal with the division — your father being a catholic and your mother, pentecostal?\u003c/strong>\u003c/p>\n\u003cp>I was raised in really abject poverty in downtown Los Angeles at a time when it was really violent and really poor. Religion was the way I survived a really tough neighborhood.\u003c/p>\n\u003cp>The one thing I will say about the gangs in the 1970s is they were very respectful of the church. They didn’t mess with the church in any way. You really felt that word “sanctuary” in the church in a big way.\u003c/p>\n\u003cp>My father was in the seminary when he was young. So I think for him catholicism was deeply embedded in him.\u003c/p>\n\u003cp>He was tolerant, I would say. I never felt like they were competing or in conflict with one another. And they never talked bad about each other’s religion.\u003c/p>\n\u003cp>And if you’re a young theater geek, something about the catholic church and its rituals is very exciting especially if you’re an altar boy. Because you kind of figure out that Latin mass is presentational, it’s processional. It looked amazing.\u003c/p>\n\u003cp>Then coming over to the pentecostal church, it was deeply embedded in people’s dreams and beliefs. You have a lot of community building inside of it.\u003c/p>\n\u003cp>On Saturdays we’d go and start with the bible school, and there was a prayer meeting for the parents. My mother cooked and everybody would eat together. So it had a sense of a commune of sorts.\u003c/p>\n\u003cp>I’d say it was a little bit of a haven, especially for many of the immigrants in the community where I grew up. Even though I’m not actively involved with that religion anymore it feels like family. You call everybody brother and sister.\u003c/p>\n\u003cp>\u003cstrong>You’ve worked very hard in the past to get Latino audiences into the theater. What are you doing at the Magic for \u003cem>This Golden State \u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>I consider myself an artist who really came to art because I wanted to change the world.\u003c/p>\n\u003cp>One of my other homes is at the \u003ca href=\"http://victorygardens.org/\" target=\"_blank\" rel=\"noopener\">Victory Gardens Theater\u003c/a> in Chicago. I did a project there where at the first preview there was not a single person of color. But Chicago is an incredibly diverse city. So we started a campaign. Every night I said, if you could bring one young person to the theater or you can donate 10 dollars, we will give that ticket to a student. Immediately the first night I think we made $3500 dollars. And we started getting busloads of kids.\u003c/p>\n\u003cp>I think it’s super important to have that next generation come see a play like this. Not just my play, but also to come to the theater to wrestle with the big ideas of our society, to sit in a communal space, and to learn the ritual of theater. In some way we go to the theater to learn to be better people.\u003c/p>\n\u003cp>Right now at the Magic Theatre we’re making a concentrated effort to get people from Latino arts organizations in town and give them free tickets. If someone wants to come, they won’t be turned away for want of a ticket.\u003c/p>\n\u003cp>\u003cstrong>Do you plan to put flyers at pentecostal churches around the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>The play is very authentic. The costuming alone is exactly the way pentecostals look in the Central Valley.\u003c/p>\n\u003cp>\u003cstrong>What should I wear if I want to look like a member of the pentecostal church?\u003c/strong>\u003c/p>\n\u003cp>Very working class. I would think something [made by the work clothes company] \u003ca href=\"http://www.dickies.com/\" target=\"_blank\" rel=\"noopener\">Dickies\u003c/a>, right? Because you’re talking about people working the fields or people who work at one of the two state prisons.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>This Golden State \u003c/strong>opens Wednesday, June 10 at the \u003ca href=\"http://magictheatre.org/season/this-golden-state\" target=\"_blank\" rel=\"noopener\">Magic Theatre\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/this-golden-state-part-one-delano/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>\u003cem>This Golden State Part One: Delano\u003c/em>\u003c/h2>\n\u003cdiv class=\"event-desc\">MacArthur Genius Fellow Luis Alfaro’s newest play\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 21 to June 14, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Magic Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/this-golden-state-part-one-delano/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003ca href=\"http://dramaticarts.usc.edu/luis-alfaro/\" target=\"_blank\" rel=\"noopener\">Luis Alfaro\u003c/a> often writes plays about Latinos in California, with an unexpected framing device: Greek drama.\u003c/p>\n\u003cp>For instance, \u003ca href=\"http://magictheatre.org/oedipus-el-rey\" target=\"_blank\" rel=\"noopener\">Oedipus El Rey\u003c/a>, winner of a \u003ca href=\"http://www.theatrebayarea.org/?page=GlickmanAward\" target=\"_blank\" rel=\"noopener\">Glickman award\u003c/a> (which is awarded to the best new play that had its world premiere in the Bay Area), resets the famous Ancient Greek tale of father-son rivalry and motherly love in a Kern County prison and the Los Angeles barrios.\u003c/p>\n\u003cp>Now the \u003ca href=\"http://www.macfound.org/fellows/548/\" target=\"_blank\" rel=\"noopener\">MacArthur winning playwright\u003c/a> has shrugged off those ancient forms and written the first in a trilogy of plays about a minister reviving a Pentecostal church in the town of Delano called \u003cem>This Golden State\u003c/em>. The Magic has co-commissioned the trilogy with the \u003ca href=\"https://www.osfashland.org/\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a>, where Alfaro is resident playwright.\u003c/p>\n\u003cp>Located in the Southern San Joaquin Valley, \u003ca href=\"http://en.wikipedia.org/wiki/Delano,_California\" target=\"_blank\" rel=\"noopener\">Delano\u003c/a> is famous for being the birthplace of the \u003ca href=\"http://www.ufw.org/\" target=\"_blank\" rel=\"noopener\">United Farmworkers Union (UFW)\u003c/a>. Alfaro says he spent his summers there, on what he laughingly called summer holidays. Really, he picked fruit and vegetables alongside his parents, who were active in the UFW.\u003c/p>\n\u003cp>I talked to Alfaro recently about \u003cem>This Golden State\u003c/em>, which he said explores, “the nature of spirituality and faith, and what it takes to be in California during a major drought when you work the land.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How much of your own experience growing up in Los Angeles and Delano do we see in the experiences of the characters?\u003c/strong>\u003c/p>\n\u003cp>My father was a very, very staunch catholic, my mother was a hard-core pentecostal, and somehow they managed to respect each other. I was at Alleluia Churches Saturday night and an altar boy at the catholic church Sunday mornings. So I did a lot of religion when I was a kid.\u003c/p>\n\u003cp>Mostly what I’m talking about is how pentecostalism for a lot of immigrants is a new American religion. I mean it’s the \u003ca href=\"http://www.nytimes.com/2005/01/09/weekinreview/more-religion-but-not-the-oldtime-kind.html\" target=\"_blank\" rel=\"noopener\">fastest growing religion in the world\u003c/a>, especially for immigrants.\u003c/p>\n\u003cp>Having been raised both a catholic and what we call an apostolic pentecostal, it’s interesting to see the way both churches operate.\u003c/p>\n\u003cp>You come to this country and there’s a kind of assimilation that happens, whether you like it or not. It’s interesting that it’s reflected in a religion that’s a little louder, involves tambourines and speaking in tongues, and things of that sort.\u003c/p>\n\u003cp>So when you come to the play, you’re actually coming to a bit of a church service. There’s some singing and you receive a little “missalette,” a miniature hymnal, with some hymns in it. You’re really walking into what looks like an old church in Delano, California.\u003c/p>\n\u003cfigure id=\"attachment_10719160\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10719160\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-1180x811.jpg\" alt=\"Elias (Sean San Jose*) receives counseling from Brother Abel (Ron Knapp*) \" width=\"640\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-1180x811.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-960x660.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Elias (Sean San Jose) receives counseling from Brother Abel (Ron Knapp) \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did your family deal with the division — your father being a catholic and your mother, pentecostal?\u003c/strong>\u003c/p>\n\u003cp>I was raised in really abject poverty in downtown Los Angeles at a time when it was really violent and really poor. Religion was the way I survived a really tough neighborhood.\u003c/p>\n\u003cp>The one thing I will say about the gangs in the 1970s is they were very respectful of the church. They didn’t mess with the church in any way. You really felt that word “sanctuary” in the church in a big way.\u003c/p>\n\u003cp>My father was in the seminary when he was young. So I think for him catholicism was deeply embedded in him.\u003c/p>\n\u003cp>He was tolerant, I would say. I never felt like they were competing or in conflict with one another. And they never talked bad about each other’s religion.\u003c/p>\n\u003cp>And if you’re a young theater geek, something about the catholic church and its rituals is very exciting especially if you’re an altar boy. Because you kind of figure out that Latin mass is presentational, it’s processional. It looked amazing.\u003c/p>\n\u003cp>Then coming over to the pentecostal church, it was deeply embedded in people’s dreams and beliefs. You have a lot of community building inside of it.\u003c/p>\n\u003cp>On Saturdays we’d go and start with the bible school, and there was a prayer meeting for the parents. My mother cooked and everybody would eat together. So it had a sense of a commune of sorts.\u003c/p>\n\u003cp>I’d say it was a little bit of a haven, especially for many of the immigrants in the community where I grew up. Even though I’m not actively involved with that religion anymore it feels like family. You call everybody brother and sister.\u003c/p>\n\u003cp>\u003cstrong>You’ve worked very hard in the past to get Latino audiences into the theater. What are you doing at the Magic for \u003cem>This Golden State \u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>I consider myself an artist who really came to art because I wanted to change the world.\u003c/p>\n\u003cp>One of my other homes is at the \u003ca href=\"http://victorygardens.org/\" target=\"_blank\" rel=\"noopener\">Victory Gardens Theater\u003c/a> in Chicago. I did a project there where at the first preview there was not a single person of color. But Chicago is an incredibly diverse city. So we started a campaign. Every night I said, if you could bring one young person to the theater or you can donate 10 dollars, we will give that ticket to a student. Immediately the first night I think we made $3500 dollars. And we started getting busloads of kids.\u003c/p>\n\u003cp>I think it’s super important to have that next generation come see a play like this. Not just my play, but also to come to the theater to wrestle with the big ideas of our society, to sit in a communal space, and to learn the ritual of theater. In some way we go to the theater to learn to be better people.\u003c/p>\n\u003cp>Right now at the Magic Theatre we’re making a concentrated effort to get people from Latino arts organizations in town and give them free tickets. If someone wants to come, they won’t be turned away for want of a ticket.\u003c/p>\n\u003cp>\u003cstrong>Do you plan to put flyers at pentecostal churches around the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>The play is very authentic. The costuming alone is exactly the way pentecostals look in the Central Valley.\u003c/p>\n\u003cp>\u003cstrong>What should I wear if I want to look like a member of the pentecostal church?\u003c/strong>\u003c/p>\n\u003cp>Very working class. I would think something [made by the work clothes company] \u003ca href=\"http://www.dickies.com/\" target=\"_blank\" rel=\"noopener\">Dickies\u003c/a>, right? Because you’re talking about people working the fields or people who work at one of the two state prisons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>This Golden State \u003c/strong>opens Wednesday, June 10 at the \u003ca href=\"http://magictheatre.org/season/this-golden-state\" target=\"_blank\" rel=\"noopener\">Magic Theatre\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Disneyland is toying with the idea of surge pricing, a payment system in which prices move up or down according to demand. For example, when patrons visit the park on busier days, like in summer or over Christmas, they would have to pay more for their ticket.\u003c/p>\n\u003cp>\"I support it,\" said Darcy Forsell, a San Mateo urban planner and Disneyland mega-fan. \"It equates supply and demand.\"\u003c/p>\n\u003cp>Forsell takes her two daughters at least five times a year. But there are moments for her when the happiest place on earth turns into one of the most miserable.\u003c/p>\n\u003cp>“When it gets super crowded, I just want to leave,\" she says. “The lines just get to be so long.”\u003c/p>\n\u003cp>Forsell says she’d be willing to pay more if it meant there were fewer people she’d have to compete with to get onto Space Mountain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"If pricing it a little bit higher means the demand drops, I think that's appropriate,\" she says.\u003c/p>\n\u003cp>That's exactly the idea behind a congestion pricing system Disneyland is considering now. The company sent a survey to parkgoers, and says it will review responses before making a final decision on whether to implement a new pricing plan.\u003c/p>\n\u003cp>Mark Dvorchak, managing partner at Pro Forma Advisors, a theme park economics consultancy, says the concept of surge pricing is relatively new to amusement parks, but is ubiquitous in other industries.\u003c/p>\n\u003cp>\"It's like getting a discount at the movie theater when you go to a matinee,\" he says. \"Or a plane flight. Friday night the ticket’s more expensive and on a Tuesday afternoon, it’s not.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/208272089\" params=\"auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true\" width=\"100%\" height=\"200\" iframe=\"true\" /]\u003c/p>\n\u003cp>So people who’d go to Disneyland on weekdays in February or September would pay less, about $99. While people who go on holidays or during the summer would pay up to $115.\u003c/p>\n\u003cp>\"It's not worth it,\" says Becky Walley. She's lived in Pasadena all her life and takes her kids to Disneyland a few times a year. She says you could hardly pay her to go in the summer.\u003c/p>\n\u003cp>\"It's just too hot,\" she says. “It is literally so packed you can hardly move.\"\u003c/p>\n\u003cp>But Christmas? That brings back precious childhood memories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I loved all the decorations. We used to go there over Christmas and just stand there on Main Street when it started to snow. And that was foreign to us in Southern California, so it was so cool to watch that,\" she remembers. \"I think I probably would pay extra for December.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"If pricing it a little bit higher means the demand drops, I think that's appropriate,\" she says.\u003c/p>\n\u003cp>That's exactly the idea behind a congestion pricing system Disneyland is considering now. The company sent a survey to parkgoers, and says it will review responses before making a final decision on whether to implement a new pricing plan.\u003c/p>\n\u003cp>Mark Dvorchak, managing partner at Pro Forma Advisors, a theme park economics consultancy, says the concept of surge pricing is relatively new to amusement parks, but is ubiquitous in other industries.\u003c/p>\n\u003cp>\"It's like getting a discount at the movie theater when you go to a matinee,\" he says. \"Or a plane flight. Friday night the ticket’s more expensive and on a Tuesday afternoon, it’s not.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='200'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/208272089&visual=true&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true'\n title='https://api.soundcloud.com/tracks/208272089'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So people who’d go to Disneyland on weekdays in February or September would pay less, about $99. While people who go on holidays or during the summer would pay up to $115.\u003c/p>\n\u003cp>\"It's not worth it,\" says Becky Walley. She's lived in Pasadena all her life and takes her kids to Disneyland a few times a year. She says you could hardly pay her to go in the summer.\u003c/p>\n\u003cp>\"It's just too hot,\" she says. “It is literally so packed you can hardly move.\"\u003c/p>\n\u003cp>But Christmas? That brings back precious childhood memories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I loved all the decorations. We used to go there over Christmas and just stand there on Main Street when it started to snow. And that was foreign to us in Southern California, so it was so cool to watch that,\" she remembers. \"I think I probably would pay extra for December.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Terry Walker gets a thrill out of seeing model trains. Whenever he gets a chance, he heads to Point Richmond to visit the\u003ca href=\"http://www.gsmrm.org/index.shtml\"> Golden State Model Railroad Museum\u003c/a> to relive a childhood pastime.\u003c/p>\n\u003cp>“I got into model trains about five years ago,” Walker says. “You know, an old man looking for something to do. My wife goes to knitting guild once a month on Sundays, and it gives me an opportunity to sneak over here and have a look.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/207900272\" 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 Golden State Model Railroad Museum houses three train layouts, covering 10,000 square feet.\u003c/p>\n\u003cp>“This is a big warehouse and it’s full of three different scales of railroads,” Walker explains. “They want them to look like a real railroad. That’s why if you see some of these models, they’ve got graffiti all over them, and grease and vinegar.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The museum features steam locomotives, along with diesel freight and passenger trains -- built and operated by members of the East Bay Model Engineers Society.\u003c/p>\n\u003cp>“Trains going 'round and 'round fascinate me,” Walker says. “I feel a kinship towards people who mess around with trains, and I enjoy looking at the trains.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I had a happy childhood, and there is nothing wrong with staying in touch with your childhood as you get older,\" Walker continues. \"I spent hours and hours on the floor playing with my toys, and it gives me a little bit of feeling in my stomach of pleasure. That’s why I do it.\"\u003c/p>\n\n",
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"content": "\u003cp>The Oakland visual arts nonprofit Pro Arts announced Wednesday Executive Director Margo Dunlap is stepping down after eleven years at the organization. This news comes just two weeks after Executive Director Lex Leifheit announced her departure from San Francisco’s SOMArts and two months after di Rosa Executive Director Kathryn Reasoner announced the end of her ten-year tenure at the Napa institution.\u003c/p>\n\u003cp>In an email announcement, the Pro Arts Board of Directors thanked Dunlap “for her tenacious work serving the arts community.” According to the email, Pro Arts nearly doubled its annual budget, expanded its educational youth arts programs in the Oakland Unified School District and initiated the \u003cem>2 x 2 Solos\u003c/em> exhibition series, a coveted showcase for emerging Bay Area artists and curators, during Dunlap’s tenure.\u003c/p>\n\u003cp>Despite these accomplishments, Dunlap’s departure is sudden — her name is already absent from the Pro Arts website and her LinkedIn profile now identifies her as an “Independent Management Contractor.” Board member Helene Fried declined to comment on why Dunlap stepped down, citing the former executive director’s privacy in what Fried termed a “personnel matter.”\u003c/p>\n\u003cp>The details of these three recent departures are very different. But together they point to gaps in nonprofit leadership at a time when many Bay Area arts organizations are struggling to remain afloat.\u003c/p>\n\u003cp>Leifheit, who joined SOMArts as executive director in 2008, leaves her position for a newly-created role in the Mayor’s Office Of Economic and Workforce Development. Reasoner departs to “pursue independent projects,” according to a Feb. 18 press release from di Rosa. Both Leifheit and Reasoner remain in their positions through the end of May. SOMArts and di Rosa have not yet announced their searches for new executive directors.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile at Pro Arts, Nancy Gonchar, board member and former Deputy Director of the San Francisco Arts Commission, will serve as Interim Executive Director while the board begins a search for Dunlap’s replacement.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Oakland visual arts nonprofit Pro Arts announced Wednesday Executive Director Margo Dunlap is stepping down after eleven years at the organization. This news comes just two weeks after Executive Director Lex Leifheit announced her departure from San Francisco’s SOMArts and two months after di Rosa Executive Director Kathryn Reasoner announced the end of her ten-year tenure at the Napa institution.\u003c/p>\n\u003cp>In an email announcement, the Pro Arts Board of Directors thanked Dunlap “for her tenacious work serving the arts community.” According to the email, Pro Arts nearly doubled its annual budget, expanded its educational youth arts programs in the Oakland Unified School District and initiated the \u003cem>2 x 2 Solos\u003c/em> exhibition series, a coveted showcase for emerging Bay Area artists and curators, during Dunlap’s tenure.\u003c/p>\n\u003cp>Despite these accomplishments, Dunlap’s departure is sudden — her name is already absent from the Pro Arts website and her LinkedIn profile now identifies her as an “Independent Management Contractor.” Board member Helene Fried declined to comment on why Dunlap stepped down, citing the former executive director’s privacy in what Fried termed a “personnel matter.”\u003c/p>\n\u003cp>The details of these three recent departures are very different. But together they point to gaps in nonprofit leadership at a time when many Bay Area arts organizations are struggling to remain afloat.\u003c/p>\n\u003cp>Leifheit, who joined SOMArts as executive director in 2008, leaves her position for a newly-created role in the Mayor’s Office Of Economic and Workforce Development. Reasoner departs to “pursue independent projects,” according to a Feb. 18 press release from di Rosa. Both Leifheit and Reasoner remain in their positions through the end of May. SOMArts and di Rosa have not yet announced their searches for new executive directors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If you were a teenager in the '80s, certain pop music might remind you of being in a nightclub — disco hits and remixes by bands like Menage and Boys Town Gang.\u003c/p>\n\u003cp>For Filipino-American communities putting down roots in California, pop hits from bands like these became a kind of soundtrack. They were remixed and played at weddings, birthdays, anniversaries, debuts or coming-of-age parties. The demand for music at all these events gave rise to a phenomenon, the Filipino-American DJ.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/206784445\" 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>A new book called \"\u003ca href=\"http://legionsofboom.com/\">Legions of Boom\u003c/a>\" describes the cultural importance of the Filipino-American DJ scene that formed in the Bay Area during the '80s, and how it eventually led to the emergence of some internationally famous DJs. Today, young Filipino-Americans still look up to those DJs and aspire to spin records.\u003c/p>\n\u003cp>Orlando Madrid is part of the first generation of Filipino-American DJs in the Bay Area. At his garage in Daly City, south of San Francisco, he's hanging out with a bunch of DJs in their 20s. There is music equipment all around and stacks of records Madrid has digitized. He is playing us a classic from the '80s,\u003ca href=\"https://www.youtube.com/watch?v=GWHZxXuJFzw\"> \"Can't Take My Eyes Off Of You\" by Boys Town Gang.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10535153\" class=\"wp-caption alignleft\" style=\"max-width: 289px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut.jpg\">\u003cimg class=\"wp-image-10535153\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-800x1067.jpg\" alt=\"Orlando Madrid with an old mixer he used to deejay with back in the '80s.\" width=\"289\" height=\"386\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-960x1280.jpg 960w\" sizes=\"(max-width: 289px) 100vw, 289px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Orlando Madrid with an old mixer he used to deejay with back in the '80s. \u003ccite>(Sam Harnett/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s cha-cha, Madrid explains. Yes, cha-cha is a kind of ballroom dance, originally from Cuba. But electronic-disco versions from the '80s were big hits in the Filipino-American community. Madrid puts on another tune from his playlist. It’s a remix of the song \"\u003ca href=\"https://www.youtube.com/watch?v=VA4bKJUDn7o\">Memory\" \u003c/a>from the Broadway musical \"Cats.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kevin Brown is one of the young DJs crowded around Madrid. Brown says, “The DJ scene back in the day was legendary. People still talk about it.”\u003c/p>\n\u003cp>“The scene” back in Madrid's day was made up of mostly high schoolers, throwing parties in suburban garages, having competitions -- DJ battles. They formed groups, “Mobile DJ crews,” of four or five kids to do lighting, sound and music.\u003c/p>\n\u003caside class=\"pullquote alignright\">'The DJ scene back in the day was legendary. People still talk about it.'\u003ccite>DJ Kevin Brown\u003c/cite>\u003c/aside>\n\u003cp>Oliver Wang is a professor of sociology at California State University, Long Beach and author of \"\u003ca href=\"http://legionsofboom.com/\">Legions of Boom\u003c/a>.\" The book traces the development and cultural importance of these mobile DJ crews. Wang says, “If you were a Filipino teenager growing up in the Bay Area, you probably had some connection to that scene.”\u003c/p>\n\u003cp>Wang says some of the young DJs following in Madrid’s footsteps eventually broke out and got famous -- people like Qbert, Mix Master Mike, Apollo, Shortkut. But instead of just playing records, they started scratching them.\u003c/p>\n\u003cp>DJ Shortkut, aka Jonathan Cruz, says, “Oh yeah, definitely. I credit a lot of what I do now to the mobile scene.”\u003c/p>\n\u003cp>Cruz says that, like most Filipino-American DJs, he got his start at family gigs, where people demanded those '80s hits. He says, “It's funny man, it's early '80s aerobic music.”\u003c/p>\n\u003cp>Now, Cruz remixes a wide variety of music and has won regional and national DJ battles. He says Filipino-Americans like him used to stand out at competitions.\u003c/p>\n\u003cp>Cruz says, “I heard people underneath their breath say, ' Who are these Chinese guys out of nowhere from the West Coast coming out here to battle?' ”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'The joke is, there's a lot of fog here because everyone is cooking rice.' \u003ccite>DJ Orlando Madrid\u003c/cite>\u003c/aside>\n\u003cp>Since then, the Filipino-American population has grown, becoming the largest Asian-American minority in California. About half of the country’s entire 3.4 million Filipino-Americans live in the state. Daly City has the highest concentration of any U.S. city.\u003c/p>\n\u003cp>Orlando Madrid says you can see the evidence in the air. He says, “The joke is, there's a lot of fog here because everyone is cooking rice.”\u003c/p>\n\u003cp>Madrid says the DJ scene here was about more than playing pop music. It was a way to form an identity as the kids of immigrants. He never got famous, but he says the music kept him away from drugs and violence -- fallout from the Filipino-American gangs here in the '80s.\u003c/p>\n\u003cp>“The way I've recognized it,” Madrid says, “deejaying kept me out of a lot of trouble I could have gotten into.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Madrid says his family, like many in the community, supported his deejaying. They bought him equipment and drove him to parties. It makes sense -- they were getting down to the music as well.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you were a teenager in the '80s, certain pop music might remind you of being in a nightclub — disco hits and remixes by bands like Menage and Boys Town Gang.\u003c/p>\n\u003cp>For Filipino-American communities putting down roots in California, pop hits from bands like these became a kind of soundtrack. They were remixed and played at weddings, birthdays, anniversaries, debuts or coming-of-age parties. The demand for music at all these events gave rise to a phenomenon, the Filipino-American DJ.\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/206784445&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/206784445'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A new book called \"\u003ca href=\"http://legionsofboom.com/\">Legions of Boom\u003c/a>\" describes the cultural importance of the Filipino-American DJ scene that formed in the Bay Area during the '80s, and how it eventually led to the emergence of some internationally famous DJs. Today, young Filipino-Americans still look up to those DJs and aspire to spin records.\u003c/p>\n\u003cp>Orlando Madrid is part of the first generation of Filipino-American DJs in the Bay Area. At his garage in Daly City, south of San Francisco, he's hanging out with a bunch of DJs in their 20s. There is music equipment all around and stacks of records Madrid has digitized. He is playing us a classic from the '80s,\u003ca href=\"https://www.youtube.com/watch?v=GWHZxXuJFzw\"> \"Can't Take My Eyes Off Of You\" by Boys Town Gang.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10535153\" class=\"wp-caption alignleft\" style=\"max-width: 289px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut.jpg\">\u003cimg class=\"wp-image-10535153\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-800x1067.jpg\" alt=\"Orlando Madrid with an old mixer he used to deejay with back in the '80s.\" width=\"289\" height=\"386\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-960x1280.jpg 960w\" sizes=\"(max-width: 289px) 100vw, 289px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Orlando Madrid with an old mixer he used to deejay with back in the '80s. \u003ccite>(Sam Harnett/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s cha-cha, Madrid explains. Yes, cha-cha is a kind of ballroom dance, originally from Cuba. But electronic-disco versions from the '80s were big hits in the Filipino-American community. Madrid puts on another tune from his playlist. It’s a remix of the song \"\u003ca href=\"https://www.youtube.com/watch?v=VA4bKJUDn7o\">Memory\" \u003c/a>from the Broadway musical \"Cats.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kevin Brown is one of the young DJs crowded around Madrid. Brown says, “The DJ scene back in the day was legendary. People still talk about it.”\u003c/p>\n\u003cp>“The scene” back in Madrid's day was made up of mostly high schoolers, throwing parties in suburban garages, having competitions -- DJ battles. They formed groups, “Mobile DJ crews,” of four or five kids to do lighting, sound and music.\u003c/p>\n\u003caside class=\"pullquote alignright\">'The DJ scene back in the day was legendary. People still talk about it.'\u003ccite>DJ Kevin Brown\u003c/cite>\u003c/aside>\n\u003cp>Oliver Wang is a professor of sociology at California State University, Long Beach and author of \"\u003ca href=\"http://legionsofboom.com/\">Legions of Boom\u003c/a>.\" The book traces the development and cultural importance of these mobile DJ crews. Wang says, “If you were a Filipino teenager growing up in the Bay Area, you probably had some connection to that scene.”\u003c/p>\n\u003cp>Wang says some of the young DJs following in Madrid’s footsteps eventually broke out and got famous -- people like Qbert, Mix Master Mike, Apollo, Shortkut. But instead of just playing records, they started scratching them.\u003c/p>\n\u003cp>DJ Shortkut, aka Jonathan Cruz, says, “Oh yeah, definitely. I credit a lot of what I do now to the mobile scene.”\u003c/p>\n\u003cp>Cruz says that, like most Filipino-American DJs, he got his start at family gigs, where people demanded those '80s hits. He says, “It's funny man, it's early '80s aerobic music.”\u003c/p>\n\u003cp>Now, Cruz remixes a wide variety of music and has won regional and national DJ battles. He says Filipino-Americans like him used to stand out at competitions.\u003c/p>\n\u003cp>Cruz says, “I heard people underneath their breath say, ' Who are these Chinese guys out of nowhere from the West Coast coming out here to battle?' ”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'The joke is, there's a lot of fog here because everyone is cooking rice.' \u003ccite>DJ Orlando Madrid\u003c/cite>\u003c/aside>\n\u003cp>Since then, the Filipino-American population has grown, becoming the largest Asian-American minority in California. About half of the country’s entire 3.4 million Filipino-Americans live in the state. Daly City has the highest concentration of any U.S. city.\u003c/p>\n\u003cp>Orlando Madrid says you can see the evidence in the air. He says, “The joke is, there's a lot of fog here because everyone is cooking rice.”\u003c/p>\n\u003cp>Madrid says the DJ scene here was about more than playing pop music. It was a way to form an identity as the kids of immigrants. He never got famous, but he says the music kept him away from drugs and violence -- fallout from the Filipino-American gangs here in the '80s.\u003c/p>\n\u003cp>“The way I've recognized it,” Madrid says, “deejaying kept me out of a lot of trouble I could have gotten into.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Madrid says his family, like many in the community, supported his deejaying. They bought him equipment and drove him to parties. It makes sense -- they were getting down to the music as well.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"http://www.cac.ca.gov/\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a> may be getting a modest bonus this fall, as well as some fiscal security.\u003c/p>\n\u003cp>Governor Jerry Brown’s \u003ca href=\"http://www.ebudget.ca.gov/\" target=\"_blank\" rel=\"noopener\">revised budget\u003c/a>, released last week, provides the council with $6.1 million, a significant $5 million increase over what the governor had recommended in his January budget proposal.\u003c/p>\n\u003cp>“It’s a modestly wonderful success,” said \u003ca href=\"http://asmdc.org/members/a46/\" target=\"_blank\" rel=\"noopener\">Assemblyman Adrin Nazarian \u003c/a>(D-Sherman Oaks), who for years has been pushing for a bigger state investment in the arts.\u003c/p>\n\u003cp>“It’s a wonderful success though,” he said, “because the general fund investment to the arts by our state has been so minimal.”\u003c/p>\n\u003cp>Nazarian had proposed even more for the arts council, but at least, he says, the governor’s budget would make the $5 million increase permanent. Late Wednesday a state Senate subcommittee voted to add $10 million in funding for the arts council, a figure almost certain to change as the budget goes to conference committee.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But any increase is welcome news for an agency that’s been starved for funds during the state budget crisis of recent years.\u003c/p>\n\u003cp>“This would be the first time a permanent increase has been seen in over a decade,” said Caitlin Fitzwater, Communications Director for the state arts council.\u003c/p>\n\u003cp>Fitzwater said the funds will allow the council to expand efforts designed to stimulate local economies, like \u003ca href=\"http://www.artscouncilsc.org/ebb-flow/\" target=\"_blank\" rel=\"noopener\">Ebb and Flow\u003c/a>, an arts project to bring visitors to a neglected section of the San Lorenzo River in the city of Santa Cruz.\u003c/p>\n\u003cp>“And this new budget allocation,” she said, “will allow us to grow these pilot programs that have already had successful results in our communities.”\u003c/p>\n\u003cfigure id=\"attachment_10681370\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Sherri-Young.jpg\" alt=\"Sherri Young, Executive Director for the African-American Shakespeare Company\" width=\"550\" height=\"410\" class=\"size-full wp-image-10681370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sherri-Young.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sherri-Young-400x298.jpg 400w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">Sherri Young, Executive Director for the African-American Shakespeare Company\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003cp>Additionally, the arts council may be able to increase grants for other groups active in their local communities, like the \u003ca href=\"http://www.african-americanshakes.org/\" target=\"_blank\" rel=\"noopener\">African American Shakespeare Company\u003c/a> in San Francisco.\u003c/p>\n\u003cp>“I’m excited,” said the company’s Executive Director, Sherri Young. “I mean it’s been too long. It’s been way too long.”\u003c/p>\n\u003cp>For this fiscal year, Young’s theater company received $12,000, which it uses to bring performances and theater classes to underserved kids.\u003c/p>\n\u003cp>Local arts advocates say they are pleased with the Governor’s proposal, as it makes sense in a state where\u003ca href=\"http://www.otis.edu/sites/default/files/2015_Otis_Report_on_the_Creative_Economy_CA.pdf\" target=\"_blank\" rel=\"noopener\"> one in ten people work in the creative economy\u003c/a>.\u003c/p>\n\u003cp>But they also said they’d be happier if California matched the average per-capita \u003ca href=\"http://www.nasaa-arts.org/Research/Funding/index.php\" target=\"_blank\" rel=\"noopener\">arts budgets of other states\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To reach that goal, California would have to allocate more than $42 million dollars a year to the arts.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.cac.ca.gov/\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a> may be getting a modest bonus this fall, as well as some fiscal security.\u003c/p>\n\u003cp>Governor Jerry Brown’s \u003ca href=\"http://www.ebudget.ca.gov/\" target=\"_blank\" rel=\"noopener\">revised budget\u003c/a>, released last week, provides the council with $6.1 million, a significant $5 million increase over what the governor had recommended in his January budget proposal.\u003c/p>\n\u003cp>“It’s a modestly wonderful success,” said \u003ca href=\"http://asmdc.org/members/a46/\" target=\"_blank\" rel=\"noopener\">Assemblyman Adrin Nazarian \u003c/a>(D-Sherman Oaks), who for years has been pushing for a bigger state investment in the arts.\u003c/p>\n\u003cp>“It’s a wonderful success though,” he said, “because the general fund investment to the arts by our state has been so minimal.”\u003c/p>\n\u003cp>Nazarian had proposed even more for the arts council, but at least, he says, the governor’s budget would make the $5 million increase permanent. Late Wednesday a state Senate subcommittee voted to add $10 million in funding for the arts council, a figure almost certain to change as the budget goes to conference committee.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But any increase is welcome news for an agency that’s been starved for funds during the state budget crisis of recent years.\u003c/p>\n\u003cp>“This would be the first time a permanent increase has been seen in over a decade,” said Caitlin Fitzwater, Communications Director for the state arts council.\u003c/p>\n\u003cp>Fitzwater said the funds will allow the council to expand efforts designed to stimulate local economies, like \u003ca href=\"http://www.artscouncilsc.org/ebb-flow/\" target=\"_blank\" rel=\"noopener\">Ebb and Flow\u003c/a>, an arts project to bring visitors to a neglected section of the San Lorenzo River in the city of Santa Cruz.\u003c/p>\n\u003cp>“And this new budget allocation,” she said, “will allow us to grow these pilot programs that have already had successful results in our communities.”\u003c/p>\n\u003cfigure id=\"attachment_10681370\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Sherri-Young.jpg\" alt=\"Sherri Young, Executive Director for the African-American Shakespeare Company\" width=\"550\" height=\"410\" class=\"size-full wp-image-10681370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sherri-Young.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sherri-Young-400x298.jpg 400w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">Sherri Young, Executive Director for the African-American Shakespeare Company\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003cp>Additionally, the arts council may be able to increase grants for other groups active in their local communities, like the \u003ca href=\"http://www.african-americanshakes.org/\" target=\"_blank\" rel=\"noopener\">African American Shakespeare Company\u003c/a> in San Francisco.\u003c/p>\n\u003cp>“I’m excited,” said the company’s Executive Director, Sherri Young. “I mean it’s been too long. It’s been way too long.”\u003c/p>\n\u003cp>For this fiscal year, Young’s theater company received $12,000, which it uses to bring performances and theater classes to underserved kids.\u003c/p>\n\u003cp>Local arts advocates say they are pleased with the Governor’s proposal, as it makes sense in a state where\u003ca href=\"http://www.otis.edu/sites/default/files/2015_Otis_Report_on_the_Creative_Economy_CA.pdf\" target=\"_blank\" rel=\"noopener\"> one in ten people work in the creative economy\u003c/a>.\u003c/p>\n\u003cp>But they also said they’d be happier if California matched the average per-capita \u003ca href=\"http://www.nasaa-arts.org/Research/Funding/index.php\" target=\"_blank\" rel=\"noopener\">arts budgets of other states\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To reach that goal, California would have to allocate more than $42 million dollars a year to the arts.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Longtime 'Charlie Hebdo' Cartoonist Announces He's Quitting",
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"content": "\u003cp>The cartoonist who drew the image of the Prophet Muhammad that appeared on the comeback issue of \u003cem>Charlie Hebdo\u003c/em> is leaving the satirical magazine, citing stress and a lack of inspiration. The cartoonist, Luz, was one of the few artists who survived January’s attack on the magazine’s office in Paris.\u003c/p>\n\u003cp>“I will no longer be \u003cem>Charlie Hebdo\u003c/em>, but I will always be Charlie,” said Luz.\u003c/p>\n\u003cp>The cartoonist, whose name is Renald Luzier and who joined the weekly magazine in 1992, says he’ll leave in September. He made his departure official in an interview with the newspaper \u003cem>Liberation\u003c/em>.\u003c/p>\n\u003cp>“It’s a very personal choice,” Luz tells \u003ca href=\"http://ecrans.liberation.fr/ecrans/2015/05/18/luz-je-ne-serai-plus-charlie-hebdo-mais-je-serai-toujours-charlie_1311812\">Liberation\u003c/a>. He later added, “It became one of my obsessions after all this craziness to rebuild myself, to retake control of myself.”\u003c/p>\n\u003cp>Luz also said he has spent sleepless nights wondering about the work that his dead colleagues would have produced. Five cartoonists were among the 12 people \u003cem>\u003c/em>who died in the Jan. 7 attack on \u003cem>Charlie Hebdo\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One week after the assault, a new issue of \u003cem>Charlie Hebdo\u003c/em> became an international sensation, depicting the Prophet Muhammad shedding a tear and holding a sign reading: “Je Suis Charlie.” Above him, the headline announced: “Tout Est Pardonné” (All Is Forgiven).\u003c/p>\n\u003cp>Many people have urged him to keep working at the magazine, Luz told \u003cem>Liberation\u003c/em>, “but they forget that the worry is the inspiration.” Without it, he said, there can be no originality.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This week, the cartoonist is also releasing \u003ca href=\"http://www.futuropolis.fr/fiche_titre.php?id_article=790502\">Catharsis\u003c/a>, a “therapeutic book” that compiles his drawings and thoughts from the days and weeks after the attack. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Longtime+%27Charlie+Hebdo%27+Cartoonist+Announces+He%27s+Quitting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The cartoonist who drew the image of the Prophet Muhammad that appeared on the comeback issue of \u003cem>Charlie Hebdo\u003c/em> is leaving the satirical magazine, citing stress and a lack of inspiration. The cartoonist, Luz, was one of the few artists who survived January’s attack on the magazine’s office in Paris.\u003c/p>\n\u003cp>“I will no longer be \u003cem>Charlie Hebdo\u003c/em>, but I will always be Charlie,” said Luz.\u003c/p>\n\u003cp>The cartoonist, whose name is Renald Luzier and who joined the weekly magazine in 1992, says he’ll leave in September. He made his departure official in an interview with the newspaper \u003cem>Liberation\u003c/em>.\u003c/p>\n\u003cp>“It’s a very personal choice,” Luz tells \u003ca href=\"http://ecrans.liberation.fr/ecrans/2015/05/18/luz-je-ne-serai-plus-charlie-hebdo-mais-je-serai-toujours-charlie_1311812\">Liberation\u003c/a>. He later added, “It became one of my obsessions after all this craziness to rebuild myself, to retake control of myself.”\u003c/p>\n\u003cp>Luz also said he has spent sleepless nights wondering about the work that his dead colleagues would have produced. Five cartoonists were among the 12 people \u003cem>\u003c/em>who died in the Jan. 7 attack on \u003cem>Charlie Hebdo\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Why Don't Murals Get Covered By Graffiti in the Mission?",
"title": "Why Don't Murals Get Covered By Graffiti in the Mission?",
"headTitle": "Bay Curious | News Fix | KQED News",
"content": "\u003cp>\u003cem>As part of our series, \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">Bay Curious\u003c/a>, we’re answering questions from KQED listeners and readers. This question comes from Mission District resident Rebecca Busch, who wanted to know:\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>I think it’s interesting that murals don’t get covered in graffiti. Why do some murals stay up for a really long time, even in communities where there’s lots of graffiti on random walls and buildings? \u003c/strong>\u003c/p>\n\u003cp>San Francisco's Clarion Alley is considered by many to be the heart of the mural scene in the Bay Area. The street is lined with massive, vibrant murals that tackle subjects like gentrification, corporate greed and the environment.\u003c/p>\n\u003cp>\"Tags happen to some degree every week,\" says \u003ca href=\"http://www.meganwilson.com/index.php\" target=\"_blank\">Megan Wilson\u003c/a>, director of the \u003ca href=\"https://www.facebook.com/pages/Clarion-Alley-Mural-Project/127102311571\" target=\"_blank\">Clarion Alley Mural Project\u003c/a>, the group that curates the alleyway. \"It's generally younger artists who are just starting out and don't grasp the idea of respect.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/206235578\" 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>Though graffiti often marks up the perimeter of the murals, it's rare to find a tag cutting directly across the detailed center of the artwork, says Wilson.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At play is an unspoken set of rules that artists follow. To understand those rules you first need to know that there are three groups: graffiti writers, street artists and muralists.\u003c/p>\n\u003cp>[gallery type=\"circle\" ids=\"10530898,10530902,10530900\"]\u003c/p>\n\u003cp>Graffiti writers work illegally, and primarily paint letters and symbols. Their creations can range from a small signature on a mailbox to a large, multicolored word on the side of a building.\u003c/p>\n\u003cp>Street artists are also working illegally, but their work tends to look more like an illustration or graphic. Things like wheatpaste, stencils or stickers are classified as street art.\u003c/p>\n\u003cp>Muralists almost always do legal paintings. In San Francisco, they need permission from the property owner. They use paintbrushes or spray paint to create their large-scale works.\u003c/p>\n\u003cp>Each group follows different etiquette, and if you break that etiquette, there can be consequences.\u003c/p>\n\u003cp>\u003cstrong>The Case of the Honey Bear\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10530903\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Slash2.jpg\">\u003cimg class=\"size-thumbnail wp-image-10530903\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Slash2-400x533.jpg\" alt=\"After painting over tags, street artist fnnch found his stencils slashed. (Courtesy of fnnch)\" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">After painting over tags, street artist fnnch found his stencils slashed. (Courtesy of fnnch)\u003c/figcaption>\u003c/figure>\n\u003cp>In January, street artist\u003ca href=\"https://instagram.com/fnnch/\" target=\"_blank\"> fnnch\u003c/a> began creating stencils of honey bears within a four-block radius around the Mission District.\u003c/p>\n\u003cp>\"We all take this image for granted as being totally acceptable,\" says fnnch. \"But really it's a surreal idea that you would put honey into a container that's shaped like a bear.\"\u003c/p>\n\u003cp>On the first night he painted five honey bears, some of them directly on top of tags that graffiti writers had left on mailboxes. Within a week, someone had taken a blue spray-paint can and made a mark right through the center of the bears -- the ultimate sign of disrespect.\u003c/p>\n\u003cp>\"When I posted [photos of my work] on Instagram, people started to comment and say that I shouldn’t paint on top of tags for my own safety,\" says fnnch.\u003c/p>\n\u003cp>He had upset the graffiti hierarchy.\u003c/p>\n\u003cp>\u003cstrong>Playing By The Rules\u003c/strong>\u003c/p>\n\u003cp>Of the three groups, graffiti writers have the most structured hierarchy about what is OK and what is not OK to cover with new art.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>Know Your Graffiti Vocab\u003c/h2>\n\u003cp>[youtube http://www.youtube.com/watch?v=d2hgKsrOvkk&w=350&h=197]\u003c/p>\n\u003c/aside>\n\u003cp>\"Certain things can go over certain things, and writers understand that because it's pretty much basics in graffiti,\" says a San Francisco tagger who goes by the name Sinatra.\u003c/p>\n\u003cul>\n\u003cli class=\"p1\">\u003cstrong>Tag:\u003c/strong> At the bottom of the totem pole, tags are usually single-color signatures.\u003c/li>\n\u003cli class=\"p1\">\u003cstrong>Throw-up: \u003c/strong>A quickly drawn name in big bubble letters.\u003c/li>\n\u003cli class=\"p1\">\u003cstrong>Piece:\u003c/strong> Not as quick to execute as a throw-up. A piece will have cleaner lines and more detailed fill within the letters.\u003c/li>\n\u003cli class=\"p1\">\u003cstrong>Burner: \u003c/strong>The most respected type of work among graffiti writers. This art is a display of the best work a graffiti writer can do.\u003c/li>\n\u003c/ul>\n\u003cp>Generally, as long as what goes on top is bigger and more intricate, the community hums along.\u003c/p>\n\u003cp>But when someone upsets that hierarchy -- by putting a tag over a throw-up, or even a tag on top of another tag -- it's a sign of disrespect that could end in a fight, or ongoing efforts to destroy someone's work.\u003c/p>\n\u003cp>So what about fnnch's honey bears? Where do they fit into the hierarchy?\u003c/p>\n\u003caside class=\"alignleft\">\u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">\u003cimg style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2015/04/20/baycurious.png\" alt=\"\">\u003c/a>\u003cbr>\nWhat do you wonder about the Bay Area, its culture or people that you want KQED to investigate? \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\n\u003cp>\"I thought taggers would be fine with me painting over their tags because I thought what I was doing would be considered a piece,\" fnnch says. \"But what I came to learn is graffiti people don't view the street art people as being anywhere on the hierarchy.\"\u003c/p>\n\u003cp>I asked Sinatra what he thinks when a street artist puts his or her work on top of his tag.\u003c/p>\n\u003cp>\"That's beef. That's bad,\" Sinatra says. \"Every time I see that stencil, I'm going to put my name over it.\"\u003c/p>\n\u003cp>Alhough street artists and graffiti writers use similar materials and are competing for the same space, they aren't playing the same game. The rules are different.\u003c/p>\n\u003cfigure id=\"attachment_10530908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15208_IMG_5843-qut.jpg\">\u003cimg class=\"size-medium wp-image-10530908\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-800x533.jpg\" alt=\"A graffiti writer tags on top of a piece of street art. (Jeremy Raff/KQED)\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A graffiti writer tags on top of a piece of street art. (Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Above Them All? Murals\u003c/strong>\u003c/p>\n\u003cp>So if each group is abiding by its own etiquette, why are murals often left alone by graffiti writers and street artists?\u003c/p>\n\u003cp>To put it simply, muralists are the most respected within the larger community. Many of them came out of graffiti writing or street art and now command the respect of their peers.\u003c/p>\n\u003cp>Still, murals are certainly not immune to being painted on. Work done by outside artists, or those who have done a lot of corporate work, are often targeted by taggers.\u003c/p>\n\u003cp>And because Clarion Alley attracts so many visitors, it's become a high-profile location for taggers to make their mark.\u003c/p>\n\u003cp>Sinatra points to the background of one mural, where taggers have squeezed their tags into the negative space between the detailed brushwork.\u003c/p>\n\u003cp>\"It’s not exactly on the mural. But it’s just off to the side. It’s just like free space. They can paint over that easily,\" he says.\u003c/p>\n\u003cp>[contextly_sidebar id=\"IFXgmMgyVfNgDNvTR4VCHplNpLRdAeK7\"]\u003c/p>\n\u003cp>To Sinatra, a tag on the artwork itself would be an affront, but a tag on the solid-colored background or side of the mural? Fair game.\u003c/p>\n\u003cp>\"If I go over a mural, it's not because I don't like you. It's not because I'm trying to disrespect you,\" Sinatra says. \"It's because I like that spot. I want my name on that spot. You just happen to be in the way.\"\u003c/p>\n\u003cp>Remember Megan Wilson, who leads the group that oversees the murals on Clarion Alley? She doesn't quite see it that way. When artists from \u003cem>any\u003c/em> of the three groups paint without permission, it's not cool to her.\u003c/p>\n\u003cp>\"It's like, 'Why are you doing this to other artists? You think you're badass? Go out and do this on a bank. Go do this on some really lame corporation,' \" she says.\u003c/p>\n\u003cp>To her, the etiquette is dead simple.\u003c/p>\n\u003cp>\"It's not a matter of, oh there's some sort of code we go by. The code is just respect,\" she says. \"You respect the artist. You respect the work. You respect one another.\"\u003c/p>\n\u003cp>To keep the alley looking its best, Wilson and other volunteers are out there every week repairing the murals.\u003c/p>\n\u003cp>That may be why so many visitors -- like Rebecca, who asked this week's Bay Curious question -- can enjoy the art unobscured.\u003c/p>\n\u003cp>\u003cem>Got a question you want KQED’s Bay Curious team to investigate? \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">Ask!\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jeremy Raff contributed to this report. Thanks, Jeremy!\u003c/em>\u003c/p>\n\n",
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"excerpt": "Bay Curious investigates the unseen etiquette that rules over the legal and illegal art happening on city streets. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>As part of our series, \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">Bay Curious\u003c/a>, we’re answering questions from KQED listeners and readers. This question comes from Mission District resident Rebecca Busch, who wanted to know:\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>I think it’s interesting that murals don’t get covered in graffiti. Why do some murals stay up for a really long time, even in communities where there’s lots of graffiti on random walls and buildings? \u003c/strong>\u003c/p>\n\u003cp>San Francisco's Clarion Alley is considered by many to be the heart of the mural scene in the Bay Area. The street is lined with massive, vibrant murals that tackle subjects like gentrification, corporate greed and the environment.\u003c/p>\n\u003cp>\"Tags happen to some degree every week,\" says \u003ca href=\"http://www.meganwilson.com/index.php\" target=\"_blank\">Megan Wilson\u003c/a>, director of the \u003ca href=\"https://www.facebook.com/pages/Clarion-Alley-Mural-Project/127102311571\" target=\"_blank\">Clarion Alley Mural Project\u003c/a>, the group that curates the alleyway. \"It's generally younger artists who are just starting out and don't grasp the idea of respect.\"\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/206235578&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/206235578'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Though graffiti often marks up the perimeter of the murals, it's rare to find a tag cutting directly across the detailed center of the artwork, says Wilson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At play is an unspoken set of rules that artists follow. To understand those rules you first need to know that there are three groups: graffiti writers, street artists and muralists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Graffiti writers work illegally, and primarily paint letters and symbols. Their creations can range from a small signature on a mailbox to a large, multicolored word on the side of a building.\u003c/p>\n\u003cp>Street artists are also working illegally, but their work tends to look more like an illustration or graphic. Things like wheatpaste, stencils or stickers are classified as street art.\u003c/p>\n\u003cp>Muralists almost always do legal paintings. In San Francisco, they need permission from the property owner. They use paintbrushes or spray paint to create their large-scale works.\u003c/p>\n\u003cp>Each group follows different etiquette, and if you break that etiquette, there can be consequences.\u003c/p>\n\u003cp>\u003cstrong>The Case of the Honey Bear\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10530903\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Slash2.jpg\">\u003cimg class=\"size-thumbnail wp-image-10530903\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Slash2-400x533.jpg\" alt=\"After painting over tags, street artist fnnch found his stencils slashed. (Courtesy of fnnch)\" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">After painting over tags, street artist fnnch found his stencils slashed. (Courtesy of fnnch)\u003c/figcaption>\u003c/figure>\n\u003cp>In January, street artist\u003ca href=\"https://instagram.com/fnnch/\" target=\"_blank\"> fnnch\u003c/a> began creating stencils of honey bears within a four-block radius around the Mission District.\u003c/p>\n\u003cp>\"We all take this image for granted as being totally acceptable,\" says fnnch. \"But really it's a surreal idea that you would put honey into a container that's shaped like a bear.\"\u003c/p>\n\u003cp>On the first night he painted five honey bears, some of them directly on top of tags that graffiti writers had left on mailboxes. Within a week, someone had taken a blue spray-paint can and made a mark right through the center of the bears -- the ultimate sign of disrespect.\u003c/p>\n\u003cp>\"When I posted [photos of my work] on Instagram, people started to comment and say that I shouldn’t paint on top of tags for my own safety,\" says fnnch.\u003c/p>\n\u003cp>He had upset the graffiti hierarchy.\u003c/p>\n\u003cp>\u003cstrong>Playing By The Rules\u003c/strong>\u003c/p>\n\u003cp>Of the three groups, graffiti writers have the most structured hierarchy about what is OK and what is not OK to cover with new art.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>Know Your Graffiti Vocab\u003c/h2>\n\u003cp>\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/d2hgKsrOvkk'\n title='//www.youtube.com/embed/d2hgKsrOvkk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003c/aside>\n\u003cp>\"Certain things can go over certain things, and writers understand that because it's pretty much basics in graffiti,\" says a San Francisco tagger who goes by the name Sinatra.\u003c/p>\n\u003cul>\n\u003cli class=\"p1\">\u003cstrong>Tag:\u003c/strong> At the bottom of the totem pole, tags are usually single-color signatures.\u003c/li>\n\u003cli class=\"p1\">\u003cstrong>Throw-up: \u003c/strong>A quickly drawn name in big bubble letters.\u003c/li>\n\u003cli class=\"p1\">\u003cstrong>Piece:\u003c/strong> Not as quick to execute as a throw-up. A piece will have cleaner lines and more detailed fill within the letters.\u003c/li>\n\u003cli class=\"p1\">\u003cstrong>Burner: \u003c/strong>The most respected type of work among graffiti writers. This art is a display of the best work a graffiti writer can do.\u003c/li>\n\u003c/ul>\n\u003cp>Generally, as long as what goes on top is bigger and more intricate, the community hums along.\u003c/p>\n\u003cp>But when someone upsets that hierarchy -- by putting a tag over a throw-up, or even a tag on top of another tag -- it's a sign of disrespect that could end in a fight, or ongoing efforts to destroy someone's work.\u003c/p>\n\u003cp>So what about fnnch's honey bears? Where do they fit into the hierarchy?\u003c/p>\n\u003caside class=\"alignleft\">\u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">\u003cimg style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2015/04/20/baycurious.png\" alt=\"\">\u003c/a>\u003cbr>\nWhat do you wonder about the Bay Area, its culture or people that you want KQED to investigate? \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\n\u003cp>\"I thought taggers would be fine with me painting over their tags because I thought what I was doing would be considered a piece,\" fnnch says. \"But what I came to learn is graffiti people don't view the street art people as being anywhere on the hierarchy.\"\u003c/p>\n\u003cp>I asked Sinatra what he thinks when a street artist puts his or her work on top of his tag.\u003c/p>\n\u003cp>\"That's beef. That's bad,\" Sinatra says. \"Every time I see that stencil, I'm going to put my name over it.\"\u003c/p>\n\u003cp>Alhough street artists and graffiti writers use similar materials and are competing for the same space, they aren't playing the same game. The rules are different.\u003c/p>\n\u003cfigure id=\"attachment_10530908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15208_IMG_5843-qut.jpg\">\u003cimg class=\"size-medium wp-image-10530908\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-800x533.jpg\" alt=\"A graffiti writer tags on top of a piece of street art. (Jeremy Raff/KQED)\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A graffiti writer tags on top of a piece of street art. (Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Above Them All? Murals\u003c/strong>\u003c/p>\n\u003cp>So if each group is abiding by its own etiquette, why are murals often left alone by graffiti writers and street artists?\u003c/p>\n\u003cp>To put it simply, muralists are the most respected within the larger community. Many of them came out of graffiti writing or street art and now command the respect of their peers.\u003c/p>\n\u003cp>Still, murals are certainly not immune to being painted on. Work done by outside artists, or those who have done a lot of corporate work, are often targeted by taggers.\u003c/p>\n\u003cp>And because Clarion Alley attracts so many visitors, it's become a high-profile location for taggers to make their mark.\u003c/p>\n\u003cp>Sinatra points to the background of one mural, where taggers have squeezed their tags into the negative space between the detailed brushwork.\u003c/p>\n\u003cp>\"It’s not exactly on the mural. But it’s just off to the side. It’s just like free space. They can paint over that easily,\" he says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>To Sinatra, a tag on the artwork itself would be an affront, but a tag on the solid-colored background or side of the mural? Fair game.\u003c/p>\n\u003cp>\"If I go over a mural, it's not because I don't like you. It's not because I'm trying to disrespect you,\" Sinatra says. \"It's because I like that spot. I want my name on that spot. You just happen to be in the way.\"\u003c/p>\n\u003cp>Remember Megan Wilson, who leads the group that oversees the murals on Clarion Alley? She doesn't quite see it that way. When artists from \u003cem>any\u003c/em> of the three groups paint without permission, it's not cool to her.\u003c/p>\n\u003cp>\"It's like, 'Why are you doing this to other artists? You think you're badass? Go out and do this on a bank. Go do this on some really lame corporation,' \" she says.\u003c/p>\n\u003cp>To her, the etiquette is dead simple.\u003c/p>\n\u003cp>\"It's not a matter of, oh there's some sort of code we go by. The code is just respect,\" she says. \"You respect the artist. You respect the work. You respect one another.\"\u003c/p>\n\u003cp>To keep the alley looking its best, Wilson and other volunteers are out there every week repairing the murals.\u003c/p>\n\u003cp>That may be why so many visitors -- like Rebecca, who asked this week's Bay Curious question -- can enjoy the art unobscured.\u003c/p>\n\u003cp>\u003cem>Got a question you want KQED’s Bay Curious team to investigate? \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">Ask!\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "Between Homelands | The California Report | KQED News",
"content": "\u003cp>\u003cem>“Between Homelands” is a series produced in partnership with students from USC Annenberg’s School for Communication and Journalism. They’re bringing us stories of people living in California who have come from afar, or who were born in the U.S. but feel like cultural foreigners.\u003c/em>\u003c/p>\n\u003cp>When Cindi Alvitre walks across the parking lot at California State University, Long Beach, she sees the asphalt, the buildings and the rows of cars. But she also sees something else. In her mind’s eye, she sees \u003ca href=\"https://www.youtube.com/watch?v=d6mXuBnmTms\" target=\"_blank\">Puvungna\u003c/a>, the sprawling tribal territory overlooking the Pacific Ocean that was once home to \u003ca href=\"http://www.tongvapeople.org/\" target=\"_blank\">Tongva \u003c/a>people.\u003c/p>\n\u003cp>\"When I walk around, I live in two worlds,” says Alvitre. “The other one is a constant conversation with nature and with the ancestors.\"\u003c/p>\n\u003cp>Alvitre’s ancestors were the dominant culture here until the Spanish conquest. In fact, the entire Los Angeles basin and beyond -- from the hills of downtown L.A. to the beaches of Catalina Island -- is the ancestral homeland of the Tongva.\u003c/p>\n\u003cp>Today, Alvitre is one of fewer than 2,000 remaining Tongvan descendants. The tribe is still seeking federal recognition. And in a region that’s been home for millennia, some contemporary Tongva struggle to find their place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/205685563\" 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>For those who are struggling, Alvitre, 60, is a pillar of cultural strength, helping them to connect with their indigenous roots. She talks about how the Tongva were ocean people, living in huts by the beach, wearing grass skirts and shells, and diving for abalone. And when she needs to reconnect, she goes to the ocean.\u003c/p>\n\u003cp>“Nature is a comfort zone,” she says. “To sit on a rock, out at the end of the jetty, to go in the water, to watch the seals and the sea lions … [it’s healing] just to be back in the natural world.\"\u003c/p>\n\u003cp>Alvitre traces her sense of connection back to her father. He filled her childhood with stories of the past. On car rides through Southern California, he would point out Tongva burial sites and former villages, or spots where her Indian grandfather once foraged for medicinal plants.\u003c/p>\n\u003cp>“I was always told, ‘This is your home. Your ancestors are from this home, and this is where they are buried,’ ” she says, remembering hikes with her dad. “When he walked through there, he would tell us, ‘Shh, don’t talk loud. This is a sacred place.’ ”\u003c/p>\n\u003cfigure id=\"attachment_10527442\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10527442\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/TiatSociety-800x523.jpg\" alt=\"A display at the Ti'at Society Artist Collective.\" width=\"800\" height=\"523\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-800x523.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-400x261.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-1440x941.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-1180x771.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-960x628.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A display at the Ti'at Society Artist Collective. \u003ccite>(Stephanie Case/USC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s how the beach sand and the grassy hills -- and even the land under L.A. high-rises and strip malls -- became embedded with ancestral meaning.\u003c/p>\n\u003cp>Alvitre took this knowledge into her life’s work. She is a professor of \u003ca href=\"http://www.cla.csulb.edu/departments/americanindianstudies/\">American Indian Studies\u003c/a> at Cal State University, Long Beach. And she was the first female chair of the Gabrieleno/Tongva Tribal Council.\u003c/p>\n\u003cp>One night, nearly 30 years ago, her ancestors came to her in a dream.\u003c/p>\n\u003cp>In the dream, a massive Tongvan warrior emerged from the mounds of the Saddleback Mountains. Beneath the mountains, a lake formed. Native Americans paddled across the lake in wooden canoes while speaking to each other in the Tongva language.\u003c/p>\n\u003cp>As soon as the rowers found their cadence, paddling in synchronicity, the warrior’s eyes opened, the mountains parted and the canoes set forth onto the ocean, toward Catalina Island.\u003c/p>\n\u003cp>“It was this amazing vision of mountains that I grew up around in Orange County, but here [are] these boats I’ve never seen,” says Alvitre.\u003c/p>\n\u003cp>Two weeks later, she got a call from Jim Noyes of the California Indigenous Maritime Association. He asked if she’d be interested in reviving her tribe’s naval culture by building a \u003cem>ti’at\u003c/em> -- a traditional Tongvan canoe.\u003c/p>\n\u003cp>“He described the boat in my dreams,” Alvitre says. “I was really blown away.”\u003c/p>\n\u003cp>Noyes and Alvitre joined forces then to start the \u003ca href=\"http://www.cla.csulb.edu/departments/americanindianstudies/marcus-lopez-tiat-restoration-orientation/\" target=\"_blank\">Ti’at Society\u003c/a>. The group built Moomat Ahiko (Tongvan for “Breath of the Ocean”) -– the first and only modern \u003cem>ti’at\u003c/em> in Southern California.\u003c/p>\n\u003cfigure id=\"attachment_10526216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Case-5-of-6.jpg\">\u003cimg class=\"wp-image-10526216 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Case-5-of-6-800x600.jpg\" alt=\"The ti'at Moomat Ahiko, gleaming after a new coat of paint, was featured at the pow wow.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The ti'at Moomat Ahiko, gleaming after a new coat of paint, was featured at the pow wow. \u003ccite>(Stephanie Case/USC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This spring, after more than two decades of use, Moomat Ahiko underwent repairs. At Cal State, Long Beach -- the former site of the village of Puvungna -- Ti’at Society members met every Sunday to restore the boat. They fixed leaks, gave it a chestnut-colored stain and painted a red ochre around its glittering abalone accents.\u003c/p>\n\u003cp>Alvitre and her group displayed the new and improved \u003cem>ti’at\u003c/em> at the \u003ca href=\"http://web.csulb.edu/divisions/students/sld/american_indian_services/pow_wow/\">45\u003csup>th\u003c/sup> Annual Cal State Puvugna Pow Wow\u003c/a> in March. Moomat Ahiko was a focal point amid the singers, drum circles and throngs of dancers dressed in the regalia of many tribes.\u003c/p>\n\u003cp>The next destination for Moomat Ahiko is the ocean. Members of the Ti’at Society plan to return the boat to the water in a ceremony this summer.\u003c/p>\n\u003cp>The ceremony will allow more Tongva to connect with the ocean -- and with their heritage. For Alvitre, that connection is so key to her identity that Moomat Ahiko is tattooed on her arm. Through immersing herself in Tongvan maritime culture, she’s unlocked a passion that feels like home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is my life,” says Alvitre. “This is the language I feel comfortable speaking.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>“Between Homelands” is a series produced in partnership with students from USC Annenberg’s School for Communication and Journalism. They’re bringing us stories of people living in California who have come from afar, or who were born in the U.S. but feel like cultural foreigners.\u003c/em>\u003c/p>\n\u003cp>When Cindi Alvitre walks across the parking lot at California State University, Long Beach, she sees the asphalt, the buildings and the rows of cars. But she also sees something else. In her mind’s eye, she sees \u003ca href=\"https://www.youtube.com/watch?v=d6mXuBnmTms\" target=\"_blank\">Puvungna\u003c/a>, the sprawling tribal territory overlooking the Pacific Ocean that was once home to \u003ca href=\"http://www.tongvapeople.org/\" target=\"_blank\">Tongva \u003c/a>people.\u003c/p>\n\u003cp>\"When I walk around, I live in two worlds,” says Alvitre. “The other one is a constant conversation with nature and with the ancestors.\"\u003c/p>\n\u003cp>Alvitre’s ancestors were the dominant culture here until the Spanish conquest. In fact, the entire Los Angeles basin and beyond -- from the hills of downtown L.A. to the beaches of Catalina Island -- is the ancestral homeland of the Tongva.\u003c/p>\n\u003cp>Today, Alvitre is one of fewer than 2,000 remaining Tongvan descendants. The tribe is still seeking federal recognition. And in a region that’s been home for millennia, some contemporary Tongva struggle to find their place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\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/205685563&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/205685563'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>For those who are struggling, Alvitre, 60, is a pillar of cultural strength, helping them to connect with their indigenous roots. She talks about how the Tongva were ocean people, living in huts by the beach, wearing grass skirts and shells, and diving for abalone. And when she needs to reconnect, she goes to the ocean.\u003c/p>\n\u003cp>“Nature is a comfort zone,” she says. “To sit on a rock, out at the end of the jetty, to go in the water, to watch the seals and the sea lions … [it’s healing] just to be back in the natural world.\"\u003c/p>\n\u003cp>Alvitre traces her sense of connection back to her father. He filled her childhood with stories of the past. On car rides through Southern California, he would point out Tongva burial sites and former villages, or spots where her Indian grandfather once foraged for medicinal plants.\u003c/p>\n\u003cp>“I was always told, ‘This is your home. Your ancestors are from this home, and this is where they are buried,’ ” she says, remembering hikes with her dad. “When he walked through there, he would tell us, ‘Shh, don’t talk loud. This is a sacred place.’ ”\u003c/p>\n\u003cfigure id=\"attachment_10527442\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10527442\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/TiatSociety-800x523.jpg\" alt=\"A display at the Ti'at Society Artist Collective.\" width=\"800\" height=\"523\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-800x523.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-400x261.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-1440x941.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-1180x771.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-960x628.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A display at the Ti'at Society Artist Collective. \u003ccite>(Stephanie Case/USC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s how the beach sand and the grassy hills -- and even the land under L.A. high-rises and strip malls -- became embedded with ancestral meaning.\u003c/p>\n\u003cp>Alvitre took this knowledge into her life’s work. She is a professor of \u003ca href=\"http://www.cla.csulb.edu/departments/americanindianstudies/\">American Indian Studies\u003c/a> at Cal State University, Long Beach. And she was the first female chair of the Gabrieleno/Tongva Tribal Council.\u003c/p>\n\u003cp>One night, nearly 30 years ago, her ancestors came to her in a dream.\u003c/p>\n\u003cp>In the dream, a massive Tongvan warrior emerged from the mounds of the Saddleback Mountains. Beneath the mountains, a lake formed. Native Americans paddled across the lake in wooden canoes while speaking to each other in the Tongva language.\u003c/p>\n\u003cp>As soon as the rowers found their cadence, paddling in synchronicity, the warrior’s eyes opened, the mountains parted and the canoes set forth onto the ocean, toward Catalina Island.\u003c/p>\n\u003cp>“It was this amazing vision of mountains that I grew up around in Orange County, but here [are] these boats I’ve never seen,” says Alvitre.\u003c/p>\n\u003cp>Two weeks later, she got a call from Jim Noyes of the California Indigenous Maritime Association. He asked if she’d be interested in reviving her tribe’s naval culture by building a \u003cem>ti’at\u003c/em> -- a traditional Tongvan canoe.\u003c/p>\n\u003cp>“He described the boat in my dreams,” Alvitre says. “I was really blown away.”\u003c/p>\n\u003cp>Noyes and Alvitre joined forces then to start the \u003ca href=\"http://www.cla.csulb.edu/departments/americanindianstudies/marcus-lopez-tiat-restoration-orientation/\" target=\"_blank\">Ti’at Society\u003c/a>. The group built Moomat Ahiko (Tongvan for “Breath of the Ocean”) -– the first and only modern \u003cem>ti’at\u003c/em> in Southern California.\u003c/p>\n\u003cfigure id=\"attachment_10526216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Case-5-of-6.jpg\">\u003cimg class=\"wp-image-10526216 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Case-5-of-6-800x600.jpg\" alt=\"The ti'at Moomat Ahiko, gleaming after a new coat of paint, was featured at the pow wow.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The ti'at Moomat Ahiko, gleaming after a new coat of paint, was featured at the pow wow. \u003ccite>(Stephanie Case/USC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This spring, after more than two decades of use, Moomat Ahiko underwent repairs. At Cal State, Long Beach -- the former site of the village of Puvungna -- Ti’at Society members met every Sunday to restore the boat. They fixed leaks, gave it a chestnut-colored stain and painted a red ochre around its glittering abalone accents.\u003c/p>\n\u003cp>Alvitre and her group displayed the new and improved \u003cem>ti’at\u003c/em> at the \u003ca href=\"http://web.csulb.edu/divisions/students/sld/american_indian_services/pow_wow/\">45\u003csup>th\u003c/sup> Annual Cal State Puvugna Pow Wow\u003c/a> in March. Moomat Ahiko was a focal point amid the singers, drum circles and throngs of dancers dressed in the regalia of many tribes.\u003c/p>\n\u003cp>The next destination for Moomat Ahiko is the ocean. Members of the Ti’at Society plan to return the boat to the water in a ceremony this summer.\u003c/p>\n\u003cp>The ceremony will allow more Tongva to connect with the ocean -- and with their heritage. For Alvitre, that connection is so key to her identity that Moomat Ahiko is tattooed on her arm. Through immersing herself in Tongvan maritime culture, she’s unlocked a passion that feels like home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is my life,” says Alvitre. “This is the language I feel comfortable speaking.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>B.B. King, the 89-year-old legend of the blues, \u003ca href=\"http://variety.com/2015/music/news/blues-legend-b-b-king-dies-at-89-1201496991/\" target=\"_blank\" rel=\"noopener\">has died\u003c/a>.\u003c/p>\n\u003cp>The 89-year-old guitarist had been in hospice care since May 1, having reportedly been in poor health for many months previously. \u003c/p>\n\u003cp>And though his natural touch on the fretboard of “Lucille” has left this Earth, there’s one B.B. King moment that’ll live forever.\u003c/p>\n\u003cp>Cue the 1964 recording of \u003cem>Live at the Regal\u003c/em>, perhaps the greatest live blues album ever made. B.B. King, in top form, launches into the track “How Blue Can You Get?” — and brings the house down mid-song, at around 2:35.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Pq-o9hr4vy0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I gave you a brand new Ford,” King sings, “but you said ‘I want a Cadillac’ / I bought you a ten-dollar dinner, and you said ‘Thanks for the snack’ / I let you live in my penthouse, you said it was just a shack.”\u003c/p>\n\u003cp>And then the almighty kicker: “I gave you seven children, and now you wanna give ’em back!”\u003c/p>\n\u003cp>On the recording, the crowd goes utterly wild. And no wonder — who else was addressing such wreckage of love in popular song at the time? (Certainly not the early Beatles, whose fluffy “I Want to Hold Your Hand” was the \u003ca href=\"http://en.wikipedia.org/wiki/List_of_Billboard_Hot_100_number-one_singles_of_1964\" target=\"_blank\" rel=\"noopener\">No. 1 hit song of 1964\u003c/a>.)\u003c/p>\n\u003cp>“How Blue Can You Get?” enjoyed a mild revival in the 1990s, as a sample in the Primitive Radio Gods’ one-hit-wonder “\u003ca href=\"https://www.youtube.com/watch?v=4XJxFAoiWSY\" target=\"blank\" rel=\"noopener\">Standing Outside a Broken Phone Booth with Money in My Hand\u003c/a>” — but to B.B. King fans, it remains his crowning moment in a live setting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>B.B. King, whose contributions to the blues can hardly be overstated, leaves behind not seven children, as stated in the song, but a total of 15 children — by no less than 15 different women, \u003ca href=\"http://mobile.nytimes.com/2015/05/16/arts/music/b-b-king-blues-singer-dies-at-89.html?_r=0&referrer=\" target=\"_blank\" rel=\"noopener\">according to the \u003cem>New York Times\u003c/em>\u003c/a>. (No wonder, then, that the alimony- and child support-beholden artist routinely played 200-300 shows each year.)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I gave you a brand new Ford,” King sings, “but you said ‘I want a Cadillac’ / I bought you a ten-dollar dinner, and you said ‘Thanks for the snack’ / I let you live in my penthouse, you said it was just a shack.”\u003c/p>\n\u003cp>And then the almighty kicker: “I gave you seven children, and now you wanna give ’em back!”\u003c/p>\n\u003cp>On the recording, the crowd goes utterly wild. And no wonder — who else was addressing such wreckage of love in popular song at the time? (Certainly not the early Beatles, whose fluffy “I Want to Hold Your Hand” was the \u003ca href=\"http://en.wikipedia.org/wiki/List_of_Billboard_Hot_100_number-one_singles_of_1964\" target=\"_blank\" rel=\"noopener\">No. 1 hit song of 1964\u003c/a>.)\u003c/p>\n\u003cp>“How Blue Can You Get?” enjoyed a mild revival in the 1990s, as a sample in the Primitive Radio Gods’ one-hit-wonder “\u003ca href=\"https://www.youtube.com/watch?v=4XJxFAoiWSY\" target=\"blank\" rel=\"noopener\">Standing Outside a Broken Phone Booth with Money in My Hand\u003c/a>” — but to B.B. King fans, it remains his crowning moment in a live setting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>B.B. King, whose contributions to the blues can hardly be overstated, leaves behind not seven children, as stated in the song, but a total of 15 children — by no less than 15 different women, \u003ca href=\"http://mobile.nytimes.com/2015/05/16/arts/music/b-b-king-blues-singer-dies-at-89.html?_r=0&referrer=\" target=\"_blank\" rel=\"noopener\">according to the \u003cem>New York Times\u003c/em>\u003c/a>. (No wonder, then, that the alimony- and child support-beholden artist routinely played 200-300 shows each year.)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New Plan for Presidio Park Includes Ideal Spot for Star-Gazing",
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"content": "\u003cp>The Presidio Trust, the federal corporation in charge of San Francisco’s Presidio, released its latest plan for a major waterfront park project Wednesday, taking one more step towards a 2018 completion date.\u003c/p>\n\u003cp>The new \u003ca href=\"http://newpresidioparklands.org/wp-content/uploads/2015/03/11x17-pdfs-REDUCED.pdf\" target=\"_blank\" rel=\"noopener\">proposed conceptual design\u003c/a> for the Presidio Parklands Project shows where all the paths through the park will run and the panoramic views to which visitors will be treated when the project is finished.\u003c/p>\n\u003cp>One of the key features of the latest round of plans is a reworking of the design for the site’s communal meeting place, known as a “Zocalo.” The reworked design now includes a fire pit for such activities as late night talks by park employees and star-gazing. With its 360-degree view that will include the San Francisco Bay, the city and the redeveloped Presidio park, Trust representatives predict the Zocalo will be popular with the public.\u003c/p>\n\u003cp>“We’ve created a place for the community where they would want to hang out,” Michael Boland, chief of planning, projects and programming for the Presidio Trust, says.\u003c/p>\n\u003cfigure id=\"attachment_10656929\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10656929\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image.jpg\" alt=\"A drawing of the Presidio's Zocalo (Courtesy of the Presidio Trust)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A drawing of the Presidio’s Zocalo (Courtesy of the Presidio Trust)\u003c/figcaption>\u003c/figure>\n\u003cp>The Zocalo looks like it might be an ideal spot for weddings and parties, but Boland says the space will not be made available for private events.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“So many people are going to be at the park, we don’t feel like we can really close off pieces of it from the public,” Boland says.\u003c/p>\n\u003cp>The release of the conceptual design comes the day before the project’s third public feedback meeting, which takes place Thursday evening at the Presidio Observation Post. The project has scheduled through the end of July a total of five meetings for residents to provide their input.\u003c/p>\n\u003cp>Boland says that this project is generating more public feedback than any project he has ever witnessed to date.\u003c/p>\n\u003cp>“We wanted to have the public deeply involved in the project because we wanted it to be relevant to a broad cross-section of people in our community,” Boland says. “The only way you can make that happen is to actually talk to them.”\u003c/p>\n\u003cfigure id=\"attachment_10656927\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10656927\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2.jpg\" alt=\"Another view of the Presidio's proposed Learning Center (Courtesy of the Presidio Trust)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Another view of the Presidio’s proposed Learning Center (Courtesy of the Presidio Trust)\u003c/figcaption>\u003c/figure>\n\u003cp>All this input has been beneficial for the design, Boland says.\u003c/p>\n\u003cp>The Presidio project architect firm, \u003ca href=\"http://newpresidioparklands.org/the-teams/james-corner-field-operations/\" target=\"_blank\" rel=\"noopener\">James Corner Field Operations,\u003c/a> incorporated an extensive public feedback process when the firm worked on New York City’s beloved High Line park, which was built on an elevated, disused section of the New York Central Railroad system.\u003c/p>\n\u003cp>And the firm is taking feedback on the Presidio development equally seriously. So far, notes from the Bay Area community have lead to such changes to park plans as reducing the amount of grass and incorporating an installation honoring the Presidio’s military past.\u003c/p>\n\u003cp>After Thursday night’s \u003ca href=\"http://www.presidio.gov/Calendar/Pages/Public-Board-Meeting-and-Presentation---Conceptual-Design-May-14.aspx\" target=\"_blank\" rel=\"noopener\">public board meeting\u003c/a>, The Presidio’s field operations team will start to explore the design in more depth. They will work out such details as the exact measurements of pathways and structures, and estimated total construction costs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though Boland was unable to provide a potential price tag for the project Thursday, the Trust has given itself a fundraising goal of $49 million, $35 million of which has already been raised.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Presidio Trust, the federal corporation in charge of San Francisco’s Presidio, released its latest plan for a major waterfront park project Wednesday, taking one more step towards a 2018 completion date.\u003c/p>\n\u003cp>The new \u003ca href=\"http://newpresidioparklands.org/wp-content/uploads/2015/03/11x17-pdfs-REDUCED.pdf\" target=\"_blank\" rel=\"noopener\">proposed conceptual design\u003c/a> for the Presidio Parklands Project shows where all the paths through the park will run and the panoramic views to which visitors will be treated when the project is finished.\u003c/p>\n\u003cp>One of the key features of the latest round of plans is a reworking of the design for the site’s communal meeting place, known as a “Zocalo.” The reworked design now includes a fire pit for such activities as late night talks by park employees and star-gazing. With its 360-degree view that will include the San Francisco Bay, the city and the redeveloped Presidio park, Trust representatives predict the Zocalo will be popular with the public.\u003c/p>\n\u003cp>“We’ve created a place for the community where they would want to hang out,” Michael Boland, chief of planning, projects and programming for the Presidio Trust, says.\u003c/p>\n\u003cfigure id=\"attachment_10656929\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10656929\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image.jpg\" alt=\"A drawing of the Presidio's Zocalo (Courtesy of the Presidio Trust)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A drawing of the Presidio’s Zocalo (Courtesy of the Presidio Trust)\u003c/figcaption>\u003c/figure>\n\u003cp>The Zocalo looks like it might be an ideal spot for weddings and parties, but Boland says the space will not be made available for private events.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“So many people are going to be at the park, we don’t feel like we can really close off pieces of it from the public,” Boland says.\u003c/p>\n\u003cp>The release of the conceptual design comes the day before the project’s third public feedback meeting, which takes place Thursday evening at the Presidio Observation Post. The project has scheduled through the end of July a total of five meetings for residents to provide their input.\u003c/p>\n\u003cp>Boland says that this project is generating more public feedback than any project he has ever witnessed to date.\u003c/p>\n\u003cp>“We wanted to have the public deeply involved in the project because we wanted it to be relevant to a broad cross-section of people in our community,” Boland says. “The only way you can make that happen is to actually talk to them.”\u003c/p>\n\u003cfigure id=\"attachment_10656927\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10656927\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2.jpg\" alt=\"Another view of the Presidio's proposed Learning Center (Courtesy of the Presidio Trust)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Another view of the Presidio’s proposed Learning Center (Courtesy of the Presidio Trust)\u003c/figcaption>\u003c/figure>\n\u003cp>All this input has been beneficial for the design, Boland says.\u003c/p>\n\u003cp>The Presidio project architect firm, \u003ca href=\"http://newpresidioparklands.org/the-teams/james-corner-field-operations/\" target=\"_blank\" rel=\"noopener\">James Corner Field Operations,\u003c/a> incorporated an extensive public feedback process when the firm worked on New York City’s beloved High Line park, which was built on an elevated, disused section of the New York Central Railroad system.\u003c/p>\n\u003cp>And the firm is taking feedback on the Presidio development equally seriously. So far, notes from the Bay Area community have lead to such changes to park plans as reducing the amount of grass and incorporating an installation honoring the Presidio’s military past.\u003c/p>\n\u003cp>After Thursday night’s \u003ca href=\"http://www.presidio.gov/Calendar/Pages/Public-Board-Meeting-and-Presentation---Conceptual-Design-May-14.aspx\" target=\"_blank\" rel=\"noopener\">public board meeting\u003c/a>, The Presidio’s field operations team will start to explore the design in more depth. They will work out such details as the exact measurements of pathways and structures, and estimated total construction costs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though Boland was unable to provide a potential price tag for the project Thursday, the Trust has given itself a fundraising goal of $49 million, $35 million of which has already been raised.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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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",
"officialWebsiteLink": "https://www.cityarts.net/",
"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": {
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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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"source": "kqed",
"order": 1
},
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"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": {
"site": "radio",
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},
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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": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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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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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"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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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"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",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"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/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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