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"content": "\u003cp>In 2001, during a flight in the tiny Cessna he’d chartered, photographer \u003ca href=\"http://davidmaisel.com\" target=\"_blank\" rel=\"noopener\">David Maisel\u003c/a> felt his fingers grow so numb from the cold that he began to lose dexterity operating his medium-format camera. When Maisel told the pilot, the man laughed. It’s not the cold, the pilot explained, it’s your brain. \u003c/p>\n\u003cp>[contextly_auto_sidebar id=”umUhcWIaUnJ6tPVb6f8FEvqgMJdx9GSf”]\u003c/p>\n\u003cp>The pilot had soared up to 10,000 feet, circling and banking the plane for hours at a time, and Maisel’s brain was indeed starved of oxygen. Loss of dexterity, extreme cold and heat, and cramped conditions are all challenges the photographer must endure as he uses altitude to compose his stunning images. \u003c/p>\n\u003cp>“Shooting from the air gives me a perspective that’s not usual. It also allows for gathering information that you ordinarily wouldn’t be able to see,” Maisel said. “It also allows for a graphic intensity to the images. When you’re removing the sky and most sense of scale from the frame, the images become abstract.”\u003c/p>\n\u003cp>The results from that day’s flight, titled \u003ca href=\"http://davidmaisel.com/portfolio-item/the-lake-project/#1\" target=\"_blank\" rel=\"noopener\">The Lake Project\u003c/a>, are a series of surreal and otherworldly pictures of salt flats that are all that remain of what was once California’s biggest natural lake. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For more than three decades, David Maisel has been making aerial photographs of Western lands that have suffered “traumatic” interventions by human beings. These include \u003ca href=\"http://davidmaisel.com/portfolio-item/american-mine/#1\" target=\"_blank\" rel=\"noopener\">open pit mines\u003c/a>, large swaths of \u003ca href=\"http://davidmaisel.com/portfolio-item/the-forest/#1\" target=\"_blank\" rel=\"noopener\">clear-cut forests\u003c/a> and \u003ca href=\"http://davidmaisel.com/portfolio-item/oblivion/#1\" target=\"_blank\" rel=\"noopener\">over-developed urban areas\u003c/a>.\u003c/p>\n\u003cp>“I don’t consider myself an environmental photographer,” Maisel said. “I don’t even consider myself a landscape photographer…the pictures are a starting point to seeing how traumatic these sites are and how natural resource collection is incredibly damaging.” \u003c/p>\n\u003cp>In May, the KQED Arts crew hit the road to follow the Marin County- based photographer as he returned to Owens Lake, located on the eastern side of the Sierra Nevada, about 200 miles north of Los Angeles. In 1913 the City of Los Angeles diverted the Owens River, the sole source of water to the lake, to flow into the newly constructed L.A. Aqueduct. Within ten years, the lake had completely dried up, exposing the soils and minerals to high winds, creating toxic dust storms. \u003c/p>\n\u003caside class=\"pullquote alignright\">\nShooting from the air gives me a perspective that’s not usual… When you’re removing the sky and most sense of scale from the frame, the images become abstract.\u003cbr>\n\u003ccite>David Maisel\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>The Los Angeles Department of Water and Power has tried over the years to keep down the dust by irrigating the lake, covering it with gravel, and planting vegetation to recreate natural habitat. The massive engineering project has changed the way Owens Lake appears from outer space, providing incredible shapes, forms and colors that fascinate Maisel. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maisel’s next series is focused on Dugway Proving Ground in Utah, a military site larger than the state of Rhode Island, where the U.S. government tests and develops defense systems against chemical and biological weapons. It took him more than a decade to obtain permission from the U.S. military to photograph the site from both the ground and the air. Maisel plans to include the Dugway images, along with his latest Owens Lake photographs, in a new exhibition opening Jan. 7, 2016 at \u003ca href=\"http://www.hainesgallery.com\" target=\"_blank\" rel=\"noopener\">the Haines Gallery\u003c/a> in San Francisco.\u003c/p>\n\n",
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"excerpt": "David Maisel’s unique perspective exposes us to hidden landscapes. As seen from the air, the brilliant colors and forms created by chemicals leaching into water, salt-seeking bacteria and industrial development are astounding. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2001, during a flight in the tiny Cessna he’d chartered, photographer \u003ca href=\"http://davidmaisel.com\" target=\"_blank\" rel=\"noopener\">David Maisel\u003c/a> felt his fingers grow so numb from the cold that he began to lose dexterity operating his medium-format camera. When Maisel told the pilot, the man laughed. It’s not the cold, the pilot explained, it’s your brain. \u003c/p>\n\u003cp>[contextly_auto_sidebar id=”umUhcWIaUnJ6tPVb6f8FEvqgMJdx9GSf”]\u003c/p>\n\u003cp>The pilot had soared up to 10,000 feet, circling and banking the plane for hours at a time, and Maisel’s brain was indeed starved of oxygen. Loss of dexterity, extreme cold and heat, and cramped conditions are all challenges the photographer must endure as he uses altitude to compose his stunning images. \u003c/p>\n\u003cp>“Shooting from the air gives me a perspective that’s not usual. It also allows for gathering information that you ordinarily wouldn’t be able to see,” Maisel said. “It also allows for a graphic intensity to the images. When you’re removing the sky and most sense of scale from the frame, the images become abstract.”\u003c/p>\n\u003cp>The results from that day’s flight, titled \u003ca href=\"http://davidmaisel.com/portfolio-item/the-lake-project/#1\" target=\"_blank\" rel=\"noopener\">The Lake Project\u003c/a>, are a series of surreal and otherworldly pictures of salt flats that are all that remain of what was once California’s biggest natural lake. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For more than three decades, David Maisel has been making aerial photographs of Western lands that have suffered “traumatic” interventions by human beings. These include \u003ca href=\"http://davidmaisel.com/portfolio-item/american-mine/#1\" target=\"_blank\" rel=\"noopener\">open pit mines\u003c/a>, large swaths of \u003ca href=\"http://davidmaisel.com/portfolio-item/the-forest/#1\" target=\"_blank\" rel=\"noopener\">clear-cut forests\u003c/a> and \u003ca href=\"http://davidmaisel.com/portfolio-item/oblivion/#1\" target=\"_blank\" rel=\"noopener\">over-developed urban areas\u003c/a>.\u003c/p>\n\u003cp>“I don’t consider myself an environmental photographer,” Maisel said. “I don’t even consider myself a landscape photographer…the pictures are a starting point to seeing how traumatic these sites are and how natural resource collection is incredibly damaging.” \u003c/p>\n\u003cp>In May, the KQED Arts crew hit the road to follow the Marin County- based photographer as he returned to Owens Lake, located on the eastern side of the Sierra Nevada, about 200 miles north of Los Angeles. In 1913 the City of Los Angeles diverted the Owens River, the sole source of water to the lake, to flow into the newly constructed L.A. Aqueduct. Within ten years, the lake had completely dried up, exposing the soils and minerals to high winds, creating toxic dust storms. \u003c/p>\n\u003caside class=\"pullquote alignright\">\nShooting from the air gives me a perspective that’s not usual… When you’re removing the sky and most sense of scale from the frame, the images become abstract.\u003cbr>\n\u003ccite>David Maisel\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>The Los Angeles Department of Water and Power has tried over the years to keep down the dust by irrigating the lake, covering it with gravel, and planting vegetation to recreate natural habitat. The massive engineering project has changed the way Owens Lake appears from outer space, providing incredible shapes, forms and colors that fascinate Maisel. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maisel’s next series is focused on Dugway Proving Ground in Utah, a military site larger than the state of Rhode Island, where the U.S. government tests and develops defense systems against chemical and biological weapons. It took him more than a decade to obtain permission from the U.S. military to photograph the site from both the ground and the air. Maisel plans to include the Dugway images, along with his latest Owens Lake photographs, in a new exhibition opening Jan. 7, 2016 at \u003ca href=\"http://www.hainesgallery.com\" target=\"_blank\" rel=\"noopener\">the Haines Gallery\u003c/a> in San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Cosby Revelation: How a Decade-Old Deposition Came to Light",
"headTitle": "The Cosby Revelation: How a Decade-Old Deposition Came to Light | KQED",
"content": "\u003cp>On Monday, a decade-old deposition became the talk of the nation.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/06/420652103/report-cosby-admitted-giving-woman-sedative-quaaludes\" target=\"_blank\" rel=\"noopener\">As we reported\u003c/a>, in it comedian Bill Cosby admits that he gave sedatives to at least one woman whom he wanted to have sex with.\u003c/p>\n\u003cp>The deposition was given by Cosby during the discovery phase of a civil lawsuit against the comedian. At the time, the judge presiding over the case sealed the records of the case while lawyers from both sides gathered evidence. While that was going on the two parties came to a settlement, signed a confidentiality agreement and the temporary seal — and the case for that matter — was forgotten.\u003c/p>\n\u003cp>So, how and why did this deposition become public now?\u003c/p>\n\u003cp>The simple answer is that after accusations of sexual assault re-emerged against Cosby, the Associated Press asked the court to unseal the documents and the court agreed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Legally it’s more interesting. U.S. District Judge Eduardo Robreno \u003ca href=\"https://www.documentcloud.org/documents/2158930-cosby-order.html\" target=\"_blank\" rel=\"noopener\">issued a 25-page memo\u003c/a> outlining his reasoning. Here’s how he explains it:\u003c/p>\n\u003cp>— The \u003ca href=\"https://www.paed.uscourts.gov/documents/locrules/civil/cvrules.pdf\" target=\"_blank\" rel=\"noopener\">court’s rules\u003c/a> state that unless there is an objection, documents filed in the court will be unsealed automatically two years after the conclusion of litigation.\u003c/p>\n\u003cp>— When the AP filed a request to have the documents unsealed, Cosby’s attorneys objected, saying it would violate Cosby’s right to privacy by making public, among other things, “intimate knowledge about his sex life.” Cosby’s lawyer also argued that the release would embarrass Cosby and would violate the confidentiality agreement signed by the two parties.\u003c/p>\n\u003cp>— Robreno dismissed all those arguments.\u003c/p>\n\u003cp>— Perhaps the most intriguing part is that Robreno concluded that Cosby should be thought of as a public servant. Previous courts have held that public servants, or politicians, give up some of the privacy protections afforded to regular citizens or even public figures.\u003c/p>\n\u003cp>— So, how did Robreno make that leap? He argued that while Cosby is clearly a public figure, when he talks about issues of public policy like unwed mothers and crime, he becomes a “public moralist,” which is akin to being a public servant. Robreno writes:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q1.jpg\" alt=\"cosby-order-Q1\" width=\"553\" height=\"134\" class=\"aligncenter size-full wp-image-10824599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q1.jpg 553w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q1-400x97.jpg 400w\" sizes=\"(max-width: 553px) 100vw, 553px\">\u003c/p>\n\u003cp>Later:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q2.jpg\" alt=\"cosby-order-Q2\" width=\"552\" height=\"231\" class=\"aligncenter size-full wp-image-10824600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q2.jpg 552w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q2-400x167.jpg 400w\" sizes=\"(max-width: 552px) 100vw, 552px\">\u003c/p>\n\u003cp>— In the footnotes, Robreno specifically points out \u003ca href=\"http://www.eightcitiesmap.com/transcript_bc.htm\">Cosby’s speech\u003c/a> at the 50th anniversary commemoration of the \u003cem>Brown v. Board of Education\u003c/em>. In it, Cosby lays into the black community. Cosby said: “Ladies and gentlemen, in our cities and public schools we have 50 percent drop out. In our own neighborhood, we have men in prison. No longer is a person embarrassed because they’re pregnant without a husband. No longer is a boy considered an embarrassment if he tries to run away from being the father of the unmarried child.”\u003c/p>\n\u003cp>— The release of these documents, \u003ca href=\"https://www.documentcloud.org/documents/2158930-cosby-order.html#document/p19/a225693\">Robreno argues\u003c/a>, is therefore important for the public to weigh “the stark contrast between Bill Cosby, the public moralist and Bill Cosby, the subject of serious allegations concerning improper (and perhaps criminal) conduct …”\u003c/p>\n\u003cp>— On the embarrassment claim, the judge counters:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q3.jpg\" alt=\"cosby-order-Q3\" width=\"546\" height=\"276\" class=\"aligncenter size-full wp-image-10824601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q3.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q3-400x202.jpg 400w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003c/p>\n\u003cp>— Finally, as to the confidentiality agreement, Robreno says the two parties never filed the settlement agreement with the court, so the court has no obligation to honor it: \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q4.jpg\" alt=\"cosby-order-Q4\" width=\"547\" height=\"314\" class=\"aligncenter size-full wp-image-10824602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q4.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q4-400x230.jpg 400w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Cosby+Revelation%3A+How+A+Decade-Old+Deposition+Came+To+Light&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Monday, a decade-old deposition became the talk of the nation.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/06/420652103/report-cosby-admitted-giving-woman-sedative-quaaludes\" target=\"_blank\" rel=\"noopener\">As we reported\u003c/a>, in it comedian Bill Cosby admits that he gave sedatives to at least one woman whom he wanted to have sex with.\u003c/p>\n\u003cp>The deposition was given by Cosby during the discovery phase of a civil lawsuit against the comedian. At the time, the judge presiding over the case sealed the records of the case while lawyers from both sides gathered evidence. While that was going on the two parties came to a settlement, signed a confidentiality agreement and the temporary seal — and the case for that matter — was forgotten.\u003c/p>\n\u003cp>So, how and why did this deposition become public now?\u003c/p>\n\u003cp>The simple answer is that after accusations of sexual assault re-emerged against Cosby, the Associated Press asked the court to unseal the documents and the court agreed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Legally it’s more interesting. U.S. District Judge Eduardo Robreno \u003ca href=\"https://www.documentcloud.org/documents/2158930-cosby-order.html\" target=\"_blank\" rel=\"noopener\">issued a 25-page memo\u003c/a> outlining his reasoning. Here’s how he explains it:\u003c/p>\n\u003cp>— The \u003ca href=\"https://www.paed.uscourts.gov/documents/locrules/civil/cvrules.pdf\" target=\"_blank\" rel=\"noopener\">court’s rules\u003c/a> state that unless there is an objection, documents filed in the court will be unsealed automatically two years after the conclusion of litigation.\u003c/p>\n\u003cp>— When the AP filed a request to have the documents unsealed, Cosby’s attorneys objected, saying it would violate Cosby’s right to privacy by making public, among other things, “intimate knowledge about his sex life.” Cosby’s lawyer also argued that the release would embarrass Cosby and would violate the confidentiality agreement signed by the two parties.\u003c/p>\n\u003cp>— Robreno dismissed all those arguments.\u003c/p>\n\u003cp>— Perhaps the most intriguing part is that Robreno concluded that Cosby should be thought of as a public servant. Previous courts have held that public servants, or politicians, give up some of the privacy protections afforded to regular citizens or even public figures.\u003c/p>\n\u003cp>— So, how did Robreno make that leap? He argued that while Cosby is clearly a public figure, when he talks about issues of public policy like unwed mothers and crime, he becomes a “public moralist,” which is akin to being a public servant. Robreno writes:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q1.jpg\" alt=\"cosby-order-Q1\" width=\"553\" height=\"134\" class=\"aligncenter size-full wp-image-10824599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q1.jpg 553w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q1-400x97.jpg 400w\" sizes=\"(max-width: 553px) 100vw, 553px\">\u003c/p>\n\u003cp>Later:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q2.jpg\" alt=\"cosby-order-Q2\" width=\"552\" height=\"231\" class=\"aligncenter size-full wp-image-10824600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q2.jpg 552w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q2-400x167.jpg 400w\" sizes=\"(max-width: 552px) 100vw, 552px\">\u003c/p>\n\u003cp>— In the footnotes, Robreno specifically points out \u003ca href=\"http://www.eightcitiesmap.com/transcript_bc.htm\">Cosby’s speech\u003c/a> at the 50th anniversary commemoration of the \u003cem>Brown v. Board of Education\u003c/em>. In it, Cosby lays into the black community. Cosby said: “Ladies and gentlemen, in our cities and public schools we have 50 percent drop out. In our own neighborhood, we have men in prison. No longer is a person embarrassed because they’re pregnant without a husband. No longer is a boy considered an embarrassment if he tries to run away from being the father of the unmarried child.”\u003c/p>\n\u003cp>— The release of these documents, \u003ca href=\"https://www.documentcloud.org/documents/2158930-cosby-order.html#document/p19/a225693\">Robreno argues\u003c/a>, is therefore important for the public to weigh “the stark contrast between Bill Cosby, the public moralist and Bill Cosby, the subject of serious allegations concerning improper (and perhaps criminal) conduct …”\u003c/p>\n\u003cp>— On the embarrassment claim, the judge counters:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q3.jpg\" alt=\"cosby-order-Q3\" width=\"546\" height=\"276\" class=\"aligncenter size-full wp-image-10824601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q3.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q3-400x202.jpg 400w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003c/p>\n\u003cp>— Finally, as to the confidentiality agreement, Robreno says the two parties never filed the settlement agreement with the court, so the court has no obligation to honor it: \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/cosby-order-Q4.jpg\" alt=\"cosby-order-Q4\" width=\"547\" height=\"314\" class=\"aligncenter size-full wp-image-10824602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q4.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/cosby-order-Q4-400x230.jpg 400w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Cosby+Revelation%3A+How+A+Decade-Old+Deposition+Came+To+Light&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jerry Weintraub, the legendary producer behind such hits as \u003cem>The Karate Kid\u003c/em> and \u003cem>Ocean’s Eleven,\u003c/em> died Monday in Santa Barbara, Calif. He was 77.\u003c/p>\n\u003cp>The cause was cardiac arrest, according to Rogers & Cowan, the PR firm.\u003c/p>\n\u003cp>Weintraub began his career as a talent agent for MCA in the 1950s, representing clients such as Jack Paar. He then became a leading concert promoter, handling acts like Elvis Presley and Bob Dylan. His first production venture was Robert Altman’s \u003cem>Nashville,\u003c/em> which garnered five Academy Award nominations.\u003c/p>\n\u003cp>“I’m not afraid of anything,” Weintraub \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=125829398\" target=\"_blank\" rel=\"noopener\">told NPR in a 2010 interview\u003c/a>. “I’m never afraid of failing. I failed many times. Failure only teaches you how to be successful next time.”\u003c/p>\n\u003cp>Here’s more from \u003ca href=\"http://www.hollywoodreporter.com/news/jerry-weintraub-dead-producer-dies-806941\" target=\"_blank\" rel=\"noopener\">Hollywood Reporter\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“A promoter and impresario in the old sense, Weintraub was a larger-than-life, Damon Runyon-esque character. A steely, hard-charging personality, he was wildly successful in a ranging entertainment career that spanned over 50 years.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Producer+Jerry+Weintraub+Dies+At+77&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jerry Weintraub, the legendary producer behind such hits as \u003cem>The Karate Kid\u003c/em> and \u003cem>Ocean’s Eleven,\u003c/em> died Monday in Santa Barbara, Calif. He was 77.\u003c/p>\n\u003cp>The cause was cardiac arrest, according to Rogers & Cowan, the PR firm.\u003c/p>\n\u003cp>Weintraub began his career as a talent agent for MCA in the 1950s, representing clients such as Jack Paar. He then became a leading concert promoter, handling acts like Elvis Presley and Bob Dylan. His first production venture was Robert Altman’s \u003cem>Nashville,\u003c/em> which garnered five Academy Award nominations.\u003c/p>\n\u003cp>“I’m not afraid of anything,” Weintraub \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=125829398\" target=\"_blank\" rel=\"noopener\">told NPR in a 2010 interview\u003c/a>. “I’m never afraid of failing. I failed many times. Failure only teaches you how to be successful next time.”\u003c/p>\n\u003cp>Here’s more from \u003ca href=\"http://www.hollywoodreporter.com/news/jerry-weintraub-dead-producer-dies-806941\" target=\"_blank\" rel=\"noopener\">Hollywood Reporter\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“A promoter and impresario in the old sense, Weintraub was a larger-than-life, Damon Runyon-esque character. A steely, hard-charging personality, he was wildly successful in a ranging entertainment career that spanned over 50 years.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Producer+Jerry+Weintraub+Dies+At+77&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The\u003ca href=\"http://www.arabfilmfestival.org/\" target=\"_blank\" rel=\"noopener\"> Arab Film Festival\u003c/a> (AFF), one of the largest independent showcases of Arab movies outside of the Arab world, is being kicked out of its San Francisco office months before it hosts its next festival, scheduled for Oct. 16-25 of this year.\u003c/p>\n\u003cp>\u003ca href=\"http://www.pradogroup.com/\" target=\"_blank\" rel=\"noopener\">The Prado Group\u003c/a>, a privately held real estate development and investment management company based in San Francisco, purchased the building that houses the AFF’s office nine months ago. The company has given the AFF until the end of August to move out.\u003c/p>\n\u003cp>The Prado Group didn’t notify the AFF about how much its rent was going to increase, according to AFF executive director Serge Bakalian.\u003c/p>\n\u003cp>“When they called for a meeting, I was expecting them to say ‘It’s going to be two times your current rent,'” Bakalian said. “But they didn’t even give us an option. They just said, ‘Here’s 60 days.’ I asked for a couple months and to their credit, they did give us an extra month.”\u003c/p>\n\u003cp>The Prado Group has yet to reply to KQED’s request for comment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The AFF was started in San Jose in 1996 with a mission to “enhance understanding of Arab culture and foster a space for independent Arab filmmakers to screen their work for the public.” Since then, the AFF has expanded globally with satellite festivals in Berlin, London, San Diego and Los Angeles.\u003c/p>\n\u003cp>The AFF has operated in San Francisco since 2002 and has been located at its Mission District offices for the past six years.\u003c/p>\n\u003cp>Before receiving the eviction notice, the AFF had been planning to expand its staff from seven paid personnel to eight, and add two interns. \u003c/p>\n\u003cp>A \u003ca href=\"https://www.tilt.com/tilts/keep-nonprofits-in-san-francisco/description\" target=\"_blank\" rel=\"noopener\">crowd-funding campaign\u003c/a> has been started to help keep the AFF in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated with more details as it develops.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The\u003ca href=\"http://www.arabfilmfestival.org/\" target=\"_blank\" rel=\"noopener\"> Arab Film Festival\u003c/a> (AFF), one of the largest independent showcases of Arab movies outside of the Arab world, is being kicked out of its San Francisco office months before it hosts its next festival, scheduled for Oct. 16-25 of this year.\u003c/p>\n\u003cp>\u003ca href=\"http://www.pradogroup.com/\" target=\"_blank\" rel=\"noopener\">The Prado Group\u003c/a>, a privately held real estate development and investment management company based in San Francisco, purchased the building that houses the AFF’s office nine months ago. The company has given the AFF until the end of August to move out.\u003c/p>\n\u003cp>The Prado Group didn’t notify the AFF about how much its rent was going to increase, according to AFF executive director Serge Bakalian.\u003c/p>\n\u003cp>“When they called for a meeting, I was expecting them to say ‘It’s going to be two times your current rent,'” Bakalian said. “But they didn’t even give us an option. They just said, ‘Here’s 60 days.’ I asked for a couple months and to their credit, they did give us an extra month.”\u003c/p>\n\u003cp>The Prado Group has yet to reply to KQED’s request for comment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The AFF was started in San Jose in 1996 with a mission to “enhance understanding of Arab culture and foster a space for independent Arab filmmakers to screen their work for the public.” Since then, the AFF has expanded globally with satellite festivals in Berlin, London, San Diego and Los Angeles.\u003c/p>\n\u003cp>The AFF has operated in San Francisco since 2002 and has been located at its Mission District offices for the past six years.\u003c/p>\n\u003cp>Before receiving the eviction notice, the AFF had been planning to expand its staff from seven paid personnel to eight, and add two interns. \u003c/p>\n\u003cp>A \u003ca href=\"https://www.tilt.com/tilts/keep-nonprofits-in-san-francisco/description\" target=\"_blank\" rel=\"noopener\">crowd-funding campaign\u003c/a> has been started to help keep the AFF in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated with more details as it develops.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In West Oakland, mint-green paint covers up a large swath of letters on the side of a concrete wall. Lauren Westreich has already brought out the paint four times since relocating her business here in February. She remembers helping paint her neighbor’s wall, too, which was hit by graffiti 30 feet high.\u003c/p>\n\u003cp>“Somebody came in literally the next day and took a spray can of paint and just scribbled on the wall every inch of freshly painted surface,” said Westreich.\u003c/p>\n\u003cp>The city’s cost of cleaning up graffiti has been increasing, not including the dollars spent by private business owners like Westreich. While the city is hungry to keep and grow business in areas like West Oakland, a new task force with limited resources is trying to address an old symbol of urban grit in the face of a changing Oakland.\u003c/p>\n\u003cp>The suspects are not from around here, says Assistant to the City Administrator Joe DeVries.\u003c/p>\n\u003cp>“I caught a couple of guys with spray paint in their back pockets taking pictures of their work and they had Washington plates. I caught another guy doing this, taking pictures of the graffiti art, with Oregon plates over in West Oakland,” said DeVries, who is a member of the city’s new graffiti task force.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On a Wednesday morning, DeVries looks through a green book that has pictures of Oakland graffiti. Colorful monikers fill the pages; he calls them “criminal vandals.” The task force he’s a part of is trying to track who is tagging what and how much money each name has cost the city and private business.\u003c/p>\n\u003cfigure id=\"attachment_10585950\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10585950 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-800x600.jpg\" alt=\"City administrator Joe DeVries say Oakland is trying to build cases against illegal graffiti writers.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">City staffer Joe DeVries say Oakland is trying to build cases against illegal graffiti writers.\u003c/figcaption>\u003c/figure>\n\u003cp>In 2013, Oakland passed a law that allowed the city to fine people caught tagging or defacing property without the owner’s consent. The idea is to help the city recoup costs without sending the case to court, where the level of proof is higher, said DeVries. The city hasn’t fined anyone under the law yet, he said, but there are two major cases that the task force is working on.\u003c/p>\n\u003cp>DeVries said Oakland has had success with its illegal dumping task force, which has caught around 150 people and gathered about $50,000 in fines over the past year. But it’s easy for people to take a snapshot of a license plate from a phone, he said. With graffiti, it’s harder to identify people in pictures and prove their guilt.\u003c/p>\n\u003cp>\u003cstrong>Graffiti Costs Increasing\u003c/strong>\u003c/p>\n\u003cp>Meanwhile, Oakland saw an increase of more than 50 percent in costs for graffiti cleanup between 2012 and 2014. Last year, the city spent $1.2 million on graffiti. Caltrans is also cleaning up more graffiti on state-owned property in the city. In fiscal year 2012, that totaled 339,985 square feet (roughly six football fields). But the real costs, to private businesses, can’t be calculated, DeVries said.\u003c/p>\n\u003cfigure id=\"attachment_10586027\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10586027\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-800x533.jpg\" alt=\"If cited, an Oakland business owner has 10 days to clean up graffiti.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">If cited, an Oakland business owner has 10 days to clean up graffiti. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland requires businesses to remove graffiti on their own. DeVries said the city doesn’t have the resources to provide paint each time a building is defaced. But he said city officials also don’t drive around picking out buildings to cite. Oakland relies on complaints to the Public Works call center and the city’s \u003ca href=\"http://en.seeclickfix.com/oakland\" target=\"_blank\" rel=\"noopener\">SeeClickFix website\u003c/a>, which allows anyone to report blight and other problems directly. There were more than 6,000 graffiti complaints last year, according to the city’s open data website.\u003c/p>\n\u003cp>“The perpetrators of the graffiti know this is a low-level crime,” said Michael Herling, chairman of the group West Oakland Business Alert, which has identified graffiti as one of nine obstacles to keeping and growing business in the neighborhood.\u003c/p>\n\u003cp>Herling’s West Oakland janitorial company faces a concrete wall that’s part of the recycling center across the street. While not a fan of graffiti, Herling admits there’s a big difference between the type of colorful pieces on that wall, called burners, and the “throw-ups” right next door to him.\u003c/p>\n\u003cp>\u003cem>(\u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=d2hgKsrOvkk\">\u003cem>Click here to see a video explaining the different types of graffit\u003c/em>i\u003c/a>)\u003c/p>\n\u003cp>“One side is actually kind of cool art and the other side is graffiti,” he said.\u003c/p>\n\u003cfigure id=\"attachment_10587933\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10587933 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-800x600.jpg\" alt=\"Across the street from Michael Herling's business in West Oakland is the 'cool art.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Across the street from Michael Herling’s business in West Oakland is the ‘cool art.’ \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10587934\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10587934 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-800x600.jpg\" alt='Across from the \"cool art\" is the more typical graffiti that business argue leads to blight and other problems.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">On Herling’s side of the street is the more typical graffiti that West Oakland business owners say hurts business growth. \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Murals as Solution\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/2015/05/19/why-dont-murals-get-covered-by-graffiti-in-the-mission\">As KQED reported\u003c/a> in its Bay Curious series, some street art gets more respect from graffiti writers than others. Herling said that he hasn’t seen any tags on the tops of the large, more artistic pieces across the street. That’s why some cities see value in spending money on murals. In the 2013-14 city budget, $400,000 was allocated for graffiti abatement, with a concentration on murals.\u003c/p>\n\u003cp>But getting that money has been like “pulling teeth,” said Desi Mundo, founder of Community Rejuvenation Project, which has painted more than 100 murals around the city. The allocation for murals has been the only proactive step the city has taken to address graffiti, he said, and Oakland’s new law that allows the city to fine people caught writing graffiti isn’t going to help.\u003c/p>\n\u003cp>“It’s a waste of time, a waste of funds,” he said.\u003c/p>\n\u003cp>Mundo says the only solution is supporting more public art like murals, \u003ca href=\"http://www.contracostatimes.com/news/ci_24389671/extortion-art-oakland-grapples-graffiti\">which have also been controversial\u003c/a> for some business owners who fear retaliation if they don’t allow graffiti artists the right to use their buildings. Mundo dismisses that, but he also knows some illegal graffiti writers don’t respect private owners.\u003c/p>\n\u003cp>To them, “a blank wall is a blank wall,” he said.\u003c/p>\n\u003cp>Mundo says murals offer a way to connect with communities where they’re at. One of his most recent projects is the Alice Street mural downtown, which pays tribute to community leaders and the city’s culture.\u003c/p>\n\u003cp>“We want to see community-led projects that reflect back on the history,” Mundo said.\u003c/p>\n\u003cfigure id=\"attachment_10587986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10587986 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Desi Mundo says murals should reflect the communities they are in. \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Mundo recognizes that there has been a shift in the demographics of graffiti writers in Oakland and that “there’s definitely a greater disconnection between the neighborhood and the people who are going out and painting illegally.” At the same time, what’s making Oakland attractive to these outsiders is the city’s vibrant arts and culture scene, he said.\u003c/p>\n\u003cp>“Oakland is capitalizing on the very thing they’re trying to destroy.”\u003c/p>\n\u003cp>DeVries said he would support property owners and graffiti writers who want to work harmoniously to find more community spaces for graffiti art. But the city’s resources are thin, he said, and the conversation would have to begin with graffiti writers.\u003c/p>\n\u003cp>“We would likely embrace it if the community embraced it. But if the community is feeling literally vandalized and terrorized by this, we’re not going to embrace that,” he said.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10585968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10585968 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-800x600.jpg\" alt=\"West Oakland business owner Lauren Westreich says her business has been hit by graffiti four times since opening in February. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">West Oakland business owner Lauren Westreich says her business has been hit by graffiti four times since opening in February. (Devin Katayama/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Right now, businesses are feeling vandalized, and they’re not getting very far addressing the problem. If a business is cited, it has 10 days to clean up the graffiti, but some have said they can’t paint over it quickly enough.\u003c/p>\n\u003cp>Business owners like Lauren Westreich continue to report and paint out graffiti immediately.\u003c/p>\n\u003cp>“It’s very difficult to continue to do it when it feels like there isn’t a robust response because of limited resources and time,” she said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Westreich said spending time and money on problems like graffiti and illegal dumping detracts attention and resources from much larger problems Oakland faces, like economic and social justice.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In West Oakland, mint-green paint covers up a large swath of letters on the side of a concrete wall. Lauren Westreich has already brought out the paint four times since relocating her business here in February. She remembers helping paint her neighbor’s wall, too, which was hit by graffiti 30 feet high.\u003c/p>\n\u003cp>“Somebody came in literally the next day and took a spray can of paint and just scribbled on the wall every inch of freshly painted surface,” said Westreich.\u003c/p>\n\u003cp>The city’s cost of cleaning up graffiti has been increasing, not including the dollars spent by private business owners like Westreich. While the city is hungry to keep and grow business in areas like West Oakland, a new task force with limited resources is trying to address an old symbol of urban grit in the face of a changing Oakland.\u003c/p>\n\u003cp>The suspects are not from around here, says Assistant to the City Administrator Joe DeVries.\u003c/p>\n\u003cp>“I caught a couple of guys with spray paint in their back pockets taking pictures of their work and they had Washington plates. I caught another guy doing this, taking pictures of the graffiti art, with Oregon plates over in West Oakland,” said DeVries, who is a member of the city’s new graffiti task force.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On a Wednesday morning, DeVries looks through a green book that has pictures of Oakland graffiti. Colorful monikers fill the pages; he calls them “criminal vandals.” The task force he’s a part of is trying to track who is tagging what and how much money each name has cost the city and private business.\u003c/p>\n\u003cfigure id=\"attachment_10585950\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10585950 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-800x600.jpg\" alt=\"City administrator Joe DeVries say Oakland is trying to build cases against illegal graffiti writers.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">City staffer Joe DeVries say Oakland is trying to build cases against illegal graffiti writers.\u003c/figcaption>\u003c/figure>\n\u003cp>In 2013, Oakland passed a law that allowed the city to fine people caught tagging or defacing property without the owner’s consent. The idea is to help the city recoup costs without sending the case to court, where the level of proof is higher, said DeVries. The city hasn’t fined anyone under the law yet, he said, but there are two major cases that the task force is working on.\u003c/p>\n\u003cp>DeVries said Oakland has had success with its illegal dumping task force, which has caught around 150 people and gathered about $50,000 in fines over the past year. But it’s easy for people to take a snapshot of a license plate from a phone, he said. With graffiti, it’s harder to identify people in pictures and prove their guilt.\u003c/p>\n\u003cp>\u003cstrong>Graffiti Costs Increasing\u003c/strong>\u003c/p>\n\u003cp>Meanwhile, Oakland saw an increase of more than 50 percent in costs for graffiti cleanup between 2012 and 2014. Last year, the city spent $1.2 million on graffiti. Caltrans is also cleaning up more graffiti on state-owned property in the city. In fiscal year 2012, that totaled 339,985 square feet (roughly six football fields). But the real costs, to private businesses, can’t be calculated, DeVries said.\u003c/p>\n\u003cfigure id=\"attachment_10586027\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10586027\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-800x533.jpg\" alt=\"If cited, an Oakland business owner has 10 days to clean up graffiti.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">If cited, an Oakland business owner has 10 days to clean up graffiti. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland requires businesses to remove graffiti on their own. DeVries said the city doesn’t have the resources to provide paint each time a building is defaced. But he said city officials also don’t drive around picking out buildings to cite. Oakland relies on complaints to the Public Works call center and the city’s \u003ca href=\"http://en.seeclickfix.com/oakland\" target=\"_blank\" rel=\"noopener\">SeeClickFix website\u003c/a>, which allows anyone to report blight and other problems directly. There were more than 6,000 graffiti complaints last year, according to the city’s open data website.\u003c/p>\n\u003cp>“The perpetrators of the graffiti know this is a low-level crime,” said Michael Herling, chairman of the group West Oakland Business Alert, which has identified graffiti as one of nine obstacles to keeping and growing business in the neighborhood.\u003c/p>\n\u003cp>Herling’s West Oakland janitorial company faces a concrete wall that’s part of the recycling center across the street. While not a fan of graffiti, Herling admits there’s a big difference between the type of colorful pieces on that wall, called burners, and the “throw-ups” right next door to him.\u003c/p>\n\u003cp>\u003cem>(\u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=d2hgKsrOvkk\">\u003cem>Click here to see a video explaining the different types of graffit\u003c/em>i\u003c/a>)\u003c/p>\n\u003cp>“One side is actually kind of cool art and the other side is graffiti,” he said.\u003c/p>\n\u003cfigure id=\"attachment_10587933\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10587933 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-800x600.jpg\" alt=\"Across the street from Michael Herling's business in West Oakland is the 'cool art.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Across the street from Michael Herling’s business in West Oakland is the ‘cool art.’ \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10587934\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10587934 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-800x600.jpg\" alt='Across from the \"cool art\" is the more typical graffiti that business argue leads to blight and other problems.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">On Herling’s side of the street is the more typical graffiti that West Oakland business owners say hurts business growth. \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Murals as Solution\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/2015/05/19/why-dont-murals-get-covered-by-graffiti-in-the-mission\">As KQED reported\u003c/a> in its Bay Curious series, some street art gets more respect from graffiti writers than others. Herling said that he hasn’t seen any tags on the tops of the large, more artistic pieces across the street. That’s why some cities see value in spending money on murals. In the 2013-14 city budget, $400,000 was allocated for graffiti abatement, with a concentration on murals.\u003c/p>\n\u003cp>But getting that money has been like “pulling teeth,” said Desi Mundo, founder of Community Rejuvenation Project, which has painted more than 100 murals around the city. The allocation for murals has been the only proactive step the city has taken to address graffiti, he said, and Oakland’s new law that allows the city to fine people caught writing graffiti isn’t going to help.\u003c/p>\n\u003cp>“It’s a waste of time, a waste of funds,” he said.\u003c/p>\n\u003cp>Mundo says the only solution is supporting more public art like murals, \u003ca href=\"http://www.contracostatimes.com/news/ci_24389671/extortion-art-oakland-grapples-graffiti\">which have also been controversial\u003c/a> for some business owners who fear retaliation if they don’t allow graffiti artists the right to use their buildings. Mundo dismisses that, but he also knows some illegal graffiti writers don’t respect private owners.\u003c/p>\n\u003cp>To them, “a blank wall is a blank wall,” he said.\u003c/p>\n\u003cp>Mundo says murals offer a way to connect with communities where they’re at. One of his most recent projects is the Alice Street mural downtown, which pays tribute to community leaders and the city’s culture.\u003c/p>\n\u003cp>“We want to see community-led projects that reflect back on the history,” Mundo said.\u003c/p>\n\u003cfigure id=\"attachment_10587986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10587986 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Desi Mundo says murals should reflect the communities they are in. \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Mundo recognizes that there has been a shift in the demographics of graffiti writers in Oakland and that “there’s definitely a greater disconnection between the neighborhood and the people who are going out and painting illegally.” At the same time, what’s making Oakland attractive to these outsiders is the city’s vibrant arts and culture scene, he said.\u003c/p>\n\u003cp>“Oakland is capitalizing on the very thing they’re trying to destroy.”\u003c/p>\n\u003cp>DeVries said he would support property owners and graffiti writers who want to work harmoniously to find more community spaces for graffiti art. But the city’s resources are thin, he said, and the conversation would have to begin with graffiti writers.\u003c/p>\n\u003cp>“We would likely embrace it if the community embraced it. But if the community is feeling literally vandalized and terrorized by this, we’re not going to embrace that,” he said.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10585968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10585968 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-800x600.jpg\" alt=\"West Oakland business owner Lauren Westreich says her business has been hit by graffiti four times since opening in February. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">West Oakland business owner Lauren Westreich says her business has been hit by graffiti four times since opening in February. (Devin Katayama/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Right now, businesses are feeling vandalized, and they’re not getting very far addressing the problem. If a business is cited, it has 10 days to clean up the graffiti, but some have said they can’t paint over it quickly enough.\u003c/p>\n\u003cp>Business owners like Lauren Westreich continue to report and paint out graffiti immediately.\u003c/p>\n\u003cp>“It’s very difficult to continue to do it when it feels like there isn’t a robust response because of limited resources and time,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Westreich said spending time and money on problems like graffiti and illegal dumping detracts attention and resources from much larger problems Oakland faces, like economic and social justice.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Weekly USO Dinners Create Extended Family For Military",
"title": "Weekly USO Dinners Create Extended Family For Military",
"headTitle": "California Foodways | The California Report | KQED News",
"content": "\u003cp>The Fourth of July is a time when many friends and relatives come together to watch fireworks and have a barbecue, but members of the military are often deployed or stationed far from their extended families.\u003c/p>\n\u003cp>There’s a place in San Diego, though, where active-duty service members, their spouses and kids can always share a meal with their extended military family: the USO Downtown Center.\u003c/p>\n\u003cp>That’s where I meet Scotty Wells, a self-described Navy wife, who’s here with her husband, Petty Officer 1st Class Benjamin Wells. She tells me about his job.\u003c/p>\n\u003cp>“He is a mine man in the Navy,” she says, naming a job I never even knew existed.\u003c/p>\n\u003cp>“They go in first to make sure the big aircraft carriers won't set off any mines and explode,” she explains. “And some of the mines, oh my goodness! They're as big as a car. They're huge. It scares me to death.”\u003c/p>\n\u003cfigure id=\"attachment_10586815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10586815\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/USO_1-800x530.jpg\" alt=\"Scotty and Benjamin Wells and their five kids come to the USO for the extended family. Their own are back in Ohio.\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-400x265.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-1440x954.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-960x636.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scotty and Benjamin Wells and their five kids come to the USO for the extended family. Their own are back in Ohio. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So tonight, she’s happy to be out to dinner with her husband and their five children: Wesley, 11; Reagan, 7; twins Charlie and Ryen, who are 6; and 4-year-old Parker, who insists on being called Parker Princess. They’re among 200 people waiting in the United Service Organization's spacious first floor. A handful of service members sit at computers, sending email. Families gather around a pool table and tumble into couches next to a large-screen TV.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They’re all waiting for their number to be called, so they can go upstairs to a clean, bright room lined with folding tables, each with a collection of noisemakers, which the kids are pulled to like magnets. It’s a kind of joyful chaos.\u003c/p>\n\u003cp>A few feet away in an industrial kitchen, volunteers work on the finishing touches for dinner.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/213883066\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>“We’re having spaghetti and meatballs … with Zuppa Toscana soup ... broccoli, salad and French bread,” says volunteer Sabrina Price. She has to stand on a stool to stir the huge pot of tomato sauce.\u003c/p>\n\u003cp>“We made the spaghetti sauce from scratch. There are whole bay leaves in there, fresh oregano and parsley.”\u003c/p>\n\u003cp>The USO has been supporting active-duty service members (and National Guard and Reserve) and their families since 1941. \u003ca href=\"http://usosandiego.org/\">San Diego’s Downtown Center\u003c/a> hosts dinner every week, says director Tiana Caylor.\u003c/p>\n\u003caside class=\"pullquote alignleft\">“We do Tuesday night dinners because food speaks volumes. When you're at home, the first thing you do is you go into the fridge. You ask Mom to make you a sandwich. It's our way of being a home away from home. And food is a love language.\"\u003cbr>\n\u003ccite>Tiana Caylor, Director of USO's San Diego Downtown Center\u003c/cite>\u003c/aside>\n\u003cp>“We do Tuesday night dinners because food speaks volumes,\" she says. \"When you're at home, the first thing you do is you go into the fridge. You ask Mom to make you a sandwich. It's our way of being a home away from home. And food is a love language.\"\u003c/p>\n\u003cp>“It's like having a family dinner,” says Kameron Richardson, holding her 3-month-old baby. She’s here with her best friend, who’s also a Navy spouse. Richardson’s husband is deployed on a carrier that hasn’t reached its destination, so she doesn’t know where he is.\u003c/p>\n\u003cp>“He’s an airman, so he brings in the planes when they come in on the ships,\" she says.\u003c/p>\n\u003cp>They’ve been together for six years. Since her husband joined the Navy almost three years ago, “we've spent more time apart than we have together,\" Richardson says with a bit of a laugh.\u003c/p>\n\u003cp>Here, she can meet people who know what she’s going through. “We can talk about stuff that you can't really talk about, with even your own family, because they don't really understand all the time.”\u003c/p>\n\u003cp>A few seats away, Barbara Melendez tells me she’s a hospital corpsman, a medic for the Navy and Marines. She’s sitting with her daughters: Maida, age 6, and Melinda, age 5. They’re USO regulars.\u003c/p>\n\u003cfigure id=\"attachment_10586861\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10586861\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/USO_2-800x491.jpg\" alt=\"Hospital Corpsman Barbara Melendez and her daughters Maida and Melinda are USO regulars.\" width=\"800\" height=\"491\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-800x491.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-400x245.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-1440x884.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-1180x724.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-960x589.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hospital Corpsman Barbara Melendez and her daughters Maida and Melinda are USO regulars. \u003ccite>(Lisa Morehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We love it here,” says Melendez. “Every once in a while they do a pantry where we get beans and rice and muffins. That helps me out tremendously.” The single mom says it can be tough in this economy, and in San Diego, to get by.\u003c/p>\n\u003cp>She’s grateful for the USO and the volunteers. “You seem to lose your faith in humanity sometimes, but then there's places like this where people come together and prove, ‘Hey, we still care. We still notice.’ ”\u003c/p>\n\u003cp>As the meal ends, Scotty Wells gets a rare moment to reflect on her future. It means the world to her to be raising these five great kids, and on top of that, she says, “My dream is just to grow old and sit on a porch someday with my husband. I know that might sound stupid, but it's what I want.”\u003c/p>\n\u003cp>She adds quietly, “I don’t want to lose my husband.”\u003c/p>\n\u003cp>Wells remembers a really difficult time, when he was deployed for four months, and she had newborn twins plus a 1- and 5-year-old at home.\u003c/p>\n\u003cp>“I can't even tell you how many times I brought that stroller here. I did that frequently, because you make friends, and they move,” she says, a fact of life for many military families in military towns. “So then you have nobody here.\"\u003c/p>\n\u003cp>She adds, \"Sometimes, you just get lonely, so you come to dinner.”\u003c/p>\n\u003cp>That’s something she can do every Tuesday night at the USO.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The series \u003ca href=\"http://www.californiafoodways.com/\">California Foodways\u003c/a> is supported by \u003ca href=\"http://www.calhum.org/\">Cal Humanities\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Fourth of July is a time when many friends and relatives come together to watch fireworks and have a barbecue, but members of the military are often deployed or stationed far from their extended families.\u003c/p>\n\u003cp>There’s a place in San Diego, though, where active-duty service members, their spouses and kids can always share a meal with their extended military family: the USO Downtown Center.\u003c/p>\n\u003cp>That’s where I meet Scotty Wells, a self-described Navy wife, who’s here with her husband, Petty Officer 1st Class Benjamin Wells. She tells me about his job.\u003c/p>\n\u003cp>“He is a mine man in the Navy,” she says, naming a job I never even knew existed.\u003c/p>\n\u003cp>“They go in first to make sure the big aircraft carriers won't set off any mines and explode,” she explains. “And some of the mines, oh my goodness! They're as big as a car. They're huge. It scares me to death.”\u003c/p>\n\u003cfigure id=\"attachment_10586815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10586815\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/USO_1-800x530.jpg\" alt=\"Scotty and Benjamin Wells and their five kids come to the USO for the extended family. Their own are back in Ohio.\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-400x265.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-1440x954.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-960x636.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scotty and Benjamin Wells and their five kids come to the USO for the extended family. Their own are back in Ohio. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So tonight, she’s happy to be out to dinner with her husband and their five children: Wesley, 11; Reagan, 7; twins Charlie and Ryen, who are 6; and 4-year-old Parker, who insists on being called Parker Princess. They’re among 200 people waiting in the United Service Organization's spacious first floor. A handful of service members sit at computers, sending email. Families gather around a pool table and tumble into couches next to a large-screen TV.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They’re all waiting for their number to be called, so they can go upstairs to a clean, bright room lined with folding tables, each with a collection of noisemakers, which the kids are pulled to like magnets. It’s a kind of joyful chaos.\u003c/p>\n\u003cp>A few feet away in an industrial kitchen, volunteers work on the finishing touches for dinner.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/213883066&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/213883066'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“We’re having spaghetti and meatballs … with Zuppa Toscana soup ... broccoli, salad and French bread,” says volunteer Sabrina Price. She has to stand on a stool to stir the huge pot of tomato sauce.\u003c/p>\n\u003cp>“We made the spaghetti sauce from scratch. There are whole bay leaves in there, fresh oregano and parsley.”\u003c/p>\n\u003cp>The USO has been supporting active-duty service members (and National Guard and Reserve) and their families since 1941. \u003ca href=\"http://usosandiego.org/\">San Diego’s Downtown Center\u003c/a> hosts dinner every week, says director Tiana Caylor.\u003c/p>\n\u003caside class=\"pullquote alignleft\">“We do Tuesday night dinners because food speaks volumes. When you're at home, the first thing you do is you go into the fridge. You ask Mom to make you a sandwich. It's our way of being a home away from home. And food is a love language.\"\u003cbr>\n\u003ccite>Tiana Caylor, Director of USO's San Diego Downtown Center\u003c/cite>\u003c/aside>\n\u003cp>“We do Tuesday night dinners because food speaks volumes,\" she says. \"When you're at home, the first thing you do is you go into the fridge. You ask Mom to make you a sandwich. It's our way of being a home away from home. And food is a love language.\"\u003c/p>\n\u003cp>“It's like having a family dinner,” says Kameron Richardson, holding her 3-month-old baby. She’s here with her best friend, who’s also a Navy spouse. Richardson’s husband is deployed on a carrier that hasn’t reached its destination, so she doesn’t know where he is.\u003c/p>\n\u003cp>“He’s an airman, so he brings in the planes when they come in on the ships,\" she says.\u003c/p>\n\u003cp>They’ve been together for six years. Since her husband joined the Navy almost three years ago, “we've spent more time apart than we have together,\" Richardson says with a bit of a laugh.\u003c/p>\n\u003cp>Here, she can meet people who know what she’s going through. “We can talk about stuff that you can't really talk about, with even your own family, because they don't really understand all the time.”\u003c/p>\n\u003cp>A few seats away, Barbara Melendez tells me she’s a hospital corpsman, a medic for the Navy and Marines. She’s sitting with her daughters: Maida, age 6, and Melinda, age 5. They’re USO regulars.\u003c/p>\n\u003cfigure id=\"attachment_10586861\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10586861\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/USO_2-800x491.jpg\" alt=\"Hospital Corpsman Barbara Melendez and her daughters Maida and Melinda are USO regulars.\" width=\"800\" height=\"491\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-800x491.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-400x245.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-1440x884.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-1180x724.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-960x589.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hospital Corpsman Barbara Melendez and her daughters Maida and Melinda are USO regulars. \u003ccite>(Lisa Morehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We love it here,” says Melendez. “Every once in a while they do a pantry where we get beans and rice and muffins. That helps me out tremendously.” The single mom says it can be tough in this economy, and in San Diego, to get by.\u003c/p>\n\u003cp>She’s grateful for the USO and the volunteers. “You seem to lose your faith in humanity sometimes, but then there's places like this where people come together and prove, ‘Hey, we still care. We still notice.’ ”\u003c/p>\n\u003cp>As the meal ends, Scotty Wells gets a rare moment to reflect on her future. It means the world to her to be raising these five great kids, and on top of that, she says, “My dream is just to grow old and sit on a porch someday with my husband. I know that might sound stupid, but it's what I want.”\u003c/p>\n\u003cp>She adds quietly, “I don’t want to lose my husband.”\u003c/p>\n\u003cp>Wells remembers a really difficult time, when he was deployed for four months, and she had newborn twins plus a 1- and 5-year-old at home.\u003c/p>\n\u003cp>“I can't even tell you how many times I brought that stroller here. I did that frequently, because you make friends, and they move,” she says, a fact of life for many military families in military towns. “So then you have nobody here.\"\u003c/p>\n\u003cp>She adds, \"Sometimes, you just get lonely, so you come to dinner.”\u003c/p>\n\u003cp>That’s something she can do every Tuesday night at the USO.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The series \u003ca href=\"http://www.californiafoodways.com/\">California Foodways\u003c/a> is supported by \u003ca href=\"http://www.calhum.org/\">Cal Humanities\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hundreds of people gathered in San Francisco’s Mission District on Wednesday to rally in support of a vandalized mural that celebrates Latino LGBTQ.\u003c/p>\n\u003cp>The rally featured speakers, dancers and poets.\u003c/p>\n\u003cfigure id=\"attachment_10813803\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10813803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4184-800x533.jpg\" alt=\"The crowd at the Galeria de la Raza rally. (Photo by Jessica Placzek)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Galeria de la Raza rally. (Photo by Jessica Placzek) \u003ccite>(Photo: Jessica Placzek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Manuel Paul’s mural, “Por Vida,” has been defaced four times since it was put up for Pride month by Galería de la Raza, an art gallery located at the corner of 24th and Bryant Street.\u003c/p>\n\u003cp>The mural depicts two gay couples and a trans man.\u003c/p>\n\u003cp>San Francisco Supervisor David Campos, an openly gay Latino, helped organize the event along with Galería de la Raza.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“After such a beautiful and historic Pride weekend, it was heartbreaking to wake up to the news that a mural that celebrates Latino/Chicano LGBT culture in the Mission was destroyed yet again, this time by arson,” Campos said.\u003c/p>\n\u003cp>The mural was defaced with spray paint repeatedly during the month of June. It costs the gallery about $3000 to replace the mural. Gallery staff eventually had the mural printed on vinyl, enabling them to scrub off any spray paint.\u003c/p>\n\u003cp>But a determined arsonist or group of arsonists destroyed the mural again on Monday.\u003c/p>\n\u003cp>“They could have set fire not just to the mural, but to the building,” Campos said. “I think it’s important to call it out for what it is. It’s an act of hate.”\u003c/p>\n\u003cp>The San Francisco Police Department is investigating the case as a hate crime. Investigators are currently reviewing video footage of this and previous attacks captured by surveillance cameras.\u003c/p>\n\u003cp>Speakers at the rally emphasized nonviolence, compassion and love. “In the face of violence, the response is healing,” Estela Reyes Garcia, executive director of the Latino health services organization Instituto Familiar de la Raza, said. “We want to rise to the idea of restorative justice.”\u003c/p>\n\u003cp>Luciano Sagastume, a trans community organizer, lives three blocks from the mural. Sagastume said the mural is personally important because he hardly ever sees depictions of Latino trans men.\u003c/p>\n\u003cp>When he first saw it, he didn’t believe it.\u003c/p>\n\u003cp>“The first time I walked by, I told my friend ‘I really like how those thorns on that chest kind of look like they could be my surgery scars. That’s so cool, like, I’m kind of there,'” Sagastume said. “And my friend turned to me and she says, ‘Luciano, that is a Latino trans man up there. That is you.’”\u003c/p>\n\u003cfigure id=\"attachment_11791662\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/LGBTQ-mural-rally-1.jpg\" alt=\"Luciano Sagastume, a transgender community organizer.\" width=\"400\" height=\"600\" class=\"size-full wp-image-11791662\">\u003cfigcaption class=\"wp-caption-text\">Luciano Sagastume, a transgender community organizer. \u003ccite>(Photo: Jessica Placzek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Henry Pacheco, communications coordinator for Galería de la Raza, said the gallery and mural artist Paul have been subjected to homophobic violent threats on social media.\u003c/p>\n\u003cp>The gallery does not plan to replace the mural again. Pacheco said leaving the burnt mural standing makes a more powerful statement.\u003c/p>\n\u003cp>Pacheco said the gallery is grateful for all the support it has received from the community.\u003c/p>\n\u003cp>“Tonight we are feeling happy and exited that the community came out to support galleria and LGBTQ people,” Pacheco said. “Love is always going to conquer hate.”\u003c/p>\n\u003cp>Galería de la Raza plans to host a community forum on July 18 to further explore the issues surrounding the events of the past few weeks.\u003c/p>\n\u003cp>\u003ci>Watch this video from KQED’s Wendy Goodfriend of Luciano Sagastume speaking at the rally:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4tTCitYoi2o\u003c/p>\n\n",
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"excerpt": "Manuel Paul’s mural, \"Por Vida,\" has been defaced numerous times since it was put up for Pride month by Mission art gallery Galeria de la Raza. The San Francisco Police Department is investigating the case as a hate crime. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hundreds of people gathered in San Francisco’s Mission District on Wednesday to rally in support of a vandalized mural that celebrates Latino LGBTQ.\u003c/p>\n\u003cp>The rally featured speakers, dancers and poets.\u003c/p>\n\u003cfigure id=\"attachment_10813803\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10813803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4184-800x533.jpg\" alt=\"The crowd at the Galeria de la Raza rally. (Photo by Jessica Placzek)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Galeria de la Raza rally. (Photo by Jessica Placzek) \u003ccite>(Photo: Jessica Placzek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Manuel Paul’s mural, “Por Vida,” has been defaced four times since it was put up for Pride month by Galería de la Raza, an art gallery located at the corner of 24th and Bryant Street.\u003c/p>\n\u003cp>The mural depicts two gay couples and a trans man.\u003c/p>\n\u003cp>San Francisco Supervisor David Campos, an openly gay Latino, helped organize the event along with Galería de la Raza.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“After such a beautiful and historic Pride weekend, it was heartbreaking to wake up to the news that a mural that celebrates Latino/Chicano LGBT culture in the Mission was destroyed yet again, this time by arson,” Campos said.\u003c/p>\n\u003cp>The mural was defaced with spray paint repeatedly during the month of June. It costs the gallery about $3000 to replace the mural. Gallery staff eventually had the mural printed on vinyl, enabling them to scrub off any spray paint.\u003c/p>\n\u003cp>But a determined arsonist or group of arsonists destroyed the mural again on Monday.\u003c/p>\n\u003cp>“They could have set fire not just to the mural, but to the building,” Campos said. “I think it’s important to call it out for what it is. It’s an act of hate.”\u003c/p>\n\u003cp>The San Francisco Police Department is investigating the case as a hate crime. Investigators are currently reviewing video footage of this and previous attacks captured by surveillance cameras.\u003c/p>\n\u003cp>Speakers at the rally emphasized nonviolence, compassion and love. “In the face of violence, the response is healing,” Estela Reyes Garcia, executive director of the Latino health services organization Instituto Familiar de la Raza, said. “We want to rise to the idea of restorative justice.”\u003c/p>\n\u003cp>Luciano Sagastume, a trans community organizer, lives three blocks from the mural. Sagastume said the mural is personally important because he hardly ever sees depictions of Latino trans men.\u003c/p>\n\u003cp>When he first saw it, he didn’t believe it.\u003c/p>\n\u003cp>“The first time I walked by, I told my friend ‘I really like how those thorns on that chest kind of look like they could be my surgery scars. That’s so cool, like, I’m kind of there,'” Sagastume said. “And my friend turned to me and she says, ‘Luciano, that is a Latino trans man up there. That is you.’”\u003c/p>\n\u003cfigure id=\"attachment_11791662\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/LGBTQ-mural-rally-1.jpg\" alt=\"Luciano Sagastume, a transgender community organizer.\" width=\"400\" height=\"600\" class=\"size-full wp-image-11791662\">\u003cfigcaption class=\"wp-caption-text\">Luciano Sagastume, a transgender community organizer. \u003ccite>(Photo: Jessica Placzek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Henry Pacheco, communications coordinator for Galería de la Raza, said the gallery and mural artist Paul have been subjected to homophobic violent threats on social media.\u003c/p>\n\u003cp>The gallery does not plan to replace the mural again. Pacheco said leaving the burnt mural standing makes a more powerful statement.\u003c/p>\n\u003cp>Pacheco said the gallery is grateful for all the support it has received from the community.\u003c/p>\n\u003cp>“Tonight we are feeling happy and exited that the community came out to support galleria and LGBTQ people,” Pacheco said. “Love is always going to conquer hate.”\u003c/p>\n\u003cp>Galería de la Raza plans to host a community forum on July 18 to further explore the issues surrounding the events of the past few weeks.\u003c/p>\n\u003cp>\u003ci>Watch this video from KQED’s Wendy Goodfriend of Luciano Sagastume speaking at the rally:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4tTCitYoi2o'\n title='//www.youtube.com/embed/4tTCitYoi2o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the latest act of vandalism this month, the mural outside the Mission district’s Galería de la Raza was set on fire Monday night. The section of Manuel Paul’s mural “Por Vida” that depicts two men embracing was burned beyond recognition just after 11 pm.\u003c/p>\n\u003cp>“This is an act of terrorism in every sense of the word,” said Henry Pacheco, Galería’s communications representative. “They are terrorizing the staff of Galería, the people who live in the building, and the larger community. If it weren’t for the person who came with the fire extinguisher, the entire block could’ve been burned down.”\u003c/p>\n\u003cp>The mural, which L.A.-based artist Paul created as a celebration of lowrider culture and Chicano LGBT pride, was first erected on June 12. It has since been reinstalled twice by Galería volunteers after the piece was \u003ca href=\"http://ww2.kqed.org/arts/2015/06/22/mission-district-gallerys-queer-cholo-mural-defaced-again/\">vandalized over two consecutive weekends\u003c/a>, as previously reported by KQED Arts.\u003c/p>\n\u003cp>The most recent acts of vandalism, including Monday night’s arson attack, were captured by surveillance cameras and the footage is currently under review by the San Francisco Police Department (SFPD.)\u003c/p>\n\u003cp>“There was an accelerant that was found at the scene, as well as an incendiary device, and essentially it’s being investigated as a hate crime and an arson,” said SFPD Spokesman Albie Esparza. Esparza described the suspect as a 5’9” white or Hispanic male between the ages of 20-40 who was dressed in black and wearing white gloves. “The suspect did have his face covered in this latest video so we’re asking the public’s help if they know who this person is.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ani Rivera, Galería de la Raza’s executive director, is now working to create a space for her neighbors and community members to talk about the impact of the vandalism.\u003c/p>\n\u003cp>“We have to take this horrible situation and turn it into a healing opportunity,” Rivera said. “The issue is so much bigger than the mural itself.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tomorrow night, Galería de la Raza will \u003ca href=\"https://www.facebook.com/events/794025240710866/\" target=\"_blank\" rel=\"noopener\">host a rally\u003c/a> in front of the burned mural to elicit support and feedback from the community.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the latest act of vandalism this month, the mural outside the Mission district’s Galería de la Raza was set on fire Monday night. The section of Manuel Paul’s mural “Por Vida” that depicts two men embracing was burned beyond recognition just after 11 pm.\u003c/p>\n\u003cp>“This is an act of terrorism in every sense of the word,” said Henry Pacheco, Galería’s communications representative. “They are terrorizing the staff of Galería, the people who live in the building, and the larger community. If it weren’t for the person who came with the fire extinguisher, the entire block could’ve been burned down.”\u003c/p>\n\u003cp>The mural, which L.A.-based artist Paul created as a celebration of lowrider culture and Chicano LGBT pride, was first erected on June 12. It has since been reinstalled twice by Galería volunteers after the piece was \u003ca href=\"http://ww2.kqed.org/arts/2015/06/22/mission-district-gallerys-queer-cholo-mural-defaced-again/\">vandalized over two consecutive weekends\u003c/a>, as previously reported by KQED Arts.\u003c/p>\n\u003cp>The most recent acts of vandalism, including Monday night’s arson attack, were captured by surveillance cameras and the footage is currently under review by the San Francisco Police Department (SFPD.)\u003c/p>\n\u003cp>“There was an accelerant that was found at the scene, as well as an incendiary device, and essentially it’s being investigated as a hate crime and an arson,” said SFPD Spokesman Albie Esparza. Esparza described the suspect as a 5’9” white or Hispanic male between the ages of 20-40 who was dressed in black and wearing white gloves. “The suspect did have his face covered in this latest video so we’re asking the public’s help if they know who this person is.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ani Rivera, Galería de la Raza’s executive director, is now working to create a space for her neighbors and community members to talk about the impact of the vandalism.\u003c/p>\n\u003cp>“We have to take this horrible situation and turn it into a healing opportunity,” Rivera said. “The issue is so much bigger than the mural itself.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tomorrow night, Galería de la Raza will \u003ca href=\"https://www.facebook.com/events/794025240710866/\" target=\"_blank\" rel=\"noopener\">host a rally\u003c/a> in front of the burned mural to elicit support and feedback from the community.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>California arts groups will get a big bump in funding in the coming fiscal year — even more than previously thought.\u003c/p>\n\u003cp>The new $167.6 billion-state budget signed by Gov. Jerry Brown Wednesday provides $8.3 million for the California Arts Council, of which $7.1 million has been described as a “permanent increase.”\u003c/p>\n\u003cp>This is a significant boost to council’s funding, which has scraped by most of this past decade on about $1 million a year.\u003c/p>\n\u003cp>There were already signs of an imminent growth in state arts last month when \u003ca href=\"http://ww2.kqed.org/arts/2015/05/21/arts-funding-boosted-to-6-1m-in-governors-revised-budget/\" target=\"_blank\" rel=\"noopener\">Brown’s revised budget\u003c/a> increased the council’s proposed funding to $6.1 million and a state Senate subcommittee proposed increasing it to $10 million.\u003c/p>\n\u003cp>Donn Harris, who chairs the California Arts Council, says that some of the money will go towards beefing up pilot programs for the young, veterans, and underserved communities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We think the arts can apply to so many things that we don’t want them to be part of some elite piece off to the side,” Harris said. “We see this as part of the fabric of life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Advocates for the arts applauded the funding boost for the 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 residents works in the creative economy\u003c/a>. But California would have to spend around $42 million a year to match the average per-person arts budgets of other states.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California arts groups will get a big bump in funding in the coming fiscal year — even more than previously thought.\u003c/p>\n\u003cp>The new $167.6 billion-state budget signed by Gov. Jerry Brown Wednesday provides $8.3 million for the California Arts Council, of which $7.1 million has been described as a “permanent increase.”\u003c/p>\n\u003cp>This is a significant boost to council’s funding, which has scraped by most of this past decade on about $1 million a year.\u003c/p>\n\u003cp>There were already signs of an imminent growth in state arts last month when \u003ca href=\"http://ww2.kqed.org/arts/2015/05/21/arts-funding-boosted-to-6-1m-in-governors-revised-budget/\" target=\"_blank\" rel=\"noopener\">Brown’s revised budget\u003c/a> increased the council’s proposed funding to $6.1 million and a state Senate subcommittee proposed increasing it to $10 million.\u003c/p>\n\u003cp>Donn Harris, who chairs the California Arts Council, says that some of the money will go towards beefing up pilot programs for the young, veterans, and underserved communities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We think the arts can apply to so many things that we don’t want them to be part of some elite piece off to the side,” Harris said. “We see this as part of the fabric of life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Advocates for the arts applauded the funding boost for the 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 residents works in the creative economy\u003c/a>. But California would have to spend around $42 million a year to match the average per-person arts budgets of other states.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mission District Gallery's Queer Cholo Mural Defaced Again",
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"content": "\u003cp> \u003c/p>\n\u003cp>For the third time in less than a week, a San Francisco art gallery’s mural that mixes Lowrider or “cholo” culture with LGBTQ themes has been vandalized.\u003c/p>\n\u003cp>The Mission District’s \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener\">Galeria de la Raza\u003c/a> announced on its \u003ca href=\"https://www.facebook.com/galeriadelaraza\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> Sunday that Manuel Paul’s giant digital mural \u003cem>Por Vida\u003c/em> had been defaced with black spray paint some time overnight. The mural, which is printed on heavy paper, had been replaced on Thursday after it was vandalized in a similar fashion, on two separate occasions, just a few days before.\u003c/p>\n\u003cfigure id=\"attachment_10789995\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10789995\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_456688963-1180x885.jpg\" alt=\"The Manuel Paul mural at Galeria de La Raza honoring LGBTQ's place in Chicano culture was defaced again (Photo by Cy Musiker)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Manuel Paul mural at Galeria de La Raza honoring LGBTQ’s place in Chicano culture was defaced again (Photo by Cy Musiker) \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Por Vida\u003c/em> shows a gay couple, a lesbian couple and a transsexual man, all dressed like cholos, with the two couples embracing. The piece was a part of the gallery’s new exhibit \u003ci>The Q-Sides,\u003c/i> which is described on \u003ca href=\"http://www.galeriadelaraza.org/eng/events/index.php?op=view&id=5687\" target=\"_blank\" rel=\"noopener\">its website\u003c/a> as challenging “long-held assumptions regarding the traditional exclusivity of heterosexuality in lowrider culture.”\u003c/p>\n\u003cp>“The defacement and re-defacement of the current digital mural by Manuel Paul of Maricón Collective has only proven the credibility of its purpose,” a statement on Galeria de la Raza’s Facebook page said. “Galeria de la Raza believes in the importance of continued dialogue about LGBTQ visibility, awareness, and acceptance in the Mission District and within the greater Latino communities.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Around the first time the mural was vandalized, Paul and other \u003cem>Q-Sides\u003c/em> artists had reportedly received homophobic comments and even threats of bodily harm through social media.\u003c/p>\n\u003cp>The gallery also set up surveillance cameras after the first defacement and they have video of the second act of vandalism, which is being turned over to the police, according to \u003ca href=\"http://missionlocal.org/2015/06/mural-honoring-gay-love-vandalized-again/\" target=\"_blank\" rel=\"noopener\">Mission Local\u003c/a>.\u003c/p>\n\u003cp>Funds to repair the damaged mural are being raised with the help of \u003ca href=\"https://donatenow.networkforgood.org/1392515\" target=\"_blank\" rel=\"noopener\">Network For Good\u003c/a>. As of Sunday evening, it was unclear whether or not the mural would have to be replaced again.\u003c/p>\n\u003cp>The gallery, established in 1970, has had murals defaced before these incidents. A 2012 digital mural by artist Spencer Keeton Cunningham was vandalized and had to be \u003ca href=\"http://missionlocal.org/2012/05/galeria-de-la-raza-mural-defaced/\" target=\"_blank\" rel=\"noopener\">restored by the artist\u003c/a>. Back in 2000, \u003ca href=\"http://www.galeriadelaraza.org/eng/exhibits2/archive/artists.php?op=view&id=114&name=l&media=photo&mediaid=347\" target=\"_blank\" rel=\"noopener\">Alma Lopez’s “Heaven,”\u003c/a> which shows two women embracing, was also vandalized.\u003c/p>\n\u003cp>\u003cb>Update, 1 pm:\u003c/b>\u003c/p>\n\u003cp>Ani Rivera, Galeria de la Raza’s owner, emailed KQED Monday to confirm that there is video of two vandals defacing the mural around midnight on Sunday. The video will not be released to the media as it will first need to be reviewed by the San Francisco Police Department for their investigation.\u003c/p>\n\u003cp>Details on when the mural’s replacement will be released by the end of Monday, according to Rivera, though she is concerned that it will be vandalized again. The mural is scheduled to stay up until July 31 and Rivera is organizing a group to watch over it until it comes down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003c/p>\n\u003cp>For the third time in less than a week, a San Francisco art gallery’s mural that mixes Lowrider or “cholo” culture with LGBTQ themes has been vandalized.\u003c/p>\n\u003cp>The Mission District’s \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener\">Galeria de la Raza\u003c/a> announced on its \u003ca href=\"https://www.facebook.com/galeriadelaraza\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> Sunday that Manuel Paul’s giant digital mural \u003cem>Por Vida\u003c/em> had been defaced with black spray paint some time overnight. The mural, which is printed on heavy paper, had been replaced on Thursday after it was vandalized in a similar fashion, on two separate occasions, just a few days before.\u003c/p>\n\u003cfigure id=\"attachment_10789995\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10789995\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_456688963-1180x885.jpg\" alt=\"The Manuel Paul mural at Galeria de La Raza honoring LGBTQ's place in Chicano culture was defaced again (Photo by Cy Musiker)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Manuel Paul mural at Galeria de La Raza honoring LGBTQ’s place in Chicano culture was defaced again (Photo by Cy Musiker) \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Por Vida\u003c/em> shows a gay couple, a lesbian couple and a transsexual man, all dressed like cholos, with the two couples embracing. The piece was a part of the gallery’s new exhibit \u003ci>The Q-Sides,\u003c/i> which is described on \u003ca href=\"http://www.galeriadelaraza.org/eng/events/index.php?op=view&id=5687\" target=\"_blank\" rel=\"noopener\">its website\u003c/a> as challenging “long-held assumptions regarding the traditional exclusivity of heterosexuality in lowrider culture.”\u003c/p>\n\u003cp>“The defacement and re-defacement of the current digital mural by Manuel Paul of Maricón Collective has only proven the credibility of its purpose,” a statement on Galeria de la Raza’s Facebook page said. “Galeria de la Raza believes in the importance of continued dialogue about LGBTQ visibility, awareness, and acceptance in the Mission District and within the greater Latino communities.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Around the first time the mural was vandalized, Paul and other \u003cem>Q-Sides\u003c/em> artists had reportedly received homophobic comments and even threats of bodily harm through social media.\u003c/p>\n\u003cp>The gallery also set up surveillance cameras after the first defacement and they have video of the second act of vandalism, which is being turned over to the police, according to \u003ca href=\"http://missionlocal.org/2015/06/mural-honoring-gay-love-vandalized-again/\" target=\"_blank\" rel=\"noopener\">Mission Local\u003c/a>.\u003c/p>\n\u003cp>Funds to repair the damaged mural are being raised with the help of \u003ca href=\"https://donatenow.networkforgood.org/1392515\" target=\"_blank\" rel=\"noopener\">Network For Good\u003c/a>. As of Sunday evening, it was unclear whether or not the mural would have to be replaced again.\u003c/p>\n\u003cp>The gallery, established in 1970, has had murals defaced before these incidents. A 2012 digital mural by artist Spencer Keeton Cunningham was vandalized and had to be \u003ca href=\"http://missionlocal.org/2012/05/galeria-de-la-raza-mural-defaced/\" target=\"_blank\" rel=\"noopener\">restored by the artist\u003c/a>. Back in 2000, \u003ca href=\"http://www.galeriadelaraza.org/eng/exhibits2/archive/artists.php?op=view&id=114&name=l&media=photo&mediaid=347\" target=\"_blank\" rel=\"noopener\">Alma Lopez’s “Heaven,”\u003c/a> which shows two women embracing, was also vandalized.\u003c/p>\n\u003cp>\u003cb>Update, 1 pm:\u003c/b>\u003c/p>\n\u003cp>Ani Rivera, Galeria de la Raza’s owner, emailed KQED Monday to confirm that there is video of two vandals defacing the mural around midnight on Sunday. The video will not be released to the media as it will first need to be reviewed by the San Francisco Police Department for their investigation.\u003c/p>\n\u003cp>Details on when the mural’s replacement will be released by the end of Monday, according to Rivera, though she is concerned that it will be vandalized again. The mural is scheduled to stay up until July 31 and Rivera is organizing a group to watch over it until it comes down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Residents of the so-called Pigeon Palace, who have been resisting its sale for fear of a massive rent increase or eviction and out of respect for what they say are the wishes of its owner, scored a huge victory today when the Community Land Trust won the $3.28 million auction for the property in probate court.\u003c/p>\n\u003cp>Judge Peter Busch, presiding over the proceeding on the multiunit, three-story building at 2840-2848 Folsom St. earlier this week, called the case “probably the most spirited I have seen.”\u003c/p>\n\u003cp>That’s because tenants and neighbors have been objecting to the sale of the property for more than a month. They say its owner, Frances Carati, never wanted the building to be sold and planned for it to go to her tenants. When approached by the tenants, Carati even signed an Intent to Sell form.\u003c/p>\n\u003cp>Unfortunately for the tenants, she did so within 30 days of failing a mental aptitude test, making the document legally worthless because she has been deemed incapable of understanding her legal and financial situation.\u003c/p>\n\u003cp>Busch dismissed all objections against the sale, saying the tenant and neighbor objecting had no standing in the case and that a 2006 care directive indicating her unwillingness to sell the building had already been superseded.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read full story at \u003ca href=\"http://missionlocal.org/2015/06/victory-for-pigeon-palace-tenants-in-court-auction/\" target=\"_blank\">Mission Local\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Residents of the so-called Pigeon Palace, who have been resisting its sale for fear of a massive rent increase or eviction and out of respect for what they say are the wishes of its owner, scored a huge victory today when the Community Land Trust won the $3.28 million auction for the property in probate court.\u003c/p>\n\u003cp>Judge Peter Busch, presiding over the proceeding on the multiunit, three-story building at 2840-2848 Folsom St. earlier this week, called the case “probably the most spirited I have seen.”\u003c/p>\n\u003cp>That’s because tenants and neighbors have been objecting to the sale of the property for more than a month. They say its owner, Frances Carati, never wanted the building to be sold and planned for it to go to her tenants. When approached by the tenants, Carati even signed an Intent to Sell form.\u003c/p>\n\u003cp>Unfortunately for the tenants, she did so within 30 days of failing a mental aptitude test, making the document legally worthless because she has been deemed incapable of understanding her legal and financial situation.\u003c/p>\n\u003cp>Busch dismissed all objections against the sale, saying the tenant and neighbor objecting had no standing in the case and that a 2006 care directive indicating her unwillingness to sell the building had already been superseded.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the past, if Sara Solovitch tripped up while playing the piano, she would get flustered and stop. Especially in front of an audience.\u003c/p>\n\u003cp>“I felt like I had to correct everything and each note had to be perfect,” the Santa Cruz-based author and pianist recently said after playing the French composer Claude Debussy’s lyrical piano piece \u003cem>Reflections on the Water\u003c/em>. She’d breezed through a few bum notes as if no one were listening. “One of the things I’ve really worked on has been continuing to play.”\u003c/p>\n\u003cp>\u003cb>\u003c/b>For the past three years, Solovitch has been coming regularly to San Jose International airport to play the beat-up Hamilton baby grand located in the Terminal B baggage claim area.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/211133564″ 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>\u003cb>“\u003c/b>Here, I’m not worried about people’s judgment and evaluation,” Solovitch said. “People aren’t listening and that’s kind of a godsend to me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>\u003c/i>Alongside doing yoga and taking anti-anxiety meds, Solovitch’s impromptu airport recitals are part of her push to overcome stage fright — a phobia that has plagued the musician since she was a little girl.\u003c/p>\n\u003cp>And now she’s written a book on the subject — \u003cem>\u003ca href=\"http://www.bloomsbury.com/us/playing-scared-9781620400913/\" target=\"_blank\" rel=\"noopener\">Playing Scared: A History and Memoir of Stage Fright\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Solovitch loves the piano. But she’s so scared of playing the instrument in public that even practicing at home when her family is around regularly unsettles her.\u003c/p>\n\u003cp>“My hands turn wet with sweat and they’ll slip and slide,” Solovitch said. “My feet tremble so that I have a hard time controlling the pedal. I feel my heart beating really uncontrollably. And then there’s just this kind of like pounding in my head.”\u003c/p>\n\u003cp>Solovitch is an amateur musician. But even the most seasoned performers struggle with stage fright.\u003c/p>\n\u003cfigure id=\"attachment_10766552\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_2733.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10766552\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_2733-800x600.jpg\" alt=\"Comedian W Kamau Bell at home in Berkeley. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2733-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2733-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2733-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2733-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Comedian W Kamau Bell at home in Berkeley. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley standup comedian W Kamau Bell has hosted his own cable TV series and has appeared on popular podcasts like \u003cem>WTF with Marc Maron\u003c/em>.\u003c/p>\n\u003cp>Yet despite Bell’s impressive chops and widespread renown, the comic still suffers from performance anxiety on a regular basis. And it makes no difference if he’s in front of a national television audience or a small crowd at a bar; he says his mind scrambles and his mouth goes dry.\u003c/p>\n\u003cp>“I’ve often said that if there’s a way to email the crowd the jokes and still get the same feeling from performing live I would just as soon do that,” Bell said.\u003c/p>\n\u003cp>It’s not just performers who deal with this issue. San Francisco Jungian psychiatrist John Beebe, who has dealt with performance anxiety in his own career and treats people who suffer from it, thinks stage fright is universal.\u003c/p>\n\u003cp>“When we can’t live up to the image we’d like to project we just feel within ourselves that we fail terribly,” Beebe said.\u003c/p>\n\u003cp>But Beebe believes people can overcome stage fright if they face it head on. Repetition is key.\u003c/p>\n\u003cp>“I think some of us have learned that the only way to master anything is to practice and do it,” Beebe said.\u003c/p>\n\u003cp>A steady diet of playing to passersby at San Jose Airport has helped Sara Solovitch vanquish her stage fright.\u003c/p>\n\u003cp>“You have to practice performing as much as you practice practise,” Solovitch said.\u003c/p>\n\u003cp>Her practice seems to have paid off: Solovitch is actually looking forward to her next gig. She’ll be performing at the public library in Santa Cruz in August.\u003c/p>\n\u003cp>“I used to talk to myself the way one doesn’t talk to their dog: You know, ‘you’re stupid, you’re an idiot, how could you make that mistake?’” Solovitch said. “And now as I approach a performance, instead of saying ‘I’m nervous,’ I say to myself ‘I’m excited.’”\u003c/p>\n\u003cp>\u003cem>Sara Solovitch’s new book, \u003ca href=\"http://www.bloomsbury.com/us/playing-scared-9781620400913/\" target=\"_blank\" rel=\"noopener\">Playing Scared: A History and Memoir of Stage Fright\u003c/a> comes out this week from Bloomsbury Publishing.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to an audio version of this story on The California Report, Friday June 19. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003c/i>Alongside doing yoga and taking anti-anxiety meds, Solovitch’s impromptu airport recitals are part of her push to overcome stage fright — a phobia that has plagued the musician since she was a little girl.\u003c/p>\n\u003cp>And now she’s written a book on the subject — \u003cem>\u003ca href=\"http://www.bloomsbury.com/us/playing-scared-9781620400913/\" target=\"_blank\" rel=\"noopener\">Playing Scared: A History and Memoir of Stage Fright\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Solovitch loves the piano. But she’s so scared of playing the instrument in public that even practicing at home when her family is around regularly unsettles her.\u003c/p>\n\u003cp>“My hands turn wet with sweat and they’ll slip and slide,” Solovitch said. “My feet tremble so that I have a hard time controlling the pedal. I feel my heart beating really uncontrollably. And then there’s just this kind of like pounding in my head.”\u003c/p>\n\u003cp>Solovitch is an amateur musician. But even the most seasoned performers struggle with stage fright.\u003c/p>\n\u003cfigure id=\"attachment_10766552\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_2733.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10766552\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_2733-800x600.jpg\" alt=\"Comedian W Kamau Bell at home in Berkeley. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2733-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2733-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2733-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2733-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Comedian W Kamau Bell at home in Berkeley. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley standup comedian W Kamau Bell has hosted his own cable TV series and has appeared on popular podcasts like \u003cem>WTF with Marc Maron\u003c/em>.\u003c/p>\n\u003cp>Yet despite Bell’s impressive chops and widespread renown, the comic still suffers from performance anxiety on a regular basis. And it makes no difference if he’s in front of a national television audience or a small crowd at a bar; he says his mind scrambles and his mouth goes dry.\u003c/p>\n\u003cp>“I’ve often said that if there’s a way to email the crowd the jokes and still get the same feeling from performing live I would just as soon do that,” Bell said.\u003c/p>\n\u003cp>It’s not just performers who deal with this issue. San Francisco Jungian psychiatrist John Beebe, who has dealt with performance anxiety in his own career and treats people who suffer from it, thinks stage fright is universal.\u003c/p>\n\u003cp>“When we can’t live up to the image we’d like to project we just feel within ourselves that we fail terribly,” Beebe said.\u003c/p>\n\u003cp>But Beebe believes people can overcome stage fright if they face it head on. Repetition is key.\u003c/p>\n\u003cp>“I think some of us have learned that the only way to master anything is to practice and do it,” Beebe said.\u003c/p>\n\u003cp>A steady diet of playing to passersby at San Jose Airport has helped Sara Solovitch vanquish her stage fright.\u003c/p>\n\u003cp>“You have to practice performing as much as you practice practise,” Solovitch said.\u003c/p>\n\u003cp>Her practice seems to have paid off: Solovitch is actually looking forward to her next gig. She’ll be performing at the public library in Santa Cruz in August.\u003c/p>\n\u003cp>“I used to talk to myself the way one doesn’t talk to their dog: You know, ‘you’re stupid, you’re an idiot, how could you make that mistake?’” Solovitch said. “And now as I approach a performance, instead of saying ‘I’m nervous,’ I say to myself ‘I’m excited.’”\u003c/p>\n\u003cp>\u003cem>Sara Solovitch’s new book, \u003ca href=\"http://www.bloomsbury.com/us/playing-scared-9781620400913/\" target=\"_blank\" rel=\"noopener\">Playing Scared: A History and Memoir of Stage Fright\u003c/a> comes out this week from Bloomsbury Publishing.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to an audio version of this story on The California Report, Friday June 19. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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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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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"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",
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"source": "NPR"
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"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. ",
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"jerrybrown": {
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"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. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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