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"content": "\u003cp>A lot of Armenian-Americans of a certain age can relate to L.A. actress and comedienne Lory Tatoulian.\u003c/p>\n\u003cp>“I remember when my grandfather would come and visit us, he would share a room with me and he would wake up in the middle of the night screaming,” recalls Tatoulian, sitting beside her mother, Araxy Tatoulian, in the kitchen of Lory's home in downtown Pasadena.\u003c/p>\n\u003cp>“And I remember getting scared and running to my mom’s bedroom, and I didn’t understand what was happening,” she says.\u003c/p>\n\u003cp>Lory's mother would try to calm her down.\u003c/p>\n\u003cp>“And I would say, 'Lory, he has a pain, and later on when you grow up I’m going to tell you the story,' ” Araxy Tatoulian says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Araxy Tatoulian's parents survived the Armenian genocide, barely.\u003c/p>\n\u003cp>Her mother was wounded by Ottoman soldiers while she fought alongside men in the Armenian resistance.\u003c/p>\n\u003cp>She lived with the bullet until her death 30 years ago. The bullet is now part of a museum collection of genocide-related material in Armenia.\u003c/p>\n\u003cp>Araxy’s father, at the age of 8, was taken in by Arab Bedouins after his family was butchered. He was later reunited with surviving family in Lebanon.\u003c/p>\n\u003cfigure id=\"attachment_10500418\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-Tatoulians.jpg\">\u003cimg class=\"wp-image-10500418 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-Tatoulians.jpg\" alt=\" Araxy Tataloulian (L) and her daughter Lory with pictures of Araxy’s mother and father, survivors of the Armenian genocide. \" width=\"1920\" height=\"1544\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-400x322.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-1440x1158.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-1180x949.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-960x772.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\"> Araxy Tataloulian (L) and her daughter, Lory, with pictures of Araxy’s mother and father, survivors of the Armenian genocide. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lory Tatoulian says her grandparents rarely spoke of their experiences.\u003c/p>\n\u003cp>“But you just felt it in their eyes. It was manifest in the way they raised us with this underlying anxiety that something horrible could always happen,” Lory Tatoulian says. “That was an energy that was always present.”\u003c/p>\n\u003cp>But family life was also filled with a great deal of laughter and creativity. Her grandmother was also a stage actress and writer. Her mother, Araxy, is a teacher and poet.\u003c/p>\n\u003cp>“This is my story. This is a burden I also carry, and what am I to do with this pain?” Lory Tatoulian asks. “What am I to do with those stories, with those nightmares?”\u003c/p>\n\u003cp>Around 200 people crowded into \u003ca title=\"Abril Books\" href=\"http://www.abrilbooks.com/\">Abril Bookstore \u003c/a>in Glendale recently to hear Araxy and Lory Tatoulian sing traditional Armenian songs and share stories and photos of their family’s survival.\u003c/p>\n\u003cp>Araxy Tatoulian says her generation also kept stories of the genocide alive through art. But it’s younger generations who have really thrust it into the pop culture mainstream.\u003c/p>\n\u003cp>“This new generation, second and third generation, they feel like there’s a still a pain,\" says Araxy Tatoulian. \"So that’s why this year is very special. It’s a sacred centennial.\"\u003c/p>\n\u003cp>Hundreds of people also attended last week’s L.A. premiere of \u003ca title=\"1915: THE MOVIE\" href=\"http://www.1915themovie.com/\">\"1915: The Movie,\"\u003c/a> the first American feature film to explore how the anguish of the Armenian genocide continues to ripple across the generations.\u003c/p>\n\u003cp>“One hundred years after the Armenian genocide, this rather obsessed and haunted theater director is staging a play, which he believes will bring the ghosts of this forgotten crime back to life,” co-director and screenwriter Alec Mouhibian explains.\u003c/p>\n\u003cp>“And it turns out that personal confrontations with the truth need to be made before the historic confrontations can be made on the stage for the play to work,” Mouhibian says.\u003c/p>\n\u003cp>Both historic and contemporary confrontations must deal with the executions, death marches and land seizures of 100 years ago. Turkey concedes atrocities were committed against Christian Armenians under Ottoman rule during World War I. But it insists they occurred during wartime, when many Turks also perished.\u003c/p>\n\u003cp>To this day Turkey denies there was ever a systematic plan to wipe out Armenians, or that as many as 1.5 million Armenian men, woman and children perished.\u003c/p>\n\u003cp>“1915” co-director Garin Hovannisian, whose father, Raffi Hovannisian, is the first foreign minister of \u003ca href=\"http://en.wikipedia.org/wiki/Armenia\">Armenia\u003c/a>, says that as long as the denial persists, so, too, will the protests.\u003c/p>\n\u003cp>“If you’re aware as an Armenian, you’re also aware of the fact that Turkey’s denial is just not passive denial. It’s aggressive denial,” Hovannisian says. “So the battle is ongoing, and that’s why I think we have no opportunity to back down.”\u003c/p>\n\u003cp>One of the loudest voices in the call for genocide recognition is the Grammy Award-winning L.A. metal band \u003ca title=\"System of a Down\" href=\"http://www.systemofadown.com/\">System of a Down\u003c/a>.\u003c/p>\n\u003cp>All four members are also descendants of Armenian genocide survivors. This week System of a Down wrapped up an international tour commemorating the genocide’s centennial with its first-ever performance in Armenia, in a massive \u003ca title=\"System of a Down in Armenia\" href=\"https://www.youtube.com/watch?v=NYblpyVo_cc\">outdoor concert in the capital city, Yerevan. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10500460\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg\">\u003cimg class=\"wp-image-10500460 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg\" alt=\"Screen shot from the web simulcast of System of a Down’s April 23 outdoor performance in Yerevan, Armenia’s capital. It was the band’s first ever performance in Armenia. \" width=\"1920\" height=\"1220\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-400x254.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-800x508.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-1440x915.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-1180x750.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-960x610.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screen shot from the web simulcast of System of a Down’s April 23 outdoor performance in Yerevan, Armenia’s capital. It was the band’s first-ever performance in Armenia. \u003ccite>(System of a Down)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The important thing is justice,” said vocalist Serj Tankian, speaking about the band’s 20-year crusade in a video statement at the start of its \"Wake up the Souls\" tour.\u003c/p>\n\u003cp>“If someone killed my family and burned my house down and I’m running after them for 100 years, you have to have incrimination, you have to courts involved, etc,” Tankian says.\u003c/p>\n\u003cp>An online campaign launched this year by Glendale rapper R-Mean to raise awareness of the genocide sums it up in its slogan: \"\u003ca title=\"R-Mean Open Wounds video\" href=\"https://www.youtube.com/watch?v=0qDVkXKfm1M\">Our Wounds Are Still Open\u003c/a>.\"\u003c/p>\n\u003cp>Open wounds is also the theme of a street mural painted last year in L.A.’s Little Armenia neighborhood by artist Arutyun Gozukuchikyan, who goes by the name \u003ca title=\"ArtViaArt\" href=\"http://www.artviaart.com/\">ArtViaArt\u003c/a>.\u003c/p>\n\u003cp>The mural shows a forearm sliced open by a dagger, the year 1915 exposed beneath the skin. \"Our Wounds are Still Open\" is painted in letters that look as if they were carved into the concrete.\u003c/p>\n\u003cp>\"As for why and what difference this will make, it’s just documenting,” Gozukuchikyan says. “I don’t know what the next generation will do, but you’re kind of just painting history.”\u003c/p>\n\u003cfigure id=\"attachment_10500461\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-ArtG.jpg\">\u003cimg class=\"wp-image-10500461 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-ArtG.jpg\" alt=\"Arutyun Gozukuchikyan otherwise known as ArtViaArt and his recent street mural in L.A.’s Little Armenia commemorating the Armenian genocide. \" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arutyun Gozukuchikyan, otherwise known as ArtViaArt, and his recent street mural in L.A.’s Little Armenia commemorating the Armenian genocide. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A second mural completed a few months ago shows an elderly Armenian woman, Gozukuchikyan’s grandmother, her mouth bound with a cloth that's again inscribed with the year 1915.\u003c/p>\n\u003cp>Gozukuchikyan says a lot of older Armenians were hesitant to ever talk about the genocide, let alone to protest.\u003c/p>\n\u003cp>“This generation’s different, this generation’s stepping up,” Gozukuchikyan says. “This is our way of saying: No one wants to recognize this? We’ll recognize it ourselves.\"\u003c/p>\n\u003cp>Gozukuchikyan says he’s done with the genocide as a subject, for now anyway. All he could say is right up there on the walls.\u003c/p>\n\u003cp>It’s a sentiment that “1915” co-director Garvin Hovannissian can relate to.\u003c/p>\n\u003cp>“When we were making this film I’d always been thinking of April 24 as our last chance of telling the world what happened to us,” Hovannissian says.\u003c/p>\n\u003cp>“But it’s really the first time that many people are going to hear about (the genocide). And that’s another way of saying our work and struggle are still ahead of us.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And maybe through a film, song or street mural, the Armenian genocide will remain burnished in people’s memories for another hundred years.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of Armenian-Americans of a certain age can relate to L.A. actress and comedienne Lory Tatoulian.\u003c/p>\n\u003cp>“I remember when my grandfather would come and visit us, he would share a room with me and he would wake up in the middle of the night screaming,” recalls Tatoulian, sitting beside her mother, Araxy Tatoulian, in the kitchen of Lory's home in downtown Pasadena.\u003c/p>\n\u003cp>“And I remember getting scared and running to my mom’s bedroom, and I didn’t understand what was happening,” she says.\u003c/p>\n\u003cp>Lory's mother would try to calm her down.\u003c/p>\n\u003cp>“And I would say, 'Lory, he has a pain, and later on when you grow up I’m going to tell you the story,' ” Araxy Tatoulian says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Araxy Tatoulian's parents survived the Armenian genocide, barely.\u003c/p>\n\u003cp>Her mother was wounded by Ottoman soldiers while she fought alongside men in the Armenian resistance.\u003c/p>\n\u003cp>She lived with the bullet until her death 30 years ago. The bullet is now part of a museum collection of genocide-related material in Armenia.\u003c/p>\n\u003cp>Araxy’s father, at the age of 8, was taken in by Arab Bedouins after his family was butchered. He was later reunited with surviving family in Lebanon.\u003c/p>\n\u003cfigure id=\"attachment_10500418\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-Tatoulians.jpg\">\u003cimg class=\"wp-image-10500418 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-Tatoulians.jpg\" alt=\" Araxy Tataloulian (L) and her daughter Lory with pictures of Araxy’s mother and father, survivors of the Armenian genocide. \" width=\"1920\" height=\"1544\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-400x322.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-1440x1158.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-1180x949.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-960x772.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\"> Araxy Tataloulian (L) and her daughter, Lory, with pictures of Araxy’s mother and father, survivors of the Armenian genocide. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lory Tatoulian says her grandparents rarely spoke of their experiences.\u003c/p>\n\u003cp>“But you just felt it in their eyes. It was manifest in the way they raised us with this underlying anxiety that something horrible could always happen,” Lory Tatoulian says. “That was an energy that was always present.”\u003c/p>\n\u003cp>But family life was also filled with a great deal of laughter and creativity. Her grandmother was also a stage actress and writer. Her mother, Araxy, is a teacher and poet.\u003c/p>\n\u003cp>“This is my story. This is a burden I also carry, and what am I to do with this pain?” Lory Tatoulian asks. “What am I to do with those stories, with those nightmares?”\u003c/p>\n\u003cp>Around 200 people crowded into \u003ca title=\"Abril Books\" href=\"http://www.abrilbooks.com/\">Abril Bookstore \u003c/a>in Glendale recently to hear Araxy and Lory Tatoulian sing traditional Armenian songs and share stories and photos of their family’s survival.\u003c/p>\n\u003cp>Araxy Tatoulian says her generation also kept stories of the genocide alive through art. But it’s younger generations who have really thrust it into the pop culture mainstream.\u003c/p>\n\u003cp>“This new generation, second and third generation, they feel like there’s a still a pain,\" says Araxy Tatoulian. \"So that’s why this year is very special. It’s a sacred centennial.\"\u003c/p>\n\u003cp>Hundreds of people also attended last week’s L.A. premiere of \u003ca title=\"1915: THE MOVIE\" href=\"http://www.1915themovie.com/\">\"1915: The Movie,\"\u003c/a> the first American feature film to explore how the anguish of the Armenian genocide continues to ripple across the generations.\u003c/p>\n\u003cp>“One hundred years after the Armenian genocide, this rather obsessed and haunted theater director is staging a play, which he believes will bring the ghosts of this forgotten crime back to life,” co-director and screenwriter Alec Mouhibian explains.\u003c/p>\n\u003cp>“And it turns out that personal confrontations with the truth need to be made before the historic confrontations can be made on the stage for the play to work,” Mouhibian says.\u003c/p>\n\u003cp>Both historic and contemporary confrontations must deal with the executions, death marches and land seizures of 100 years ago. Turkey concedes atrocities were committed against Christian Armenians under Ottoman rule during World War I. But it insists they occurred during wartime, when many Turks also perished.\u003c/p>\n\u003cp>To this day Turkey denies there was ever a systematic plan to wipe out Armenians, or that as many as 1.5 million Armenian men, woman and children perished.\u003c/p>\n\u003cp>“1915” co-director Garin Hovannisian, whose father, Raffi Hovannisian, is the first foreign minister of \u003ca href=\"http://en.wikipedia.org/wiki/Armenia\">Armenia\u003c/a>, says that as long as the denial persists, so, too, will the protests.\u003c/p>\n\u003cp>“If you’re aware as an Armenian, you’re also aware of the fact that Turkey’s denial is just not passive denial. It’s aggressive denial,” Hovannisian says. “So the battle is ongoing, and that’s why I think we have no opportunity to back down.”\u003c/p>\n\u003cp>One of the loudest voices in the call for genocide recognition is the Grammy Award-winning L.A. metal band \u003ca title=\"System of a Down\" href=\"http://www.systemofadown.com/\">System of a Down\u003c/a>.\u003c/p>\n\u003cp>All four members are also descendants of Armenian genocide survivors. This week System of a Down wrapped up an international tour commemorating the genocide’s centennial with its first-ever performance in Armenia, in a massive \u003ca title=\"System of a Down in Armenia\" href=\"https://www.youtube.com/watch?v=NYblpyVo_cc\">outdoor concert in the capital city, Yerevan. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10500460\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg\">\u003cimg class=\"wp-image-10500460 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg\" alt=\"Screen shot from the web simulcast of System of a Down’s April 23 outdoor performance in Yerevan, Armenia’s capital. It was the band’s first ever performance in Armenia. \" width=\"1920\" height=\"1220\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-400x254.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-800x508.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-1440x915.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-1180x750.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-960x610.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screen shot from the web simulcast of System of a Down’s April 23 outdoor performance in Yerevan, Armenia’s capital. It was the band’s first-ever performance in Armenia. \u003ccite>(System of a Down)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The important thing is justice,” said vocalist Serj Tankian, speaking about the band’s 20-year crusade in a video statement at the start of its \"Wake up the Souls\" tour.\u003c/p>\n\u003cp>“If someone killed my family and burned my house down and I’m running after them for 100 years, you have to have incrimination, you have to courts involved, etc,” Tankian says.\u003c/p>\n\u003cp>An online campaign launched this year by Glendale rapper R-Mean to raise awareness of the genocide sums it up in its slogan: \"\u003ca title=\"R-Mean Open Wounds video\" href=\"https://www.youtube.com/watch?v=0qDVkXKfm1M\">Our Wounds Are Still Open\u003c/a>.\"\u003c/p>\n\u003cp>Open wounds is also the theme of a street mural painted last year in L.A.’s Little Armenia neighborhood by artist Arutyun Gozukuchikyan, who goes by the name \u003ca title=\"ArtViaArt\" href=\"http://www.artviaart.com/\">ArtViaArt\u003c/a>.\u003c/p>\n\u003cp>The mural shows a forearm sliced open by a dagger, the year 1915 exposed beneath the skin. \"Our Wounds are Still Open\" is painted in letters that look as if they were carved into the concrete.\u003c/p>\n\u003cp>\"As for why and what difference this will make, it’s just documenting,” Gozukuchikyan says. “I don’t know what the next generation will do, but you’re kind of just painting history.”\u003c/p>\n\u003cfigure id=\"attachment_10500461\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-ArtG.jpg\">\u003cimg class=\"wp-image-10500461 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-ArtG.jpg\" alt=\"Arutyun Gozukuchikyan otherwise known as ArtViaArt and his recent street mural in L.A.’s Little Armenia commemorating the Armenian genocide. \" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arutyun Gozukuchikyan, otherwise known as ArtViaArt, and his recent street mural in L.A.’s Little Armenia commemorating the Armenian genocide. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A second mural completed a few months ago shows an elderly Armenian woman, Gozukuchikyan’s grandmother, her mouth bound with a cloth that's again inscribed with the year 1915.\u003c/p>\n\u003cp>Gozukuchikyan says a lot of older Armenians were hesitant to ever talk about the genocide, let alone to protest.\u003c/p>\n\u003cp>“This generation’s different, this generation’s stepping up,” Gozukuchikyan says. “This is our way of saying: No one wants to recognize this? We’ll recognize it ourselves.\"\u003c/p>\n\u003cp>Gozukuchikyan says he’s done with the genocide as a subject, for now anyway. All he could say is right up there on the walls.\u003c/p>\n\u003cp>It’s a sentiment that “1915” co-director Garvin Hovannissian can relate to.\u003c/p>\n\u003cp>“When we were making this film I’d always been thinking of April 24 as our last chance of telling the world what happened to us,” Hovannissian says.\u003c/p>\n\u003cp>“But it’s really the first time that many people are going to hear about (the genocide). And that’s another way of saying our work and struggle are still ahead of us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And maybe through a film, song or street mural, the Armenian genocide will remain burnished in people’s memories for another hundred years.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Yes, it’s a little bit of a surprise that Emeryville, a town that many Bay Area residents probably associate with the massive yellow-and-blue \u003ca target=\"_self\" href=\"http://photos.wikimapia.org/p/00/02/12/18/29_full.jpg\" rel=\"noopener\">Swedish furniture store\u003c/a> adjacent to the MacArthur Maze, has a poet laureate. \u003c/p>\n\u003cp>But in the interest of enriching the local cultural landscape, the city created \u003ca href=\"http://ww2.kqed.org/news/2015/04/22/emeryville-poet-laureate-priced-out\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/04/22/emeryville-poet-laureate-priced-out\" target=\"_self\" title=\"Poetry Priced Out: Rent Hike Forces Emeryville Laureate to Move\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>Yes, it's a little bit of a surprise that Emeryville, a town that many Bay Area residents probably associate with the massive yellow-and-blue \u003ca target=\"_self\" href=\"http://photos.wikimapia.org/p/00/02/12/18/29_full.jpg\" rel=\"noopener\">Swedish furniture store\u003c/a> adjacent to the MacArthur Maze, has a poet laureate. \u003c/p>\r\n\u003cp>But in the interest of enriching the local cultural landscape, the city created \u003ca href=\"http://ww2.kqed.org/news/2015/04/22/emeryville-poet-laureate-priced-out\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yes, it’s a little bit of a surprise that Emeryville, a town that many Bay Area residents probably associate with the massive yellow-and-blue \u003ca target=\"_self\" href=\"http://photos.wikimapia.org/p/00/02/12/18/29_full.jpg\" rel=\"noopener\">Swedish furniture store\u003c/a> adjacent to the MacArthur Maze, has a poet laureate. \u003c/p>\n\u003cp>But in the interest of enriching the local cultural landscape, the city created \u003ca href=\"http://ww2.kqed.org/news/2015/04/22/emeryville-poet-laureate-priced-out\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/04/22/emeryville-poet-laureate-priced-out\" target=\"_self\" title=\"Poetry Priced Out: Rent Hike Forces Emeryville Laureate to Move\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>There’s an art of conversation, to be sure, but can conversations themselves \u003cem>be\u003c/em> art? They can, when the artists involved are engaging in what’s known as social practice.\u003c/p>\n\u003cp>Social practice projects might look like just about anything — journalism, community organizing, even a shop. The goal is to create social change by staging actions that engage people and make them think – and talk. “For me,” says social-practice artist and professor Stephanie Syjuco, “the best social practice projects actually try to attract people to join a conversation.”\u003c/p>\n\u003cp>Two artists, Chris Treggiari and Chris Johnson, recently went into the streets of Oakland to record conversations and make art (see their projects in the \u003ca href=\"https://youtu.be/ocCsQpnjNrw\" target=\"_blank\" rel=\"noopener\">video on this page\u003c/a>). Treggiari and partner Peter Foucault, working with the Center for Investigative Reporting, built an interactive “news” van that they used to collect stories of people they met. “We really want to get a feel for what a community is going through,” Treggiari says, “what is changing and how is it changing and what’s [their] opinion on it.”\u003c/p>\n\u003cp>Chris Johnson’s project, “The Best Way to Find a Hero,” focuses on acts of everyday heroism – or, as Johnson puts it, “people who are surviving and thriving and raising families against adversity.” For the work, he made a map of Oakland that includes the parts of the city that are “defined as troubled neighborhoods by developers.” Johnson threw darts at the map and then went to those addresses, video camera in hand, to document the heroic stories of the people he encountered.\u003c/p>\n\u003cp>Today’s social practice projects have art historical roots in participatory works from earlier eras. In \u003cem>\u003ca href=\"http://www.jonrubin.net/museum-visitor-wallet-photos/\">Pictures Collected from Museum Visitors Wallets\u003c/a>\u003c/em>, Harrell Fletcher and Jon Rubin interviewed SFMOMA museum visitors about the photographs they happened to carry with them. Ten were enlarged and became part of the museum’s permanent collection. \u003cem>\u003ca href=\"http://www.learningtoloveyoumore.com/\">Learning to Love You More,\u003c/a>\u003c/em> by Harrell Fletcher and Miranda July, was an early, pre-social-media website where participants completed assignments — such as “Draw a scene from a movie that made you cry” — and viewed each other’s’ submissions. In her commission \u003cem>\u003ca href=\"http://www.sfmoma.org/exhib_events/events/series/1337\">Shadowshop,\u003c/a>\u003c/em> Stephanie Syjuco turned an SFMOMA gallery into a store in which local artists and museum visitors were invited to explore themes of capitalism, commodity and counterfeit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Syjuco understands that this type of art can be difficult for people to comprehend at first. “If it’s in a museum or a gallery, people seem to understand, ‘Well, that’s where art belongs.’ But when it goes out into the world and is sometimes indistinguishable from other things that happen, I think that can be really beautiful.”\u003c/p>\n\u003cp>“The challenge,” says Johnson, “is how do you get people to care about social issues?” For these artists, finding the answer often starts with asking the right questions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem> Chris Treggiari and Chris Johnson’s projects can both be seen in the exhibit\u003c/em> \u003ca href=\"http://www.museumca.org/exhibit/who-is-oakland\">Who Is Oakland\u003c/a>, \u003cem>at the Oakland Museum of California,\u003c/em> \u003cem>April 11–July 12, 2015. Learn more about participatory and social practice works at \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/306\">SFMOMA.com\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s an art of conversation, to be sure, but can conversations themselves \u003cem>be\u003c/em> art? They can, when the artists involved are engaging in what’s known as social practice.\u003c/p>\n\u003cp>Social practice projects might look like just about anything — journalism, community organizing, even a shop. The goal is to create social change by staging actions that engage people and make them think – and talk. “For me,” says social-practice artist and professor Stephanie Syjuco, “the best social practice projects actually try to attract people to join a conversation.”\u003c/p>\n\u003cp>Two artists, Chris Treggiari and Chris Johnson, recently went into the streets of Oakland to record conversations and make art (see their projects in the \u003ca href=\"https://youtu.be/ocCsQpnjNrw\" target=\"_blank\" rel=\"noopener\">video on this page\u003c/a>). Treggiari and partner Peter Foucault, working with the Center for Investigative Reporting, built an interactive “news” van that they used to collect stories of people they met. “We really want to get a feel for what a community is going through,” Treggiari says, “what is changing and how is it changing and what’s [their] opinion on it.”\u003c/p>\n\u003cp>Chris Johnson’s project, “The Best Way to Find a Hero,” focuses on acts of everyday heroism – or, as Johnson puts it, “people who are surviving and thriving and raising families against adversity.” For the work, he made a map of Oakland that includes the parts of the city that are “defined as troubled neighborhoods by developers.” Johnson threw darts at the map and then went to those addresses, video camera in hand, to document the heroic stories of the people he encountered.\u003c/p>\n\u003cp>Today’s social practice projects have art historical roots in participatory works from earlier eras. In \u003cem>\u003ca href=\"http://www.jonrubin.net/museum-visitor-wallet-photos/\">Pictures Collected from Museum Visitors Wallets\u003c/a>\u003c/em>, Harrell Fletcher and Jon Rubin interviewed SFMOMA museum visitors about the photographs they happened to carry with them. Ten were enlarged and became part of the museum’s permanent collection. \u003cem>\u003ca href=\"http://www.learningtoloveyoumore.com/\">Learning to Love You More,\u003c/a>\u003c/em> by Harrell Fletcher and Miranda July, was an early, pre-social-media website where participants completed assignments — such as “Draw a scene from a movie that made you cry” — and viewed each other’s’ submissions. In her commission \u003cem>\u003ca href=\"http://www.sfmoma.org/exhib_events/events/series/1337\">Shadowshop,\u003c/a>\u003c/em> Stephanie Syjuco turned an SFMOMA gallery into a store in which local artists and museum visitors were invited to explore themes of capitalism, commodity and counterfeit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/companeras-book-release/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Compañeras’ Book Release\u003c/h2>\n\u003cdiv class=\"event-desc\">Stories from Zapatista women.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 23, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Eric Quezada Center for Culture and Politics\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/companeras-book-release/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>On the first day of 1994, as the North American Free Trade Agreement laws first went into effect, a group of Mexican rebels declared war against their government. Several thousand Zapatistas descended on towns throughout Chiapas, demanding revolution and resistance against globalization. They wanted radical democracy, and for 20 years they have not only sustained themselves, they have built an autonomous society with healthcare, education and sustainable agriculture.\u003c/p>\n\u003cp>One major and often untold aspect of the Zapatista movement is that of women’s leadership, a topic Hilary Klein covers inclusively in her new book, \u003cem>\u003ca href=\"http://catalog.sevenstories.com/products/companeras-zapatista-womens-stories\" target=\"_blank\" rel=\"noopener\">Compañeras: Zapatista Women’s Stories\u003c/a>\u003c/em> (Seven Stories Press, 2015). \u003ca href=\"http://www.politicaleducation.org/\">The Eric Quezada Center for Culture and Politics\u003c/a> in San Francisco celebrates the launch of Klein’s work with a book reading and signing, a panel discussion with Tere Almaguer, Caleb Duarte, and Roxanne Dunbar-Ortiz, and live music from Francisco Herrera on Apr. 23.\u003c/p>\n\u003cp>In \u003cem>Compañeras\u003c/em>, Klein features firsthand stories of Zapatista women she interviewed while working with women’s projects in Chiapas for six years. Stories illustrate the major changes women experienced after leaving their homes and traditional gender roles to join the uprising and the empowerment and freedom that followed.\u003c/p>\n\u003cp>The tales range from new access to health care and health education, to tales of women in leadership and their changed roles within the family. \u003cem>Compañeras\u003c/em> provides an all-encompassing portrait of the positive personal and societal revolution that the women, as equal, key players in the Zapatista movement, have created and experienced. In Chiapas, the role of women as a collective entity has transformed their society. Furthermore, women’s equality isn’t limited to the Zapatista communities, but also impacts civilians living in more traditional \u003ca href=\"http://www.telesurtv.net/english/opinion/International-Womens-Day-in-Zapatista-Territory-20150306-0033.html\" target=\"_blank\" rel=\"noopener\">neighboring communities\u003c/a>.\u003c/p>\n\u003cp>The Zapatista society isn’t perfect and remains a work in progress, but as Klein describes it – particularly in regards to women’s equality – there is much to be learned from them about creating a radically safe, empowered society for women and girls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/companeras-book-release/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Compañeras’ Book Release\u003c/h2>\n\u003cdiv class=\"event-desc\">Stories from Zapatista women.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 23, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Eric Quezada Center for Culture and Politics\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/companeras-book-release/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>On the first day of 1994, as the North American Free Trade Agreement laws first went into effect, a group of Mexican rebels declared war against their government. Several thousand Zapatistas descended on towns throughout Chiapas, demanding revolution and resistance against globalization. They wanted radical democracy, and for 20 years they have not only sustained themselves, they have built an autonomous society with healthcare, education and sustainable agriculture.\u003c/p>\n\u003cp>One major and often untold aspect of the Zapatista movement is that of women’s leadership, a topic Hilary Klein covers inclusively in her new book, \u003cem>\u003ca href=\"http://catalog.sevenstories.com/products/companeras-zapatista-womens-stories\" target=\"_blank\" rel=\"noopener\">Compañeras: Zapatista Women’s Stories\u003c/a>\u003c/em> (Seven Stories Press, 2015). \u003ca href=\"http://www.politicaleducation.org/\">The Eric Quezada Center for Culture and Politics\u003c/a> in San Francisco celebrates the launch of Klein’s work with a book reading and signing, a panel discussion with Tere Almaguer, Caleb Duarte, and Roxanne Dunbar-Ortiz, and live music from Francisco Herrera on Apr. 23.\u003c/p>\n\u003cp>In \u003cem>Compañeras\u003c/em>, Klein features firsthand stories of Zapatista women she interviewed while working with women’s projects in Chiapas for six years. Stories illustrate the major changes women experienced after leaving their homes and traditional gender roles to join the uprising and the empowerment and freedom that followed.\u003c/p>\n\u003cp>The tales range from new access to health care and health education, to tales of women in leadership and their changed roles within the family. \u003cem>Compañeras\u003c/em> provides an all-encompassing portrait of the positive personal and societal revolution that the women, as equal, key players in the Zapatista movement, have created and experienced. In Chiapas, the role of women as a collective entity has transformed their society. Furthermore, women’s equality isn’t limited to the Zapatista communities, but also impacts civilians living in more traditional \u003ca href=\"http://www.telesurtv.net/english/opinion/International-Womens-Day-in-Zapatista-Territory-20150306-0033.html\" target=\"_blank\" rel=\"noopener\">neighboring communities\u003c/a>.\u003c/p>\n\u003cp>The Zapatista society isn’t perfect and remains a work in progress, but as Klein describes it – particularly in regards to women’s equality – there is much to be learned from them about creating a radically safe, empowered society for women and girls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“Hard work, low pay, miserable conditions, and more!”\u003c/p>\n\u003cp>That’s the actual motto for the California Conservation Corps, the state program that puts young adults to work in emergency response, park improvements and fire protection. In Marin, many corps members — known affectionately as “C’s” – do hard physical work building and maintaining the world-class trails in places like Point Reyes, Mount Tamalpais and Muir Woods.\u003c/p>\n\u003cp>Because the young people burn thousands of calories a day, food plays a crucial role for a CCC crew, and their menu has barely changed since the ’30s.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/201327335″ 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>After hiking a couple miles up a wooded path, 20-year-old Willy Parker shows me the huge drainage area he and the rest of the crew are shoring up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’ll last for a couple hundred years,” he tells me. “I think that’s pretty awesome.”\u003c/p>\n\u003cp>We’re on a section of trail near Devil’s Gulch Camp in West Marin. I’m trying to understand this puzzle of huge rocks that crew members maneuver to fill a huge hole.\u003c/p>\n\u003cp>Parker tells me we’re looking at about 30 rocks, each as heavy as 100 pounds. Crew members roll rocks down the trail and work in teams, using long metal poles to place them correctly. They mark and chisel the rocks to get the perfect size, so they’ll fit snugly.\u003c/p>\n\u003cp>“They all have to be contacting, one edge to another edge,” says Parker.\u003c/p>\n\u003cfigure id=\"attachment_10491691\" class=\"wp-caption alignright\" style=\"max-width: 495px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RockAndStone.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10491691 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RockAndStone-800x633.jpg\" alt=\"California Conservation Corps members, “Cs” for short, roll rocks as heavy as 500 pounds to their work area, set them into place and chisel them for a snug fit.\" width=\"495\" height=\"392\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-800x633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-400x317.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-1440x1140.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-1180x934.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-768x608.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-320x253.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone.jpg 1920w\" sizes=\"auto, (max-width: 495px) 100vw, 495px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">California Conservation Corps members, “C’s” for short, roll rocks as heavy as 500 pounds to their work area, set them into place and chisel them for a snug fit. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s to support the tens of thousands of hikers, mountain bikers and horseback riders expected to use this trail. If you hike this trail in a year or two, Parker says, you won’t be able to see the work that went on here.\u003c/p>\n\u003cp>“Over time, the dirt, the leaves will fall over it to make it look natural,” he says.\u003c/p>\n\u003cp>Parker is part of what’s called a spike crew: Members will be working this site off and on for over a year. They spend eight days working, then six days at a residential center near Lake Tahoe. There they get time off and take classes. Like Parker, many work on their GEDs.\u003c/p>\n\u003cp>While these corps members prod heavy stones into place, Samantha Pack and Gabino Lopez have left the trail early to report to KP.\u003c/p>\n\u003cp>“KP stands for kitchen patrol, or kitchen police as we call it,” says Lopez. “It’s the person whose duty it is to take care of the kitchen and camp, all the chores like start the fire, clean around the kitchen.”\u003c/p>\n\u003cp>The kitchen’s really clean, but it’s not much to look at.\u003c/p>\n\u003cp>“Basically, it’s an old burlap tent,” says Pack. “It’s set up with our two stoves, both powered by propane. Two chests are filled with our pots, pans, dishes, and the top is our serving table. It’s a tight space!”\u003c/p>\n\u003cp>Lopez is getting creative, chopping onions and slicing oranges and lemon for the fish they’re serving the 20 crew members and two supervisors. “For us KP’s, we try to make something delicious, just to make the crew feel like they’re at their house.”\u003c/p>\n\u003cp>Each year, the California Conservation Corps hires about 3,000 men and women between 18 and 25. Each has his or her own reasons for joining, but many here, like Samantha Pack, told me they needed some direction.\u003c/p>\n\u003cp>“Everybody has their different problems, but I was very defiant,” she says. “I didn’t know what I wanted. I was always taught to run from my problems. When I started to realize that running wasn’t getting anything done, my mentality changed.”\u003c/p>\n\u003cfigure id=\"attachment_10491694\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/TentCookin.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10491694\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/TentCookin-800x568.jpg\" alt=\"Gabino Lopez, left, and Samantha Pack hard at work on 'kitchen patrol.' \" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-400x284.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-1440x1023.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-1180x838.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-320x227.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gabino Lopez, left, and Samantha Pack hard at work on ‘kitchen patrol.’ \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An alumna told her about the program, and the Bakersfield native found she really loves hands-on trail work.\u003c/p>\n\u003cp>“I had never done any labor at all. I grew up not going to school, sitting on the couch,” Pack says. “Then all of a sudden being told, ‘Dig this hole, move this there,’ it really gave me what I guess I always needed. Not only that discipline, but having that urgency to get things done the right way.”\u003c/p>\n\u003cp>“It’s like we’re a big machine as a group, and the KP’s are the batteries to the machine,” says Lopez.\u003c/p>\n\u003cp>Since they’re out here for more than a week, the food for each meal is planned and packed ahead. KP’s can use ingredients creatively, but they have to consider coming meals. Lopez pulls out the eight-day food calendar, labeled for breakfast and dinner.\u003c/p>\n\u003cp>“Today, we’re having fish fillet, rice pilaf, carrots and salad,” he explains. “Day Four, we’re having pork chops, red potatoes, with broccoli and salad.”\u003c/p>\n\u003cp>A few miles away, in his office on Mount Tamalpais, I meet Victor Bjelajac, who oversees maintenance of state parks in Marin. He’s flipping through pages in a binder, looking at old food orders.\u003c/p>\n\u003cp>[contextly_sidebar id=”fSu9GIDgULAADpkMNYluvfByflKgIFTJ”]\u003c/p>\n\u003cp>“This was a group of Civilian Conservation Corps members that were working at Mount Tamalpais. This one was from 1939.”\u003c/p>\n\u003cp>And guess what? It sounds a lot like what the KP crew is making tonight.\u003c/p>\n\u003cp>“For supper, there was fillet of sole, mashed potatoes, creamed carrots, bread, butter,” Bjelajac reads.\u003c/p>\n\u003cp>The similarities in the menu aren’t sentimental. Camp food has always had to fuel large groups for hard labor. Launched in 1933 as a response to the Great Depression, the Civilian Conservation Corps employed millions of young men, many of them veterans, to work on remote, government-owned lands — planting trees, building roadways, updating parks.\u003c/p>\n\u003cp>In Marin, they built trails and camps and a beautiful amphitheater, still in use today. The Corps accepted only men, and the crews were segregated by race.\u003c/p>\n\u003cp>“It seems inconceivable today when you look at California Conservation Corps,” says Bjelajac.\u003c/p>\n\u003cp>The CCC is about a quarter women, and very diverse. But he says what the two have in common is young people, doing important work as a group for the public good. That, and the food.\u003c/p>\n\u003cp>“Part of the culture that’s built around a camp gets built around meals,” he says.\u003c/p>\n\u003cfigure id=\"attachment_10491700\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CampTV.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10491700\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CampTV-800x655.jpg\" alt=\"Gabino Lopez tends the fire, also known as the camp TV.\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-400x327.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-1440x1178.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-1180x966.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-320x262.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gabino Lopez tends the fire, also known as the camp TV. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back at camp, Gabino Lopez tends a fire as his fellow corps members start to come off the trail.\u003c/p>\n\u003cp>“I would honestly rather sit at the fire and watch it for three hours than sit at home on a couch and just watch TV,” Lopez says. “I’d rather bathe in a creek than shower in a bathroom. It makes me feel more alive, I think.”\u003c/p>\n\u003cp>And he’s happy pan-frying fish and sauteing carrots in a tent. Willy Parker says that after working all day and hiking down, KP is a life-saver.\u003c/p>\n\u003cp>“Just to get to camp, and the food is smelling good, and everybody just be walking around the KP tent ready to eat,” he says. “So it’s pretty good, we got that right there.”\u003c/p>\n\u003cp>Like a lot of this crew, Parker never went camping or fishing as a kid.\u003c/p>\n\u003cp>“Camping is amazing,” he says with a laugh. “It’s amazing. I hadn’t done none of that till I joined the CCC.”\u003c/p>\n\u003cp>But it’s not just about trying new things. Parker has a 2-year-old daughter at home in Sacramento, and he says being a C gives him purpose, and pride.\u003c/p>\n\u003cp>“To me, I feel like it’s a great experience,” he says. “I can bring my daughter up here when she gets older to understand, and be like, ‘I built this.’ It just opens my heart and my mind. I can do something I never thought I could do.”\u003c/p>\n\u003cp>He says he used to look at trails and ask, “I wonder how you build this? Or who built this? Now, I find myself actually answering my own question.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The series \u003ca href=\"http://www.californiafoodways.com/\" target=\"_blank\" rel=\"noopener\">California Foodways\u003c/a> is supported in part by \u003ca href=\"http://www.calhum.org/\" target=\"_blank\" rel=\"noopener\">Cal Humanities\u003c/a>. Reporter Lisa Morehouse produced it during a fellowship at \u003ca href=\"http://www.hedgebrook.org/\" target=\"_blank\" rel=\"noopener\">Hedgebrook\u003c/a>, a residency for women writers. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Hard work, low pay, miserable conditions, and more!”\u003c/p>\n\u003cp>That’s the actual motto for the California Conservation Corps, the state program that puts young adults to work in emergency response, park improvements and fire protection. In Marin, many corps members — known affectionately as “C’s” – do hard physical work building and maintaining the world-class trails in places like Point Reyes, Mount Tamalpais and Muir Woods.\u003c/p>\n\u003cp>Because the young people burn thousands of calories a day, food plays a crucial role for a CCC crew, and their menu has barely changed since the ’30s.\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/201327335″&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/201327335″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>After hiking a couple miles up a wooded path, 20-year-old Willy Parker shows me the huge drainage area he and the rest of the crew are shoring up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’ll last for a couple hundred years,” he tells me. “I think that’s pretty awesome.”\u003c/p>\n\u003cp>We’re on a section of trail near Devil’s Gulch Camp in West Marin. I’m trying to understand this puzzle of huge rocks that crew members maneuver to fill a huge hole.\u003c/p>\n\u003cp>Parker tells me we’re looking at about 30 rocks, each as heavy as 100 pounds. Crew members roll rocks down the trail and work in teams, using long metal poles to place them correctly. They mark and chisel the rocks to get the perfect size, so they’ll fit snugly.\u003c/p>\n\u003cp>“They all have to be contacting, one edge to another edge,” says Parker.\u003c/p>\n\u003cfigure id=\"attachment_10491691\" class=\"wp-caption alignright\" style=\"max-width: 495px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RockAndStone.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10491691 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RockAndStone-800x633.jpg\" alt=\"California Conservation Corps members, “Cs” for short, roll rocks as heavy as 500 pounds to their work area, set them into place and chisel them for a snug fit.\" width=\"495\" height=\"392\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-800x633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-400x317.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-1440x1140.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-1180x934.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-768x608.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-320x253.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone.jpg 1920w\" sizes=\"auto, (max-width: 495px) 100vw, 495px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">California Conservation Corps members, “C’s” for short, roll rocks as heavy as 500 pounds to their work area, set them into place and chisel them for a snug fit. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s to support the tens of thousands of hikers, mountain bikers and horseback riders expected to use this trail. If you hike this trail in a year or two, Parker says, you won’t be able to see the work that went on here.\u003c/p>\n\u003cp>“Over time, the dirt, the leaves will fall over it to make it look natural,” he says.\u003c/p>\n\u003cp>Parker is part of what’s called a spike crew: Members will be working this site off and on for over a year. They spend eight days working, then six days at a residential center near Lake Tahoe. There they get time off and take classes. Like Parker, many work on their GEDs.\u003c/p>\n\u003cp>While these corps members prod heavy stones into place, Samantha Pack and Gabino Lopez have left the trail early to report to KP.\u003c/p>\n\u003cp>“KP stands for kitchen patrol, or kitchen police as we call it,” says Lopez. “It’s the person whose duty it is to take care of the kitchen and camp, all the chores like start the fire, clean around the kitchen.”\u003c/p>\n\u003cp>The kitchen’s really clean, but it’s not much to look at.\u003c/p>\n\u003cp>“Basically, it’s an old burlap tent,” says Pack. “It’s set up with our two stoves, both powered by propane. Two chests are filled with our pots, pans, dishes, and the top is our serving table. It’s a tight space!”\u003c/p>\n\u003cp>Lopez is getting creative, chopping onions and slicing oranges and lemon for the fish they’re serving the 20 crew members and two supervisors. “For us KP’s, we try to make something delicious, just to make the crew feel like they’re at their house.”\u003c/p>\n\u003cp>Each year, the California Conservation Corps hires about 3,000 men and women between 18 and 25. Each has his or her own reasons for joining, but many here, like Samantha Pack, told me they needed some direction.\u003c/p>\n\u003cp>“Everybody has their different problems, but I was very defiant,” she says. “I didn’t know what I wanted. I was always taught to run from my problems. When I started to realize that running wasn’t getting anything done, my mentality changed.”\u003c/p>\n\u003cfigure id=\"attachment_10491694\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/TentCookin.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10491694\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/TentCookin-800x568.jpg\" alt=\"Gabino Lopez, left, and Samantha Pack hard at work on 'kitchen patrol.' \" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-400x284.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-1440x1023.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-1180x838.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-320x227.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gabino Lopez, left, and Samantha Pack hard at work on ‘kitchen patrol.’ \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An alumna told her about the program, and the Bakersfield native found she really loves hands-on trail work.\u003c/p>\n\u003cp>“I had never done any labor at all. I grew up not going to school, sitting on the couch,” Pack says. “Then all of a sudden being told, ‘Dig this hole, move this there,’ it really gave me what I guess I always needed. Not only that discipline, but having that urgency to get things done the right way.”\u003c/p>\n\u003cp>“It’s like we’re a big machine as a group, and the KP’s are the batteries to the machine,” says Lopez.\u003c/p>\n\u003cp>Since they’re out here for more than a week, the food for each meal is planned and packed ahead. KP’s can use ingredients creatively, but they have to consider coming meals. Lopez pulls out the eight-day food calendar, labeled for breakfast and dinner.\u003c/p>\n\u003cp>“Today, we’re having fish fillet, rice pilaf, carrots and salad,” he explains. “Day Four, we’re having pork chops, red potatoes, with broccoli and salad.”\u003c/p>\n\u003cp>A few miles away, in his office on Mount Tamalpais, I meet Victor Bjelajac, who oversees maintenance of state parks in Marin. He’s flipping through pages in a binder, looking at old food orders.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“This was a group of Civilian Conservation Corps members that were working at Mount Tamalpais. This one was from 1939.”\u003c/p>\n\u003cp>And guess what? It sounds a lot like what the KP crew is making tonight.\u003c/p>\n\u003cp>“For supper, there was fillet of sole, mashed potatoes, creamed carrots, bread, butter,” Bjelajac reads.\u003c/p>\n\u003cp>The similarities in the menu aren’t sentimental. Camp food has always had to fuel large groups for hard labor. Launched in 1933 as a response to the Great Depression, the Civilian Conservation Corps employed millions of young men, many of them veterans, to work on remote, government-owned lands — planting trees, building roadways, updating parks.\u003c/p>\n\u003cp>In Marin, they built trails and camps and a beautiful amphitheater, still in use today. The Corps accepted only men, and the crews were segregated by race.\u003c/p>\n\u003cp>“It seems inconceivable today when you look at California Conservation Corps,” says Bjelajac.\u003c/p>\n\u003cp>The CCC is about a quarter women, and very diverse. But he says what the two have in common is young people, doing important work as a group for the public good. That, and the food.\u003c/p>\n\u003cp>“Part of the culture that’s built around a camp gets built around meals,” he says.\u003c/p>\n\u003cfigure id=\"attachment_10491700\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CampTV.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10491700\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CampTV-800x655.jpg\" alt=\"Gabino Lopez tends the fire, also known as the camp TV.\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-400x327.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-1440x1178.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-1180x966.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-320x262.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gabino Lopez tends the fire, also known as the camp TV. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back at camp, Gabino Lopez tends a fire as his fellow corps members start to come off the trail.\u003c/p>\n\u003cp>“I would honestly rather sit at the fire and watch it for three hours than sit at home on a couch and just watch TV,” Lopez says. “I’d rather bathe in a creek than shower in a bathroom. It makes me feel more alive, I think.”\u003c/p>\n\u003cp>And he’s happy pan-frying fish and sauteing carrots in a tent. Willy Parker says that after working all day and hiking down, KP is a life-saver.\u003c/p>\n\u003cp>“Just to get to camp, and the food is smelling good, and everybody just be walking around the KP tent ready to eat,” he says. “So it’s pretty good, we got that right there.”\u003c/p>\n\u003cp>Like a lot of this crew, Parker never went camping or fishing as a kid.\u003c/p>\n\u003cp>“Camping is amazing,” he says with a laugh. “It’s amazing. I hadn’t done none of that till I joined the CCC.”\u003c/p>\n\u003cp>But it’s not just about trying new things. Parker has a 2-year-old daughter at home in Sacramento, and he says being a C gives him purpose, and pride.\u003c/p>\n\u003cp>“To me, I feel like it’s a great experience,” he says. “I can bring my daughter up here when she gets older to understand, and be like, ‘I built this.’ It just opens my heart and my mind. I can do something I never thought I could do.”\u003c/p>\n\u003cp>He says he used to look at trails and ask, “I wonder how you build this? Or who built this? Now, I find myself actually answering my own question.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The series \u003ca href=\"http://www.californiafoodways.com/\" target=\"_blank\" rel=\"noopener\">California Foodways\u003c/a> is supported in part by \u003ca href=\"http://www.calhum.org/\" target=\"_blank\" rel=\"noopener\">Cal Humanities\u003c/a>. Reporter Lisa Morehouse produced it during a fellowship at \u003ca href=\"http://www.hedgebrook.org/\" target=\"_blank\" rel=\"noopener\">Hedgebrook\u003c/a>, a residency for women writers. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Pan Am Mystique Lives on -- in Pacoima",
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"content": "\u003cp>Want to relive the golden years of aviation? In a warehouse miles from Hollywood, you’ll find a high-class tribute to the beloved airline Pan Am.\u003c/p>\n\u003cp>Every other Saturday night, customers line up outside a warehouse in Pacoima to relive a nostalgic experience.\u003c/p>\n\u003cp>As a small boy, said Anthony Toth, “I started collecting airplane models, and small things like timetables and luggage tags. But as I got older, the desire to have more and more aircraft things became greater and greater.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'Tears came to my eyes, because it was so real.'\u003c/aside>\n\u003cp>So much so that Toth visited so-called airport graveyards in the deserts that sold larger pieces of fuselage … “sidewall panels, and overhead bins, and galley modules and seats. And as I became a young adult, no matter where I lived, I always had a small aircraft mockup in my house. And fast forward about 20 years later, this is what happens.”\u003c/p>\n\u003cp>What happened was Pan Am Experience, Toth’s tribute to the beloved Pan American Airways, complete with original Boeing 747 parts, first-class and coach-section seating, staircase to a dining and cocktail area and a crew in full retro stewardess attire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/201327631\" 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>Pan Am flew to destinations all around the world, at a time when the rest of the world hadn’t started flying. Only the affluent got to spin around the globe.\u003c/p>\n\u003cp>Flying was different then, and the Pan Am experience recreates it for paying customers -- many of whom have their own stowed memories.\u003c/p>\n\u003cp>Josh Defelice and Brent Kaspar are flight attendants who live in West Hollywood, and came to see what flying used to be like when it was “actually glamorous,” they say.\u003c/p>\n\u003cp>Barbara Norberg worked as an attendant on the real Pan Am, from 1970 until the company went out of business in 1991, handling Clipper service customers who meandered throughout the cabin, in and out of first class.\u003c/p>\n\u003cfigure id=\"attachment_10494067\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam2.jpg\">\u003cimg class=\"size-medium wp-image-10494067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam2-800x600.jpg\" alt=\"History buffs Andrea and Anthony Welch came from Houston, Texas for the Pan Am Experience\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">History buffs Andrea and Anthony Welch came from Houston, Texas, for the Pan Am Experience \u003ccite>(Avishay Artsy/KCRW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Passengers were different,” Norberg, the Pan Am Experience hospitality director, said. “You see tonight, everyone’s here, dressed up, looking nice, looking like they’re going to travel around the world. Now you get on an airplane, people barely dress, let alone dress up, so, it’s a kind of a different atmosphere on airplanes. It’s a bus with wings.”\u003c/p>\n\u003cp>Norberg, like others who are here, reminisce in this experience. One that begins at the front of the sound stage, in Pacoima, before passengers are gently shooed onto the plane.\u003c/p>\n\u003cp>Uniformed attendants Holly Gray and Roger Garcia check passengers into this mock journey to the past. Both are actors, and they’re fully dressed in 1960s Pan Am blue and white.\u003c/p>\n\u003cp>“We’re flying all over the world, so every day is new,” Garcia said.\u003c/p>\n\u003cp>“Plus, it’s different every night. You meet new people with interesting jobs. People that have worked in the airline industry before, and you get to hear wonderful memories,” Grey said. “So, it’s a really cool experience to feel like you’re part of this big family that was Pan Am.”\u003c/p>\n\u003cp>Inside the plane, in first class, the velvet blue and red seats, the passenger information cards, even the glasses and silverware, it’s all vintage Pan Am.\u003c/p>\n\u003cp>And, of course, there’s the food.\u003c/p>\n\u003cp>“You have a plate with caprese or you can get shrimp. And then we serve either the pasta or we have the meat with the chateaubriand sauce, or we have the chicken. And then we have a plate of fruit and cheese, and then we serve the cake. Five-course meal, yes,” said our attendant, Melorine Adler.\u003c/p>\n\u003cp>The flight attendant actually carves a roast on a rolling cart. Similar to how it was done onboard a flight, decades ago.\u003c/p>\n\u003cp>The Pan Am Experience is actually part of a complex of old airplane cabins and cockpits. You see an inside airplane scene on TV or in a movie? Chances are it was filmed here, in Pacoima, at a place called Air Hollywood.\u003c/p>\n\u003cfigure id=\"attachment_10494069\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam3.jpg\">\u003cimg class=\"size-medium wp-image-10494069\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam3-800x1067.jpg\" alt=\"Betsy Holt serves up shrimp salad and other appetizers aboard the Pan Am Experience.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-768x1024.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-320x427.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Betsy Holt serves up shrimp salad and other appetizers aboard the Pan Am Experience. \u003ccite>(Avishay Artsy/KCRW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We did the pilot for LOST. We did the movie 'Bridesmaids',” said Air Hollywood general manager Rob Shalhoub. “We have a wide body jet, it’s a 767, we have two narrow-body jets, a 757 and a 737, we have a G3 private jet, we have a Lear jet, a bunch of cockpits, a lot of props, an airport terminal.”\u003c/p>\n\u003cp>There’s even the cockpit to the famous comedy \"Airplane,\" where a version of Otto, the automatic pilot, still sits.\u003c/p>\n\u003cp>But who cares about the big screen, when this experience feeds the memories of a grateful employee?\u003c/p>\n\u003cp>The real-life movie that plays in the mind of Barbara Norberg, who wore the outfit, served the drinks, made passengers and customers smile -- this experience keeps Pan Am alive.\u003c/p>\n\u003cp>“I walked into the first-class door there, and tears came to my eyes, because it was so real. It was so well done. It was really amazing,” said Norberg. “Now I’m over that, because I just enjoy watching people have a good time.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That good time is first class, in price and experience. A glimpse -- even if for an evening -- of what it was like up there … way back when.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Want to relive the golden years of aviation? In a warehouse miles from Hollywood, you’ll find a high-class tribute to the beloved airline Pan Am.\u003c/p>\n\u003cp>Every other Saturday night, customers line up outside a warehouse in Pacoima to relive a nostalgic experience.\u003c/p>\n\u003cp>As a small boy, said Anthony Toth, “I started collecting airplane models, and small things like timetables and luggage tags. But as I got older, the desire to have more and more aircraft things became greater and greater.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'Tears came to my eyes, because it was so real.'\u003c/aside>\n\u003cp>So much so that Toth visited so-called airport graveyards in the deserts that sold larger pieces of fuselage … “sidewall panels, and overhead bins, and galley modules and seats. And as I became a young adult, no matter where I lived, I always had a small aircraft mockup in my house. And fast forward about 20 years later, this is what happens.”\u003c/p>\n\u003cp>What happened was Pan Am Experience, Toth’s tribute to the beloved Pan American Airways, complete with original Boeing 747 parts, first-class and coach-section seating, staircase to a dining and cocktail area and a crew in full retro stewardess attire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/201327631&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/201327631'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Pan Am flew to destinations all around the world, at a time when the rest of the world hadn’t started flying. Only the affluent got to spin around the globe.\u003c/p>\n\u003cp>Flying was different then, and the Pan Am experience recreates it for paying customers -- many of whom have their own stowed memories.\u003c/p>\n\u003cp>Josh Defelice and Brent Kaspar are flight attendants who live in West Hollywood, and came to see what flying used to be like when it was “actually glamorous,” they say.\u003c/p>\n\u003cp>Barbara Norberg worked as an attendant on the real Pan Am, from 1970 until the company went out of business in 1991, handling Clipper service customers who meandered throughout the cabin, in and out of first class.\u003c/p>\n\u003cfigure id=\"attachment_10494067\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam2.jpg\">\u003cimg class=\"size-medium wp-image-10494067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam2-800x600.jpg\" alt=\"History buffs Andrea and Anthony Welch came from Houston, Texas for the Pan Am Experience\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">History buffs Andrea and Anthony Welch came from Houston, Texas, for the Pan Am Experience \u003ccite>(Avishay Artsy/KCRW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Passengers were different,” Norberg, the Pan Am Experience hospitality director, said. “You see tonight, everyone’s here, dressed up, looking nice, looking like they’re going to travel around the world. Now you get on an airplane, people barely dress, let alone dress up, so, it’s a kind of a different atmosphere on airplanes. It’s a bus with wings.”\u003c/p>\n\u003cp>Norberg, like others who are here, reminisce in this experience. One that begins at the front of the sound stage, in Pacoima, before passengers are gently shooed onto the plane.\u003c/p>\n\u003cp>Uniformed attendants Holly Gray and Roger Garcia check passengers into this mock journey to the past. Both are actors, and they’re fully dressed in 1960s Pan Am blue and white.\u003c/p>\n\u003cp>“We’re flying all over the world, so every day is new,” Garcia said.\u003c/p>\n\u003cp>“Plus, it’s different every night. You meet new people with interesting jobs. People that have worked in the airline industry before, and you get to hear wonderful memories,” Grey said. “So, it’s a really cool experience to feel like you’re part of this big family that was Pan Am.”\u003c/p>\n\u003cp>Inside the plane, in first class, the velvet blue and red seats, the passenger information cards, even the glasses and silverware, it’s all vintage Pan Am.\u003c/p>\n\u003cp>And, of course, there’s the food.\u003c/p>\n\u003cp>“You have a plate with caprese or you can get shrimp. And then we serve either the pasta or we have the meat with the chateaubriand sauce, or we have the chicken. And then we have a plate of fruit and cheese, and then we serve the cake. Five-course meal, yes,” said our attendant, Melorine Adler.\u003c/p>\n\u003cp>The flight attendant actually carves a roast on a rolling cart. Similar to how it was done onboard a flight, decades ago.\u003c/p>\n\u003cp>The Pan Am Experience is actually part of a complex of old airplane cabins and cockpits. You see an inside airplane scene on TV or in a movie? Chances are it was filmed here, in Pacoima, at a place called Air Hollywood.\u003c/p>\n\u003cfigure id=\"attachment_10494069\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam3.jpg\">\u003cimg class=\"size-medium wp-image-10494069\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam3-800x1067.jpg\" alt=\"Betsy Holt serves up shrimp salad and other appetizers aboard the Pan Am Experience.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-768x1024.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-320x427.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Betsy Holt serves up shrimp salad and other appetizers aboard the Pan Am Experience. \u003ccite>(Avishay Artsy/KCRW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We did the pilot for LOST. We did the movie 'Bridesmaids',” said Air Hollywood general manager Rob Shalhoub. “We have a wide body jet, it’s a 767, we have two narrow-body jets, a 757 and a 737, we have a G3 private jet, we have a Lear jet, a bunch of cockpits, a lot of props, an airport terminal.”\u003c/p>\n\u003cp>There’s even the cockpit to the famous comedy \"Airplane,\" where a version of Otto, the automatic pilot, still sits.\u003c/p>\n\u003cp>But who cares about the big screen, when this experience feeds the memories of a grateful employee?\u003c/p>\n\u003cp>The real-life movie that plays in the mind of Barbara Norberg, who wore the outfit, served the drinks, made passengers and customers smile -- this experience keeps Pan Am alive.\u003c/p>\n\u003cp>“I walked into the first-class door there, and tears came to my eyes, because it was so real. It was so well done. It was really amazing,” said Norberg. “Now I’m over that, because I just enjoy watching people have a good time.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That good time is first class, in price and experience. A glimpse -- even if for an evening -- of what it was like up there … way back when.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Century-Old Player Pianos Come to Life at Stanford",
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"content": "\u003cp>Player pianos that are 100 years old will come to life this Saturday at Stanford University, reproducing historic performances by composers like George Gershwin and Igor Stravinksy. The \u003ca href=\"https://events.stanford.edu/events/495/49503/\">concert\u003c/a> is part of the university's new \u003ca href=\"http://library.stanford.edu/projects/player-piano-project\">Player Piano Project\u003c/a>.\u003c/p>\n\u003cp>Player pianos were “capable of reproducing the nuances of touch and timing of a pianist who recorded in real time,” explains Kumaran Arul, a music instructor at Stanford. The pianos play music recorded on perforated rolls.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/201327486\" 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>Arul led the effort to acquire and preserve the more than 7,500 rolls and 10 player pianos from a collector in Australia.\u003c/p>\n\u003cp>The pianos became very popular in the late 19\u003csup>th\u003c/sup> and early 20\u003csup>th\u003c/sup> centuries and then died out as phonographs improved.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In listening to the rolls, Arul and his colleagues are finding that old pianists were not as tied to sheet music as today’s musicians are. They were willing to take more risks, and be more flexible with rhythm and tempo changes.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=xsuPVBAwg4s&w=640&h=360]\u003c/p>\n\u003cp>Nayantara Jain, a senior piano student at Stanford, is using the rolls to inform her own playing.\u003c/p>\n\u003cp>“These actual composers playing their own pieces do things that teachers will tell you are not OK,” Jain says. “It just opens a whole world of expressive possibility and it’s really exciting.”\u003c/p>\n\u003cp>On Saturday, the Stanford Symphony Orchestra, composed of student players, will accompany Percy Grainger, a pianist who died in 1961, as his 1921 roll runs on a player piano. Rex Lawson, a player piano expert from London, will play a foot-operated version of a player piano, manipulating the roll as it plays.\u003c/p>\n\u003cfigure id=\"attachment_10494122\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RubensteinRoll.jpg\">\u003cimg class=\"size-medium wp-image-10494122\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RubensteinRoll-800x503.jpg\" alt=\"A player piano roll containing the touch and timing of a performance by Arthur Rubinstein.\" width=\"800\" height=\"503\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-800x503.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-400x252.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-1440x906.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-1180x742.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-768x483.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-320x201.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A player piano roll containing the touch and timing of a performance by Arthur Rubinstein. \u003ccite>(Courtesy Stanford University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lawson is optimistic that the concert and the Player Piano Project will bring much-needed attention to the old pianos and rolls.\u003c/p>\n\u003cp>“These things are not toys,” Lawson says. “They’re serious musical instruments, and it’s jolly good, finally, that people are beginning to take them seriously.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Soon the rolls will also be available to musicians beyond the Stanford community. Kumaran Arul and his colleagues are in the process of building a custom scanner that will digitize the rolls and make them available online.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Player pianos that are 100 years old will come to life this Saturday at Stanford University, reproducing historic performances by composers like George Gershwin and Igor Stravinksy. The \u003ca href=\"https://events.stanford.edu/events/495/49503/\">concert\u003c/a> is part of the university's new \u003ca href=\"http://library.stanford.edu/projects/player-piano-project\">Player Piano Project\u003c/a>.\u003c/p>\n\u003cp>Player pianos were “capable of reproducing the nuances of touch and timing of a pianist who recorded in real time,” explains Kumaran Arul, a music instructor at Stanford. The pianos play music recorded on perforated rolls.\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/201327486&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/201327486'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Arul led the effort to acquire and preserve the more than 7,500 rolls and 10 player pianos from a collector in Australia.\u003c/p>\n\u003cp>The pianos became very popular in the late 19\u003csup>th\u003c/sup> and early 20\u003csup>th\u003c/sup> centuries and then died out as phonographs improved.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In listening to the rolls, Arul and his colleagues are finding that old pianists were not as tied to sheet music as today’s musicians are. They were willing to take more risks, and be more flexible with rhythm and tempo changes.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xsuPVBAwg4s'\n title='//www.youtube.com/embed/xsuPVBAwg4s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Nayantara Jain, a senior piano student at Stanford, is using the rolls to inform her own playing.\u003c/p>\n\u003cp>“These actual composers playing their own pieces do things that teachers will tell you are not OK,” Jain says. “It just opens a whole world of expressive possibility and it’s really exciting.”\u003c/p>\n\u003cp>On Saturday, the Stanford Symphony Orchestra, composed of student players, will accompany Percy Grainger, a pianist who died in 1961, as his 1921 roll runs on a player piano. Rex Lawson, a player piano expert from London, will play a foot-operated version of a player piano, manipulating the roll as it plays.\u003c/p>\n\u003cfigure id=\"attachment_10494122\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RubensteinRoll.jpg\">\u003cimg class=\"size-medium wp-image-10494122\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RubensteinRoll-800x503.jpg\" alt=\"A player piano roll containing the touch and timing of a performance by Arthur Rubinstein.\" width=\"800\" height=\"503\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-800x503.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-400x252.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-1440x906.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-1180x742.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-768x483.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-320x201.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A player piano roll containing the touch and timing of a performance by Arthur Rubinstein. \u003ccite>(Courtesy Stanford University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lawson is optimistic that the concert and the Player Piano Project will bring much-needed attention to the old pianos and rolls.\u003c/p>\n\u003cp>“These things are not toys,” Lawson says. “They’re serious musical instruments, and it’s jolly good, finally, that people are beginning to take them seriously.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Soon the rolls will also be available to musicians beyond the Stanford community. Kumaran Arul and his colleagues are in the process of building a custom scanner that will digitize the rolls and make them available online.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Without New Lease, More Than 70 Mission Dist. Artists Face Displacement",
"headTitle": "Without New Lease, More Than 70 Mission Dist. Artists Face Displacement | KQED",
"content": "\u003cp>\u003ca href=\"http://www.studio17artists.com\" target=\"_blank\" rel=\"noopener\">Studio 17\u003c/a>, a group of over 70 artists in San Francisco’s historic Redlick Building, is facing displacement because their landlord is currently not taking any steps to allow them to renew their lease.\u003c/p>\n\u003cp>This is a different story than the eviction tale we’re used to, a bit quieter than an invocation of the Ellis Act or suddenly quadrupled rents. The story of Studio 17 involves a lease’s looming end without explicit discussions of renewal. Artists who have worked in the building for years must now choose between leaving for new spaces (if they can find them), or counting down the days till June 30 and facing a sudden – and potentially final – exit from the premises.\u003c/p>\n\u003cp>The Redlick Building at the corner of 17th and Mission, which houses Thrift Town, Fabric Outlet and a number of small businesses in addition to artist studios, was purchased by Rick Holman, Managing Partner of Asher Insights, Inc., in 2013. Initial fears that the building (once known for its enigmatic “17 Reasons Why!” sign) would turn into condos or evict its tenants were temporarily assuaged by \u003ca href=\"//www.missionmission.org/2013/05/02/owner-of-the-redlick-building-responds/\" target=\"_blank\" rel=\"noopener\">an open letter from Holman\u003c/a> in May 2013.\u003c/p>\n\u003cp>“We have no intention to tear down the building, convert the building to lofts or condos, or otherwise change its fundamental character or use,” he wrote. He pointed to the building’s seismic issues and his desire to make the building safe for its tenants.\u003c/p>\n\u003cfigure id=\"attachment_10567056\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10567056\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/People_at_Open_Studio-063.jpg\" alt=\"Visitors during an open studios event at Studio 17. (Courtesy of Studio 17)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/People_at_Open_Studio-063.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/People_at_Open_Studio-063-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/People_at_Open_Studio-063-320x214.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Visitors during an open studios event at Studio 17. (Courtesy of Studio 17)\u003c/figcaption>\u003c/figure>\n\u003cp>On April 15, Studio 17, which occupies most of the building’s fourth floor and some of the third, issued a press release to publicize \u003ca href=\"http://www.studio17artists.com/#!displacement/ck0q\" target=\"_blank\" rel=\"noopener\">their state of limbo\u003c/a>. “With no word of a lease renewal and no word of our fate in the existing space, I am assuming that we will be displaced at the expiration of our lease,” says artist and Studio 17 member Truong Tran.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other leases within the building have been renewed, leaving questions as to why Studio 17 is different.\u003c/p>\n\u003cp>Holman asserts his plans for the building have not changed. “We continue to be committed to provide substantial space to artists in the Mission at a discount to the going market rates. We have recently renewed leases with existing artists in ~6,000 square feet at a substantial discount to market spaces. In May, we plan to meet with and directly negotiate additional new leases with artists for a total of ~20,000 square feet in the building.”\u003c/p>\n\u003cp>Prominent local photographer Jim Goldberg, one of the “existing artists” with a renewed lease on his Redlick Building studio, says he feels the stress of the Studio 17 situation “all around me.” He also says the changing atmosphere is also palpable: while the top floors of the building were always artists, “everything around them and below them has changed,” he recalls, even down to the smells. Instead of homemade Chinese food in sewing factories, there is now the scent of neighbors’ catered lunches.\u003c/p>\n\u003cp>Since his initial lease, Goldberg’s rent has increased over 250 percent.\u003c/p>\n\u003cp>“We can’t afford to move or slow down,” he says, acknowledging he has more space and stability than most of the artists in the building. “I feel lucky for that… but I don’t know how long I can afford to hold out as the rents go up. I am grateful to be able to stay, at least for now. I think about it every day.”\u003c/p>\n\u003cp>The situation is complicated by differing claims with regards to zoning issues. An original 2003 Conditional Use Authorization allowed “trade shop” use of 10,000 square feet of the building’s top floor, the San Francisco Planning Department’s designation for “art activities.”\u003c/p>\n\u003cfigure id=\"attachment_10567057\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10567057\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/STUDIO17_artists-2.jpg\" alt=\"Members of Studio 17. (Courtesy of Studio 17)\" width=\"640\" height=\"353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/STUDIO17_artists-2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/STUDIO17_artists-2-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/STUDIO17_artists-2-320x177.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Members of Studio 17. (Courtesy of Studio 17)\u003c/figcaption>\u003c/figure>\n\u003cp>Studio 17 currently occupies approximately 21,000 square feet of the Redlick Building. According to Gina Simi, the Planning Department’s Communications Manager, Studio 17 is now part of an active Conditional Use case “to legalize the expansion of the trade shop and also add an Administrative Services Use to this tenant space, as well as the others.”\u003c/p>\n\u003cp>Administrative Services use is defined as “a non-retail use which provides executive, management, administrative, clerical and other services exclusively to the business community and not to the general public.” This designation would allow greater flexibility for uses within the space beyond art studios.\u003c/p>\n\u003cp>Holman points out that Robert Donald, master leaseholder of the Studio 17 spaces, already rents some of his space to “not only to artists, but also entrepreneurs, tech firms and other office uses.”\u003c/p>\n\u003cp>Donald, in turn, has levied a zoning violation claim against Holman that the Planning Department is now investigating. The Homeless Children’s Network (a nonprofit that did not respond to a request for a comment), once occupied a fourth floor space within the Redlick Building that is now rented to PlanGrid, a blueprint app for contractors and architects, bringing the pejorative “tech” into the conversation.\u003c/p>\n\u003cp>“We became aware of the Plangrid.com lease yesterday,” says Simi, “and are pursuing further enforcement action, as it would have required Planning Department review and approval.”\u003c/p>\n\u003cp>The Redlick Building is located in the Mission Street Neighborhood Commercial Transit Zoning District, which encourages neighborhood-serving commercial development at street level, allowing “offices and general retail sales at the second story, and in some cases at the third floor and above,” explains Simi.\u003c/p>\n\u003cp>To compound matters further, the 99-year-old building is due for a major seismic upgrade, which Holman confirmed is “moving forward.” Donald and the other members of Studio 17 are unsure as to whether such upgrades will necessitate their evacuation from the building. A general confusion and lack of definitive dates or answers drives their frustration.\u003c/p>\n\u003cp>“I would like to know what Mr. Holman’s intentions are as it pertains to the existing studio space,” Tran says. “Will it stay as artists’ studio spaces upon completion of the seismic retrofits? Or will it become high end office spaces?”\u003c/p>\n\u003cp>Based on the math in his plans for the building’s future, it appears Holman will sign leases for 14,000 square feet of studio space in the coming month. The question of what discounted market rates really look like and just how affordable they are remains. If the members of Studio 17 are able to stay, their space will be cut by one third, their unified lease will likely dissolve and their location within the building may change altogether.\u003c/p>\n\u003cp>“We are doing our best,” Holman writes, “but understand we cannot satisfy everyone.”\u003c/p>\n\u003cp>Some members of the studio have already moved out. Those who remain are organizing to make their situation as visible as possible, enlisting the help of Rahel Marsie-Hazen, a PR professional. “Too many artist studios, small businesses, working class people are being ousted from this city and they are leaving silently,” Marsie-Hazen wrote in an email. “In order for the community and policy makers to realize this is an issue, they need to be aware of it.”\u003c/p>\n\u003cp>Nearly 20 members of Studio 17 will participate in \u003ca href=\"//www.missionartistsunited.org/open_studios%E2%80%9D\" target=\"_blank\" rel=\"noopener\">Mission Artists United’s Spring Open Studios\u003c/a> on Apr. 18 and 19 in what they are already saying “could be the last opportunity” for the public to visit their collective spaces.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Many of us came to San Francisco to be part of a community, a community that was open to ideas and diverse ways of thinking,” says Tran. For him, the open studios is a rallying cry and an opportunity for others to show their support: “Support the community and the culture that makes this city so unique and welcoming.”\u003c/p>\n\n",
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"excerpt": "Some San Francisco artists pack up and others remain as the lack of a new lease or even plans for renewal make Studio 17's future uncertain.",
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"title": "Without New Lease, More Than 70 Mission Dist. Artists Face Displacement | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.studio17artists.com\" target=\"_blank\" rel=\"noopener\">Studio 17\u003c/a>, a group of over 70 artists in San Francisco’s historic Redlick Building, is facing displacement because their landlord is currently not taking any steps to allow them to renew their lease.\u003c/p>\n\u003cp>This is a different story than the eviction tale we’re used to, a bit quieter than an invocation of the Ellis Act or suddenly quadrupled rents. The story of Studio 17 involves a lease’s looming end without explicit discussions of renewal. Artists who have worked in the building for years must now choose between leaving for new spaces (if they can find them), or counting down the days till June 30 and facing a sudden – and potentially final – exit from the premises.\u003c/p>\n\u003cp>The Redlick Building at the corner of 17th and Mission, which houses Thrift Town, Fabric Outlet and a number of small businesses in addition to artist studios, was purchased by Rick Holman, Managing Partner of Asher Insights, Inc., in 2013. Initial fears that the building (once known for its enigmatic “17 Reasons Why!” sign) would turn into condos or evict its tenants were temporarily assuaged by \u003ca href=\"//www.missionmission.org/2013/05/02/owner-of-the-redlick-building-responds/\" target=\"_blank\" rel=\"noopener\">an open letter from Holman\u003c/a> in May 2013.\u003c/p>\n\u003cp>“We have no intention to tear down the building, convert the building to lofts or condos, or otherwise change its fundamental character or use,” he wrote. He pointed to the building’s seismic issues and his desire to make the building safe for its tenants.\u003c/p>\n\u003cfigure id=\"attachment_10567056\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10567056\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/People_at_Open_Studio-063.jpg\" alt=\"Visitors during an open studios event at Studio 17. (Courtesy of Studio 17)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/People_at_Open_Studio-063.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/People_at_Open_Studio-063-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/People_at_Open_Studio-063-320x214.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Visitors during an open studios event at Studio 17. (Courtesy of Studio 17)\u003c/figcaption>\u003c/figure>\n\u003cp>On April 15, Studio 17, which occupies most of the building’s fourth floor and some of the third, issued a press release to publicize \u003ca href=\"http://www.studio17artists.com/#!displacement/ck0q\" target=\"_blank\" rel=\"noopener\">their state of limbo\u003c/a>. “With no word of a lease renewal and no word of our fate in the existing space, I am assuming that we will be displaced at the expiration of our lease,” says artist and Studio 17 member Truong Tran.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other leases within the building have been renewed, leaving questions as to why Studio 17 is different.\u003c/p>\n\u003cp>Holman asserts his plans for the building have not changed. “We continue to be committed to provide substantial space to artists in the Mission at a discount to the going market rates. We have recently renewed leases with existing artists in ~6,000 square feet at a substantial discount to market spaces. In May, we plan to meet with and directly negotiate additional new leases with artists for a total of ~20,000 square feet in the building.”\u003c/p>\n\u003cp>Prominent local photographer Jim Goldberg, one of the “existing artists” with a renewed lease on his Redlick Building studio, says he feels the stress of the Studio 17 situation “all around me.” He also says the changing atmosphere is also palpable: while the top floors of the building were always artists, “everything around them and below them has changed,” he recalls, even down to the smells. Instead of homemade Chinese food in sewing factories, there is now the scent of neighbors’ catered lunches.\u003c/p>\n\u003cp>Since his initial lease, Goldberg’s rent has increased over 250 percent.\u003c/p>\n\u003cp>“We can’t afford to move or slow down,” he says, acknowledging he has more space and stability than most of the artists in the building. “I feel lucky for that… but I don’t know how long I can afford to hold out as the rents go up. I am grateful to be able to stay, at least for now. I think about it every day.”\u003c/p>\n\u003cp>The situation is complicated by differing claims with regards to zoning issues. An original 2003 Conditional Use Authorization allowed “trade shop” use of 10,000 square feet of the building’s top floor, the San Francisco Planning Department’s designation for “art activities.”\u003c/p>\n\u003cfigure id=\"attachment_10567057\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10567057\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/STUDIO17_artists-2.jpg\" alt=\"Members of Studio 17. (Courtesy of Studio 17)\" width=\"640\" height=\"353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/STUDIO17_artists-2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/STUDIO17_artists-2-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/STUDIO17_artists-2-320x177.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Members of Studio 17. (Courtesy of Studio 17)\u003c/figcaption>\u003c/figure>\n\u003cp>Studio 17 currently occupies approximately 21,000 square feet of the Redlick Building. According to Gina Simi, the Planning Department’s Communications Manager, Studio 17 is now part of an active Conditional Use case “to legalize the expansion of the trade shop and also add an Administrative Services Use to this tenant space, as well as the others.”\u003c/p>\n\u003cp>Administrative Services use is defined as “a non-retail use which provides executive, management, administrative, clerical and other services exclusively to the business community and not to the general public.” This designation would allow greater flexibility for uses within the space beyond art studios.\u003c/p>\n\u003cp>Holman points out that Robert Donald, master leaseholder of the Studio 17 spaces, already rents some of his space to “not only to artists, but also entrepreneurs, tech firms and other office uses.”\u003c/p>\n\u003cp>Donald, in turn, has levied a zoning violation claim against Holman that the Planning Department is now investigating. The Homeless Children’s Network (a nonprofit that did not respond to a request for a comment), once occupied a fourth floor space within the Redlick Building that is now rented to PlanGrid, a blueprint app for contractors and architects, bringing the pejorative “tech” into the conversation.\u003c/p>\n\u003cp>“We became aware of the Plangrid.com lease yesterday,” says Simi, “and are pursuing further enforcement action, as it would have required Planning Department review and approval.”\u003c/p>\n\u003cp>The Redlick Building is located in the Mission Street Neighborhood Commercial Transit Zoning District, which encourages neighborhood-serving commercial development at street level, allowing “offices and general retail sales at the second story, and in some cases at the third floor and above,” explains Simi.\u003c/p>\n\u003cp>To compound matters further, the 99-year-old building is due for a major seismic upgrade, which Holman confirmed is “moving forward.” Donald and the other members of Studio 17 are unsure as to whether such upgrades will necessitate their evacuation from the building. A general confusion and lack of definitive dates or answers drives their frustration.\u003c/p>\n\u003cp>“I would like to know what Mr. Holman’s intentions are as it pertains to the existing studio space,” Tran says. “Will it stay as artists’ studio spaces upon completion of the seismic retrofits? Or will it become high end office spaces?”\u003c/p>\n\u003cp>Based on the math in his plans for the building’s future, it appears Holman will sign leases for 14,000 square feet of studio space in the coming month. The question of what discounted market rates really look like and just how affordable they are remains. If the members of Studio 17 are able to stay, their space will be cut by one third, their unified lease will likely dissolve and their location within the building may change altogether.\u003c/p>\n\u003cp>“We are doing our best,” Holman writes, “but understand we cannot satisfy everyone.”\u003c/p>\n\u003cp>Some members of the studio have already moved out. Those who remain are organizing to make their situation as visible as possible, enlisting the help of Rahel Marsie-Hazen, a PR professional. “Too many artist studios, small businesses, working class people are being ousted from this city and they are leaving silently,” Marsie-Hazen wrote in an email. “In order for the community and policy makers to realize this is an issue, they need to be aware of it.”\u003c/p>\n\u003cp>Nearly 20 members of Studio 17 will participate in \u003ca href=\"//www.missionartistsunited.org/open_studios%E2%80%9D\" target=\"_blank\" rel=\"noopener\">Mission Artists United’s Spring Open Studios\u003c/a> on Apr. 18 and 19 in what they are already saying “could be the last opportunity” for the public to visit their collective spaces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Many of us came to San Francisco to be part of a community, a community that was open to ideas and diverse ways of thinking,” says Tran. For him, the open studios is a rallying cry and an opportunity for others to show their support: “Support the community and the culture that makes this city so unique and welcoming.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "A Museum Show That Uncovers the Many Identities of Oakland",
"title": "A Museum Show That Uncovers the Many Identities of Oakland",
"headTitle": "Boomtown | News Fix | KQED News",
"content": "\u003cp>Who is Oakland?\u003c/p>\n\u003cp>That’s the question the \u003ca href=\"http://museumca.org/exhibit/who-is-oakland\" target=\"_blank\">Oakland Museum of California\u003c/a> put to 10 artists, all residents of the city.\u003c/p>\n\u003cp>And their answers, including portraits of residents and neighborhoods from the hills to the flatlands are the basis for a new show called \"Who is Oakland?\" that opened last weekend.\u003c/p>\n\u003cp>\u003ca href=\"http://www.chrisjohnsonphotographer.com/\" target=\"_blank\">Christopher Johnson\u003c/a> is the show's co-curator and lead artist. He says the museum came to him last fall with the idea for the exhibit and a short timetable.\u003c/p>\n\u003cp>“I thought it was a little crazy, because we know that a show of this magnitude would usually take a year,\" Johnson says. \"But they said they wanted it to be an experiment in how responsive the museum could be to the issues that are really on the street in Oakland.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So Johnson, a long time Oakland resident and professor of photography at the \u003ca href=\"https://www.cca.edu/\" target=\"_blank\">California College of the Arts,\u003c/a> turned to his colleagues and former students to fill the gallery.\u003c/p>\n\u003cp>“It’s not so hard,” he says, “if you’re basing the project on the lived experiences of real people.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/201288315\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>For instance \u003ca href=\"http://adiamillett.com/\" target=\"_blank\">Adia Millet\u003c/a> scattered a murder of crows around the gallery as a metaphor for gentrification.\u003c/p>\n\u003cp>Crows thrive in a disrupted and changing environment -- a situation that’s tough, Johnson says, on the artists themselves.\u003c/p>\n\u003cp>“My students really struggle to find a way to like continue living here,\" Johnson says. \"On the other hand it’s such a vibrant place, there’s so much going on.”\u003c/p>\n\u003cp>Gentrification is also on the mind of artist \u003ca href=\"http://www.favianna.com/\" target=\"_blank\">Favianna Rodriguez\u003c/a>, whose work often focuses on social justice and immigration.\u003c/p>\n\u003cp>“There’s a lot of pain,” Rodriguez says. “There’s a lot of anger because of the rising housing costs, because of how people are being displaced.”\u003c/p>\n\u003cp>Still Rodriguez' \"Who is Oakland?\" piece focuses not on the city’s problems but on the survival of what’s here.\u003c/p>\n\u003cp>“For example, people think that the \u003ca href=\"http://en.wikipedia.org/wiki/San_Antonio,_Oakland,_California\" target=\"_blank\">San Antonio\u003c/a> is an Asian community,” she says. “Well there’s Cambodians, there’s Filipinos, there’s Chinese. There’s now Jamaicans. There's newcomers every single year, and that’s a beautiful complexity.”\u003c/p>\n\u003cp>Rodriguez shopped corner groceries in San Antonio and its neighbor, the mostly Latino Fruitvale district, to assemble her own tiny international grocery, featuring items like a can of Café Bustelo, Hup Seng cream crackers and bags of rice.\u003c/p>\n\u003cp>“And the chicken bouillon there,” she says, pointing to the packets, “you see it in three different languages. It was not uncommon to go into the supermarket and see the same exact item marketed to three different constituents.”\u003c/p>\n\u003cp>Rodriguez also visited a piñata maker to see how cultures blend.\u003c/p>\n\u003cp>“Here we have a Japanese icon,” said Rodriguez, “Hello Kitty, created in a piñata and sold in East Oakland. Culture does not recognize borders.”\u003c/p>\n\u003cp>Immigration is also a theme for \u003ca href=\"http://susanfelterart.com/\" target=\"_blank\">Susan Felter\u003c/a>.\u003c/p>\n\u003cp>She’s created three huge photo collages depicting Oakland’s natural environment, an aspect of the city she says \"that we often maybe don’t think about too much. But we actually share this environment with a lot of creatures.\"\u003c/p>\n\u003cp>Felter’s depiction of \u003ca href=\"http://www.lakemerritt.org/\" target=\"_blank\">Lake Merritt\u003c/a> is populated by California gulls, pelicans, mallards, a dragon kite and Canada geese. Another collage pairs raccoons and taco trucks in her neighborhood near \u003ca href=\"http://www.mills.edu/\" target=\"_blank\">Mills College\u003c/a>.\u003c/p>\n\u003cp>Much of the work in the show is a counternarrative to the stereotypes so many people have about Oakland as a dangerous and gritty city.\u003c/p>\n\u003cp>That's true for Christopher Johnson's piece, “The Best Way to Find a Hero.”\u003c/p>\n\u003cp>Johnson cut up a map of the city and taped together what he calls “all the bad neighborhoods. All the places that are in the so-called kill zone.”\u003c/p>\n\u003cp>And then he threw darts at the map, visited the homes his darts chose for him, and videotaped interviews with the “heroes” who lived there.\u003c/p>\n\u003cp>“I live in the Eastmont hills, above East Oakland,\" Johnson says. \"So my wife and I hear gunshots just about every day and sirens. But when you drive through, you see properties that are beautifully maintained and when you knock on the doors, you see people who are raising their families, and proud to have lived and survived.”\u003c/p>\n\u003cp>With the touch of a button on a kiosk, you can watch Johnson’s interview with Michael Nelson and his wife Chestine.\u003c/p>\n\u003cp>“This block here is cool,\" Michael Nelson says of his East Oakland neighborood. \"I cut the neighbors grass, we go out and pick up trash. We all know one another and look out for each other and stuff.”\u003c/p>\n\u003cp>“That’s what we got to get back to,” Chestine Nelson interrupts. Michael picks up without a pause, “And you got to go from this block to that block to that block. That’s how we get our neighborhoods back.”\u003c/p>\n\u003cp>Don’t visit \"Who is Oakland?\" if you’re expecting a definitive answer to that question. But here’s Favianna Rodriguez's take.\u003c/p>\n\u003cp>“Oakland is the past and the present,\" she says. \"It’s the collision of cultures. It’s what emerges when migrants come together to form a new reality, to form a new community.\"\u003c/p>\n\u003cp>\"Who is Oakland?\" continues through July 12.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.kqed.org/radio/programs/forum/\" target=\"_blank\">KQED's Forum\u003c/a> will do a remote broadcast next Wednesday, April 22, from the Oakland Museum of California and feature some of the artists in the \"Who is Oakland?\" show.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Who is Oakland?\u003c/p>\n\u003cp>That’s the question the \u003ca href=\"http://museumca.org/exhibit/who-is-oakland\" target=\"_blank\">Oakland Museum of California\u003c/a> put to 10 artists, all residents of the city.\u003c/p>\n\u003cp>And their answers, including portraits of residents and neighborhoods from the hills to the flatlands are the basis for a new show called \"Who is Oakland?\" that opened last weekend.\u003c/p>\n\u003cp>\u003ca href=\"http://www.chrisjohnsonphotographer.com/\" target=\"_blank\">Christopher Johnson\u003c/a> is the show's co-curator and lead artist. He says the museum came to him last fall with the idea for the exhibit and a short timetable.\u003c/p>\n\u003cp>“I thought it was a little crazy, because we know that a show of this magnitude would usually take a year,\" Johnson says. \"But they said they wanted it to be an experiment in how responsive the museum could be to the issues that are really on the street in Oakland.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So Johnson, a long time Oakland resident and professor of photography at the \u003ca href=\"https://www.cca.edu/\" target=\"_blank\">California College of the Arts,\u003c/a> turned to his colleagues and former students to fill the gallery.\u003c/p>\n\u003cp>“It’s not so hard,” he says, “if you’re basing the project on the lived experiences of real people.”\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/201288315&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/201288315'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>For instance \u003ca href=\"http://adiamillett.com/\" target=\"_blank\">Adia Millet\u003c/a> scattered a murder of crows around the gallery as a metaphor for gentrification.\u003c/p>\n\u003cp>Crows thrive in a disrupted and changing environment -- a situation that’s tough, Johnson says, on the artists themselves.\u003c/p>\n\u003cp>“My students really struggle to find a way to like continue living here,\" Johnson says. \"On the other hand it’s such a vibrant place, there’s so much going on.”\u003c/p>\n\u003cp>Gentrification is also on the mind of artist \u003ca href=\"http://www.favianna.com/\" target=\"_blank\">Favianna Rodriguez\u003c/a>, whose work often focuses on social justice and immigration.\u003c/p>\n\u003cp>“There’s a lot of pain,” Rodriguez says. “There’s a lot of anger because of the rising housing costs, because of how people are being displaced.”\u003c/p>\n\u003cp>Still Rodriguez' \"Who is Oakland?\" piece focuses not on the city’s problems but on the survival of what’s here.\u003c/p>\n\u003cp>“For example, people think that the \u003ca href=\"http://en.wikipedia.org/wiki/San_Antonio,_Oakland,_California\" target=\"_blank\">San Antonio\u003c/a> is an Asian community,” she says. “Well there’s Cambodians, there’s Filipinos, there’s Chinese. There’s now Jamaicans. There's newcomers every single year, and that’s a beautiful complexity.”\u003c/p>\n\u003cp>Rodriguez shopped corner groceries in San Antonio and its neighbor, the mostly Latino Fruitvale district, to assemble her own tiny international grocery, featuring items like a can of Café Bustelo, Hup Seng cream crackers and bags of rice.\u003c/p>\n\u003cp>“And the chicken bouillon there,” she says, pointing to the packets, “you see it in three different languages. It was not uncommon to go into the supermarket and see the same exact item marketed to three different constituents.”\u003c/p>\n\u003cp>Rodriguez also visited a piñata maker to see how cultures blend.\u003c/p>\n\u003cp>“Here we have a Japanese icon,” said Rodriguez, “Hello Kitty, created in a piñata and sold in East Oakland. Culture does not recognize borders.”\u003c/p>\n\u003cp>Immigration is also a theme for \u003ca href=\"http://susanfelterart.com/\" target=\"_blank\">Susan Felter\u003c/a>.\u003c/p>\n\u003cp>She’s created three huge photo collages depicting Oakland’s natural environment, an aspect of the city she says \"that we often maybe don’t think about too much. But we actually share this environment with a lot of creatures.\"\u003c/p>\n\u003cp>Felter’s depiction of \u003ca href=\"http://www.lakemerritt.org/\" target=\"_blank\">Lake Merritt\u003c/a> is populated by California gulls, pelicans, mallards, a dragon kite and Canada geese. Another collage pairs raccoons and taco trucks in her neighborhood near \u003ca href=\"http://www.mills.edu/\" target=\"_blank\">Mills College\u003c/a>.\u003c/p>\n\u003cp>Much of the work in the show is a counternarrative to the stereotypes so many people have about Oakland as a dangerous and gritty city.\u003c/p>\n\u003cp>That's true for Christopher Johnson's piece, “The Best Way to Find a Hero.”\u003c/p>\n\u003cp>Johnson cut up a map of the city and taped together what he calls “all the bad neighborhoods. All the places that are in the so-called kill zone.”\u003c/p>\n\u003cp>And then he threw darts at the map, visited the homes his darts chose for him, and videotaped interviews with the “heroes” who lived there.\u003c/p>\n\u003cp>“I live in the Eastmont hills, above East Oakland,\" Johnson says. \"So my wife and I hear gunshots just about every day and sirens. But when you drive through, you see properties that are beautifully maintained and when you knock on the doors, you see people who are raising their families, and proud to have lived and survived.”\u003c/p>\n\u003cp>With the touch of a button on a kiosk, you can watch Johnson’s interview with Michael Nelson and his wife Chestine.\u003c/p>\n\u003cp>“This block here is cool,\" Michael Nelson says of his East Oakland neighborood. \"I cut the neighbors grass, we go out and pick up trash. We all know one another and look out for each other and stuff.”\u003c/p>\n\u003cp>“That’s what we got to get back to,” Chestine Nelson interrupts. Michael picks up without a pause, “And you got to go from this block to that block to that block. That’s how we get our neighborhoods back.”\u003c/p>\n\u003cp>Don’t visit \"Who is Oakland?\" if you’re expecting a definitive answer to that question. But here’s Favianna Rodriguez's take.\u003c/p>\n\u003cp>“Oakland is the past and the present,\" she says. \"It’s the collision of cultures. It’s what emerges when migrants come together to form a new reality, to form a new community.\"\u003c/p>\n\u003cp>\"Who is Oakland?\" continues through July 12.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.kqed.org/radio/programs/forum/\" target=\"_blank\">KQED's Forum\u003c/a> will do a remote broadcast next Wednesday, April 22, from the Oakland Museum of California and feature some of the artists in the \"Who is Oakland?\" show.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Vanessa Kenoyer stopped by San Francisco’s Grace Cathedral last summer, curious to check out an art exhibit she’d heard about. She lives three hours away, in Northern California’s mountainous Lake County, and on her occasional trips to the city, she likes to go to art galleries and soak up some of the city’s urban culture.\u003c/p>\n\u003cp>However, walking into Grace Cathedral, she found something even more profound -- a connection with the divine.\u003c/p>\n\u003cp>An intricate labyrinth is inlaid in the floor of the cathedral. “It instantly just caught my breath,” she says.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/200246952\" 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>Labyrinths have always been special to Kenoyer. To her, they represent a journey that all humans go through and can be found across cultures and continents. This symbol of the labyrinth is so special to Kenoyer that she had it tattooed on the back of her neck, like a subconscious guide to her path in life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When she comes to San Francisco, Kenoyer makes a point to visit Grace Cathedral and walk the labyrinth, feeling this human pattern of interconnection.\u003c/p>\n\u003cp>[contextly_sidebar id=\"bkqBH49kD6jGGDNK0AXWiKl0uwP4sLrk\"]\u003c/p>\n\u003cp>“It’s just something you start to drop into and this magic starts to happen. Some people start at the beginning of the labyrinth, and it’s fun to watch them. Some people just jump right in,” she says.\u003c/p>\n\u003cp>For Kenoyer, even though she is not Christian, the cathedral is a special place full of light and spirit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can always feel when you walk into a place that is special, of people’s invocation of the divine, no matter what your faith is or what your path is,\" she says. \"When it’s set aside, you can just feel it when you walk inside. And this is one of those places.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Vanessa Kenoyer stopped by San Francisco’s Grace Cathedral last summer, curious to check out an art exhibit she’d heard about. She lives three hours away, in Northern California’s mountainous Lake County, and on her occasional trips to the city, she likes to go to art galleries and soak up some of the city’s urban culture.\u003c/p>\n\u003cp>However, walking into Grace Cathedral, she found something even more profound -- a connection with the divine.\u003c/p>\n\u003cp>An intricate labyrinth is inlaid in the floor of the cathedral. “It instantly just caught my breath,” she says.\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/200246952&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/200246952'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Labyrinths have always been special to Kenoyer. To her, they represent a journey that all humans go through and can be found across cultures and continents. This symbol of the labyrinth is so special to Kenoyer that she had it tattooed on the back of her neck, like a subconscious guide to her path in life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When she comes to San Francisco, Kenoyer makes a point to visit Grace Cathedral and walk the labyrinth, feeling this human pattern of interconnection.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It’s just something you start to drop into and this magic starts to happen. Some people start at the beginning of the labyrinth, and it’s fun to watch them. Some people just jump right in,” she says.\u003c/p>\n\u003cp>For Kenoyer, even though she is not Christian, the cathedral is a special place full of light and spirit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can always feel when you walk into a place that is special, of people’s invocation of the divine, no matter what your faith is or what your path is,\" she says. \"When it’s set aside, you can just feel it when you walk inside. And this is one of those places.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>OK, now listen to this.\u003c/p>\n\u003cp>Any idea what it might be? You may have driven or walked on it before. Sound artist \u003ca href=\"https://singingbridgesmusic.bandcamp.com/\">Jodi Rose\u003c/a> recorded it with contact microphones, and then she loaded up the audio to a website called Aporee.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/200246035″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003ca href=\"http://aporee.org\" target=\"_blank\" rel=\"noopener\">Aporee\u003c/a> is a crowdsourced sound map with audio from all over the world. It’s as if Google Maps had audio. You can hear recordings made in different places by clicking on locations where sounds have been uploaded.\u003c/p>\n\u003cp>So, what’s on \u003ca href=\"http://aporee.org/maps/work/?clat=36.734250&clng=-121.988733&z=7&m=hybrid\">the map from California\u003c/a>?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Aporee has many recordings one might imagine when thinking of the state’s sound profile — nature audio like \u003ca href=\"http://aporee.org/maps/?loc=12666&m=satellite\" target=\"_blank\" rel=\"noopener\">waves crashing\u003c/a> in Santa Barbara, \u003ca href=\"http://aporee.org/maps/?loc=14321&m=satellite\" target=\"_blank\" rel=\"noopener\">sea lions\u003c/a> on the Sonoma Coast and \u003ca href=\"http://aporee.org/maps/?loc=22352&m=satellite\" target=\"_blank\" rel=\"noopener\">birds chirping\u003c/a> in Point Reyes. But there are also urban soundscapes — \u003ca href=\"http://aporee.org/maps/?loc=24642&m=satellite\" target=\"_blank\" rel=\"noopener\">downtown San Francisco\u003c/a> with street performers and cable cars, \u003ca href=\"http://aporee.org/maps/?loc=15708&m=satellite\" target=\"_blank\" rel=\"noopener\">a casino in San Diego\u003c/a>, the \u003ca href=\"http://aporee.org/maps/?loc=8476&m=satellite\" target=\"_blank\" rel=\"noopener\">101 freeway\u003c/a> in Los Angeles, a \u003ca href=\"http://aporee.org/maps/?loc=9038&m=satellite\" target=\"_blank\" rel=\"noopener\">mall Starbucks\u003c/a>.\u003c/p>\n\u003cp>Some contributors have focused on capturing sounds of particular things — \u003ca href=\"http://aporee.org/maps/?loc=20385&m=satellite\" target=\"_blank\" rel=\"noopener\">oil derricks\u003c/a>, \u003ca href=\"http://aporee.org/maps/?loc=8045&m=satellite\" target=\"_blank\" rel=\"noopener\">irrigation pumps\u003c/a> and \u003ca href=\"http://aporee.org/maps/?loc=14841&m=satellite\" target=\"_blank\" rel=\"noopener\">sprinkler systems\u003c/a>. Often the recordings are of the kind of background noises many of us ignore or tune out altogether.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"http://aporee.org/maps/work/?clat=37.107765&clng=-121.624146&z=7&m=hybrid\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Aporee was created by Berlin-based sound artist Udo Noll. He wanted to make a site where people could share audio and preserve it for the future. The website is part archive, part art project, part community space. The sounds are free to listen to, download and remix under Creative Commons licenses.\u003c/p>\n\u003cp>All of the places on Aporee have been captured visually at the very least by Google’s cameras or satellite images. But most of these locations have never been documented sonically.\u003c/p>\n\u003caside class=\"alignleft\">\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/200246823″]\u003c/p>\n\u003c/aside>\n\u003cp>Sound is often overlooked, Noll says, which is a shame because audio can transport someone in different ways than images. “Sound puts you right at the place,” he says, and “you have a kind of landscape that opens up.”\u003c/p>\n\u003cp>Most of Aporee’s audio clips are several minutes long. A majority are soundscapes, kind of audio snapshots. When you listen to recordings like these, Noll says you are “sharing ears” with the person who gathered the audio.\u003c/p>\n\u003cp>Noll has always been fascinated with sound. When he was growing up in Berlin, his aunt had a big old radio that could pick up distant signals. There was a dial on the front, a magic eye Noll says. It would display where the frequencies were coming from — places around Germany, France, Eastern European countries still under Soviet control, and far-off cities like Daventry. It’s the place in Northern England where the BBC Empire Service built its first radio antenna.\u003c/p>\n\u003cp>Noll would tune in to these frequencies and listen. In a way, he says, those radios were the first sound maps.\u003c/p>\n\u003cfigure id=\"attachment_10485838\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Karel.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10485838 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Karel-800x1067.jpg\" alt=\"Karel Sidorjak records sounds that grate on him, like the crash of bottles at a recycling center.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-1440x1920.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-320x427.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Karel Sidorjak records sounds that grate on him, like the crash of bottles at a recycling center. \u003ccite>(Sam Harnett/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anyone can upload audio to Aporee. There are musicians like Jodi Rose, who did the Golden Gate Bridge recording at the top of the story, and people like Dan Dugan. He invents audio equipment and makes nature recordings, such as a dawn chorus of birds in \u003ca href=\"http://aporee.org/maps/?loc=13252&m=satellite\" target=\"_blank\" rel=\"noopener\">San Francisco’s Presidio\u003c/a>.\u003c/p>\n\u003cp>Many contributors, though, are just hobbyists, recording sounds the way one might take a picture — amateur “phonographers,” like Karel Sidorjak.\u003c/p>\n\u003cp>Sidorjak is a carpenter by trade, but he carries around a small inexpensive recorder. At first he was gathering lots of nature audio—birds, creeks and ocean waves. Now he is more interested in urban sounds. He goes out to record \u003ca href=\"http://aporee.org/maps/?loc=8766&m=satellite\" target=\"_blank\" rel=\"noopener\">BART stations\u003c/a>, industrial noises and the \u003ca href=\"http://aporee.org/maps/?loc=8721&m=satellite\" target=\"_blank\" rel=\"noopener\">“horrible music” at Home Depot\u003c/a>.\u003c/p>\n\u003cp>I went with Sidorjak to see a phonographer in action. We planned to visit one of his favorite places to record in Berkeley. First, though, we had to gather up his recyclables.\u003c/p>\n\u003cp>Sidorjak had been saving bottles for months. They are mostly Pilsner Urquells. It’s his hometown beer. Sidorjak is originally from Pilsen, Czech Republic. As we poured the bottles into plastic bags, they made a deafening crash.\u003c/p>\n\u003cp>“That is a nice sound, right?” he asked and laughed.\u003c/p>\n\u003cp>We took Sidorjak’s bottles \u003ca href=\"http://aporee.org/maps/work/?loc=27533\">to a nearby recycling center\u003c/a>. He had his recorder on, and so did I.\u003c/p>\n\u003cp>Sidorjak wants to document the gritty sounds that fill our urban landscape. Over the din of crunching glass and plastic, he said, “The sound environment we spend a lot of time in is just plain bad.”\u003c/p>\n\u003cp>Sidorjak has made several recordings in the recycling center. He always notes how little money he makes returning the bottles. I like\u003ca href=\"http://aporee.org/maps/?loc=15359&m=satellite\"> this trip the best\u003c/a> –it’s something about the songs he captured playing on the radio in the background.\u003c/p>\n\u003cp>For Sidorjak, Aporee is a place to put the different sounds he gathers — ones that grate on him, like the crash of bottles or music at Home Depot, and ones he loves, like \u003ca href=\"http://aporee.org/maps/?loc=6300&m=satellite\" target=\"_blank\" rel=\"noopener\">the creeks behind his house\u003c/a>.\u003c/p>\n\u003cp>So far, Aporee has almost 30,000 recordings, about 63 days of sound. It’s actually not that much, says founder Udo Noll, especially compared with something like the number of tweets sent out every day into the ether.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What sounds are we missing, Noll wonders. Which ones will vanish before we ever hear them?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>OK, now listen to this.\u003c/p>\n\u003cp>Any idea what it might be? You may have driven or walked on it before. Sound artist \u003ca href=\"https://singingbridgesmusic.bandcamp.com/\">Jodi Rose\u003c/a> recorded it with contact microphones, and then she loaded up the audio to a website called Aporee.\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/200246035″&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/200246035″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://aporee.org\" target=\"_blank\" rel=\"noopener\">Aporee\u003c/a> is a crowdsourced sound map with audio from all over the world. It’s as if Google Maps had audio. You can hear recordings made in different places by clicking on locations where sounds have been uploaded.\u003c/p>\n\u003cp>So, what’s on \u003ca href=\"http://aporee.org/maps/work/?clat=36.734250&clng=-121.988733&z=7&m=hybrid\">the map from California\u003c/a>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Aporee has many recordings one might imagine when thinking of the state’s sound profile — nature audio like \u003ca href=\"http://aporee.org/maps/?loc=12666&m=satellite\" target=\"_blank\" rel=\"noopener\">waves crashing\u003c/a> in Santa Barbara, \u003ca href=\"http://aporee.org/maps/?loc=14321&m=satellite\" target=\"_blank\" rel=\"noopener\">sea lions\u003c/a> on the Sonoma Coast and \u003ca href=\"http://aporee.org/maps/?loc=22352&m=satellite\" target=\"_blank\" rel=\"noopener\">birds chirping\u003c/a> in Point Reyes. But there are also urban soundscapes — \u003ca href=\"http://aporee.org/maps/?loc=24642&m=satellite\" target=\"_blank\" rel=\"noopener\">downtown San Francisco\u003c/a> with street performers and cable cars, \u003ca href=\"http://aporee.org/maps/?loc=15708&m=satellite\" target=\"_blank\" rel=\"noopener\">a casino in San Diego\u003c/a>, the \u003ca href=\"http://aporee.org/maps/?loc=8476&m=satellite\" target=\"_blank\" rel=\"noopener\">101 freeway\u003c/a> in Los Angeles, a \u003ca href=\"http://aporee.org/maps/?loc=9038&m=satellite\" target=\"_blank\" rel=\"noopener\">mall Starbucks\u003c/a>.\u003c/p>\n\u003cp>Some contributors have focused on capturing sounds of particular things — \u003ca href=\"http://aporee.org/maps/?loc=20385&m=satellite\" target=\"_blank\" rel=\"noopener\">oil derricks\u003c/a>, \u003ca href=\"http://aporee.org/maps/?loc=8045&m=satellite\" target=\"_blank\" rel=\"noopener\">irrigation pumps\u003c/a> and \u003ca href=\"http://aporee.org/maps/?loc=14841&m=satellite\" target=\"_blank\" rel=\"noopener\">sprinkler systems\u003c/a>. Often the recordings are of the kind of background noises many of us ignore or tune out altogether.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"http://aporee.org/maps/work/?clat=37.107765&clng=-121.624146&z=7&m=hybrid\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Aporee was created by Berlin-based sound artist Udo Noll. He wanted to make a site where people could share audio and preserve it for the future. The website is part archive, part art project, part community space. The sounds are free to listen to, download and remix under Creative Commons licenses.\u003c/p>\n\u003cp>All of the places on Aporee have been captured visually at the very least by Google’s cameras or satellite images. But most of these locations have never been documented sonically.\u003c/p>\n\u003caside class=\"alignleft\">\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='undefined' height='undefined'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/200246823″&visual=true&undefined'\n title='”https://api.soundcloud.com/tracks/200246823″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003c/aside>\n\u003cp>Sound is often overlooked, Noll says, which is a shame because audio can transport someone in different ways than images. “Sound puts you right at the place,” he says, and “you have a kind of landscape that opens up.”\u003c/p>\n\u003cp>Most of Aporee’s audio clips are several minutes long. A majority are soundscapes, kind of audio snapshots. When you listen to recordings like these, Noll says you are “sharing ears” with the person who gathered the audio.\u003c/p>\n\u003cp>Noll has always been fascinated with sound. When he was growing up in Berlin, his aunt had a big old radio that could pick up distant signals. There was a dial on the front, a magic eye Noll says. It would display where the frequencies were coming from — places around Germany, France, Eastern European countries still under Soviet control, and far-off cities like Daventry. It’s the place in Northern England where the BBC Empire Service built its first radio antenna.\u003c/p>\n\u003cp>Noll would tune in to these frequencies and listen. In a way, he says, those radios were the first sound maps.\u003c/p>\n\u003cfigure id=\"attachment_10485838\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Karel.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10485838 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Karel-800x1067.jpg\" alt=\"Karel Sidorjak records sounds that grate on him, like the crash of bottles at a recycling center.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-1440x1920.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-320x427.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Karel Sidorjak records sounds that grate on him, like the crash of bottles at a recycling center. \u003ccite>(Sam Harnett/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anyone can upload audio to Aporee. There are musicians like Jodi Rose, who did the Golden Gate Bridge recording at the top of the story, and people like Dan Dugan. He invents audio equipment and makes nature recordings, such as a dawn chorus of birds in \u003ca href=\"http://aporee.org/maps/?loc=13252&m=satellite\" target=\"_blank\" rel=\"noopener\">San Francisco’s Presidio\u003c/a>.\u003c/p>\n\u003cp>Many contributors, though, are just hobbyists, recording sounds the way one might take a picture — amateur “phonographers,” like Karel Sidorjak.\u003c/p>\n\u003cp>Sidorjak is a carpenter by trade, but he carries around a small inexpensive recorder. At first he was gathering lots of nature audio—birds, creeks and ocean waves. Now he is more interested in urban sounds. He goes out to record \u003ca href=\"http://aporee.org/maps/?loc=8766&m=satellite\" target=\"_blank\" rel=\"noopener\">BART stations\u003c/a>, industrial noises and the \u003ca href=\"http://aporee.org/maps/?loc=8721&m=satellite\" target=\"_blank\" rel=\"noopener\">“horrible music” at Home Depot\u003c/a>.\u003c/p>\n\u003cp>I went with Sidorjak to see a phonographer in action. We planned to visit one of his favorite places to record in Berkeley. First, though, we had to gather up his recyclables.\u003c/p>\n\u003cp>Sidorjak had been saving bottles for months. They are mostly Pilsner Urquells. It’s his hometown beer. Sidorjak is originally from Pilsen, Czech Republic. As we poured the bottles into plastic bags, they made a deafening crash.\u003c/p>\n\u003cp>“That is a nice sound, right?” he asked and laughed.\u003c/p>\n\u003cp>We took Sidorjak’s bottles \u003ca href=\"http://aporee.org/maps/work/?loc=27533\">to a nearby recycling center\u003c/a>. He had his recorder on, and so did I.\u003c/p>\n\u003cp>Sidorjak wants to document the gritty sounds that fill our urban landscape. Over the din of crunching glass and plastic, he said, “The sound environment we spend a lot of time in is just plain bad.”\u003c/p>\n\u003cp>Sidorjak has made several recordings in the recycling center. He always notes how little money he makes returning the bottles. I like\u003ca href=\"http://aporee.org/maps/?loc=15359&m=satellite\"> this trip the best\u003c/a> –it’s something about the songs he captured playing on the radio in the background.\u003c/p>\n\u003cp>For Sidorjak, Aporee is a place to put the different sounds he gathers — ones that grate on him, like the crash of bottles or music at Home Depot, and ones he loves, like \u003ca href=\"http://aporee.org/maps/?loc=6300&m=satellite\" target=\"_blank\" rel=\"noopener\">the creeks behind his house\u003c/a>.\u003c/p>\n\u003cp>So far, Aporee has almost 30,000 recordings, about 63 days of sound. It’s actually not that much, says founder Udo Noll, especially compared with something like the number of tweets sent out every day into the ether.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What sounds are we missing, Noll wonders. Which ones will vanish before we ever hear them?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "asking-why-bad-things-happen-to-good-people",
"title": "'Genius' Playwright Asking Why Bad Things Happen to Good People",
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"headTitle": "‘Genius’ Playwright Asking Why Bad Things Happen to Good People | KQED",
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"content": "\u003cp>\u003ca href=\"http://newdramatists.org/tarell-alvin-mccraney\" target=\"_blank\" rel=\"noopener\">Tarell Alvin McCraney\u003c/a> is probably the only person born and raised in Miami’s impoverished\u003ca href=\"http://en.wikipedia.org/wiki/Liberty_City\" target=\"_blank\" rel=\"noopener\"> Liberty City neighborhood\u003c/a>, to become the International Playwright in Residence for the \u003ca href=\"http://www.rsc.org.uk/\" target=\"_blank\" rel=\"noopener\">Royal Shakespeare Theater Company\u003c/a>. Same goes for winning a \u003ca href=\"http://www.macfound.org/fellows/class/2013/\" target=\"_blank\" rel=\"noopener\">MacArthur “Genius” Grant\u003c/a>.\u003c/p>\n\u003cp>Two Bay Area theaters are presenting plays by McCraney this month. The Berkeley Repertory Theatre is doing the West Coast premiere of \u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1415/8247.asp?gclid=CJPHzJHz7MQCFQiUfgodTocAbA&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">Head of Passes\u003c/a>\u003c/em>, a play that takes its themes from the Biblical Book of Job, and won praise for its first production in Chicago in 2013.\u003c/p>\n\u003cp>The Marin Theatre Company is staging the Bay Area premiere of McCraney’s \u003ca href=\"http://www.marintheatre.org/productions/choir-boy\" target=\"_blank\" rel=\"noopener\">\u003cem>Choirboy\u003c/em>\u003c/a> which premiered to good reviews in New York City the same year.\u003c/p>\n\u003cp>I talked to McCraney at Berkeley Rep’s rehearsal space in West Berkeley a few days ago. Before we talked, I sat in on a rehearsal as performers worked on a scene from \u003cem>Head of Passes\u003c/em> that McCraney had rewritten the night before.\u003c/p>\n\u003cp>McCraney watched, mostly without comment, as the actors tried to get the new lines just right, under the direction of Tina Landau of Chicago’s \u003ca href=\"https://www.steppenwolf.org/?gclid=CLro6ezz7MQCFU6Vfgod9mUAog&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">Steppenwolf Theater Company\u003c/a>. Landau directed the play’s world premiere in Chicago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I asked McCraney why he felt he needed to rework the play:\u003c/p>\n\u003cp>\u003cem>(Interview has been edited for length and clarity)\u003c/em>\u003c/p>\n\u003cp>It’s always thrilling and at the same time, sort of nerve-wracking. You don’t want to throw the actors off, but you want to make sure the play continues to strengthen.\u003c/p>\n\u003cp>\u003cstrong>This play already had a production in Chicago. So what’s going through your head when you think, “I need to change things.”\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10549492\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Cheryl-Lynn-Bruce.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Cheryl-Lynn-Bruce.jpg\" alt=\"Actress Cheryl Lynn Bruce stars in the West Coast premiere of Head of Passes (Courtesy of kevinberne.com)\" width=\"640\" height=\"426\" class=\"size-full wp-image-10549492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Cheryl-Lynn-Bruce.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Cheryl-Lynn-Bruce-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Cheryl-Lynn-Bruce-320x213.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Actress Cheryl Lynn Bruce stars in the West Coast premiere of Head of Passes (Courtesy of kevinberne.com)\u003c/figcaption>\u003c/figure>\n\u003cp>Plays are living things. They are performance pieces. So every time they get a new cast, they are in a new space, and we grow as people. So you want to deepen how the play works, but also tailor it for the performers to help them connect with the audiences.\u003c/p>\n\u003cp>So for us that’s been a part of the work going into it, making sure we create a space for the actors, but also make sure we deepen the story of \u003cem>Head of Passes,\u003c/em> which is about a woman who is told some pretty bad news about her health and her family, and we watch her career, her journey with her faith.\u003c/p>\n\u003cp>And the journey of faith is a complicated story. It’s deeply personal. For instance the question of why are we here? Why do things happen? What is my purpose?\u003c/p>\n\u003cp>When all of that occurs, we then begin to sort of to try to put it together in a kind of science. And that is faith in a way. It’s our reaching for a construction of trying to figure out some very large questions that are part of the human condition. And in that way \u003cem>Head of Passes\u003c/em> is a piece into that journey into that human condition.\u003c/p>\n\u003cp>\u003cstrong>The play is based on The Book of Job, which asks but doesn’t answer the question of why bad things happen to good people and their families. And some terrible things happen to the woman Shelah, who is at the center of your play. So where did you first encounter Job growing up?\u003c/strong>\u003c/p>\n\u003cp>I read Job a long time ago in church, (and as an undergrad in college.)\u003c/p>\n\u003cp>When the first commission for the play came, we sat in a room full of actors and just read the book of Job for a few weeks. And it became clear to me the Book of Job has antecedents in other religions. Basically the story of struggle, and how we maintain or endure with or without faith is a part of every cosmology and religion that we know of.\u003c/p>\n\u003cp>And why is that story so important to us? What is it about irrevocable change that helps us get through it?\u003c/p>\n\u003cp>Those questions kept coming up for me. And I thought, I can’t be the only person who’s thinking that. Why don’t we create a piece that investigates that in a contemporary American way.\u003c/p>\n\u003cp>\u003cstrong>What kind of religious faith did you grow up with?\u003c/strong>\u003c/p>\n\u003cp>I grew up with grandparents who were deeply Baptist and Methodist, on both sides of my family.\u003c/p>\n\u003cp>\u003cstrong> And did they take you to church?\u003c/strong>\u003c/p>\n\u003cp>Oh yeah. Often.\u003c/p>\n\u003cp>\u003cstrong>And how did that experience shape you?\u003c/strong>\u003c/p>\n\u003cp>The faith has shaped me, mostly I think my relationship with my grandparents who believed in something, shaped my own faith. Rather than thinking ‘I must be a part of this group.’ I always felt like I had a choice. And I attribute that to my grandparents. They always taught you don’t have to be in anybody’s face to be a good person, to be understanding. You don’t have to read it every day to practice compassion.\u003c/p>\n\u003cp>\u003cstrong>The Head of Passes, what’s that refer to?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Head_of_Passes\" target=\"_blank\" rel=\"noopener\">The Head of Passes\u003c/a> is a place on the Mississippi River, located on the tip of the Louisiana peninsula, out into the gulf of Mexico. It’s a patch of land that is very amorphous. I think the Army Corps of Engineers says we lose a football field of that land every two or three weeks.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n“The journey of faith is a complicated story. Its deeply personal. For instance the question of why are we here. Why do things happen? What is my purpose?”\u003cbr>\n\u003ccite>Playwright Tarell Alvin McCraney\u003ccite>\u003cbr>\n\u003c/cite>\u003c/cite>\u003c/aside>\n\u003cp>\u003cstrong>Is there a metaphor there about what the Mississippi does to the land there and what fate, or God, does to the character of Shelah in your play?\u003c/strong>\u003c/p>\n\u003cp>I’m always interested that when I speak to people about the play and this place, they’re always like, ‘Oh, that sounds like a terrible place to live.’ And I think to myself that people live on fault lines that are going to blow up any day now. We all live in places, where as much as we think of earth as terra firma, that even the ground we stand on can be swept from under us, and those things happen to the best of people, and the least of us.\u003c/p>\n\u003cp>\u003cstrong>How did you first discover theater, growing up in Miami.\u003c/strong>\u003c/p>\n\u003cp>I grew up Liberty City, which is in the center of Miami. And I started theater fairly young there. In church we did plays, and I was in those plays. But there was also the African Heritage Cultural Arts Center, which was located a couple of blocks from my home. I did plays there since I was about 8 or 9, and then went to a middle school for theater and then went to a performing arts High School, and then undergraduate and graduate school all in acting and playwriting.\u003c/p>\n\u003cp>\u003cstrong>When did you think, “I’m going to be a playwright,” or work in theater?\u003c/strong>\u003c/p>\n\u003cp>I never thought it. It just was happening. My first job at 14 was in a rehabilitation program that used theater as peer education. So I did that till I was about 20. So there was never a decisive moment when I thought, ‘oh this is it.’\u003c/p>\n\u003cp>\u003cstrong>That must have been hard sometimes to tell your friends, “Oh, I’m going to rehearse a play,” instead of hanging out or playing sports.\u003c/strong>\u003c/p>\n\u003cp>I recognize you must think I had a lot of friends. But clearly, you’re mistaken. I’m much more or an introvert than that. And I didn’t have a lot of friends in middle school to tell I was on the way to anything. I went to rehearsal and went home. And most of my friends were in theater as well.\u003c/p>\n\u003cp>\u003cstrong>And your parents, did they support your choice?\u003c/strong>\u003c/p>\n\u003cp>For the most part. Yeah. I think my dad caught on late to what I was up to. And then he sort of went ‘Oh. That’s what you’ve been doing.’\u003c/p>\n\u003cp>\u003cstrong> What did he think when he finally caught on?\u003c/strong>\u003c/p>\n\u003cp>Well by that time, I had a scholarship as an undergrad (DePaul University). And he was happy I was going to college and not having to pay for it.\u003c/p>\n\u003cp>\u003cstrong> And your mom died when you were 22. What did she make of your choice of a life in theater?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. I think she just wanted me to be happy. She always wanted me to feel free, I think, so she won. I feel free most of the time.\u003c/p>\n\u003cp>\u003cstrong>I wonder if your parents or elements of them ever inspire characters in your plays?\u003c/strong>\u003c/p>\n\u003caside class=\"pullquote alignright\">\n“God damn the day I was born, and the night that forced me from the womb. Why couldn’t I have died, as they pulled me out of the dark.”\u003cbr>\n\u003ccite>Stephen Mitchell’s translation of the Book of Job.\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>I often times look at The Crucible and think where are Arthur Miller’s parents in The Crucible, or where is he or the relationships he had. It’s interesting to me that rarely do people dissect his work that way.\u003c/p>\n\u003cp>I get this question often.\u003c/p>\n\u003cp>But no. The people in the plays aren’t based on anyone solely. But I’m sure they’re a hybrid of all the people I’ve met before.\u003c/p>\n\u003cp>Or as my brother says, much to my chagrin, they’re all Tarell. They’re all pieces of me that I don’t even know about myself. And I think that’s true of humanity. We can try to divorce ourselves from our work. But our thumbprint, the tent of us is on it. Whether we like it or not.\u003c/p>\n\u003cp>\u003cstrong>So where do the characters voices come from? Do you hear them in your head as you’re writing?\u003c/strong>\u003c/p>\n\u003cp>Yes, I can hear them. I type or I will talk it into a tape recorder. I just try to get it down before I forget it or it goes away.\u003c/p>\n\u003cp>\u003cstrong>So does that ever freak you out, when you hear their voices?\u003c/strong>\u003c/p>\n\u003cp>They’ve been there so long. No. They don’t send me running to the therapist. Not them, no. I’ve heard them all my life. It never felt odd. Sometimes they wake you up though.\u003c/p>\n\u003cp>\u003cstrong>You’re a black playwright. A gay playwright. Have those identities ever been barriers to getting your work produced? How have you been welcomed into the world of theater?\u003c/strong>\u003c/p>\n\u003cp>Most writers have hurdles they have to overcome. We know the American theater isn’t as diverse as we’d like it to be. We know that the American audience isn’t as diverse as we’d like it to be.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But I personally have been blessed with not feeling aggressively shunned or shut out. There have been times when people — they don’t want or like my voice. But I don’t think it’s necessarily because I’m black or gay, I think it’s because they didn’t like my voice. And that’s fine too. But I think it’s important to recognize the taste that we are allowed to have in the theater is skewed. And we have to allow as many voices into the theater as possible to really get the full palate of what the American experience is like today.\u003c/p>\n\n",
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"excerpt": "Tarell Alvin McCraney is probably the only person born and raised in Miami’s impoverished Liberty City neighborhood, to become the International Playwright in Residence for the Royal Shakespeare Theater Company.",
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"title": "'Genius' Playwright Asking Why Bad Things Happen to Good People | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://newdramatists.org/tarell-alvin-mccraney\" target=\"_blank\" rel=\"noopener\">Tarell Alvin McCraney\u003c/a> is probably the only person born and raised in Miami’s impoverished\u003ca href=\"http://en.wikipedia.org/wiki/Liberty_City\" target=\"_blank\" rel=\"noopener\"> Liberty City neighborhood\u003c/a>, to become the International Playwright in Residence for the \u003ca href=\"http://www.rsc.org.uk/\" target=\"_blank\" rel=\"noopener\">Royal Shakespeare Theater Company\u003c/a>. Same goes for winning a \u003ca href=\"http://www.macfound.org/fellows/class/2013/\" target=\"_blank\" rel=\"noopener\">MacArthur “Genius” Grant\u003c/a>.\u003c/p>\n\u003cp>Two Bay Area theaters are presenting plays by McCraney this month. The Berkeley Repertory Theatre is doing the West Coast premiere of \u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1415/8247.asp?gclid=CJPHzJHz7MQCFQiUfgodTocAbA&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">Head of Passes\u003c/a>\u003c/em>, a play that takes its themes from the Biblical Book of Job, and won praise for its first production in Chicago in 2013.\u003c/p>\n\u003cp>The Marin Theatre Company is staging the Bay Area premiere of McCraney’s \u003ca href=\"http://www.marintheatre.org/productions/choir-boy\" target=\"_blank\" rel=\"noopener\">\u003cem>Choirboy\u003c/em>\u003c/a> which premiered to good reviews in New York City the same year.\u003c/p>\n\u003cp>I talked to McCraney at Berkeley Rep’s rehearsal space in West Berkeley a few days ago. Before we talked, I sat in on a rehearsal as performers worked on a scene from \u003cem>Head of Passes\u003c/em> that McCraney had rewritten the night before.\u003c/p>\n\u003cp>McCraney watched, mostly without comment, as the actors tried to get the new lines just right, under the direction of Tina Landau of Chicago’s \u003ca href=\"https://www.steppenwolf.org/?gclid=CLro6ezz7MQCFU6Vfgod9mUAog&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">Steppenwolf Theater Company\u003c/a>. Landau directed the play’s world premiere in Chicago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I asked McCraney why he felt he needed to rework the play:\u003c/p>\n\u003cp>\u003cem>(Interview has been edited for length and clarity)\u003c/em>\u003c/p>\n\u003cp>It’s always thrilling and at the same time, sort of nerve-wracking. You don’t want to throw the actors off, but you want to make sure the play continues to strengthen.\u003c/p>\n\u003cp>\u003cstrong>This play already had a production in Chicago. So what’s going through your head when you think, “I need to change things.”\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10549492\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Cheryl-Lynn-Bruce.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Cheryl-Lynn-Bruce.jpg\" alt=\"Actress Cheryl Lynn Bruce stars in the West Coast premiere of Head of Passes (Courtesy of kevinberne.com)\" width=\"640\" height=\"426\" class=\"size-full wp-image-10549492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Cheryl-Lynn-Bruce.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Cheryl-Lynn-Bruce-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Cheryl-Lynn-Bruce-320x213.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Actress Cheryl Lynn Bruce stars in the West Coast premiere of Head of Passes (Courtesy of kevinberne.com)\u003c/figcaption>\u003c/figure>\n\u003cp>Plays are living things. They are performance pieces. So every time they get a new cast, they are in a new space, and we grow as people. So you want to deepen how the play works, but also tailor it for the performers to help them connect with the audiences.\u003c/p>\n\u003cp>So for us that’s been a part of the work going into it, making sure we create a space for the actors, but also make sure we deepen the story of \u003cem>Head of Passes,\u003c/em> which is about a woman who is told some pretty bad news about her health and her family, and we watch her career, her journey with her faith.\u003c/p>\n\u003cp>And the journey of faith is a complicated story. It’s deeply personal. For instance the question of why are we here? Why do things happen? What is my purpose?\u003c/p>\n\u003cp>When all of that occurs, we then begin to sort of to try to put it together in a kind of science. And that is faith in a way. It’s our reaching for a construction of trying to figure out some very large questions that are part of the human condition. And in that way \u003cem>Head of Passes\u003c/em> is a piece into that journey into that human condition.\u003c/p>\n\u003cp>\u003cstrong>The play is based on The Book of Job, which asks but doesn’t answer the question of why bad things happen to good people and their families. And some terrible things happen to the woman Shelah, who is at the center of your play. So where did you first encounter Job growing up?\u003c/strong>\u003c/p>\n\u003cp>I read Job a long time ago in church, (and as an undergrad in college.)\u003c/p>\n\u003cp>When the first commission for the play came, we sat in a room full of actors and just read the book of Job for a few weeks. And it became clear to me the Book of Job has antecedents in other religions. Basically the story of struggle, and how we maintain or endure with or without faith is a part of every cosmology and religion that we know of.\u003c/p>\n\u003cp>And why is that story so important to us? What is it about irrevocable change that helps us get through it?\u003c/p>\n\u003cp>Those questions kept coming up for me. And I thought, I can’t be the only person who’s thinking that. Why don’t we create a piece that investigates that in a contemporary American way.\u003c/p>\n\u003cp>\u003cstrong>What kind of religious faith did you grow up with?\u003c/strong>\u003c/p>\n\u003cp>I grew up with grandparents who were deeply Baptist and Methodist, on both sides of my family.\u003c/p>\n\u003cp>\u003cstrong> And did they take you to church?\u003c/strong>\u003c/p>\n\u003cp>Oh yeah. Often.\u003c/p>\n\u003cp>\u003cstrong>And how did that experience shape you?\u003c/strong>\u003c/p>\n\u003cp>The faith has shaped me, mostly I think my relationship with my grandparents who believed in something, shaped my own faith. Rather than thinking ‘I must be a part of this group.’ I always felt like I had a choice. And I attribute that to my grandparents. They always taught you don’t have to be in anybody’s face to be a good person, to be understanding. You don’t have to read it every day to practice compassion.\u003c/p>\n\u003cp>\u003cstrong>The Head of Passes, what’s that refer to?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Head_of_Passes\" target=\"_blank\" rel=\"noopener\">The Head of Passes\u003c/a> is a place on the Mississippi River, located on the tip of the Louisiana peninsula, out into the gulf of Mexico. It’s a patch of land that is very amorphous. I think the Army Corps of Engineers says we lose a football field of that land every two or three weeks.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n“The journey of faith is a complicated story. Its deeply personal. For instance the question of why are we here. Why do things happen? What is my purpose?”\u003cbr>\n\u003ccite>Playwright Tarell Alvin McCraney\u003ccite>\u003cbr>\n\u003c/cite>\u003c/cite>\u003c/aside>\n\u003cp>\u003cstrong>Is there a metaphor there about what the Mississippi does to the land there and what fate, or God, does to the character of Shelah in your play?\u003c/strong>\u003c/p>\n\u003cp>I’m always interested that when I speak to people about the play and this place, they’re always like, ‘Oh, that sounds like a terrible place to live.’ And I think to myself that people live on fault lines that are going to blow up any day now. We all live in places, where as much as we think of earth as terra firma, that even the ground we stand on can be swept from under us, and those things happen to the best of people, and the least of us.\u003c/p>\n\u003cp>\u003cstrong>How did you first discover theater, growing up in Miami.\u003c/strong>\u003c/p>\n\u003cp>I grew up Liberty City, which is in the center of Miami. And I started theater fairly young there. In church we did plays, and I was in those plays. But there was also the African Heritage Cultural Arts Center, which was located a couple of blocks from my home. I did plays there since I was about 8 or 9, and then went to a middle school for theater and then went to a performing arts High School, and then undergraduate and graduate school all in acting and playwriting.\u003c/p>\n\u003cp>\u003cstrong>When did you think, “I’m going to be a playwright,” or work in theater?\u003c/strong>\u003c/p>\n\u003cp>I never thought it. It just was happening. My first job at 14 was in a rehabilitation program that used theater as peer education. So I did that till I was about 20. So there was never a decisive moment when I thought, ‘oh this is it.’\u003c/p>\n\u003cp>\u003cstrong>That must have been hard sometimes to tell your friends, “Oh, I’m going to rehearse a play,” instead of hanging out or playing sports.\u003c/strong>\u003c/p>\n\u003cp>I recognize you must think I had a lot of friends. But clearly, you’re mistaken. I’m much more or an introvert than that. And I didn’t have a lot of friends in middle school to tell I was on the way to anything. I went to rehearsal and went home. And most of my friends were in theater as well.\u003c/p>\n\u003cp>\u003cstrong>And your parents, did they support your choice?\u003c/strong>\u003c/p>\n\u003cp>For the most part. Yeah. I think my dad caught on late to what I was up to. And then he sort of went ‘Oh. That’s what you’ve been doing.’\u003c/p>\n\u003cp>\u003cstrong> What did he think when he finally caught on?\u003c/strong>\u003c/p>\n\u003cp>Well by that time, I had a scholarship as an undergrad (DePaul University). And he was happy I was going to college and not having to pay for it.\u003c/p>\n\u003cp>\u003cstrong> And your mom died when you were 22. What did she make of your choice of a life in theater?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. I think she just wanted me to be happy. She always wanted me to feel free, I think, so she won. I feel free most of the time.\u003c/p>\n\u003cp>\u003cstrong>I wonder if your parents or elements of them ever inspire characters in your plays?\u003c/strong>\u003c/p>\n\u003caside class=\"pullquote alignright\">\n“God damn the day I was born, and the night that forced me from the womb. Why couldn’t I have died, as they pulled me out of the dark.”\u003cbr>\n\u003ccite>Stephen Mitchell’s translation of the Book of Job.\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>I often times look at The Crucible and think where are Arthur Miller’s parents in The Crucible, or where is he or the relationships he had. It’s interesting to me that rarely do people dissect his work that way.\u003c/p>\n\u003cp>I get this question often.\u003c/p>\n\u003cp>But no. The people in the plays aren’t based on anyone solely. But I’m sure they’re a hybrid of all the people I’ve met before.\u003c/p>\n\u003cp>Or as my brother says, much to my chagrin, they’re all Tarell. They’re all pieces of me that I don’t even know about myself. And I think that’s true of humanity. We can try to divorce ourselves from our work. But our thumbprint, the tent of us is on it. Whether we like it or not.\u003c/p>\n\u003cp>\u003cstrong>So where do the characters voices come from? Do you hear them in your head as you’re writing?\u003c/strong>\u003c/p>\n\u003cp>Yes, I can hear them. I type or I will talk it into a tape recorder. I just try to get it down before I forget it or it goes away.\u003c/p>\n\u003cp>\u003cstrong>So does that ever freak you out, when you hear their voices?\u003c/strong>\u003c/p>\n\u003cp>They’ve been there so long. No. They don’t send me running to the therapist. Not them, no. I’ve heard them all my life. It never felt odd. Sometimes they wake you up though.\u003c/p>\n\u003cp>\u003cstrong>You’re a black playwright. A gay playwright. Have those identities ever been barriers to getting your work produced? How have you been welcomed into the world of theater?\u003c/strong>\u003c/p>\n\u003cp>Most writers have hurdles they have to overcome. We know the American theater isn’t as diverse as we’d like it to be. We know that the American audience isn’t as diverse as we’d like it to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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