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"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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"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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"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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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"content": "\u003cp>Ever want to go somewhere, but not somewhere \u003cem>too far\u003c/em> from a BART station?\u003c/p>\n\u003cp>OK, let's put it another way. Ever want to \u003cem>not\u003c/em> subject yourself to the vicissitudes of an additional transit agency for those last few miles or so, after already schlepping on BART?\u003c/p>\n\u003cp>Then have we got a site for you! It's BART's new \u003ca href=\"http://www.bart.gov/bartable\" target=\"_blank\">BARTable\u003c/a>, launched Wednesday.\u003c/p>\n\u003cp>According to Bay City News, the site ...\u003c/p>\n\u003cblockquote>\n\u003cp>...will serve as a one-stop shop for events and destinations close to a station, offering discounts and giveaways in a few clicks. The website will be updated daily to show destinations in San Francisco, the East Bay and northern Peninsula that can be reached by BART.\u003c/p>\n\u003cp>The site utilizes information from business review website Yelp to show places a half-mile away from a specified station once a user enters a search term for what they're looking for, such as \"picnic spots\" or \"museums.\"\u003c/p>\n\u003c/blockquote>\n\u003cp>[contextly_sidebar id=\"l1IuU6qgmxyBZ8kToz6DpZon8svQpHSM\"]\u003c/p>\n\u003cp>Partners include event websites FunCheapSF and Goldstar, which will offer event discounts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can check out the \u003ca href=\"http://bartable.bart.gov/events\" target=\"_blank\">calendar of upcoming BARTable events\u003c/a> here. A pulldown menu lets you specify which BART stops you'd like to stick close to, though come to think of it, that may not be the best way to plan an unforgettable evening.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, check it out ...\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ever want to go somewhere, but not somewhere \u003cem>too far\u003c/em> from a BART station?\u003c/p>\n\u003cp>OK, let's put it another way. Ever want to \u003cem>not\u003c/em> subject yourself to the vicissitudes of an additional transit agency for those last few miles or so, after already schlepping on BART?\u003c/p>\n\u003cp>Then have we got a site for you! It's BART's new \u003ca href=\"http://www.bart.gov/bartable\" target=\"_blank\">BARTable\u003c/a>, launched Wednesday.\u003c/p>\n\u003cp>According to Bay City News, the site ...\u003c/p>\n\u003cblockquote>\n\u003cp>...will serve as a one-stop shop for events and destinations close to a station, offering discounts and giveaways in a few clicks. The website will be updated daily to show destinations in San Francisco, the East Bay and northern Peninsula that can be reached by BART.\u003c/p>\n\u003cp>The site utilizes information from business review website Yelp to show places a half-mile away from a specified station once a user enters a search term for what they're looking for, such as \"picnic spots\" or \"museums.\"\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Partners include event websites FunCheapSF and Goldstar, which will offer event discounts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>At the First Friday gallery walk in Uptown Oakland, Peter Foucault is doing live screen-printing on the hood of a tricked-out Ford Falcon van. But before the prints can even dry, he’s waving them at passers-by.\u003c/p>\n\u003cp>What he’s got is a short quiz, testing people’s knowledge about surveillance in the city.\u003c/p>\n\u003cp>The quiz starts off asking about the \u003ca href=\"https://localwiki.org/oakland/Domain_Awareness_Center\" target=\"_blank\" rel=\"noopener\">Domain Awareness Center\u003c/a> — a controversial project to collect data across Oakland, \u003ca href=\"http://ww2.kqed.org/news/2014/03/04/oakland-mayor-jean-quan-suggests-scaling-back-domain-awareness-center\" target=\"_blank\" rel=\"noopener\">scaled back last year\u003c/a> in the face of community opposition. Then the test moves on to more general laws about surveillance.\u003c/p>\n\u003cfigure id=\"attachment_10483456\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10483456 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-800x450.jpg\" alt=\"RS14798_fresh screenprint-qut\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The project has elicited a wide range of answers. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“True or false? Surveillance cameras purchased by private citizens and neighborhood associations can be linked up to the Oakland Police Department’s network.”\u003c/p>\n\u003cp>“True or false? Private citizens can purchase license plate readers and can send data about the plates they scan to the Oakland Police Department.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first is false, the second is true. But the point isn’t whether one’s answers are right or wrong.\u003c/p>\n\u003cp>“We give this to kind of prime people, get the conversation started,” Foucault tells a curious participant. “We just want to give you some education, get you some facts. Get you thinking in the mindset of surveillance and how it may or may not affect you.”\u003c/p>\n\u003cp>After answering the questions, participants can go to a makeshift recording booth inside the van to share their thoughts about surveillance.\u003c/p>\n\u003cfigure id=\"attachment_10483452\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10483452 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-800x450.jpg\" alt=\"Mobile Arts Projects's Chris Treggiari speaks with Darren Bom Nguyen.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mobile Arts Project’s Chris Treggiari speaks with Darren Bom Nguyen. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have various opinions on surveillance,” says Greg Brenner, who’s visiting from Indianapolis. “When I need it, when I want to know what’s out in front of my business or shop, I think it’s a great thing. But I think its also an invasion of privacy. So I’m torn on the subject.”\u003c/p>\n\u003cp>Foucault says the project has elicited a wide range of answers, often based on where he has set up.\u003c/p>\n\u003cp>“People have a different take on how surveillance impacts their lives in a different way in Fruitvale than it’s happening downtown here,” he says. “We had people that say surveillance is protection, comfort, keeping people on their toes to just be aware of what’s happening in their neighborhoods. And then on the far end of the spectrum, there’s obviously the responses that are going to be surveillance is a little bit more invasive.”\u003c/p>\n\u003cfigure id=\"attachment_10483454\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10483454 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-800x450.jpg\" alt=\"RS14800_van with screen from side-qut\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland residents are tested on their knowledge of surveillance. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The project is called “\u003ca href=\"https://twitter.com/eyesonoak\" target=\"_blank\" rel=\"noopener\">Eyes on Oakland\u003c/a>” — a collaboration between \u003ca href=\"https://mobileartsplatform.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Mobile Arts Platform\u003c/a> and the \u003ca href=\"http://cironline.org/\" target=\"_blank\" rel=\"noopener\">Center for Investigative Reporting\u003c/a>. “They’re giving us the content that we’re looking for and we’re giving them an experience,” says Aaron McKenzie of Mobile Arts Platform.\u003c/p>\n\u003cp>“Investigative reporting happens in many ways, and part of how we see engagement and work in journalism is talking to people in advance of what we even know a story will be,” says Meghann Farnsworth, director of distribution and engagement at CIR.\u003c/p>\n\u003cp>“So one of the goals here is to find out how much people know about surveillance. What information would they want to know more about, what issues do they care about? So that way, as our reporters and editors are looking at stories, we have some baseline of understanding (of) what Oakland residents know … what they’re interested about, and that can help influence our looking at different topics and issues.”\u003c/p>\n\u003cp>Participants can also fill out a card that says “Surveillance is —” by finishing the phrase . They then have their photo taken, with the card blocking their face — a reference to the concept of privacy.\u003c/p>\n\u003cp>Stephen Nienu fills in the blank with the word “dangerous.”\u003c/p>\n\u003cp>“I’m a political science major. I’m a person that researches and is somewhat aware with the things that are going on, such as surveillance and current events regarding the NSA, Snowden, etc. Surveillance is dangerous.”\u003c/p>\n\u003cfigure id=\"attachment_10483453\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10483453\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut.jpg\" alt=\"Stephen Nienu after taking the quiz.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-320x180.jpg 320w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stephen Nienu after taking the quiz. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Some people may argue that it’s a necessary evil, but the point that we’re at right now, I think it’s a huge violation of privacy,” says Pele Tapaatoutai, who recently moved back to the Bay Area from New York City. She wrote “surveillance is … a major violation of privacy.”\u003c/p>\n\u003cp>Jared Mitchell, who grew up in Oakland, did poorly on the quiz, which he says scares him.\u003c/p>\n\u003cp>“I’ve got a lot to learn and a lot to research going forward,” he said. “It’s important that the citizens being surveyed and being watched, they should be aware of the means in which they’re being watched and the technologies that are being used to conduct the police activities that we pay for. Unfortunately, there aren’t always those opportunities for that conversation to take place, so I think that them being on the streets and getting people engaged and even thinking in that direction is a beautiful thing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The recordings and answers from the public will become part of the \u003ca href=\"http://museumca.org/exhibit/who-is-oakland\" target=\"_blank\" rel=\"noopener\">“Who is Oakland” exhibit at the Oakland Museum\u003c/a>, which opens Saturday, April 11.\u003c/p>\n\n",
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"title": "New Project Confronts Citizens on Surveillance in Oakland | KQED",
"description": "Collaboration between journalism and arts organization questions Oaklanders on the role of surveillance.",
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"headline": "New Project Confronts Citizens on Surveillance in Oakland",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the First Friday gallery walk in Uptown Oakland, Peter Foucault is doing live screen-printing on the hood of a tricked-out Ford Falcon van. But before the prints can even dry, he’s waving them at passers-by.\u003c/p>\n\u003cp>What he’s got is a short quiz, testing people’s knowledge about surveillance in the city.\u003c/p>\n\u003cp>The quiz starts off asking about the \u003ca href=\"https://localwiki.org/oakland/Domain_Awareness_Center\" target=\"_blank\" rel=\"noopener\">Domain Awareness Center\u003c/a> — a controversial project to collect data across Oakland, \u003ca href=\"http://ww2.kqed.org/news/2014/03/04/oakland-mayor-jean-quan-suggests-scaling-back-domain-awareness-center\" target=\"_blank\" rel=\"noopener\">scaled back last year\u003c/a> in the face of community opposition. Then the test moves on to more general laws about surveillance.\u003c/p>\n\u003cfigure id=\"attachment_10483456\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10483456 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-800x450.jpg\" alt=\"RS14798_fresh screenprint-qut\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The project has elicited a wide range of answers. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“True or false? Surveillance cameras purchased by private citizens and neighborhood associations can be linked up to the Oakland Police Department’s network.”\u003c/p>\n\u003cp>“True or false? Private citizens can purchase license plate readers and can send data about the plates they scan to the Oakland Police Department.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first is false, the second is true. But the point isn’t whether one’s answers are right or wrong.\u003c/p>\n\u003cp>“We give this to kind of prime people, get the conversation started,” Foucault tells a curious participant. “We just want to give you some education, get you some facts. Get you thinking in the mindset of surveillance and how it may or may not affect you.”\u003c/p>\n\u003cp>After answering the questions, participants can go to a makeshift recording booth inside the van to share their thoughts about surveillance.\u003c/p>\n\u003cfigure id=\"attachment_10483452\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10483452 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-800x450.jpg\" alt=\"Mobile Arts Projects's Chris Treggiari speaks with Darren Bom Nguyen.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mobile Arts Project’s Chris Treggiari speaks with Darren Bom Nguyen. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have various opinions on surveillance,” says Greg Brenner, who’s visiting from Indianapolis. “When I need it, when I want to know what’s out in front of my business or shop, I think it’s a great thing. But I think its also an invasion of privacy. So I’m torn on the subject.”\u003c/p>\n\u003cp>Foucault says the project has elicited a wide range of answers, often based on where he has set up.\u003c/p>\n\u003cp>“People have a different take on how surveillance impacts their lives in a different way in Fruitvale than it’s happening downtown here,” he says. “We had people that say surveillance is protection, comfort, keeping people on their toes to just be aware of what’s happening in their neighborhoods. And then on the far end of the spectrum, there’s obviously the responses that are going to be surveillance is a little bit more invasive.”\u003c/p>\n\u003cfigure id=\"attachment_10483454\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10483454 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-800x450.jpg\" alt=\"RS14800_van with screen from side-qut\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland residents are tested on their knowledge of surveillance. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The project is called “\u003ca href=\"https://twitter.com/eyesonoak\" target=\"_blank\" rel=\"noopener\">Eyes on Oakland\u003c/a>” — a collaboration between \u003ca href=\"https://mobileartsplatform.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Mobile Arts Platform\u003c/a> and the \u003ca href=\"http://cironline.org/\" target=\"_blank\" rel=\"noopener\">Center for Investigative Reporting\u003c/a>. “They’re giving us the content that we’re looking for and we’re giving them an experience,” says Aaron McKenzie of Mobile Arts Platform.\u003c/p>\n\u003cp>“Investigative reporting happens in many ways, and part of how we see engagement and work in journalism is talking to people in advance of what we even know a story will be,” says Meghann Farnsworth, director of distribution and engagement at CIR.\u003c/p>\n\u003cp>“So one of the goals here is to find out how much people know about surveillance. What information would they want to know more about, what issues do they care about? So that way, as our reporters and editors are looking at stories, we have some baseline of understanding (of) what Oakland residents know … what they’re interested about, and that can help influence our looking at different topics and issues.”\u003c/p>\n\u003cp>Participants can also fill out a card that says “Surveillance is —” by finishing the phrase . They then have their photo taken, with the card blocking their face — a reference to the concept of privacy.\u003c/p>\n\u003cp>Stephen Nienu fills in the blank with the word “dangerous.”\u003c/p>\n\u003cp>“I’m a political science major. I’m a person that researches and is somewhat aware with the things that are going on, such as surveillance and current events regarding the NSA, Snowden, etc. Surveillance is dangerous.”\u003c/p>\n\u003cfigure id=\"attachment_10483453\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10483453\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut.jpg\" alt=\"Stephen Nienu after taking the quiz.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-320x180.jpg 320w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stephen Nienu after taking the quiz. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Some people may argue that it’s a necessary evil, but the point that we’re at right now, I think it’s a huge violation of privacy,” says Pele Tapaatoutai, who recently moved back to the Bay Area from New York City. She wrote “surveillance is … a major violation of privacy.”\u003c/p>\n\u003cp>Jared Mitchell, who grew up in Oakland, did poorly on the quiz, which he says scares him.\u003c/p>\n\u003cp>“I’ve got a lot to learn and a lot to research going forward,” he said. “It’s important that the citizens being surveyed and being watched, they should be aware of the means in which they’re being watched and the technologies that are being used to conduct the police activities that we pay for. Unfortunately, there aren’t always those opportunities for that conversation to take place, so I think that them being on the streets and getting people engaged and even thinking in that direction is a beautiful thing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The recordings and answers from the public will become part of the \u003ca href=\"http://museumca.org/exhibit/who-is-oakland\" target=\"_blank\" rel=\"noopener\">“Who is Oakland” exhibit at the Oakland Museum\u003c/a>, which opens Saturday, April 11.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "A Photographer's Quest: Japanese-American Internment Then and Now",
"title": "A Photographer's Quest: Japanese-American Internment Then and Now",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Photojournalist Paul Kitagaki Jr. is trying to keep history alive.\u003c/p>\n\u003cp>It's been harder than he ever imagined.\u003c/p>\n\u003cp>His exhibition at the \u003ca href=\"http://www.californiamuseum.org\" target=\"_blank\">California Museum\u003c/a> in Sacramento reflects a decade of work. It explores the World War II \u003ca href=\"http://www.densho.org\" target=\"_blank\">internment\u003c/a> of 120,000 people of Japanese descent -- two-thirds of them U.S. citizens -- months after Japan bombed \u003ca href=\"http://www.history.com/topics/world-war-ii/pearl-harbor\" target=\"_blank\">Pearl Harbor\u003c/a> on Dec. 7, 1941. But it doesn't just look at the past: Historic photos by \u003ca href=\"http://www.pbs.org/wnet/americanmasters/episodes/dorothea-lange/dorothea-lange-biography-with-photo-gallery/3097/\" target=\"_blank\">Dorothea Lange, \u003c/a>\u003ca href=\"http://www.anseladams.com\" target=\"_blank\">Ansel Adams\u003c/a> and others are juxtaposed with contemporary images of the same people, taken by Kitagaki.\u003c/p>\n\u003cp>\"A lot of them right now are in their 80s and 90s,\" he says. \"And soon they’ll be gone, and the stories will be lost forever.\"\u003c/p>\n\u003cfigure id=\"attachment_10482641\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/pk-and-daughter.jpg\">\u003cimg class=\"size-medium wp-image-10482641\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/pk-and-daughter-800x600.jpg\" alt=\"Paul Kitagaki Jr and his daughter, Naomi Kitagaki, at his exhibition at the California Museum in Sacramento.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Paul Kitagaki Jr. and his daughter, Naomi Kitagaki, at his exhibition at the California Museum in Sacramento. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are 30 sets of then-and-now photographs in the exhibition. At a reception in the museum, several of Kitagaki's subjects are taking it all in, looking at their past and present selves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>'It Was Just Bare Nothing'\u003c/b>\u003c/p>\n\u003cp>Mitsuo \"Mits\" Mori gazes at a photograph shot by \u003ca href=\"http://www.nytimes.com/2004/08/18/arts/carl-mydans-life-photographer-who-chronicled-wars-and-the-depression-dies-at-97.html\" target=\"_blank\">Carl Mydans\u003c/a> at the \u003ca href=\"http://www.janm.org/projects/clasc/tule.htm\" target=\"_blank\">Tule Lake Segregation Center\u003c/a>. It ran in the February 1944 issue of Life Magazine. It's next to one taken by Kitagaki in 2012.\u003c/p>\n\u003cp>\"There I'm in the barbershop getting a haircut,\" Mori says. \"But here I am with no hair anymore.\"\u003c/p>\n\u003cp>He was 9 -- a San Francisco kid whose parents were forced to sell their South of Market dry-cleaning business for $450 when they were hauled off to an internment camp. He's 80 now, a retired architect who lives near San Francisco State. He still remembers when he and his family arrived at Tule Lake.\u003c/p>\n\u003cfigure id=\"attachment_10482635\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/mits.jpg\">\u003cimg class=\"size-medium wp-image-10482635\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/mits-800x600.jpg\" alt=\"Mitsuo 'Mits' Mori stands next to a 2012 portrait of him by Paul Kitagaki Jr. and one by Carl Mydans in 1944 in the Tule Lake barbershop.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mitsuo 'Mits' Mori stands next to a 2012 portrait of him by Paul Kitagaki Jr. and one by Carl Mydans in 1944 in the Tule Lake barbershop. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"When they walked into that room, it was just bare nothing,\" Mori says. \"A mattress and a cot bed and a potbelly stove. And that was it -- that's all they had. My father, my mom, myself, my sister and my uncle lived in that space for two years.\"\u003c/p>\n\u003cp>The people in the photographs are the personification of \u003cem>gambatte,\u003c/em> a Japanese word that means \"don't give up, do your best.\" It inspired the name of the exhibition: \u003ca href=\"http://www.californiamuseum.org/gambatte\" target=\"_blank\">\"Gambatte! Legacy of an Enduring Spirit.\"\u003c/a>\u003c/p>\n\u003cp>\"It speaks to the spirit of (those) who were incarcerated during World War II,\" says Kitagaki, who is a photographer with the Sacramento Bee. \"And it’s how, from their inner spirit, they did not let anything hold them back, and they persevered and moved beyond the internment.\"\u003c/p>\n\u003cp>\u003cb>'So Many Nameless People'\u003c/b>\u003c/p>\n\u003cp>Kitagaki has persevered, too. Remarkably, he had never heard of the internment until he was a teenager.\u003c/p>\n\u003cp>\"My family didn’t talk about their experience being interned,\" says Kitagaki, a Bay Area native who is almost 61. \"I really didn’t find out until I learned in a high school class in 1970 when I was 16. And then I went home and basically asked my parents: What was going on? What happened? Why didn’t you talk about this?\"\u003c/p>\n\u003cp>Almost a decade later, he got another big surprise: His uncle mentioned that Lange -- a famed documentary photographer -- had taken a picture of Kitagaki's grandparents, father and aunt in Oakland, waiting for a bus that would bring them to an assembly center at \u003ca href=\"http://encyclopedia.densho.org/Tanforan_(detention_facility)/\" target=\"_blank\">Tanforan Racetrack\u003c/a>, where the San Bruno BART Station now stands.\u003c/p>\n\u003cp>In 1984, Kitagaki visited the \u003ca href=\"http://www.archives.gov/research/alic/reference/military/japanese-internment.html\" target=\"_blank\">National Archives\u003c/a> in Washington and went through boxes and boxes of photographs taken by Lange for the \u003ca href=\"http://www.sfmuseum.org/hist10/relocbook.html\" target=\"_blank\">War Relocation Authority.\u003c/a> Finally, he found the one she'd shot of his family.\u003c/p>\n\u003cp>\"There (were) so many faces ... looking up at me when I was flipping through the pictures,\" he says. \"And there were so many nameless people. And I really wanted to find out what happened to their lives.\"\u003c/p>\n\u003cp>In 2005, his quest began. He was determined to locate the people in the historic photos and photograph them again, often where the original image had been taken. He went to Japanese churches, summer bazaars and other gatherings where someone might recognize their pictures. His first subjects were his father and aunt, at the same building in Oakland where Lange had encountered them.\u003c/p>\n\u003cp>\"It's one of the most challenging projects of my career,\" Kitagaki says. \"I'm working with pictures that are more than 70 years old. There's barely any caption information, and almost no names. It's quite challenging to put a name with the person, and then try to track them down and see if they're alive. The other challenge is that they're Japanese, and they like to hold their emotions inside.\"\u003c/p>\n\u003cp>It wasn't easy to get people to agree to be photographed -- and also to be interviewed at length.\u003c/p>\n\u003cp>\"They thought I was going to come in and snap a picture and be out of their hair in a second,\" Kitagaki says. \"Instead, I was using a 4x5 camera and black-and-white film, and my setups were taking longer than they thought. It might be an hour to figure out a location and have them stand for a picture.\"\u003c/p>\n\u003cp>He says some of his subjects became very emotional.\u003c/p>\n\u003cp>\"It did bring back memories,\" says Gladys Matsumoto Katsuki, 88, of Sacramento. \"I still wonder why all of this happened to us.\"\u003c/p>\n\u003cp>Of course it happened to \u003ca href=\"http://www.gaic.info\" target=\"_blank\">German-Americans\u003c/a> and \u003ca href=\"http://www.sfgate.com/magazine/article/A-SECRET-HISTORY-The-harassment-of-Italians-2866287.php\" target=\"_blank\">Italian-Americans,\u003c/a> too, to a much lesser extent. And it could happen again to other groups, say some internees, who are acutely mindful of how civil rights \u003ca href=\"http://www.usccr.gov/pubs/ARAB_MUSLIM_9-30-14.pdf\" target=\"_blank\">have been violated\u003c/a> in the years since 9/11.\u003c/p>\n\u003cp>\u003cb>Leaving Everything Behind\u003c/b>\u003c/p>\n\u003cp>In 1943, Ansel Adams ran across the 15-year-old Katsuki in \u003ca href=\"http://www.nps.gov/manz/learn/historyculture/japanese-americans-at-manzanar.htm\" target=\"_blank\">Manzanar\u003c/a> as she was walking home from school with two other girls. Her parents were farmers in Elk Grove on Feb. 19, 1942, when President \u003ca href=\"http://www.fdrlibrary.marist.edu/education/resources/bio_fdr.html\" target=\"_blank\">Franklin D. Roosevelt\u003c/a> issued \u003ca href=\"http://www.loc.gov/teachers/classroommaterials/connections/manzanar/history2.html\" target=\"_blank\">Executive Order 9066,\u003c/a> which led to the internment.\u003c/p>\n\u003cp>\"When we left, the strawberries were red, ripe,\" she says. \"And we had to leave everything behind. ... It was devastating because they worked so hard to get this property – and then to have it taken away from you. When we came back, it was all gone.\"\u003c/p>\n\u003cp>She looks again at Adams' Manzanar photo. It was lunchtime, she says, and she was the one in the middle. There were often sudden winds and lots of sand, which would gust around and matte her hair.\u003c/p>\n\u003cp>\"I have two kids,\" she says. \"I've told them about what we went through, but they can't seem to visualize it. They just say, 'Why?' \"\u003c/p>\n\u003cfigure id=\"attachment_10482637\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/gladys.jpg\">\u003cimg class=\"size-medium wp-image-10482637\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/gladys-800x600.jpg\" alt=\"Gladys Matsumoto Katsuki stands in front of a 1943 Manzanar photo by Ansel Adams, top left, where she's in the middle. To its right is her portrait by Paul Kitagaki Jr. in 2012.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gladys Matsumoto Katsuki stands in front of a 1943 Manzanar photo by Ansel Adams, top left, where she's in the middle. To its right is her portrait by Paul Kitagaki Jr. in 2012. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Willie Hayashida’s wartime portrait was also shot at Manzanar by Ansel Adams. He’s 3 years old in the picture, eating a meal in a mess hall with another young boy.\u003c/p>\n\u003cp>At the museum, he laughs at the sight of the full plates of food.\u003c/p>\n\u003cp>\"It's been propped up,\" he says. \"Normally, we won't get this much food for little kids.\"\u003c/p>\n\u003cp>\u003cb>'A Loss of Innocence'\u003c/b>\u003c/p>\n\u003cp>Hayashida grew up to be an engineer at Intel. Now he's 74. Like Kitagaki, he recalls how reluctant his family was to talk about what had happened.\u003c/p>\n\u003cp>When he bought his mother a computer to write her autobiography, her account of the internment took up just a few sentences. \"I said, 'Mom, there's more than that. We were there for 3½ years. There's more than that.' \"\u003c/p>\n\u003cp>For a long time, he tried to find Takashi Uchida, the other boy in the mess-hall photograph. It turned out that Uchida had suffered a stroke and was in a nursing home in Las Vegas. Hayashida paid a visit and presented him with a gift: a custom-made T-shirt with the Ansel Adams photo of the two of them at Manzanar.\u003c/p>\n\u003cp>Another retired engineer, 81-year-old Andrew Nozaka of Saratoga, was almost 9 when he and his family were incarcerated. He still remembers the route the bus took, going past his house on Ashby Avenue in Berkeley on its way to San Bruno. That's where Lange saw them, standing in front of the grandstand. His mother, in Lange's photograph, is asking for help finding their barracks. He's holding her purse and a metal mess kit.\u003c/p>\n\u003cp>\"That day was a loss of innocence,\" Nozaka says, as he stares at the photo.\u003c/p>\n\u003cfigure id=\"attachment_10482639\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/nozaka.jpg\">\u003cimg class=\"size-medium wp-image-10482639\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/nozaka-800x600.jpg\" alt=\"Andrew Nozaka visits the California Museum in Sacramento. He's next to a photo of him and his mother taken by Dorothea Lange at Tanforan in 1942.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andrew Nozaka visits the California Museum in Sacramento. He's next to a photo of him and his mother taken by Dorothea Lange at Tanforan in 1942. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He remembers canned string beans, boiled potatoes, canned Vienna sausages and outbreaks of diarrhea at camp. Postwar life was also a struggle. He especially dreaded going to school on Dec. 7, the anniversary of the Pearl Harbor bombing.\u003c/p>\n\u003cp>\"Man, that was hard, especially during the '50s,\" says Nozaka.\u003c/p>\n\u003cp>His eyes scan other photographs on the wall. Topaz, Poston, Heart Mountain, Tule Lake -- some of the camp names that live in infamy for the people incarcerated during the war.\u003c/p>\n\u003cp>\"We were kind of the silent generation,\" Nozaka says. \"We were told to study hard and achieve. Looking back on it, maybe we should have protested a hell of a lot more.\"\u003c/p>\n\u003cp>Kitagaki's exhibition eventually will include audio and video, and he wants to produce a book. Meanwhile, he's looking for more people. He has interviewed and photographed 31 so far, with seven more lined up. He's hoping for 50 total.\u003c/p>\n\u003cp>Pictures of people he's searching for can be found on his \u003ca href=\"http://www.kitagakiphoto.com/#!/p/japanese-american-in\" target=\"_blank\">website, \u003c/a>along with some sets of then-and-now photos. If you know who they are, just email him at paul@kitagakiphoto.com.\u003c/p>\n\u003cp>The California Museum exhibition runs through May 3. Twenty-one of the photos will then be on display at the \u003ca href=\"https://www.viewpointgallery.org/exhibit/paul-kitagaki-jr.%E2%80%94japanese-american-internees-today\" target=\"_blank\">Viewpoint Photographic Art Center\u003c/a> in Sacramento from May 7 to June 7.\u003c/p>\n\u003cp>One of Lange's \u003ca href=\"http://www.getty.edu/art/collection/objects/128393/dorothea-lange-pledge-of-allegiance-raphael-weill-elementary-school-san-francisco-american-negative-april-20-1942-print-about-1960s/\" target=\"_blank\">best-known photographs\u003c/a> shows two little girls saying the Pledge of Allegiance at Raphael Weill School in San Francisco in 1942. One of those girls, Mary Ann Yahiro, is 80 now and lives in Illinois. Three years ago, I interviewed her by phone for a story I was doing on \u003ca href=\"http://www.sfgate.com/art/article/Photos-illustrate-effects-of-WWII-internment-camps-3552117.php\" target=\"_blank\">Kitagaki's earlier exhibition\u003c/a>, now permanent, at the San Bruno BART Station.\u003c/p>\n\u003cp>Yahiro was interned at \u003ca href=\"http://www.topazmuseum.org/topaz-camp\" target=\"_blank\">Topaz,\u003c/a> where she was separated from her mother and didn't see her again until she was lying in a casket, after dying in camp at age 51. In 2007, Yahiro and her classmate returned to their old school, now Rosa Parks Elementary, to be photographed by Kitagaki. Even then, he had a sense of urgency in finding more people.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"He's got to hurry,\" said Yahiro. \"Everybody's getting old.\"\u003c/p>\n\u003cfigure id=\"attachment_10482643\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/yahiro-by-pk.jpg\">\u003cimg class=\"size-medium wp-image-10482643\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/yahiro-by-pk-800x1038.jpg\" alt=\"Mary Ann Yahiro, right, and Helene Nakamoto return in 2007 to what used to be Raphael Weill School in San Francisco, 65 years after Dorothea Lange took their picture. \" width=\"800\" height=\"1038\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-800x1038.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-400x519.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-1180x1532.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-768x997.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-320x415.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk.jpg 1389w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mary Ann Yahiro, right, and Helene Nakamoto return in 2007 to what used to be Raphael Weill School in San Francisco, 65 years after Dorothea Lange took their picture. \u003ccite>(Photo by Paul Kitagaki Jr.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Photojournalist Paul Kitagaki Jr. is trying to keep history alive.\u003c/p>\n\u003cp>It's been harder than he ever imagined.\u003c/p>\n\u003cp>His exhibition at the \u003ca href=\"http://www.californiamuseum.org\" target=\"_blank\">California Museum\u003c/a> in Sacramento reflects a decade of work. It explores the World War II \u003ca href=\"http://www.densho.org\" target=\"_blank\">internment\u003c/a> of 120,000 people of Japanese descent -- two-thirds of them U.S. citizens -- months after Japan bombed \u003ca href=\"http://www.history.com/topics/world-war-ii/pearl-harbor\" target=\"_blank\">Pearl Harbor\u003c/a> on Dec. 7, 1941. But it doesn't just look at the past: Historic photos by \u003ca href=\"http://www.pbs.org/wnet/americanmasters/episodes/dorothea-lange/dorothea-lange-biography-with-photo-gallery/3097/\" target=\"_blank\">Dorothea Lange, \u003c/a>\u003ca href=\"http://www.anseladams.com\" target=\"_blank\">Ansel Adams\u003c/a> and others are juxtaposed with contemporary images of the same people, taken by Kitagaki.\u003c/p>\n\u003cp>\"A lot of them right now are in their 80s and 90s,\" he says. \"And soon they’ll be gone, and the stories will be lost forever.\"\u003c/p>\n\u003cfigure id=\"attachment_10482641\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/pk-and-daughter.jpg\">\u003cimg class=\"size-medium wp-image-10482641\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/pk-and-daughter-800x600.jpg\" alt=\"Paul Kitagaki Jr and his daughter, Naomi Kitagaki, at his exhibition at the California Museum in Sacramento.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Paul Kitagaki Jr. and his daughter, Naomi Kitagaki, at his exhibition at the California Museum in Sacramento. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are 30 sets of then-and-now photographs in the exhibition. At a reception in the museum, several of Kitagaki's subjects are taking it all in, looking at their past and present selves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>'It Was Just Bare Nothing'\u003c/b>\u003c/p>\n\u003cp>Mitsuo \"Mits\" Mori gazes at a photograph shot by \u003ca href=\"http://www.nytimes.com/2004/08/18/arts/carl-mydans-life-photographer-who-chronicled-wars-and-the-depression-dies-at-97.html\" target=\"_blank\">Carl Mydans\u003c/a> at the \u003ca href=\"http://www.janm.org/projects/clasc/tule.htm\" target=\"_blank\">Tule Lake Segregation Center\u003c/a>. It ran in the February 1944 issue of Life Magazine. It's next to one taken by Kitagaki in 2012.\u003c/p>\n\u003cp>\"There I'm in the barbershop getting a haircut,\" Mori says. \"But here I am with no hair anymore.\"\u003c/p>\n\u003cp>He was 9 -- a San Francisco kid whose parents were forced to sell their South of Market dry-cleaning business for $450 when they were hauled off to an internment camp. He's 80 now, a retired architect who lives near San Francisco State. He still remembers when he and his family arrived at Tule Lake.\u003c/p>\n\u003cfigure id=\"attachment_10482635\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/mits.jpg\">\u003cimg class=\"size-medium wp-image-10482635\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/mits-800x600.jpg\" alt=\"Mitsuo 'Mits' Mori stands next to a 2012 portrait of him by Paul Kitagaki Jr. and one by Carl Mydans in 1944 in the Tule Lake barbershop.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mitsuo 'Mits' Mori stands next to a 2012 portrait of him by Paul Kitagaki Jr. and one by Carl Mydans in 1944 in the Tule Lake barbershop. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"When they walked into that room, it was just bare nothing,\" Mori says. \"A mattress and a cot bed and a potbelly stove. And that was it -- that's all they had. My father, my mom, myself, my sister and my uncle lived in that space for two years.\"\u003c/p>\n\u003cp>The people in the photographs are the personification of \u003cem>gambatte,\u003c/em> a Japanese word that means \"don't give up, do your best.\" It inspired the name of the exhibition: \u003ca href=\"http://www.californiamuseum.org/gambatte\" target=\"_blank\">\"Gambatte! Legacy of an Enduring Spirit.\"\u003c/a>\u003c/p>\n\u003cp>\"It speaks to the spirit of (those) who were incarcerated during World War II,\" says Kitagaki, who is a photographer with the Sacramento Bee. \"And it’s how, from their inner spirit, they did not let anything hold them back, and they persevered and moved beyond the internment.\"\u003c/p>\n\u003cp>\u003cb>'So Many Nameless People'\u003c/b>\u003c/p>\n\u003cp>Kitagaki has persevered, too. Remarkably, he had never heard of the internment until he was a teenager.\u003c/p>\n\u003cp>\"My family didn’t talk about their experience being interned,\" says Kitagaki, a Bay Area native who is almost 61. \"I really didn’t find out until I learned in a high school class in 1970 when I was 16. And then I went home and basically asked my parents: What was going on? What happened? Why didn’t you talk about this?\"\u003c/p>\n\u003cp>Almost a decade later, he got another big surprise: His uncle mentioned that Lange -- a famed documentary photographer -- had taken a picture of Kitagaki's grandparents, father and aunt in Oakland, waiting for a bus that would bring them to an assembly center at \u003ca href=\"http://encyclopedia.densho.org/Tanforan_(detention_facility)/\" target=\"_blank\">Tanforan Racetrack\u003c/a>, where the San Bruno BART Station now stands.\u003c/p>\n\u003cp>In 1984, Kitagaki visited the \u003ca href=\"http://www.archives.gov/research/alic/reference/military/japanese-internment.html\" target=\"_blank\">National Archives\u003c/a> in Washington and went through boxes and boxes of photographs taken by Lange for the \u003ca href=\"http://www.sfmuseum.org/hist10/relocbook.html\" target=\"_blank\">War Relocation Authority.\u003c/a> Finally, he found the one she'd shot of his family.\u003c/p>\n\u003cp>\"There (were) so many faces ... looking up at me when I was flipping through the pictures,\" he says. \"And there were so many nameless people. And I really wanted to find out what happened to their lives.\"\u003c/p>\n\u003cp>In 2005, his quest began. He was determined to locate the people in the historic photos and photograph them again, often where the original image had been taken. He went to Japanese churches, summer bazaars and other gatherings where someone might recognize their pictures. His first subjects were his father and aunt, at the same building in Oakland where Lange had encountered them.\u003c/p>\n\u003cp>\"It's one of the most challenging projects of my career,\" Kitagaki says. \"I'm working with pictures that are more than 70 years old. There's barely any caption information, and almost no names. It's quite challenging to put a name with the person, and then try to track them down and see if they're alive. The other challenge is that they're Japanese, and they like to hold their emotions inside.\"\u003c/p>\n\u003cp>It wasn't easy to get people to agree to be photographed -- and also to be interviewed at length.\u003c/p>\n\u003cp>\"They thought I was going to come in and snap a picture and be out of their hair in a second,\" Kitagaki says. \"Instead, I was using a 4x5 camera and black-and-white film, and my setups were taking longer than they thought. It might be an hour to figure out a location and have them stand for a picture.\"\u003c/p>\n\u003cp>He says some of his subjects became very emotional.\u003c/p>\n\u003cp>\"It did bring back memories,\" says Gladys Matsumoto Katsuki, 88, of Sacramento. \"I still wonder why all of this happened to us.\"\u003c/p>\n\u003cp>Of course it happened to \u003ca href=\"http://www.gaic.info\" target=\"_blank\">German-Americans\u003c/a> and \u003ca href=\"http://www.sfgate.com/magazine/article/A-SECRET-HISTORY-The-harassment-of-Italians-2866287.php\" target=\"_blank\">Italian-Americans,\u003c/a> too, to a much lesser extent. And it could happen again to other groups, say some internees, who are acutely mindful of how civil rights \u003ca href=\"http://www.usccr.gov/pubs/ARAB_MUSLIM_9-30-14.pdf\" target=\"_blank\">have been violated\u003c/a> in the years since 9/11.\u003c/p>\n\u003cp>\u003cb>Leaving Everything Behind\u003c/b>\u003c/p>\n\u003cp>In 1943, Ansel Adams ran across the 15-year-old Katsuki in \u003ca href=\"http://www.nps.gov/manz/learn/historyculture/japanese-americans-at-manzanar.htm\" target=\"_blank\">Manzanar\u003c/a> as she was walking home from school with two other girls. Her parents were farmers in Elk Grove on Feb. 19, 1942, when President \u003ca href=\"http://www.fdrlibrary.marist.edu/education/resources/bio_fdr.html\" target=\"_blank\">Franklin D. Roosevelt\u003c/a> issued \u003ca href=\"http://www.loc.gov/teachers/classroommaterials/connections/manzanar/history2.html\" target=\"_blank\">Executive Order 9066,\u003c/a> which led to the internment.\u003c/p>\n\u003cp>\"When we left, the strawberries were red, ripe,\" she says. \"And we had to leave everything behind. ... It was devastating because they worked so hard to get this property – and then to have it taken away from you. When we came back, it was all gone.\"\u003c/p>\n\u003cp>She looks again at Adams' Manzanar photo. It was lunchtime, she says, and she was the one in the middle. There were often sudden winds and lots of sand, which would gust around and matte her hair.\u003c/p>\n\u003cp>\"I have two kids,\" she says. \"I've told them about what we went through, but they can't seem to visualize it. They just say, 'Why?' \"\u003c/p>\n\u003cfigure id=\"attachment_10482637\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/gladys.jpg\">\u003cimg class=\"size-medium wp-image-10482637\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/gladys-800x600.jpg\" alt=\"Gladys Matsumoto Katsuki stands in front of a 1943 Manzanar photo by Ansel Adams, top left, where she's in the middle. To its right is her portrait by Paul Kitagaki Jr. in 2012.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gladys Matsumoto Katsuki stands in front of a 1943 Manzanar photo by Ansel Adams, top left, where she's in the middle. To its right is her portrait by Paul Kitagaki Jr. in 2012. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Willie Hayashida’s wartime portrait was also shot at Manzanar by Ansel Adams. He’s 3 years old in the picture, eating a meal in a mess hall with another young boy.\u003c/p>\n\u003cp>At the museum, he laughs at the sight of the full plates of food.\u003c/p>\n\u003cp>\"It's been propped up,\" he says. \"Normally, we won't get this much food for little kids.\"\u003c/p>\n\u003cp>\u003cb>'A Loss of Innocence'\u003c/b>\u003c/p>\n\u003cp>Hayashida grew up to be an engineer at Intel. Now he's 74. Like Kitagaki, he recalls how reluctant his family was to talk about what had happened.\u003c/p>\n\u003cp>When he bought his mother a computer to write her autobiography, her account of the internment took up just a few sentences. \"I said, 'Mom, there's more than that. We were there for 3½ years. There's more than that.' \"\u003c/p>\n\u003cp>For a long time, he tried to find Takashi Uchida, the other boy in the mess-hall photograph. It turned out that Uchida had suffered a stroke and was in a nursing home in Las Vegas. Hayashida paid a visit and presented him with a gift: a custom-made T-shirt with the Ansel Adams photo of the two of them at Manzanar.\u003c/p>\n\u003cp>Another retired engineer, 81-year-old Andrew Nozaka of Saratoga, was almost 9 when he and his family were incarcerated. He still remembers the route the bus took, going past his house on Ashby Avenue in Berkeley on its way to San Bruno. That's where Lange saw them, standing in front of the grandstand. His mother, in Lange's photograph, is asking for help finding their barracks. He's holding her purse and a metal mess kit.\u003c/p>\n\u003cp>\"That day was a loss of innocence,\" Nozaka says, as he stares at the photo.\u003c/p>\n\u003cfigure id=\"attachment_10482639\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/nozaka.jpg\">\u003cimg class=\"size-medium wp-image-10482639\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/nozaka-800x600.jpg\" alt=\"Andrew Nozaka visits the California Museum in Sacramento. He's next to a photo of him and his mother taken by Dorothea Lange at Tanforan in 1942.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andrew Nozaka visits the California Museum in Sacramento. He's next to a photo of him and his mother taken by Dorothea Lange at Tanforan in 1942. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He remembers canned string beans, boiled potatoes, canned Vienna sausages and outbreaks of diarrhea at camp. Postwar life was also a struggle. He especially dreaded going to school on Dec. 7, the anniversary of the Pearl Harbor bombing.\u003c/p>\n\u003cp>\"Man, that was hard, especially during the '50s,\" says Nozaka.\u003c/p>\n\u003cp>His eyes scan other photographs on the wall. Topaz, Poston, Heart Mountain, Tule Lake -- some of the camp names that live in infamy for the people incarcerated during the war.\u003c/p>\n\u003cp>\"We were kind of the silent generation,\" Nozaka says. \"We were told to study hard and achieve. Looking back on it, maybe we should have protested a hell of a lot more.\"\u003c/p>\n\u003cp>Kitagaki's exhibition eventually will include audio and video, and he wants to produce a book. Meanwhile, he's looking for more people. He has interviewed and photographed 31 so far, with seven more lined up. He's hoping for 50 total.\u003c/p>\n\u003cp>Pictures of people he's searching for can be found on his \u003ca href=\"http://www.kitagakiphoto.com/#!/p/japanese-american-in\" target=\"_blank\">website, \u003c/a>along with some sets of then-and-now photos. If you know who they are, just email him at paul@kitagakiphoto.com.\u003c/p>\n\u003cp>The California Museum exhibition runs through May 3. Twenty-one of the photos will then be on display at the \u003ca href=\"https://www.viewpointgallery.org/exhibit/paul-kitagaki-jr.%E2%80%94japanese-american-internees-today\" target=\"_blank\">Viewpoint Photographic Art Center\u003c/a> in Sacramento from May 7 to June 7.\u003c/p>\n\u003cp>One of Lange's \u003ca href=\"http://www.getty.edu/art/collection/objects/128393/dorothea-lange-pledge-of-allegiance-raphael-weill-elementary-school-san-francisco-american-negative-april-20-1942-print-about-1960s/\" target=\"_blank\">best-known photographs\u003c/a> shows two little girls saying the Pledge of Allegiance at Raphael Weill School in San Francisco in 1942. One of those girls, Mary Ann Yahiro, is 80 now and lives in Illinois. Three years ago, I interviewed her by phone for a story I was doing on \u003ca href=\"http://www.sfgate.com/art/article/Photos-illustrate-effects-of-WWII-internment-camps-3552117.php\" target=\"_blank\">Kitagaki's earlier exhibition\u003c/a>, now permanent, at the San Bruno BART Station.\u003c/p>\n\u003cp>Yahiro was interned at \u003ca href=\"http://www.topazmuseum.org/topaz-camp\" target=\"_blank\">Topaz,\u003c/a> where she was separated from her mother and didn't see her again until she was lying in a casket, after dying in camp at age 51. In 2007, Yahiro and her classmate returned to their old school, now Rosa Parks Elementary, to be photographed by Kitagaki. Even then, he had a sense of urgency in finding more people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"He's got to hurry,\" said Yahiro. \"Everybody's getting old.\"\u003c/p>\n\u003cfigure id=\"attachment_10482643\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/yahiro-by-pk.jpg\">\u003cimg class=\"size-medium wp-image-10482643\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/yahiro-by-pk-800x1038.jpg\" alt=\"Mary Ann Yahiro, right, and Helene Nakamoto return in 2007 to what used to be Raphael Weill School in San Francisco, 65 years after Dorothea Lange took their picture. \" width=\"800\" height=\"1038\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-800x1038.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-400x519.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-1180x1532.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-768x997.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-320x415.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk.jpg 1389w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mary Ann Yahiro, right, and Helene Nakamoto return in 2007 to what used to be Raphael Weill School in San Francisco, 65 years after Dorothea Lange took their picture. \u003ccite>(Photo by Paul Kitagaki Jr.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Weeks Later, Fatal Fire in West Oakland Still Hurts",
"title": "Weeks Later, Fatal Fire in West Oakland Still Hurts",
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"content": "\u003cp>Oakland's deadliest fire in nearly three years continues to have an impact on the friends of the two artists who died in the blaze, dozens of displaced residents, and several businesses that have been forced to shut down for weeks.\u003c/p>\n\u003cp>Investigators believe the March 21 three-alarm blaze at 669 24th St. in West Oakland was probably caused accidentally, after one of the men found dead in the unit where the fire started fell asleep while smoking, said Oakland Deputy Fire Chief Darin White.\u003c/p>\n\u003cp>Fire officials want to know if one of the men was intoxicated. \"We do believe it's possible that alcohol or other drugs could have played a part in the individuals' inability to find themselves able to remove themselves from the situation,\" White said in an interview.\u003c/p>\n\u003cp>The fire department got word of the blaze at around 3 a.m. but did not see smoke or fire when they arrived minutes later. However, as crews searched the two-story brick building, a smoke alarm began to sound and smoke started coming out the top of the door leading to Apartment D on the second floor, White said.\u003c/p>\n\u003cp>Firefighters broke into the unit and \"encountered an apartment charged with black smoke all the way to the floor,\" White said. \"Heavy flame was coming from the back of the apartment.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The building is connected to an adjacent structure at 674 23rd St. that houses two publishing firms and a printing company. They share a common wall, and the fire spread rapidly to the building next door. The two structures started out as one space -- a National Guard armory built in 1930 -- but they were eventually divided into live/work units.\u003c/p>\n\u003cp>The firefighters' aggressive fire attack helped save the second building, White said. But the blaze killed 27-year-old Davis Letona and 36-year-old Daniel \"Moe\" Thomas, roommates in Apartment D. It destroyed a large part of 669 24th St. and gutted several units on the second floor of 674 23rd St.\u003c/p>\n\u003cp>The fire marks the first time since June 2012 that Oakland experienced at least two fatalities in a fire, according to Cynthia Perkins, the Oakland Fire Department's chief of staff.\u003c/p>\n\u003cp>The cause of the blaze -- smoking -- is fairly common, and federal officials say it's the leading cause of fatal residential fires. According to the \u003ca href=\"http://www.usfa.fema.gov/downloads/pdf/statistics/res_bldg_fire_estimates.pdf\" target=\"_blank\">U.S. Fire Administration's latest report\u003c/a>, 330 people throughout the country died in residential blazes caused by smoking in 2012.\u003c/p>\n\u003cp>In general, one out of every four people who dies in smoking-related fires is not the smoker who started the fire, according to a \u003ca href=\"http://www.nfpa.org/research/reports-and-statistics/fire-causes/smoking-materials\" target=\"_blank\">report \u003c/a>by the National Fire Protection Association, a nonprofit fire prevention advocacy organization.\u003c/p>\n\u003cp>Fire officials have not said which man in the unit where the blaze began was smoking before it started.\u003c/p>\n\u003cp>Letona, who perished in the fire, had moved into the apartment in the weeks before the blaze, according to Jonah Strauss, a tenant and recording engineer who lived and worked below the two men, as well as Alex Ramos, one of Letona's close friends.\u003c/p>\n\u003cp>Letona was a digital videographer. \"His main passion was cinema,\" said Ramos, who organized an \u003ca href=\"http://www.gofundme.com/pjk2p0\" target=\"_blank\">online fundraising campaign\u003c/a> to pay for a recent memorial. Some of his work can be seen on his website, \u003ca href=\"https://davisletona.wordpress.com/\" target=\"_blank\">davislatona.wordpress.com\u003c/a>.\u003c/p>\n\u003cp>Thomas, the second victim, had \u003ca href=\"http://wesplittheatom.com/\" target=\"_blank\">artwork \u003c/a>featured in a number of exhibitions and collections in Oakland and San Francisco over the last six years, including the \u003ca href=\"http://www.mgart.com/index.php\" target=\"_blank\">McLoughlin Gallery\u003c/a> in Union Square.\u003c/p>\n\u003cp>According to the Alameda County Coroner's Office, Letona's cause of death was asphyxia and smoke inhalation. The cause of death for Thomas is under investigation pending toxicology tests.\u003c/p>\n\u003cp>In all, the fire displaced 34 residents. They are having a tough time finding housing, said Chuck Smuckler, a spokesman for the Red Cross in Alameda County, which has been coordinating aid for the displaced residents with officials at Oakland Mayor Libby Schaaf's office and the Salvation Army.\u003c/p>\n\u003cp>\"In the Bay Area we have such a problem with affordable housing,\" Smuckler said in an interview. \"When people suddenly get displaced, finding replacement housing that is affordable and accessible ... that's the key issue.\"\u003c/p>\n\u003cp>The Red Cross provided the residents who were turned out by the blaze with three nights free at local motels, but it is difficult for them to find long-term transitional housing or permanent places to live, Smuckler said.\u003c/p>\n\u003cp>The fire has also worsened what were already poor relations between the owner of the building and about a dozen of its residents, said Strauss in an interview.\u003c/p>\n\u003cp>Strauss said the landlord has done nothing to help him and the other tenants and has effectively asked the residents to give up returning to the building.\u003c/p>\n\u003cp>The owner/landlord is Kim Marienthal, a realtor at a Coldwell Banker residential brokerage firm in Berkeley. Marienthal said that he feels very sorry for the plight of his tenants. \"But the process to rebuild after a disaster like this is slow and arduous,\" he said in an email.\u003c/p>\n\u003cp>He did not respond to complaints brought up by tenants. \"I am advised by legal counsel not to discuss these matters,\" Marienthal said.\u003c/p>\n\u003cp>Strauss also said there were no sprinklers in the building, something fire and building officials as well as the landlord have yet to corroborate. There were reports that some of the smoke detectors were not working at the time of the fire, but several fire officials have said they have no evidence to suggest that an alarm was not operating properly.\u003c/p>\n\u003cp>Strauss' independent music recording business has been hit hard by the fire, and he has begun an online fundraising campaign at \u003ca href=\"http://www.gofundme.com/shipwreckoakland\" target=\"_blank\">www.gofundme.com/shipwreckoakland\u003c/a>.\u003c/p>\n\u003cp>Smoke and water used to battle the blaze damaged a well-known radical book publishing firm, AK Press, and two other businesses, 1984 Printing and Omnidawn, all in the adjacent structure on 23rd Street.\u003c/p>\n\u003cp>Thousands of AK Press's books are waterlogged, said Charles Weigl, one of the publisher's members, in a phone interview from the collective's office, which has been red-tagged.\u003c/p>\n\u003cp>\"The road ahead is unclear except that I'm sure that we will persevere,\" Weigl said.\u003c/p>\n\u003cp>AK Press has insurance, but it's not certain how much the policy will cover damages from the fire. The publisher will probably not make back the money it needs to have the books it had in stock before the blaze, Weigl said.\u003c/p>\n\u003cp>The collective is one of the oldest continuously running anarchist presses in the country. \"A lot of people first come to understand about anarchism and anti-state, communist literature through AK Press,\" Weigl said.\u003c/p>\n\u003cp>For years the worker-owned publisher has sent funds and free books to young radical bookstores to help them get started. Some of the people AK Press has helped over the years have been sending money to the collective. In the weeks after the fire, it has raised around $50,000 through an online campaign at \u003ca href=\"http://www.gofundme.com/akpressfire\" target=\"_blank\">gofundme.com/akpressfire\u003c/a>.\u003c/p>\n\u003cp>\"Some of that karma is coming back to us,\" Weigl said. The money AK Press has received is going to replenish its books, but also to help the building's residents as well as 1984 Printing and Omnidawn.\u003c/p>\n\u003cp>Both Weigl at AK Press and Amy Watson, who runs 1984, expressed frustration that the city red-tagged their businesses, forcing them to shut down until building officials deem their space safe.\u003c/p>\n\u003cp>They also emphasized that their building had above the normal level of fire safety systems in place. In fact, it had 180 smoke detectors, Watson and Weigl said.\u003c/p>\n\u003cp>1984 resumed printing just days ago, according to the online fundraising campaign for the independent shop, \u003ca href=\"http://www.gofundme.com/1984printing\" target=\"_blank\">gofundme.com/1984printing\u003c/a>, which has raised some $11,000.\u003c/p>\n\u003cp>\"We're certainly not business as usual,\" Watson said of 1984. \"But, we're moving forward.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Omnidawn, a poetry publisher, experienced very minor water damage, according to its manager, Ken Keegan. The business lost only about two dozen water-damaged books.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland's deadliest fire in nearly three years continues to have an impact on the friends of the two artists who died in the blaze, dozens of displaced residents, and several businesses that have been forced to shut down for weeks.\u003c/p>\n\u003cp>Investigators believe the March 21 three-alarm blaze at 669 24th St. in West Oakland was probably caused accidentally, after one of the men found dead in the unit where the fire started fell asleep while smoking, said Oakland Deputy Fire Chief Darin White.\u003c/p>\n\u003cp>Fire officials want to know if one of the men was intoxicated. \"We do believe it's possible that alcohol or other drugs could have played a part in the individuals' inability to find themselves able to remove themselves from the situation,\" White said in an interview.\u003c/p>\n\u003cp>The fire department got word of the blaze at around 3 a.m. but did not see smoke or fire when they arrived minutes later. However, as crews searched the two-story brick building, a smoke alarm began to sound and smoke started coming out the top of the door leading to Apartment D on the second floor, White said.\u003c/p>\n\u003cp>Firefighters broke into the unit and \"encountered an apartment charged with black smoke all the way to the floor,\" White said. \"Heavy flame was coming from the back of the apartment.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The building is connected to an adjacent structure at 674 23rd St. that houses two publishing firms and a printing company. They share a common wall, and the fire spread rapidly to the building next door. The two structures started out as one space -- a National Guard armory built in 1930 -- but they were eventually divided into live/work units.\u003c/p>\n\u003cp>The firefighters' aggressive fire attack helped save the second building, White said. But the blaze killed 27-year-old Davis Letona and 36-year-old Daniel \"Moe\" Thomas, roommates in Apartment D. It destroyed a large part of 669 24th St. and gutted several units on the second floor of 674 23rd St.\u003c/p>\n\u003cp>The fire marks the first time since June 2012 that Oakland experienced at least two fatalities in a fire, according to Cynthia Perkins, the Oakland Fire Department's chief of staff.\u003c/p>\n\u003cp>The cause of the blaze -- smoking -- is fairly common, and federal officials say it's the leading cause of fatal residential fires. According to the \u003ca href=\"http://www.usfa.fema.gov/downloads/pdf/statistics/res_bldg_fire_estimates.pdf\" target=\"_blank\">U.S. Fire Administration's latest report\u003c/a>, 330 people throughout the country died in residential blazes caused by smoking in 2012.\u003c/p>\n\u003cp>In general, one out of every four people who dies in smoking-related fires is not the smoker who started the fire, according to a \u003ca href=\"http://www.nfpa.org/research/reports-and-statistics/fire-causes/smoking-materials\" target=\"_blank\">report \u003c/a>by the National Fire Protection Association, a nonprofit fire prevention advocacy organization.\u003c/p>\n\u003cp>Fire officials have not said which man in the unit where the blaze began was smoking before it started.\u003c/p>\n\u003cp>Letona, who perished in the fire, had moved into the apartment in the weeks before the blaze, according to Jonah Strauss, a tenant and recording engineer who lived and worked below the two men, as well as Alex Ramos, one of Letona's close friends.\u003c/p>\n\u003cp>Letona was a digital videographer. \"His main passion was cinema,\" said Ramos, who organized an \u003ca href=\"http://www.gofundme.com/pjk2p0\" target=\"_blank\">online fundraising campaign\u003c/a> to pay for a recent memorial. Some of his work can be seen on his website, \u003ca href=\"https://davisletona.wordpress.com/\" target=\"_blank\">davislatona.wordpress.com\u003c/a>.\u003c/p>\n\u003cp>Thomas, the second victim, had \u003ca href=\"http://wesplittheatom.com/\" target=\"_blank\">artwork \u003c/a>featured in a number of exhibitions and collections in Oakland and San Francisco over the last six years, including the \u003ca href=\"http://www.mgart.com/index.php\" target=\"_blank\">McLoughlin Gallery\u003c/a> in Union Square.\u003c/p>\n\u003cp>According to the Alameda County Coroner's Office, Letona's cause of death was asphyxia and smoke inhalation. The cause of death for Thomas is under investigation pending toxicology tests.\u003c/p>\n\u003cp>In all, the fire displaced 34 residents. They are having a tough time finding housing, said Chuck Smuckler, a spokesman for the Red Cross in Alameda County, which has been coordinating aid for the displaced residents with officials at Oakland Mayor Libby Schaaf's office and the Salvation Army.\u003c/p>\n\u003cp>\"In the Bay Area we have such a problem with affordable housing,\" Smuckler said in an interview. \"When people suddenly get displaced, finding replacement housing that is affordable and accessible ... that's the key issue.\"\u003c/p>\n\u003cp>The Red Cross provided the residents who were turned out by the blaze with three nights free at local motels, but it is difficult for them to find long-term transitional housing or permanent places to live, Smuckler said.\u003c/p>\n\u003cp>The fire has also worsened what were already poor relations between the owner of the building and about a dozen of its residents, said Strauss in an interview.\u003c/p>\n\u003cp>Strauss said the landlord has done nothing to help him and the other tenants and has effectively asked the residents to give up returning to the building.\u003c/p>\n\u003cp>The owner/landlord is Kim Marienthal, a realtor at a Coldwell Banker residential brokerage firm in Berkeley. Marienthal said that he feels very sorry for the plight of his tenants. \"But the process to rebuild after a disaster like this is slow and arduous,\" he said in an email.\u003c/p>\n\u003cp>He did not respond to complaints brought up by tenants. \"I am advised by legal counsel not to discuss these matters,\" Marienthal said.\u003c/p>\n\u003cp>Strauss also said there were no sprinklers in the building, something fire and building officials as well as the landlord have yet to corroborate. There were reports that some of the smoke detectors were not working at the time of the fire, but several fire officials have said they have no evidence to suggest that an alarm was not operating properly.\u003c/p>\n\u003cp>Strauss' independent music recording business has been hit hard by the fire, and he has begun an online fundraising campaign at \u003ca href=\"http://www.gofundme.com/shipwreckoakland\" target=\"_blank\">www.gofundme.com/shipwreckoakland\u003c/a>.\u003c/p>\n\u003cp>Smoke and water used to battle the blaze damaged a well-known radical book publishing firm, AK Press, and two other businesses, 1984 Printing and Omnidawn, all in the adjacent structure on 23rd Street.\u003c/p>\n\u003cp>Thousands of AK Press's books are waterlogged, said Charles Weigl, one of the publisher's members, in a phone interview from the collective's office, which has been red-tagged.\u003c/p>\n\u003cp>\"The road ahead is unclear except that I'm sure that we will persevere,\" Weigl said.\u003c/p>\n\u003cp>AK Press has insurance, but it's not certain how much the policy will cover damages from the fire. The publisher will probably not make back the money it needs to have the books it had in stock before the blaze, Weigl said.\u003c/p>\n\u003cp>The collective is one of the oldest continuously running anarchist presses in the country. \"A lot of people first come to understand about anarchism and anti-state, communist literature through AK Press,\" Weigl said.\u003c/p>\n\u003cp>For years the worker-owned publisher has sent funds and free books to young radical bookstores to help them get started. Some of the people AK Press has helped over the years have been sending money to the collective. In the weeks after the fire, it has raised around $50,000 through an online campaign at \u003ca href=\"http://www.gofundme.com/akpressfire\" target=\"_blank\">gofundme.com/akpressfire\u003c/a>.\u003c/p>\n\u003cp>\"Some of that karma is coming back to us,\" Weigl said. The money AK Press has received is going to replenish its books, but also to help the building's residents as well as 1984 Printing and Omnidawn.\u003c/p>\n\u003cp>Both Weigl at AK Press and Amy Watson, who runs 1984, expressed frustration that the city red-tagged their businesses, forcing them to shut down until building officials deem their space safe.\u003c/p>\n\u003cp>They also emphasized that their building had above the normal level of fire safety systems in place. In fact, it had 180 smoke detectors, Watson and Weigl said.\u003c/p>\n\u003cp>1984 resumed printing just days ago, according to the online fundraising campaign for the independent shop, \u003ca href=\"http://www.gofundme.com/1984printing\" target=\"_blank\">gofundme.com/1984printing\u003c/a>, which has raised some $11,000.\u003c/p>\n\u003cp>\"We're certainly not business as usual,\" Watson said of 1984. \"But, we're moving forward.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Omnidawn, a poetry publisher, experienced very minor water damage, according to its manager, Ken Keegan. The business lost only about two dozen water-damaged books.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Despite Severe Arthritis, Pianist Gets Second Chance at Stardom",
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"content": "\u003cp>Some kids know from a very young age what they want to be when they grow up; Anthony Ferraro knew he wanted to be a concert pianist. That is, until early onset arthritis in his hands threw his entire career up in the air.\u003c/p>\n\u003cp>Ferraro grew up in a home where you didn’t hear much Top 40 music. The stereo played Beethoven sonatas, and his mom, dad and sister all practiced on the Yamaha grand in the living room. Ferraro gave his first recital at age six. By the time he was in high school his dream of becoming a concert pianist had come into sharp focus.\u003c/p>\n\u003cp>“I fashioned these grandiose visions in my head of me with a full orchestra and band behind me playing a concert hall to standing ovations,” Ferraro says.\u003c/p>\n\u003cp>He was accepted to Baylor University’s piano program and was on his way to classical music stardom. But then, just when his dream seemed close at hand, he began to experience random bouts of stiffness in his hands.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/199158709\" 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>Ferraro, now 24, had been diagnosed with arthritis in his knees at age 10, and he was afraid it had moved into his hands. But he was even more afraid that he was imagining things.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The most sinister part is that sometimes I’d be playing a piece, and wondering, 'is this just my ability, or is this the disease?' The not knowing is the part that just killed me,” he says.\u003c/p>\n\u003cp>Plagued by self-doubt, he dropped out of Baylor before he even started. He moved back in with his parents in Orange County. Unsure of his next move, he got a job at the clothing store Urban Outfitters. And that’s where, against the odds, the next chapter of his career began.\u003c/p>\n\u003cp>The music playing at the store sounded nothing like the symphonies and concertos of his youth. It was at the store that he first heard an electro-pop musician from South Carolina called \u003ca href=\"http://toroymoi.com/\" target=\"_blank\">Toro Y Moi\u003c/a>.\u003c/p>\n\u003cp>“It was on constant rotation in the store. I knew the three singles nauseatingly well,” Ferraro says with a laugh. “I associated it with putting people in fitting rooms.”\u003c/p>\n\u003cp>Around the same time he received a loan from his dad to buy keyboards, a guitar and recording equipment.\u003c/p>\n\u003cp>“I had to do music somehow,\" he says. \"Pop music seemed like a possible solution.”\u003c/p>\n\u003cp>He began crafting his own songs under the name \u003ca href=\"https://soundcloud.com/astronautsetc\" target=\"_blank\">Astronauts etc.\u003c/a> -- singing in a distinct, piercing falsetto. After a year at home, Ferraro enrolled in the music department at UC Berkeley and got a job at a local coffeehouse called Philz. That’s where things got really weird.\u003c/p>\n\u003cp>“I was working there for a few months when Chaz (Chazwick Bradley Bundick of Toro y Moi) walked in the door,” he says.\u003c/p>\n\u003cp>Ferraro recognized him from an interview.\u003c/p>\n\u003cp>“He got his coffee and sat outside. I asked my shift leader if I could take my 10-minute break,\" Ferraro says. \"I knew it was going to be strange. I’d probably come off as a fan who couldn’t keep his mouth shut.\u003c/p>\n\u003cp>Bundick explains via email that he had moved to Berkeley from South Carolina the day before. He knew no one.\u003c/p>\n\u003cp>“I mentioned that we should hang out. I guess I asked him on a date,” Ferraro adds with a laugh. “We just kind of hit it off.”\u003c/p>\n\u003cp>Bundick became a mentor and friend to Ferraro. One day, months before Ferraro was set to graduate from UC Berkeley, he got an unexpected email from Bundick, who was on tour in Brazil.\u003c/p>\n\u003cp>“Hey man,” it began. “I’ve been talking to the guys. We think it would be great to add you to the group starting in the fall. What do you think?”\u003c/p>\n\u003cp>“His casualness made me think this can’t be earnest,” Ferraro says. “He can’t actually be asking me that.”\u003c/p>\n\u003cp>A second chance had fallen into his lap. No grand piano, but electric keyboards. No concert hall, but festivals stages and rock clubs the world over. His dream had come true, but could he keep his arthritis at bay?\u003c/p>\n\u003cfigure id=\"attachment_10473726\" class=\"wp-caption aligncenter\" style=\"max-width: 575px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg\">\u003cimg class=\"size-full wp-image-10473726\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg\" alt=\"Anthony Ferraro, far left, with Toro y Moi. The group has just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous Coachella festival next week.\" width=\"575\" height=\"383\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg 575w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left-320x213.jpg 320w\" sizes=\"(max-width: 575px) 100vw, 575px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Anthony Ferraro, far left, with Toro y Moi. The group has just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous Coachella festival next week. \u003ccite>(Jeremiah Garcia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ferraro’s first tour with Toro Y Moi in the summer of 2013 was a seven-week jaunt across the United States, and his medication kept him in decent shape. It wasn’t until he returned to Berkeley that the most painful symptoms appeared.\u003c/p>\n\u003cp>\"It started with difficulty walking; my knees, my hips, elbows, shoulders,\" Ferraro explains. \"On a good day I could get around with a cane. On a bad day I was bed-ridden.”\u003c/p>\n\u003cp>In preparation for the next leg of the tour, in Australia, Ferraro switched to a new medication taken through an IV. But he missed one of his injections before leaving, and he found himself often playing to crowds in the thousands only able to use some of his fingers. Traveling from city to city proved to be even harder.\u003c/p>\n\u003cp>“If the pain was contained to my hands, I could still set up my equipment,\" he says. \"I’ve broken my wrist before -- that was the only analogous pain I could relate to.\"\u003c/p>\n\u003cp>When he returned home he went to the doctor for his next IV infusion. But his body rejected the medication.\u003c/p>\n\u003cp>“[The nurses] always tell you, if you feel lightheaded, let us know right away,” Ferraro recounts. “Five to 10 minutes in, I started to think ‘I could feel a little bit dizzy right now. By the time I said how dizzy I felt, it was almost too late.”\u003c/p>\n\u003cp>He slumped over in the chair, and had to be revived with a steroid injection.\u003c/p>\n\u003cp>That was over a year ago. Now Toro Y Moi has a new album, \"What For?,\" out April 7. They’ve just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous \u003ca href=\"https://www.coachella.com/\" target=\"_blank\">Coachella festival\u003c/a> next week. It has only been in recent months that he has found a medicine that should sustain him during the tour.\u003c/p>\n\u003cp>Finally, Anthony Ferraro will be able to leave his symptoms behind and focus on the music in his head, not the pain in his body.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This article was originally published on April 5, 2015.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some kids know from a very young age what they want to be when they grow up; Anthony Ferraro knew he wanted to be a concert pianist. That is, until early onset arthritis in his hands threw his entire career up in the air.\u003c/p>\n\u003cp>Ferraro grew up in a home where you didn’t hear much Top 40 music. The stereo played Beethoven sonatas, and his mom, dad and sister all practiced on the Yamaha grand in the living room. Ferraro gave his first recital at age six. By the time he was in high school his dream of becoming a concert pianist had come into sharp focus.\u003c/p>\n\u003cp>“I fashioned these grandiose visions in my head of me with a full orchestra and band behind me playing a concert hall to standing ovations,” Ferraro says.\u003c/p>\n\u003cp>He was accepted to Baylor University’s piano program and was on his way to classical music stardom. But then, just when his dream seemed close at hand, he began to experience random bouts of stiffness in his hands.\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/199158709&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/199158709'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Ferraro, now 24, had been diagnosed with arthritis in his knees at age 10, and he was afraid it had moved into his hands. But he was even more afraid that he was imagining things.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The most sinister part is that sometimes I’d be playing a piece, and wondering, 'is this just my ability, or is this the disease?' The not knowing is the part that just killed me,” he says.\u003c/p>\n\u003cp>Plagued by self-doubt, he dropped out of Baylor before he even started. He moved back in with his parents in Orange County. Unsure of his next move, he got a job at the clothing store Urban Outfitters. And that’s where, against the odds, the next chapter of his career began.\u003c/p>\n\u003cp>The music playing at the store sounded nothing like the symphonies and concertos of his youth. It was at the store that he first heard an electro-pop musician from South Carolina called \u003ca href=\"http://toroymoi.com/\" target=\"_blank\">Toro Y Moi\u003c/a>.\u003c/p>\n\u003cp>“It was on constant rotation in the store. I knew the three singles nauseatingly well,” Ferraro says with a laugh. “I associated it with putting people in fitting rooms.”\u003c/p>\n\u003cp>Around the same time he received a loan from his dad to buy keyboards, a guitar and recording equipment.\u003c/p>\n\u003cp>“I had to do music somehow,\" he says. \"Pop music seemed like a possible solution.”\u003c/p>\n\u003cp>He began crafting his own songs under the name \u003ca href=\"https://soundcloud.com/astronautsetc\" target=\"_blank\">Astronauts etc.\u003c/a> -- singing in a distinct, piercing falsetto. After a year at home, Ferraro enrolled in the music department at UC Berkeley and got a job at a local coffeehouse called Philz. That’s where things got really weird.\u003c/p>\n\u003cp>“I was working there for a few months when Chaz (Chazwick Bradley Bundick of Toro y Moi) walked in the door,” he says.\u003c/p>\n\u003cp>Ferraro recognized him from an interview.\u003c/p>\n\u003cp>“He got his coffee and sat outside. I asked my shift leader if I could take my 10-minute break,\" Ferraro says. \"I knew it was going to be strange. I’d probably come off as a fan who couldn’t keep his mouth shut.\u003c/p>\n\u003cp>Bundick explains via email that he had moved to Berkeley from South Carolina the day before. He knew no one.\u003c/p>\n\u003cp>“I mentioned that we should hang out. I guess I asked him on a date,” Ferraro adds with a laugh. “We just kind of hit it off.”\u003c/p>\n\u003cp>Bundick became a mentor and friend to Ferraro. One day, months before Ferraro was set to graduate from UC Berkeley, he got an unexpected email from Bundick, who was on tour in Brazil.\u003c/p>\n\u003cp>“Hey man,” it began. “I’ve been talking to the guys. We think it would be great to add you to the group starting in the fall. What do you think?”\u003c/p>\n\u003cp>“His casualness made me think this can’t be earnest,” Ferraro says. “He can’t actually be asking me that.”\u003c/p>\n\u003cp>A second chance had fallen into his lap. No grand piano, but electric keyboards. No concert hall, but festivals stages and rock clubs the world over. His dream had come true, but could he keep his arthritis at bay?\u003c/p>\n\u003cfigure id=\"attachment_10473726\" class=\"wp-caption aligncenter\" style=\"max-width: 575px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg\">\u003cimg class=\"size-full wp-image-10473726\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg\" alt=\"Anthony Ferraro, far left, with Toro y Moi. The group has just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous Coachella festival next week.\" width=\"575\" height=\"383\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg 575w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left-320x213.jpg 320w\" sizes=\"(max-width: 575px) 100vw, 575px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Anthony Ferraro, far left, with Toro y Moi. The group has just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous Coachella festival next week. \u003ccite>(Jeremiah Garcia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ferraro’s first tour with Toro Y Moi in the summer of 2013 was a seven-week jaunt across the United States, and his medication kept him in decent shape. It wasn’t until he returned to Berkeley that the most painful symptoms appeared.\u003c/p>\n\u003cp>\"It started with difficulty walking; my knees, my hips, elbows, shoulders,\" Ferraro explains. \"On a good day I could get around with a cane. On a bad day I was bed-ridden.”\u003c/p>\n\u003cp>In preparation for the next leg of the tour, in Australia, Ferraro switched to a new medication taken through an IV. But he missed one of his injections before leaving, and he found himself often playing to crowds in the thousands only able to use some of his fingers. Traveling from city to city proved to be even harder.\u003c/p>\n\u003cp>“If the pain was contained to my hands, I could still set up my equipment,\" he says. \"I’ve broken my wrist before -- that was the only analogous pain I could relate to.\"\u003c/p>\n\u003cp>When he returned home he went to the doctor for his next IV infusion. But his body rejected the medication.\u003c/p>\n\u003cp>“[The nurses] always tell you, if you feel lightheaded, let us know right away,” Ferraro recounts. “Five to 10 minutes in, I started to think ‘I could feel a little bit dizzy right now. By the time I said how dizzy I felt, it was almost too late.”\u003c/p>\n\u003cp>He slumped over in the chair, and had to be revived with a steroid injection.\u003c/p>\n\u003cp>That was over a year ago. Now Toro Y Moi has a new album, \"What For?,\" out April 7. 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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
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