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"title": "Calvin Keys, Widely Loved Jazz Guitarist With Endless Soul, Dies at 82",
"headTitle": "Calvin Keys, Widely Loved Jazz Guitarist With Endless Soul, Dies at 82 | KQED",
"content": "\u003cp>Calvin Keys, the Oakland-based jazz guitarist who worked with giants like Ray Charles and Ahmad Jamal, and who possessed a unique style both on stage and records, died Sunday afternoon. He was 82. \u003c/p>\n\u003cp>Keys was surrounded at Berkeley’s Alta Bates Medical Center on Sunday by family and loved ones from the Bay Area music scene, said his close friend and musical collaborator, Art Maxwell. The cause of death was complications due to a stroke.\u003c/p>\n\u003cp>“The world has just lost a wonderful person and musician,” said the bassist Henry Franklin, who played and recorded with Keys. “He was very prolific on his instrument, very inventive, and I’m sure he’s got one of the first seats in the big orchestra in the sky.”\u003c/p>\n\u003cfigure id=\"attachment_13956010\" class=\"wp-caption aligncenter\" style=\"max-width: 1264px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027.jpg\" alt=\"\" width=\"1264\" height=\"1920\" class=\"size-full wp-image-13956010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027.jpg 1264w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-1011x1536.jpg 1011w\" sizes=\"(max-width: 1264px) 100vw, 1264px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys performing in San Francisco, circa 1977. \u003ccite>(Tom Copi/Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Ray Charles and Ahmad Jamal, Keys played with the likes of Donald Byrd, Lou Donaldson, Bobby Hutcherson, Tony Bennett, Earl “Fatha” Hines, Joe Henderson, Carmen McRea, Pharoah Sanders, Freddie Hubbard, Woody Shaw, Eddie Henderson, Stanley Turrentine and many, many others.\u003c/p>\n\u003cp>Maxwell remembered first seeing Keys at Laney College in Oakland in 1978, and later joining his band for shows at 57th Street Gallery and Geoffrey’s Inner Circle. Eventually he would become Keys’ musical director, and played with him for the past decade.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Calvin was the real deal,” Maxwell said. “He was a very handsome man, very warm, and extremely nice to almost everybody.” \u003c/p>\n\u003cp>Maxwell recalled when Keys, a few years ago, successfully petitioned Spotify to pay him for royalties due. “He took me out to a restaurant,” Maxwell said, “and said ‘Go ahead, get the best steak! Get everything, dessert, whatever you want!’ That was Calvin.”\u003c/p>\n\u003cfigure id=\"attachment_13956008\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.jpg\" alt=\"\" width=\"1920\" height=\"1431\" class=\"size-full wp-image-13956008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-1536x1145.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Calvin Keys was born Feb. 6, 1942 in Omaha, Nebraska. As a young boy, his father, a drummer, used to sneak him into local ballrooms to hear performers like Little Richard and James Brown. He would soon learn guitar, and join jam sessions in town with touring artists like George Benson and Brother Jack McDuff. At the age of 15, Keys moved to Kansas City and soon began touring as a young teenager.\u003c/p>\n\u003cp>Keys played in top trios with popular organists like Jimmy McGriff and Jimmy Smith, and worked with Ray Charles on and off for 15 years. A move to Los Angeles in the late 1960s connected him with the Black Jazz record label, for which he recorded two era-defining albums: 1971’s \u003cem>Shawn-Neeq\u003c/em> and 1974’s \u003cem>Proceed With Caution\u003c/em>. He moved to the Bay Area in 1975.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watch\u003c/strong>: \u003ca href=\"https://www.youtube.com/live/pC0Qa1zJmrM?si=DF1HedoMKLdhiH5J&t=3907\">Calvin Keys on stage at KQED, interviewed by Bianca Taylor\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>After joining pianist Ahmad Jamal’s group, Keys spent six years touring and recording with the jazz giant. He sometimes told the story of Miles Davis, an avowed Jamal fan, once asking Jamal after a show if he could audition Keys for his own group — an offer Keys declined. \u003c/p>\n\u003cfigure id=\"attachment_13956007\" class=\"wp-caption aligncenter\" style=\"max-width: 1535px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16.jpg\" alt=\"\" width=\"1535\" height=\"1920\" class=\"size-full wp-image-13956007\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16.jpg 1535w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-800x1001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-1020x1276.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-1228x1536.jpg 1228w\" sizes=\"(max-width: 1535px) 100vw, 1535px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys on stage with his hollow-body guitar on stage. Keys performed at small clubs and community events into his 80s. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gregory Howe, the Bay Area producer and musician who under his Wide Hive Records label released four albums by Keys starting in 2000, said that Keys “was just an authoritative voice on his instrument.” He recalled his first experience with Keys in the recording studio, when he nailed a guitar solo in one take. \u003c/p>\n\u003cp>“He arrived in this \u003cem>huge\u003c/em> ’70s Cadillac,” Howe said. “We had this little recording studio in North Beach, and we couldn’t find anywhere to park the car!”\u003c/p>\n\u003cp>[aside postID='arts_13935159']Howe also remembered Keys’ sharp personal style, and how he would show up to record in “really clean” outfits that matched his high-class talent. \u003c/p>\n\u003cp>“When he would play, you \u003cem>had\u003c/em> to listen,” Howe said. “The way he could weave a solo, I don’t know any other guitarist that had that caliber of soulfulness and musical strength.”\u003c/p>\n\u003cp>Keys enjoyed a small renaissance in the 2010s as his early albums garnered more attention, including in places as distant as Europe and Japan. In 2012, the Bay Area label Tompkins Square reissued \u003cem>Shawn-Neeq\u003c/em>; \u003cem>Proceed With Caution\u003c/em> and 1985’s \u003cem>Full Court Press\u003c/em> have also been reissued in recent years. \u003c/p>\n\u003cfigure id=\"attachment_13956009\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13956009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys’ first album as a leader, ‘Shawn-Neeq,’ has been reissued multiple times since its release in 1971. \u003ccite>(Black Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keys was a teacher at the Oakland Public Conservatory and frequently taught his skills to the younger generation at camps and in private lessons.\u003c/p>\n\u003cp>On stage, Keys continued to perform locally, including at clubs like Yoshi’s, up to the end. He refused suggestions to retire, even as he underwent quadruple bypass surgery in 1997 and back surgery in recent years, Maxwell said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Terrace Martin, the famed keyboardist and hip-hop producer, and Keys’ godson, \u003ca href=\"https://www.instagram.com/p/C5yGq43r6gh/?hl=en&img_index=1\">said on Instagram\u003c/a>: “A true master teacher has transitioned. Rest in power, love and peace to Calvin Keys. I love you.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Calvin Keys, the Oakland-based jazz guitarist who worked with giants like Ray Charles and Ahmad Jamal, and who possessed a unique style both on stage and records, died Sunday afternoon. He was 82. \u003c/p>\n\u003cp>Keys was surrounded at Berkeley’s Alta Bates Medical Center on Sunday by family and loved ones from the Bay Area music scene, said his close friend and musical collaborator, Art Maxwell. The cause of death was complications due to a stroke.\u003c/p>\n\u003cp>“The world has just lost a wonderful person and musician,” said the bassist Henry Franklin, who played and recorded with Keys. “He was very prolific on his instrument, very inventive, and I’m sure he’s got one of the first seats in the big orchestra in the sky.”\u003c/p>\n\u003cfigure id=\"attachment_13956010\" class=\"wp-caption aligncenter\" style=\"max-width: 1264px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027.jpg\" alt=\"\" width=\"1264\" height=\"1920\" class=\"size-full wp-image-13956010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027.jpg 1264w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-1011x1536.jpg 1011w\" sizes=\"(max-width: 1264px) 100vw, 1264px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys performing in San Francisco, circa 1977. \u003ccite>(Tom Copi/Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Ray Charles and Ahmad Jamal, Keys played with the likes of Donald Byrd, Lou Donaldson, Bobby Hutcherson, Tony Bennett, Earl “Fatha” Hines, Joe Henderson, Carmen McRea, Pharoah Sanders, Freddie Hubbard, Woody Shaw, Eddie Henderson, Stanley Turrentine and many, many others.\u003c/p>\n\u003cp>Maxwell remembered first seeing Keys at Laney College in Oakland in 1978, and later joining his band for shows at 57th Street Gallery and Geoffrey’s Inner Circle. Eventually he would become Keys’ musical director, and played with him for the past decade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Calvin was the real deal,” Maxwell said. “He was a very handsome man, very warm, and extremely nice to almost everybody.” \u003c/p>\n\u003cp>Maxwell recalled when Keys, a few years ago, successfully petitioned Spotify to pay him for royalties due. “He took me out to a restaurant,” Maxwell said, “and said ‘Go ahead, get the best steak! Get everything, dessert, whatever you want!’ That was Calvin.”\u003c/p>\n\u003cfigure id=\"attachment_13956008\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.jpg\" alt=\"\" width=\"1920\" height=\"1431\" class=\"size-full wp-image-13956008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-1536x1145.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Calvin Keys was born Feb. 6, 1942 in Omaha, Nebraska. As a young boy, his father, a drummer, used to sneak him into local ballrooms to hear performers like Little Richard and James Brown. He would soon learn guitar, and join jam sessions in town with touring artists like George Benson and Brother Jack McDuff. At the age of 15, Keys moved to Kansas City and soon began touring as a young teenager.\u003c/p>\n\u003cp>Keys played in top trios with popular organists like Jimmy McGriff and Jimmy Smith, and worked with Ray Charles on and off for 15 years. A move to Los Angeles in the late 1960s connected him with the Black Jazz record label, for which he recorded two era-defining albums: 1971’s \u003cem>Shawn-Neeq\u003c/em> and 1974’s \u003cem>Proceed With Caution\u003c/em>. He moved to the Bay Area in 1975.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watch\u003c/strong>: \u003ca href=\"https://www.youtube.com/live/pC0Qa1zJmrM?si=DF1HedoMKLdhiH5J&t=3907\">Calvin Keys on stage at KQED, interviewed by Bianca Taylor\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>After joining pianist Ahmad Jamal’s group, Keys spent six years touring and recording with the jazz giant. He sometimes told the story of Miles Davis, an avowed Jamal fan, once asking Jamal after a show if he could audition Keys for his own group — an offer Keys declined. \u003c/p>\n\u003cfigure id=\"attachment_13956007\" class=\"wp-caption aligncenter\" style=\"max-width: 1535px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16.jpg\" alt=\"\" width=\"1535\" height=\"1920\" class=\"size-full wp-image-13956007\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16.jpg 1535w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-800x1001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-1020x1276.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-1228x1536.jpg 1228w\" sizes=\"(max-width: 1535px) 100vw, 1535px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys on stage with his hollow-body guitar on stage. Keys performed at small clubs and community events into his 80s. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gregory Howe, the Bay Area producer and musician who under his Wide Hive Records label released four albums by Keys starting in 2000, said that Keys “was just an authoritative voice on his instrument.” He recalled his first experience with Keys in the recording studio, when he nailed a guitar solo in one take. \u003c/p>\n\u003cp>“He arrived in this \u003cem>huge\u003c/em> ’70s Cadillac,” Howe said. “We had this little recording studio in North Beach, and we couldn’t find anywhere to park the car!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Howe also remembered Keys’ sharp personal style, and how he would show up to record in “really clean” outfits that matched his high-class talent. \u003c/p>\n\u003cp>“When he would play, you \u003cem>had\u003c/em> to listen,” Howe said. “The way he could weave a solo, I don’t know any other guitarist that had that caliber of soulfulness and musical strength.”\u003c/p>\n\u003cp>Keys enjoyed a small renaissance in the 2010s as his early albums garnered more attention, including in places as distant as Europe and Japan. In 2012, the Bay Area label Tompkins Square reissued \u003cem>Shawn-Neeq\u003c/em>; \u003cem>Proceed With Caution\u003c/em> and 1985’s \u003cem>Full Court Press\u003c/em> have also been reissued in recent years. \u003c/p>\n\u003cfigure id=\"attachment_13956009\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13956009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys’ first album as a leader, ‘Shawn-Neeq,’ has been reissued multiple times since its release in 1971. \u003ccite>(Black Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keys was a teacher at the Oakland Public Conservatory and frequently taught his skills to the younger generation at camps and in private lessons.\u003c/p>\n\u003cp>On stage, Keys continued to perform locally, including at clubs like Yoshi’s, up to the end. He refused suggestions to retire, even as he underwent quadruple bypass surgery in 1997 and back surgery in recent years, Maxwell said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Terrace Martin, the famed keyboardist and hip-hop producer, and Keys’ godson, \u003ca href=\"https://www.instagram.com/p/C5yGq43r6gh/?hl=en&img_index=1\">said on Instagram\u003c/a>: “A true master teacher has transitioned. Rest in power, love and peace to Calvin Keys. I love you.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Eleanor Coppola, Matriarch of a Filmmaking Family, Dies at 87",
"headTitle": "Eleanor Coppola, Matriarch of a Filmmaking Family, Dies at 87 | KQED",
"content": "\u003cp>Eleanor Coppola, who documented the making of some of her husband Francis Ford Coppola’s iconic films, including the infamously tortured production of \u003cem>Apocalypse Now\u003c/em>, and who raised a family of filmmakers, has died. She was 87.\u003c/p>\n\u003cp>Coppola died Friday surrounded by family at home in Rutherford, California, her family announced in a statement. No cause of death was given.\u003c/p>\n\u003cp>Eleanor, who grew up in Orange County, California, met Francis while working as an assistant art director on his directorial debut, the Roger Corman-produced 1963 horror film \u003cem>Dementia 13\u003c/em>. (She had studied design at UCLA.) Within months of dating, Eleanor became pregnant and the couple were wed in Las Vegas in February 1963.\u003c/p>\n\u003cfigure id=\"attachment_13955933\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg\" alt=\"\" width=\"1920\" height=\"1267\" class=\"size-full wp-image-13955933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1536x1014.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Francis Coppola and wife, Eleanor, pose July 16, 1991, in Los Angeles. Eleanor Coppola, who documented the making of some of her husband Francis Ford Coppola’s iconic films, including the infamously tortured production of ‘Apocalypse Now,’ and who raised a family of filmmakers, died Friday, April 12, 2024. She was 87. \u003ccite>(AP Photo/Chris Martinez, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their first-born, Gian-Carlo, quickly became a regular presence in his father’s films, as did their subsequent children, Roman (born in 1965) and Sofia (born in 1971). After acting in their father’s films and growing up on sets, all would go into the movies.\u003c/p>\n\u003cp>“I don’t know what the family has given except I hope they’ve set an example of a family encouraging each other in their creative process whatever it may be,” Eleanor told The Associated Press in 2017. “It happens in our family that everyone chose to sort of follow in the family business. We weren’t asking them to or expecting them to, but they did. At one point Sofia said, ‘The nut does not fall far from the tree.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gian-Carlo, who’s seen in the background of many of his father’s films and had begun doing second-unit photography, died at the age of 22 in a 1986 boating accident. He was killed while riding in a boat piloted by Griffin O’Neal, son of Ryan O’Neal, who was found guilty of negligence.\u003c/p>\n\u003cp>[aside postID='forum_201208101000']Roman directed several movies of his own and regularly collaborates with Wes Anderson. He’s president of his father’s San Francisco-based film company, American Zoetrope.\u003c/p>\n\u003cp>Sofia became one of the most acclaimed filmmakers of her generation as the writer-director of films including \u003cem>The Virgin Suicides\u003c/em>, \u003cem>Lost in Translation\u003c/em> and the 2023 release \u003cem>Priscilla\u003c/em>. Sofia dedicated that film to her mother.\u003c/p>\n\u003cfigure id=\"attachment_13955934\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000.jpg\" alt=\"\" width=\"1920\" height=\"1256\" class=\"size-full wp-image-13955934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-1536x1005.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eleanor Coppola, seen in her Los Angeles home in January 1992, turned the turbulent making of ‘Apocalypse Now’ in the Philippines by her husband, Francis Coppola, into ‘Hearts of Darkness: A Filmmaker’s Apocalypse.’ \u003ccite>(AP Photo/Craig Fujii)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In joining the family business, the Coppola children weren’t just following in their father’s footsteps but their mother’s, too. Beginning on 1979’s \u003cem>Apocalypse Now\u003c/em>, Eleanor frequently documented the behind-the-scenes life of Francis’ films. The Philippines-set shoot of \u003cem>Apocalypse Now\u003c/em> lasted 238 days. A typhoon destroyed sets. Martin Sheen had a heart attack. A member of the construction crew died.\u003c/p>\n\u003cp>Eleanor documented much of the chaos in what would become one of the most famous making-of films about moviemaking, 1991’s \u003cem>Hearts of Darkness: A Filmmaker’s Apocalypse\u003c/em>.\u003c/p>\n\u003cp>“I was just trying to keep myself occupied with something to do because we were out there for so long,” Eleanor told CNN in 1991. “They wanted five minutes for a TV promotional or something and I thought sooner of later I could get five minutes of film and then it went on to 15 minutes.”\u003c/p>\n\u003cp>“I just kept shooting but I had no idea … the evolution of myself that I saw with my camera,” continued Eleanor, who ended up shooting 60 hours of footage. “So, it was a surprise for both of us and a life changing experience.”\u003c/p>\n\u003cp>Eleanor also published \u003cem>Notes: On the Making of ‘Apocalypse Now’\u003c/em> in 1979. While the film focused on the film set tumult, the book charted some of Eleanor’s inner turmoil, including the challenges of being married to a larger-than-life figure. She wrote of being a “woman isolated from my friends, my affairs and my projects” during their year in Manilla. She also frankly discusses Francis having an extramarital affair.\u003c/p>\n\u003cp>“There is part of me that has been waiting for Francis to leave me, or die, so that I can get my life the way I want it,” wrote Eleanor. “I wonder if I have the guts to get it the way I want it with him in it.”\u003c/p>\n\u003cfigure id=\"attachment_13955935\" class=\"wp-caption aligncenter\" style=\"max-width: 1474px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_.jpg\" alt=\"\" width=\"1474\" height=\"1920\" class=\"size-full wp-image-13955935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_.jpg 1474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-800x1042.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-1020x1329.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-768x1000.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-1179x1536.jpg 1179w\" sizes=\"(max-width: 1474px) 100vw, 1474px\">\u003cfigcaption class=\"wp-caption-text\">An undated portrait of Eleanor Coppola, released by the Coppola family. Eleanor Coppola died on Friday at 87. \u003ccite>(Chad Keig/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They remained together, though, throughout her life. And Eleanor continued to seek out creative outlets for herself. She documented several more of her husband’s films, as well as Roman’s \u003cem>CQ\u003c/em> and Sofia’s \u003cem>Marie Antoinette\u003c/em>. She wrote a memoir in 2008, \u003cem>Notes on a Life\u003c/em>.\u003c/p>\n\u003cp>In 2016, at the age of 80, Eleanor made her narrative debut in \u003cem>Paris Can Wait\u003c/em>, a romantic comedy starring Diane Lane. She followed that up with \u003cem>Love Is Love Is Love\u003c/em> in 2020. Eleanor had initially set out only to write the screenplay to \u003cem>Paris Can Wait\u003c/em>.\u003c/p>\n\u003cp>“One morning at the breakfast table my husband said, ‘Well you should direct it.’ I was totally startled,” Eleanor told The AP. “But I said ‘Well, I never wrote a script before and I’ve never directed, why not?’ I was kind of saying ‘why not’ to everything.”\u003c/p>\n\u003cp>Eleanor died just as Francis is preparing a long-planned, self-financed epic, \u003cem>Metropolis\u003c/em>, which is to premiere next month at the Cannes Film Festival.\u003c/p>\n\u003cp>She is survived by her husband; her son Roman and his wife, Jen, their children, Pascale, Marcello and Alessandro; her daughter Sofia and her husband, Thomas, their children Romy and Cosima; her granddaughter Gia and her husband, Honor, and their child Beaumont; and by her brother William Neil and his wife, Lisa.\u003c/p>\n\u003cp>Eleanor recently completed her third memoir, the family said. In the manuscript she wrote:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I appreciate how my unexpected life has stretched and pulled me in so many extraordinary ways and taken me in a multitude of directions beyond my wildest imaginings.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eleanor Coppola, who documented the making of some of her husband Francis Ford Coppola’s iconic films, including the infamously tortured production of \u003cem>Apocalypse Now\u003c/em>, and who raised a family of filmmakers, has died. She was 87.\u003c/p>\n\u003cp>Coppola died Friday surrounded by family at home in Rutherford, California, her family announced in a statement. No cause of death was given.\u003c/p>\n\u003cp>Eleanor, who grew up in Orange County, California, met Francis while working as an assistant art director on his directorial debut, the Roger Corman-produced 1963 horror film \u003cem>Dementia 13\u003c/em>. (She had studied design at UCLA.) Within months of dating, Eleanor became pregnant and the couple were wed in Las Vegas in February 1963.\u003c/p>\n\u003cfigure id=\"attachment_13955933\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg\" alt=\"\" width=\"1920\" height=\"1267\" class=\"size-full wp-image-13955933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1536x1014.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Francis Coppola and wife, Eleanor, pose July 16, 1991, in Los Angeles. Eleanor Coppola, who documented the making of some of her husband Francis Ford Coppola’s iconic films, including the infamously tortured production of ‘Apocalypse Now,’ and who raised a family of filmmakers, died Friday, April 12, 2024. She was 87. \u003ccite>(AP Photo/Chris Martinez, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their first-born, Gian-Carlo, quickly became a regular presence in his father’s films, as did their subsequent children, Roman (born in 1965) and Sofia (born in 1971). After acting in their father’s films and growing up on sets, all would go into the movies.\u003c/p>\n\u003cp>“I don’t know what the family has given except I hope they’ve set an example of a family encouraging each other in their creative process whatever it may be,” Eleanor told The Associated Press in 2017. “It happens in our family that everyone chose to sort of follow in the family business. We weren’t asking them to or expecting them to, but they did. At one point Sofia said, ‘The nut does not fall far from the tree.'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gian-Carlo, who’s seen in the background of many of his father’s films and had begun doing second-unit photography, died at the age of 22 in a 1986 boating accident. He was killed while riding in a boat piloted by Griffin O’Neal, son of Ryan O’Neal, who was found guilty of negligence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Roman directed several movies of his own and regularly collaborates with Wes Anderson. He’s president of his father’s San Francisco-based film company, American Zoetrope.\u003c/p>\n\u003cp>Sofia became one of the most acclaimed filmmakers of her generation as the writer-director of films including \u003cem>The Virgin Suicides\u003c/em>, \u003cem>Lost in Translation\u003c/em> and the 2023 release \u003cem>Priscilla\u003c/em>. Sofia dedicated that film to her mother.\u003c/p>\n\u003cfigure id=\"attachment_13955934\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000.jpg\" alt=\"\" width=\"1920\" height=\"1256\" class=\"size-full wp-image-13955934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823159000-1536x1005.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eleanor Coppola, seen in her Los Angeles home in January 1992, turned the turbulent making of ‘Apocalypse Now’ in the Philippines by her husband, Francis Coppola, into ‘Hearts of Darkness: A Filmmaker’s Apocalypse.’ \u003ccite>(AP Photo/Craig Fujii)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In joining the family business, the Coppola children weren’t just following in their father’s footsteps but their mother’s, too. Beginning on 1979’s \u003cem>Apocalypse Now\u003c/em>, Eleanor frequently documented the behind-the-scenes life of Francis’ films. The Philippines-set shoot of \u003cem>Apocalypse Now\u003c/em> lasted 238 days. A typhoon destroyed sets. Martin Sheen had a heart attack. A member of the construction crew died.\u003c/p>\n\u003cp>Eleanor documented much of the chaos in what would become one of the most famous making-of films about moviemaking, 1991’s \u003cem>Hearts of Darkness: A Filmmaker’s Apocalypse\u003c/em>.\u003c/p>\n\u003cp>“I was just trying to keep myself occupied with something to do because we were out there for so long,” Eleanor told CNN in 1991. “They wanted five minutes for a TV promotional or something and I thought sooner of later I could get five minutes of film and then it went on to 15 minutes.”\u003c/p>\n\u003cp>“I just kept shooting but I had no idea … the evolution of myself that I saw with my camera,” continued Eleanor, who ended up shooting 60 hours of footage. “So, it was a surprise for both of us and a life changing experience.”\u003c/p>\n\u003cp>Eleanor also published \u003cem>Notes: On the Making of ‘Apocalypse Now’\u003c/em> in 1979. While the film focused on the film set tumult, the book charted some of Eleanor’s inner turmoil, including the challenges of being married to a larger-than-life figure. She wrote of being a “woman isolated from my friends, my affairs and my projects” during their year in Manilla. She also frankly discusses Francis having an extramarital affair.\u003c/p>\n\u003cp>“There is part of me that has been waiting for Francis to leave me, or die, so that I can get my life the way I want it,” wrote Eleanor. “I wonder if I have the guts to get it the way I want it with him in it.”\u003c/p>\n\u003cfigure id=\"attachment_13955935\" class=\"wp-caption aligncenter\" style=\"max-width: 1474px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_.jpg\" alt=\"\" width=\"1474\" height=\"1920\" class=\"size-full wp-image-13955935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_.jpg 1474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-800x1042.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-1020x1329.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-768x1000.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Eleanor.CourtesyPhoto.Family.AP_-1179x1536.jpg 1179w\" sizes=\"(max-width: 1474px) 100vw, 1474px\">\u003cfigcaption class=\"wp-caption-text\">An undated portrait of Eleanor Coppola, released by the Coppola family. Eleanor Coppola died on Friday at 87. \u003ccite>(Chad Keig/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They remained together, though, throughout her life. And Eleanor continued to seek out creative outlets for herself. She documented several more of her husband’s films, as well as Roman’s \u003cem>CQ\u003c/em> and Sofia’s \u003cem>Marie Antoinette\u003c/em>. She wrote a memoir in 2008, \u003cem>Notes on a Life\u003c/em>.\u003c/p>\n\u003cp>In 2016, at the age of 80, Eleanor made her narrative debut in \u003cem>Paris Can Wait\u003c/em>, a romantic comedy starring Diane Lane. She followed that up with \u003cem>Love Is Love Is Love\u003c/em> in 2020. Eleanor had initially set out only to write the screenplay to \u003cem>Paris Can Wait\u003c/em>.\u003c/p>\n\u003cp>“One morning at the breakfast table my husband said, ‘Well you should direct it.’ I was totally startled,” Eleanor told The AP. “But I said ‘Well, I never wrote a script before and I’ve never directed, why not?’ I was kind of saying ‘why not’ to everything.”\u003c/p>\n\u003cp>Eleanor died just as Francis is preparing a long-planned, self-financed epic, \u003cem>Metropolis\u003c/em>, which is to premiere next month at the Cannes Film Festival.\u003c/p>\n\u003cp>She is survived by her husband; her son Roman and his wife, Jen, their children, Pascale, Marcello and Alessandro; her daughter Sofia and her husband, Thomas, their children Romy and Cosima; her granddaughter Gia and her husband, Honor, and their child Beaumont; and by her brother William Neil and his wife, Lisa.\u003c/p>\n\u003cp>Eleanor recently completed her third memoir, the family said. In the manuscript she wrote:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I appreciate how my unexpected life has stretched and pulled me in so many extraordinary ways and taken me in a multitude of directions beyond my wildest imaginings.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13955630\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955630\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058.jpg\" alt=\"A young conductor smiles and holds a baton. \" width=\"1920\" height=\"2465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-800x1027.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-1020x1310.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-768x986.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-1196x1536.jpg 1196w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-1595x2048.jpg 1595w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong is the new music director of the Oakland Symphony. He takes the podium when the 2024-’25 season begins in October. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kedrickarmstrong.com/\">Kedrick Armstrong\u003c/a> hasn’t moved to Oakland yet, but he’s already a kindred spirit of the Town’s many artists and activists.\u003c/p>\n\u003cp>In a recent conversation about his new appointment as the \u003ca href=\"https://www.oaklandsymphony.org/\">Oakland Symphony\u003c/a>’s music director, Armstrong beams when he talks about music as a way to empower everyday people and strengthen communities. And when the 29-year-old conductor gets going about public school music education — the heart of the Symphony’s public service mission — he’s coming from a place of hard-won wisdom from working to change a system that doesn’t always respect people who look like him.\u003c/p>\n\u003cp>“One of the things that truly excited me about this orchestra is their commitment not only to excellence on the stage, but excellence in music education and community work,” he says.\u003c/p>\n\u003cp>Today, the Oakland Symphony announced that Armstrong will take the helm at the orchestra, effective immediately, after a two-year nationwide search. He follows in the footsteps of \u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\">Michael Morgan\u003c/a>, the beloved, visionary conductor who led the organization for 30 years until his death in 2021 at 63 years old. In the coming months, Armstrong will relocate from Illinois, where he currently serves as the Knox-Galesburg Symphony’s creative partner and principal conductor.\u003c/p>\n\u003cp>Armstrong grew up in Georgetown, South Carolina and spent his young adulthood in Chicago, where his profile in the classical music world rose. Through the Lyric Opera of Chicago, where he has appeared as a conductor, he mentored high school students on the city’s Southside — a Black community with a rich culture and history that, like Oakland, is often maligned in the national press.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Washington Post\u003c/em> named Armstrong a\u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2022/01/22/2022-composers-up-and-coming/\"> conductor to watch\u003c/a> in 2022. In May 2023, he completed his graduate studies at the University of Colorado in Boulder, where he \u003ca href=\"https://www.cpr.org/2023/03/31/colorado-conductor-kedrick-armstrong-nourished-by-black-female-composers/\">researched Black women composers\u003c/a>, including some whose works had never been performed until he got his hands on their scores.\u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Armstrong has guest conducted at the Chicago Opera Theater, the Opera Theatre of St. Louis and three times at the Oakland Symphony. At his most recent Oakland appearance in February 2024, he led the orchestra in a world premiere of \u003ci>Here I Stand\u003c/i>, an oratorio by composer Carlos Simon and librettist Dan Harder about the remarkable life of Black actor, singer, athlete and activist \u003ca href=\"https://www.pbs.org/wnet/americanmasters/paul-robeson-about-the-actor/66/\">Paul Robeson\u003c/a>, who dedicated his life to anti-racist, anti-fascist movements.\u003c/p>\n\u003cp>“I had the opportunity to meet some audience members and community members in that time, and the way that they embraced me as a queer Black man from South Carolina — stepping into this new place was so special and so warming to me,” Armstrong says. [aside postid='arts_13954039']\u003c/p>\n\u003cp>For Armstrong, something that sets the Oakland Symphony apart from other orchestras around the nation is that “they have this flexibility in their playing and this respect that they give to everything, from Mozart to MC Hammer,” he says. “And for me, as a conductor that loves all of these different genres and repertoires, knowing that I already have a group of colleagues who are so behind that idea, style and approach of playing is just a dream of possibilities.”\u003c/p>\n\u003cp>The Oakland Symphony has also had people of color in leadership roles for decades, while most orchestras only began conversations about race in earnest after the George Floyd protests of 2020. (Prior to Michael Morgan’s tenure, Calvin Simmons took the helm at the Oakland Symphony in 1979, becoming the first Black leader of a major U.S. orchestra.)\u003c/p>\n\u003cp>“The thing that inspires me the most, especially with the Oakland Symphony, is knowing that there’s a legacy to stand on,” says Armstrong. [aside postid='arts_13955286']\u003c/p>\n\u003cp>Armstrong spurred diversity reforms at his undergraduate alma mater, Wheaton Conservatory, when he penned a \u003ca href=\"https://thewheatonrecord.com/2020/10/08/alumnis-open-letter-prompts-conservatory-changes-task-force-to-assess-diversity/\">widely circulated open letter\u003c/a> in 2020 calling for more diversity in its curriculum. Oakland Symphony’s music education programs, which serve 19,000 students every year, are particularly important to him. He remembers a time when he thought he had to give up his passion for gospel and jazz to be taken seriously as a classical musician. Now, at an organization that regularly blends genres, he wants to help foster an environment where young musicians, especially those of color, can be themselves.\u003c/p>\n\u003cp>“I’m constantly trying to figure out, how do we teach music with a person’s culture, with the music that they’re accustomed to?” he reflects. [aside postid='arts_13955195']\u003c/p>\n\u003cp>Armstrong makes his first appearance on the Paramount Theatre’s podium as Oakland Symphony Music Director on Oct. 18, in a season kickoff that celebrates the 40th anniversary of the music nonprofit Living Jazz. The orchestra will perform music by Claude Debussy and Julia Perry — the first Black woman to have her work performed by the New York Philharmonic, in 1965 — alongside Living Jazz’s new commissions.\u003c/p>\n\u003cp>The wide-ranging season features titans of the classical music canon, including Bach, Rachmaninoff and Mussorgsky, as well as rising contemporary composers such as Shawn Okpebholo, an ethnomusicologist who studies the music of East and West Africa, and Alabama-born composer Brian Raphael Nabors, who’ll perform his own concerto for the Hammond organ. [aside postid='arts_13955108']\u003c/p>\n\u003cp>While dreaming up future collaborations with jazz musicians and dance ensembles, Armstrong is excited to dive into Oakland’s culture when he moves here in late summer or early fall. A natural bridge builder, he spends his time cooking and hosting when he’s not at the podium. It’s only a matter of time before his Oakland kitchen table is filled with new connections who are just as community-oriented, curious and creative as he is.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I think there is such an easy thing for me as an outsider to look at Oakland and to buy into the external pictures that people paint about Oakland, about crime, about poverty,” he says. “But every corner I turn around here, I can’t help but see the beauty that is uplifted by the community.”\u003c/p>\n\u003chr>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955630\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955630\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058.jpg\" alt=\"A young conductor smiles and holds a baton. \" width=\"1920\" height=\"2465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-800x1027.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-1020x1310.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-768x986.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-1196x1536.jpg 1196w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-1595x2048.jpg 1595w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong is the new music director of the Oakland Symphony. He takes the podium when the 2024-’25 season begins in October. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kedrickarmstrong.com/\">Kedrick Armstrong\u003c/a> hasn’t moved to Oakland yet, but he’s already a kindred spirit of the Town’s many artists and activists.\u003c/p>\n\u003cp>In a recent conversation about his new appointment as the \u003ca href=\"https://www.oaklandsymphony.org/\">Oakland Symphony\u003c/a>’s music director, Armstrong beams when he talks about music as a way to empower everyday people and strengthen communities. And when the 29-year-old conductor gets going about public school music education — the heart of the Symphony’s public service mission — he’s coming from a place of hard-won wisdom from working to change a system that doesn’t always respect people who look like him.\u003c/p>\n\u003cp>“One of the things that truly excited me about this orchestra is their commitment not only to excellence on the stage, but excellence in music education and community work,” he says.\u003c/p>\n\u003cp>Today, the Oakland Symphony announced that Armstrong will take the helm at the orchestra, effective immediately, after a two-year nationwide search. He follows in the footsteps of \u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\">Michael Morgan\u003c/a>, the beloved, visionary conductor who led the organization for 30 years until his death in 2021 at 63 years old. In the coming months, Armstrong will relocate from Illinois, where he currently serves as the Knox-Galesburg Symphony’s creative partner and principal conductor.\u003c/p>\n\u003cp>Armstrong grew up in Georgetown, South Carolina and spent his young adulthood in Chicago, where his profile in the classical music world rose. Through the Lyric Opera of Chicago, where he has appeared as a conductor, he mentored high school students on the city’s Southside — a Black community with a rich culture and history that, like Oakland, is often maligned in the national press.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Washington Post\u003c/em> named Armstrong a\u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2022/01/22/2022-composers-up-and-coming/\"> conductor to watch\u003c/a> in 2022. In May 2023, he completed his graduate studies at the University of Colorado in Boulder, where he \u003ca href=\"https://www.cpr.org/2023/03/31/colorado-conductor-kedrick-armstrong-nourished-by-black-female-composers/\">researched Black women composers\u003c/a>, including some whose works had never been performed until he got his hands on their scores.\u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Armstrong has guest conducted at the Chicago Opera Theater, the Opera Theatre of St. Louis and three times at the Oakland Symphony. At his most recent Oakland appearance in February 2024, he led the orchestra in a world premiere of \u003ci>Here I Stand\u003c/i>, an oratorio by composer Carlos Simon and librettist Dan Harder about the remarkable life of Black actor, singer, athlete and activist \u003ca href=\"https://www.pbs.org/wnet/americanmasters/paul-robeson-about-the-actor/66/\">Paul Robeson\u003c/a>, who dedicated his life to anti-racist, anti-fascist movements.\u003c/p>\n\u003cp>“I had the opportunity to meet some audience members and community members in that time, and the way that they embraced me as a queer Black man from South Carolina — stepping into this new place was so special and so warming to me,” Armstrong says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Armstrong, something that sets the Oakland Symphony apart from other orchestras around the nation is that “they have this flexibility in their playing and this respect that they give to everything, from Mozart to MC Hammer,” he says. “And for me, as a conductor that loves all of these different genres and repertoires, knowing that I already have a group of colleagues who are so behind that idea, style and approach of playing is just a dream of possibilities.”\u003c/p>\n\u003cp>The Oakland Symphony has also had people of color in leadership roles for decades, while most orchestras only began conversations about race in earnest after the George Floyd protests of 2020. (Prior to Michael Morgan’s tenure, Calvin Simmons took the helm at the Oakland Symphony in 1979, becoming the first Black leader of a major U.S. orchestra.)\u003c/p>\n\u003cp>“The thing that inspires me the most, especially with the Oakland Symphony, is knowing that there’s a legacy to stand on,” says Armstrong. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Armstrong spurred diversity reforms at his undergraduate alma mater, Wheaton Conservatory, when he penned a \u003ca href=\"https://thewheatonrecord.com/2020/10/08/alumnis-open-letter-prompts-conservatory-changes-task-force-to-assess-diversity/\">widely circulated open letter\u003c/a> in 2020 calling for more diversity in its curriculum. Oakland Symphony’s music education programs, which serve 19,000 students every year, are particularly important to him. He remembers a time when he thought he had to give up his passion for gospel and jazz to be taken seriously as a classical musician. Now, at an organization that regularly blends genres, he wants to help foster an environment where young musicians, especially those of color, can be themselves.\u003c/p>\n\u003cp>“I’m constantly trying to figure out, how do we teach music with a person’s culture, with the music that they’re accustomed to?” he reflects. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Armstrong makes his first appearance on the Paramount Theatre’s podium as Oakland Symphony Music Director on Oct. 18, in a season kickoff that celebrates the 40th anniversary of the music nonprofit Living Jazz. The orchestra will perform music by Claude Debussy and Julia Perry — the first Black woman to have her work performed by the New York Philharmonic, in 1965 — alongside Living Jazz’s new commissions.\u003c/p>\n\u003cp>The wide-ranging season features titans of the classical music canon, including Bach, Rachmaninoff and Mussorgsky, as well as rising contemporary composers such as Shawn Okpebholo, an ethnomusicologist who studies the music of East and West Africa, and Alabama-born composer Brian Raphael Nabors, who’ll perform his own concerto for the Hammond organ. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While dreaming up future collaborations with jazz musicians and dance ensembles, Armstrong is excited to dive into Oakland’s culture when he moves here in late summer or early fall. A natural bridge builder, he spends his time cooking and hosting when he’s not at the podium. It’s only a matter of time before his Oakland kitchen table is filled with new connections who are just as community-oriented, curious and creative as he is.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think there is such an easy thing for me as an outsider to look at Oakland and to buy into the external pictures that people paint about Oakland, about crime, about poverty,” he says. “But every corner I turn around here, I can’t help but see the beauty that is uplifted by the community.”\u003c/p>\n\u003chr>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A group of artists who call themselves California Jewish Artists for Palestine have withdrawn their work from a group exhibition opening June 6 at San Francisco’s Contemporary Jewish Museum (CJM).\u003c/p>\n\u003cp>The artists’ decision came after disagreements with CJM leadership over sources of museum funding, as well as how their art would be contextualized in the exhibit \u003ca href=\"https://www.thecjm.org/upcoming_exhibitions\">\u003ci>California Jewish Open\u003c/i>\u003c/a>. The exhibition will now include a blank wall to symbolize the absence of the artists’ perspectives. Their action follows an international wave of pro-Palestinian protests at museums, including one where artists modified their own works at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">Yerba Buena Center for the Arts\u003c/a>, located directly across the street from CJM. [aside postid='arts_13952460,arts_13954119']\u003c/p>\n\u003cp>During the open call for \u003cem>California Jewish Open \u003c/em>late last year, Jewish artists Micah Bazant, Jules Cowan, Rebekah Erev, Rebecca Maria Goldschmidt, Steph Kudisch, Kate Laster, Ava Sayaka Rosen, Sophia Sobko, Arielle Tonkin and Irina Zadov submitted works with pro-Palestinian messages. They expected to be rejected. Instead, guest curator Elissa Strauss chose five of their works for the show, which centers on the theme of connection.\u003c/p>\n\u003cp>The California Jewish Artists for Palestine sent CJM leaders several demands, one of which was to divest from Israeli government funding sources and “pro-Israel philanthropic organizations, funders and board members.” Later, they called on CJM to join the Palestinian Academic and Cultural Boycott of Israel (PACBI), which aims to discourage international institutions from collaborating with Israeli institutions. PACBI is part of the \u003ca href=\"https://bdsmovement.net/what-is-bds\">Boycott, Divestment, Sanctions movement\u003c/a>, which calls for a boycott of Israel until it ends its occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands.\u003c/p>\n\u003cp>In an interview with KQED, Sobko said it would be hypocritical for the museum to feature art criticizing Israel’s bombardment of Gaza “while receiving funding that directly … facilitates the material oppression that we’re trying to raise awareness to stop.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sobko added, “I wish for some ethical clarity and backbone and courage.”\u003c/p>\n\u003cfigure id=\"attachment_13955608\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg\" alt='A spray painted background with brown, black and purple, overlaid with white letters that say \"CA Jewish Artists for Palestine.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kate Laster. ‘CA Jewish Artists for Palestine,’ 8″ x 8″, papercut and spray paint on paper, 2024 \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The photo piece that Sobko withdrew, \u003ci>The Four Mitzvot of the Queer Soviet Jewish Diaspora\u003c/i>, is a collaboration with Zadov and Aravah Berman-Mirkin under the name Krivoy Kolectiv. It features Ukrainian head scarves embroidered with four mitzvahs, or commandments, including one for a free Palestine.\u003c/p>\n\u003cp>CJM’s interim Executive Director Kerry King told artists it would not join PACBI. In a \u003ca href=\"https://bdsmovement.net/what-is-bds\">press release issued April 5\u003c/a>, the California Jewish Artists for Palestine raised the fact that CJM has previously received funding from the Israeli government. (King said CJM hasn’t received funding from the Consulate General of Israel or other Israeli organizations since 2021.)\u003c/p>\n\u003cp>Additionally, another museum funder, the Helen Diller Family Foundation, has been \u003ca href=\"https://forward.com/news/411355/revealed-canary-mission-blacklist-is-secretly-bankrolled-by-major-jewish/\">accused of funneling money into Canary Mission\u003c/a>, an organization known for doxxing anti-Zionist students and professors.\u003c/p>\n\u003cp>King said many of CJM’s donors have a variety of philanthropic projects that are out of CJM’s control. “We have donors who support the arts and support having a Jewish museum in San Francisco,” she told KQED. Because of these donors, added King, “We are able to do what we do. We’re able to continue to operate and have our doors open.”\u003c/p>\n\u003cfigure id=\"attachment_13955610\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening.jpeg\" alt=\"A photo of people looking into the distance while waving colorful flags.\" width=\"1100\" height=\"733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening.jpeg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-768x512.jpeg 768w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Ava Sayaka Rosen, Arielle Tonkin and collaborators. ‘Morocco to the Bay: A diasporic Prayerformance.’ \u003ccite>(M Fields. Albany, California, 2023.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another point of contention between California Jewish Artists for Palestine and museum leaders arose around the wall text that would have accompanied their artworks. Senior Curator Heidi Rabben told KQED that CJM was open to artists using the phrase “anti-Zionist” to describe their political stance, but the parties disagreed on how to contextualize the term, which means different things to different people.\u003c/p>\n\u003cp>In their list of demands, the artists wanted full control over wall text and the right to modify or withdraw their works at any time, which the museum refused. Rabben and King said they disagree with the artists’ characterization of this as censorship in their press release.\u003c/p>\n\u003cp>“We simply asked that they define what they meant in using [‘anti-Zionist’] and include that as well in the statement so that it was very clear,” Rabben said, noting that she respects the artists’ decision to withdraw their work. “What they meant by it, as we understood their work to be about, was not questioning the right of Israel to exist, but to say that they were envisioning Jewish futures outside of nationalism.”\u003c/p>\n\u003cp>Sobko said abstract debates about terminology distract from the real-life suffering of Palestinians.\u003c/p>\n\u003cp>“Zionism [is enacted] as a Jewish ethno-nation state. And then that creates an apartheid system against Palestinians,” Sobko said. “To me, anti-Zionism is … a refusal to create hierarchies of people within militarized nation states, in this case being Jewish supremacy. But I’m also against it on Turtle Island in the United States just as much.”\u003c/p>\n\u003cp>“This is about our Jewishness bringing us here, ethically, to stand up and say, ‘This is unacceptable,’” said fellow collective member Kate Laster, who withdrew a print reading, “No one is free in apartheid. Free Palestine. Solidarity is essential.”\u003c/p>\n\u003cp>“None of our consent can be manufactured to conflate any justification for apartheid, or genocide [of Palestinians],” Laster added.\u003c/p>\n\u003cfigure id=\"attachment_13955611\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg\" alt='A print that says \"No one is free in apartheid. Free Palestine. Solidarity is essential.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kate Laster. ‘Solidarity is Essential,’ 11″ x 17″, collagraph on paper, 2023. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another artist, Liat Berdugo, separately withdrew from \u003ci>California Jewish Open\u003c/i>, concerned that the exhibit wouldn’t sufficiently address what she describes as the Israeli government weaponizing Jewish grief after the Oct. 7 Hamas attacks to justify the killings and displacement of Palestinians. She said the language in CJM’s contract made her uneasy about whether the message of her work would be lost.\u003c/p>\n\u003cp>The multimedia work Berdugo withdrew, \u003ca href=\"https://www.liatberdugo.com/work/trees\">\u003ci>Seeing It For the Trees\u003c/i>\u003c/a>, examines an Israeli organization that plants trees under the guise of environmentalism. “But really a lot of it is greenwashing,” she said. “Planting forests over the ruins of Palestinian villages strategically to camouflage them … to claim lands that were Palestinian and make them public parks, which then are subject to different legal jurisdictions, and deny the right of return.”\u003c/p>\n\u003cp>The decision to withdraw from the show was difficult for Berdugo, because she specifically wanted a Jewish audience to see her piece. “I think these conversations are necessarily messy,” she said. “Is there a way to have these conversations not on the surface, but on a tectonic level, that identifies structures and systems?”\u003c/p>\n\u003cp>The California Jewish Artists for Palestine are in the early stages of organizing their own exhibition, and say they invite artists, Contemporary Jewish Museum staff and other creative professionals to join them.\u003c/p>\n\u003cp>Sobko describes the collective’s goals with a hopeful vision.\u003c/p>\n\u003cp>“[We’re] putting our energy toward creating something new, visible-izing our perspectives toward drawing that attention to Israeli settler colonialism, apartheid and, obviously, Palestinian resistance and resilience.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was updated to accurately reflect the California Jewish Artists for Palestine’s initial demands of the Contemporary Jewish Museum. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A group of artists who call themselves California Jewish Artists for Palestine have withdrawn their work from a group exhibition opening June 6 at San Francisco’s Contemporary Jewish Museum (CJM).\u003c/p>\n\u003cp>The artists’ decision came after disagreements with CJM leadership over sources of museum funding, as well as how their art would be contextualized in the exhibit \u003ca href=\"https://www.thecjm.org/upcoming_exhibitions\">\u003ci>California Jewish Open\u003c/i>\u003c/a>. The exhibition will now include a blank wall to symbolize the absence of the artists’ perspectives. Their action follows an international wave of pro-Palestinian protests at museums, including one where artists modified their own works at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">Yerba Buena Center for the Arts\u003c/a>, located directly across the street from CJM. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the open call for \u003cem>California Jewish Open \u003c/em>late last year, Jewish artists Micah Bazant, Jules Cowan, Rebekah Erev, Rebecca Maria Goldschmidt, Steph Kudisch, Kate Laster, Ava Sayaka Rosen, Sophia Sobko, Arielle Tonkin and Irina Zadov submitted works with pro-Palestinian messages. They expected to be rejected. Instead, guest curator Elissa Strauss chose five of their works for the show, which centers on the theme of connection.\u003c/p>\n\u003cp>The California Jewish Artists for Palestine sent CJM leaders several demands, one of which was to divest from Israeli government funding sources and “pro-Israel philanthropic organizations, funders and board members.” Later, they called on CJM to join the Palestinian Academic and Cultural Boycott of Israel (PACBI), which aims to discourage international institutions from collaborating with Israeli institutions. PACBI is part of the \u003ca href=\"https://bdsmovement.net/what-is-bds\">Boycott, Divestment, Sanctions movement\u003c/a>, which calls for a boycott of Israel until it ends its occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands.\u003c/p>\n\u003cp>In an interview with KQED, Sobko said it would be hypocritical for the museum to feature art criticizing Israel’s bombardment of Gaza “while receiving funding that directly … facilitates the material oppression that we’re trying to raise awareness to stop.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sobko added, “I wish for some ethical clarity and backbone and courage.”\u003c/p>\n\u003cfigure id=\"attachment_13955608\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg\" alt='A spray painted background with brown, black and purple, overlaid with white letters that say \"CA Jewish Artists for Palestine.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kate Laster. ‘CA Jewish Artists for Palestine,’ 8″ x 8″, papercut and spray paint on paper, 2024 \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The photo piece that Sobko withdrew, \u003ci>The Four Mitzvot of the Queer Soviet Jewish Diaspora\u003c/i>, is a collaboration with Zadov and Aravah Berman-Mirkin under the name Krivoy Kolectiv. It features Ukrainian head scarves embroidered with four mitzvahs, or commandments, including one for a free Palestine.\u003c/p>\n\u003cp>CJM’s interim Executive Director Kerry King told artists it would not join PACBI. In a \u003ca href=\"https://bdsmovement.net/what-is-bds\">press release issued April 5\u003c/a>, the California Jewish Artists for Palestine raised the fact that CJM has previously received funding from the Israeli government. (King said CJM hasn’t received funding from the Consulate General of Israel or other Israeli organizations since 2021.)\u003c/p>\n\u003cp>Additionally, another museum funder, the Helen Diller Family Foundation, has been \u003ca href=\"https://forward.com/news/411355/revealed-canary-mission-blacklist-is-secretly-bankrolled-by-major-jewish/\">accused of funneling money into Canary Mission\u003c/a>, an organization known for doxxing anti-Zionist students and professors.\u003c/p>\n\u003cp>King said many of CJM’s donors have a variety of philanthropic projects that are out of CJM’s control. “We have donors who support the arts and support having a Jewish museum in San Francisco,” she told KQED. Because of these donors, added King, “We are able to do what we do. We’re able to continue to operate and have our doors open.”\u003c/p>\n\u003cfigure id=\"attachment_13955610\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening.jpeg\" alt=\"A photo of people looking into the distance while waving colorful flags.\" width=\"1100\" height=\"733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening.jpeg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-768x512.jpeg 768w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Ava Sayaka Rosen, Arielle Tonkin and collaborators. ‘Morocco to the Bay: A diasporic Prayerformance.’ \u003ccite>(M Fields. Albany, California, 2023.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another point of contention between California Jewish Artists for Palestine and museum leaders arose around the wall text that would have accompanied their artworks. Senior Curator Heidi Rabben told KQED that CJM was open to artists using the phrase “anti-Zionist” to describe their political stance, but the parties disagreed on how to contextualize the term, which means different things to different people.\u003c/p>\n\u003cp>In their list of demands, the artists wanted full control over wall text and the right to modify or withdraw their works at any time, which the museum refused. Rabben and King said they disagree with the artists’ characterization of this as censorship in their press release.\u003c/p>\n\u003cp>“We simply asked that they define what they meant in using [‘anti-Zionist’] and include that as well in the statement so that it was very clear,” Rabben said, noting that she respects the artists’ decision to withdraw their work. “What they meant by it, as we understood their work to be about, was not questioning the right of Israel to exist, but to say that they were envisioning Jewish futures outside of nationalism.”\u003c/p>\n\u003cp>Sobko said abstract debates about terminology distract from the real-life suffering of Palestinians.\u003c/p>\n\u003cp>“Zionism [is enacted] as a Jewish ethno-nation state. And then that creates an apartheid system against Palestinians,” Sobko said. “To me, anti-Zionism is … a refusal to create hierarchies of people within militarized nation states, in this case being Jewish supremacy. But I’m also against it on Turtle Island in the United States just as much.”\u003c/p>\n\u003cp>“This is about our Jewishness bringing us here, ethically, to stand up and say, ‘This is unacceptable,’” said fellow collective member Kate Laster, who withdrew a print reading, “No one is free in apartheid. Free Palestine. Solidarity is essential.”\u003c/p>\n\u003cp>“None of our consent can be manufactured to conflate any justification for apartheid, or genocide [of Palestinians],” Laster added.\u003c/p>\n\u003cfigure id=\"attachment_13955611\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg\" alt='A print that says \"No one is free in apartheid. Free Palestine. Solidarity is essential.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kate Laster. ‘Solidarity is Essential,’ 11″ x 17″, collagraph on paper, 2023. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another artist, Liat Berdugo, separately withdrew from \u003ci>California Jewish Open\u003c/i>, concerned that the exhibit wouldn’t sufficiently address what she describes as the Israeli government weaponizing Jewish grief after the Oct. 7 Hamas attacks to justify the killings and displacement of Palestinians. She said the language in CJM’s contract made her uneasy about whether the message of her work would be lost.\u003c/p>\n\u003cp>The multimedia work Berdugo withdrew, \u003ca href=\"https://www.liatberdugo.com/work/trees\">\u003ci>Seeing It For the Trees\u003c/i>\u003c/a>, examines an Israeli organization that plants trees under the guise of environmentalism. “But really a lot of it is greenwashing,” she said. “Planting forests over the ruins of Palestinian villages strategically to camouflage them … to claim lands that were Palestinian and make them public parks, which then are subject to different legal jurisdictions, and deny the right of return.”\u003c/p>\n\u003cp>The decision to withdraw from the show was difficult for Berdugo, because she specifically wanted a Jewish audience to see her piece. “I think these conversations are necessarily messy,” she said. “Is there a way to have these conversations not on the surface, but on a tectonic level, that identifies structures and systems?”\u003c/p>\n\u003cp>The California Jewish Artists for Palestine are in the early stages of organizing their own exhibition, and say they invite artists, Contemporary Jewish Museum staff and other creative professionals to join them.\u003c/p>\n\u003cp>Sobko describes the collective’s goals with a hopeful vision.\u003c/p>\n\u003cp>“[We’re] putting our energy toward creating something new, visible-izing our perspectives toward drawing that attention to Israeli settler colonialism, apartheid and, obviously, Palestinian resistance and resilience.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to accurately reflect the California Jewish Artists for Palestine’s initial demands of the Contemporary Jewish Museum. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It wasn’t until we all shuffled down the stairs of the Fillmore, ears ringing from an epic two-hour Green Day set, sweat dripping off our shirts and the cold San Francisco night air hitting our bewildered faces, that I realized just what we’d all just witnessed. \u003c/p>\n\u003cp>After all, it’s not often that Green Day, who \u003ca href=\"https://greenday.com/tour\">headline a tour of huge baseball stadiums\u003c/a> later this summer, play a small show at a 1,300-capacity room like the Fillmore. Outside at the 8 p.m. showtime on Tuesday night, over a dozen people walked the sidewalk with hopeful signs: “Dad who needs 1 ticket,” “Name Your Price,” and “Help! Need a ticket to join my wife and 8-year-old stepson for the show… and it’s our wedding anniversary today! Please!!”\u003c/p>\n\u003cfigure id=\"attachment_13955324\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13955324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Christian Williams from San Leandro was one of many hopefuls outside the Green Day show at the Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who did get in, however, were treated to two hours of the Bay Area’s greatest rock ‘n’ roll export (sorry, Metallica), and at one of the country’s best venues, no less.\u003c/p>\n\u003cp>Here’s what I can say definitively. In the past 35 years — starting in 1989, yeesh — I’ve seen Green Day at youth centers, warehouses, house parties, high schools and Rotary Club halls. And though they know how to rock a stadium just fine, they always thrive in small spaces, face-to-face with the crowd and making the tiniest room feel like the entire universe. \u003c/p>\n\u003cfigure id=\"attachment_13955319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Fillmore show Tuesday night — a benefit for United Nations Human Rights climate justice initiatives and the Recording Academy’s MusiCares charity — was no exception. As Green Day \u003ca href=\"https://www.youtube.com/watch?v=Ecqil_eZgYs\">had announced\u003c/a> the day prior, they played the entirety of their new album \u003cem>Saviors\u003c/em>, and the entirety of their 2004 opus \u003cem>American Idiot\u003c/em>. Big, anthemic stuff. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But without needing to play to the nosebleed seats in Section 327 above third base, they were able to give focus to epic songs like “Jesus of Suburbia” and “Homecoming.” Dressed in a sport jacket and Cramps T-shirt, Billie Joe Armstrong didn’t have to engage in much rockstar cosplay — for a hometown crowd, he still felt like just plain Billie from Rodeo, who you might bump into at Winchell’s after the Corrupted Morals show at Gilman.\u003c/p>\n\u003cfigure id=\"attachment_13955317\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg\" alt=\"\" width=\"1280\" height=\"1920\" class=\"size-full wp-image-13955317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Mike Dirnt performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What was evident onstage — what he and Mike and Tré have picked up along the way since those early days — is not only a tight musicianship bordering on the miraculous, but a thespian’s skill for selling their songs and connecting with an audience.\u003c/p>\n\u003cp>[aside postID='arts_13950877']During the \u003cem>Saviors\u003c/em> track “Bobby Sox,” a fan in the second row waved a bisexual flag in fervent recognition of \u003ca href=\"https://americansongwriter.com/billie-joe-armstrong-opens-up-about-being-a-bisexual-icon-discusses-green-days-new-anthem-bobby-sox/\">the song’s love-who-you-want themes\u003c/a>. For “Father to a Son,” echoes were present of Armstrong’s son’s opening band, Ultra Q. Acknowledging the upcoming election that nobody wants to think about, during “Letterbomb,” Billie interjected, “Whose finger do you want to be on the nuclear bomb?!”\u003c/p>\n\u003cp>These sorts of things might come off as corny if they weren’t so sincere. Singing the final lines of the West Contra Costa anthem “Jesus of Suburbia,” about running away from the pain of a broken home, Billie appeared to briefly lose his voice; it was soon apparent that he was instead choking back tears.\u003c/p>\n\u003cfigure id=\"attachment_13955318\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This is how you do it\u003c/em>, Green Day seemed to say on Tuesday. \u003cem>Write songs about your turbulent life, find a supportive circle, stick with your convictions, play damn loud and sing even louder to anyone who’ll listen, in every city around the world, record an unrivaled catalog of songs, and then, when you’re too famous to do so, play at the Fillmore anyway, this place where you once \u003ca href=\"https://www.instagram.com/p/C5RvizvvnLI/\">saw the Replacements and the Church as a teenager and got stoned off a stranger’s joint\u003c/a>, and get out there on stage and scream from the monitors and leap unimaginably high into the air and play like your life depends on it because somewhere, out in the crowd, is another 15-year-old kid with disapproving parents who doesn’t fit in at school, and who needs the same thing you needed when you were baptized into the gospel of rock ‘n’ roll liberation. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13955322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Green Day performs at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show, out on the Fillmore overcrossing above Geary, was living proof of those types of kids: \u003ca href=\"https://www.facebook.com/people/Mary-Jane-Mafia/100086618806194/\">Mary Jane Mafia\u003c/a>, a Green Day tribute band from Fremont playing a pop-up show of covers like “Walking Contradiction” and “2,000 Light Years Away” on the sidewalk to a dancing group of onlookers and a few bemused cops. \u003c/p>\n\u003cp>See, they didn’t get in. They didn’t get to hear Green Day play new songs that have no business being as good as they are, like the \u003ca href=\"https://www.youtube.com/watch?v=UrkDYKwAN-o\">brutally honest\u003c/a> “Dilemma,” or jump in the pit for “St. Jimmy,” or sing along for the zillionth time to encore “Basket Case.” But what Green Day does is a thread, one that weaves from the Clash to the Replacements to Operation Ivy and onward to a thousand bands on sidewalks and in garages around the world. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So yeah — it was a show, but it was also a \u003cem>lineage\u003c/em>. I really wish you coulda seen it. \u003c/p>\n\n",
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"headline": "Live Review: Green Day Thrills the Fillmore In an Intimate Two-Hour Show",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It wasn’t until we all shuffled down the stairs of the Fillmore, ears ringing from an epic two-hour Green Day set, sweat dripping off our shirts and the cold San Francisco night air hitting our bewildered faces, that I realized just what we’d all just witnessed. \u003c/p>\n\u003cp>After all, it’s not often that Green Day, who \u003ca href=\"https://greenday.com/tour\">headline a tour of huge baseball stadiums\u003c/a> later this summer, play a small show at a 1,300-capacity room like the Fillmore. Outside at the 8 p.m. showtime on Tuesday night, over a dozen people walked the sidewalk with hopeful signs: “Dad who needs 1 ticket,” “Name Your Price,” and “Help! Need a ticket to join my wife and 8-year-old stepson for the show… and it’s our wedding anniversary today! Please!!”\u003c/p>\n\u003cfigure id=\"attachment_13955324\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13955324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Christian Williams from San Leandro was one of many hopefuls outside the Green Day show at the Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who did get in, however, were treated to two hours of the Bay Area’s greatest rock ‘n’ roll export (sorry, Metallica), and at one of the country’s best venues, no less.\u003c/p>\n\u003cp>Here’s what I can say definitively. In the past 35 years — starting in 1989, yeesh — I’ve seen Green Day at youth centers, warehouses, house parties, high schools and Rotary Club halls. And though they know how to rock a stadium just fine, they always thrive in small spaces, face-to-face with the crowd and making the tiniest room feel like the entire universe. \u003c/p>\n\u003cfigure id=\"attachment_13955319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Fillmore show Tuesday night — a benefit for United Nations Human Rights climate justice initiatives and the Recording Academy’s MusiCares charity — was no exception. As Green Day \u003ca href=\"https://www.youtube.com/watch?v=Ecqil_eZgYs\">had announced\u003c/a> the day prior, they played the entirety of their new album \u003cem>Saviors\u003c/em>, and the entirety of their 2004 opus \u003cem>American Idiot\u003c/em>. Big, anthemic stuff. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But without needing to play to the nosebleed seats in Section 327 above third base, they were able to give focus to epic songs like “Jesus of Suburbia” and “Homecoming.” Dressed in a sport jacket and Cramps T-shirt, Billie Joe Armstrong didn’t have to engage in much rockstar cosplay — for a hometown crowd, he still felt like just plain Billie from Rodeo, who you might bump into at Winchell’s after the Corrupted Morals show at Gilman.\u003c/p>\n\u003cfigure id=\"attachment_13955317\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg\" alt=\"\" width=\"1280\" height=\"1920\" class=\"size-full wp-image-13955317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Mike Dirnt performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What was evident onstage — what he and Mike and Tré have picked up along the way since those early days — is not only a tight musicianship bordering on the miraculous, but a thespian’s skill for selling their songs and connecting with an audience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During the \u003cem>Saviors\u003c/em> track “Bobby Sox,” a fan in the second row waved a bisexual flag in fervent recognition of \u003ca href=\"https://americansongwriter.com/billie-joe-armstrong-opens-up-about-being-a-bisexual-icon-discusses-green-days-new-anthem-bobby-sox/\">the song’s love-who-you-want themes\u003c/a>. For “Father to a Son,” echoes were present of Armstrong’s son’s opening band, Ultra Q. Acknowledging the upcoming election that nobody wants to think about, during “Letterbomb,” Billie interjected, “Whose finger do you want to be on the nuclear bomb?!”\u003c/p>\n\u003cp>These sorts of things might come off as corny if they weren’t so sincere. Singing the final lines of the West Contra Costa anthem “Jesus of Suburbia,” about running away from the pain of a broken home, Billie appeared to briefly lose his voice; it was soon apparent that he was instead choking back tears.\u003c/p>\n\u003cfigure id=\"attachment_13955318\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This is how you do it\u003c/em>, Green Day seemed to say on Tuesday. \u003cem>Write songs about your turbulent life, find a supportive circle, stick with your convictions, play damn loud and sing even louder to anyone who’ll listen, in every city around the world, record an unrivaled catalog of songs, and then, when you’re too famous to do so, play at the Fillmore anyway, this place where you once \u003ca href=\"https://www.instagram.com/p/C5RvizvvnLI/\">saw the Replacements and the Church as a teenager and got stoned off a stranger’s joint\u003c/a>, and get out there on stage and scream from the monitors and leap unimaginably high into the air and play like your life depends on it because somewhere, out in the crowd, is another 15-year-old kid with disapproving parents who doesn’t fit in at school, and who needs the same thing you needed when you were baptized into the gospel of rock ‘n’ roll liberation. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13955322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Green Day performs at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show, out on the Fillmore overcrossing above Geary, was living proof of those types of kids: \u003ca href=\"https://www.facebook.com/people/Mary-Jane-Mafia/100086618806194/\">Mary Jane Mafia\u003c/a>, a Green Day tribute band from Fremont playing a pop-up show of covers like “Walking Contradiction” and “2,000 Light Years Away” on the sidewalk to a dancing group of onlookers and a few bemused cops. \u003c/p>\n\u003cp>See, they didn’t get in. They didn’t get to hear Green Day play new songs that have no business being as good as they are, like the \u003ca href=\"https://www.youtube.com/watch?v=UrkDYKwAN-o\">brutally honest\u003c/a> “Dilemma,” or jump in the pit for “St. Jimmy,” or sing along for the zillionth time to encore “Basket Case.” But what Green Day does is a thread, one that weaves from the Clash to the Replacements to Operation Ivy and onward to a thousand bands on sidewalks and in garages around the world. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So yeah — it was a show, but it was also a \u003cem>lineage\u003c/em>. I really wish you coulda seen it. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Workers at Oakland’s Creative Growth Form a Union",
"headTitle": "Workers at Oakland’s Creative Growth Form a Union | KQED",
"content": "\u003cp>Only four months in, 2024 is turning into a banner year for organizing in the Bay Area arts world. Just weeks after OMCA Workers United received \u003ca href=\"https://www.kqed.org/arts/13954144/omca-voluntarily-recognizes-union-of-omca-workers-united\">voluntary recognition of their union\u003c/a> from the Oakland Museum of California, staff at the Oakland arts center \u003ca href=\"https://creativegrowth.org/\">Creative Growth\u003c/a> are asking for the same.\u003c/p>\n\u003cp>[aside postID='arts_13954144,arts_13951003']Creative Growth United, also affiliated with the American Federation of State, County and Municipal Employees (AFSCME) Council 57, would cover an estimated 34 workers, including art facilitators and instructors, program coordinators, gallery staff and other direct-service providers. The union would represent around 85% of Creative Growth employees.\u003c/p>\n\u003cp>Founded 50 years ago, Creative Growth was created by Elias Katz and Florence Ludins-Katz to support artists with disabilities, many of them newly deinstitutionalized from California hospitals. Today, the nonprofit is the city’s second-largest arts organization, working with over 140 artists in a variety of media; providing artistic support, materials and space; mounting exhibitions; and facilitating both loans and sales.\u003c/p>\n\u003cp>The union delivered their letter by email to Interim Executive Director Tom di Maria and the Creative Growth Board of Trustees on Tuesday morning, requesting voluntary recognition. “I want to express our positive stance towards our staff’s desire to form a union,” di Maria wrote in an email to KQED. “We learned of this development just hours ago and have already reached out to the union to initiate a conversation. We are currently awaiting their response. I believe that this step reflects our collective commitment to fostering an open, respectful, and supportive work environment.” \u003c/p>\n\u003cfigure id=\"attachment_13954784\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED.jpg\" alt=\"Hand holding red hair dryer over navy shirt with hand drawn logo\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Creative Growth’s Jim McAuley dries a screen-printed Creative Growth United shirt during a pre-announcement print party. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In December 2023, 34 staff members signed a letter to Creative Growth expressing concern over the organization’s hiring practices. “Most recently, a management position was created and filled without our being aware of any outreach or equitable process, or even the fact that this position existed,” the letter reads, warning of the pitfalls of hiring friends, partners or people from “our usual circles.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Creative Growth’s previous executive director, Ginger Shulick Porcella, left in January 2024, after just a year in the position.\u003c/p>\n\u003cp>Ariel Cooper, who has worked at Creative Growth for just over a year, was one of the first people to join the organizing effort. “I had only been working there for a few months, but it was pretty clear that there was a lot of chaos,” she says. “There had been a lot of turnover at the managerial and directorial level over the last several years.”\u003c/p>\n\u003cp>Among the issues the union will bring to the bargaining table are “more equitable hiring and pay practices” and standardized benefits, today’s letter states.\u003c/p>\n\u003cp>“So much of hiring stems from volunteering — so, free labor — and really low-paid substituting,” says Soph Alvarez, who speaks from direct experience of this path to full-time employment. “Either you have to sacrifice your financial stability, or you simply just have the means, and it changes the demographics of who can work there.”\u003c/p>\n\u003cfigure id=\"attachment_13954782\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954782\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED.jpg\" alt=\"two people lean over screen as one of them pulls ink down in busy shop\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Creative Growth’s Steph Kudisch, center, demonstrates screen printing to Daisy Jaberi, right, as Creative Growth United members gear up for the announcement of their union. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At stake, Alvarez says, is Creative Growth’s ability to represent the diversity of Oakland’s community and its artists.\u003c/p>\n\u003cp>Raising wages, both Alvarez and Cooper note, can also create stability for the artists, who form close bonds with instructors and facilitators. “Turnover really impacts the artists,” Alvarez says. “It can be really dysregulating, and it can really shake them up when people leave.”\u003c/p>\n\u003cp>In addition to tangible points like staff and artist representation on the board, the union aims to negotiate based on the principles of disability justice; the Boycott, Divestment, Sanctions (BDS) movement; and the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI).\u003c/p>\n\u003cp>Creative Growth workers recently joined staff at Richmond’s NIAD (Nurturing Independence through Artistic Development) and San Francisco’s Creativity Explored to form \u003ca href=\"https://www.instagram.com/pass_for_a_free_palestine/\">Progressive Art Studio Staff for a Free Palestine\u003c/a> (PASS), which calls for a permanent ceasefire in Gaza.\u003c/p>\n\u003cfigure id=\"attachment_13954780\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED.jpg\" alt=\"Red and purple buttons in a pile\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Freshly made Creative Growth United pins sit on a table at Art Hazelwood’s studio in Richmond. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The union announcement comes at a high profile time for the organization. \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/creative-growth-the-house-that-art-built/\">Creative Growth: The House That Art Built\u003c/a>\u003c/i>, opens at the San Francisco Museum of Modern Art on April 6, along with a mural by Creative Growth artist William Scott. Last fall, SFMOMA announced the acquisition of over 100 works by artists associated with Creative Growth in an “unprecedented partnership.”\u003c/p>\n\u003cp>Union members will hold a “solidarity rally” outside the museum during the April 6 opening, distributing “We Support Creative Growth United” pins and other symbols of support.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s really important for us to recognize the achievement that Creative Growth has been around for 50 years,” Alvarez says. “Hopefully through this union, we can make it last another 50.”\u003c/p>\n\n",
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"excerpt": "Creative Growth, which serves artist with disabilities, is Oakland’s second-largest arts organization.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Only four months in, 2024 is turning into a banner year for organizing in the Bay Area arts world. Just weeks after OMCA Workers United received \u003ca href=\"https://www.kqed.org/arts/13954144/omca-voluntarily-recognizes-union-of-omca-workers-united\">voluntary recognition of their union\u003c/a> from the Oakland Museum of California, staff at the Oakland arts center \u003ca href=\"https://creativegrowth.org/\">Creative Growth\u003c/a> are asking for the same.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Creative Growth United, also affiliated with the American Federation of State, County and Municipal Employees (AFSCME) Council 57, would cover an estimated 34 workers, including art facilitators and instructors, program coordinators, gallery staff and other direct-service providers. The union would represent around 85% of Creative Growth employees.\u003c/p>\n\u003cp>Founded 50 years ago, Creative Growth was created by Elias Katz and Florence Ludins-Katz to support artists with disabilities, many of them newly deinstitutionalized from California hospitals. Today, the nonprofit is the city’s second-largest arts organization, working with over 140 artists in a variety of media; providing artistic support, materials and space; mounting exhibitions; and facilitating both loans and sales.\u003c/p>\n\u003cp>The union delivered their letter by email to Interim Executive Director Tom di Maria and the Creative Growth Board of Trustees on Tuesday morning, requesting voluntary recognition. “I want to express our positive stance towards our staff’s desire to form a union,” di Maria wrote in an email to KQED. “We learned of this development just hours ago and have already reached out to the union to initiate a conversation. We are currently awaiting their response. I believe that this step reflects our collective commitment to fostering an open, respectful, and supportive work environment.” \u003c/p>\n\u003cfigure id=\"attachment_13954784\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED.jpg\" alt=\"Hand holding red hair dryer over navy shirt with hand drawn logo\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Creative Growth’s Jim McAuley dries a screen-printed Creative Growth United shirt during a pre-announcement print party. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In December 2023, 34 staff members signed a letter to Creative Growth expressing concern over the organization’s hiring practices. “Most recently, a management position was created and filled without our being aware of any outreach or equitable process, or even the fact that this position existed,” the letter reads, warning of the pitfalls of hiring friends, partners or people from “our usual circles.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Creative Growth’s previous executive director, Ginger Shulick Porcella, left in January 2024, after just a year in the position.\u003c/p>\n\u003cp>Ariel Cooper, who has worked at Creative Growth for just over a year, was one of the first people to join the organizing effort. “I had only been working there for a few months, but it was pretty clear that there was a lot of chaos,” she says. “There had been a lot of turnover at the managerial and directorial level over the last several years.”\u003c/p>\n\u003cp>Among the issues the union will bring to the bargaining table are “more equitable hiring and pay practices” and standardized benefits, today’s letter states.\u003c/p>\n\u003cp>“So much of hiring stems from volunteering — so, free labor — and really low-paid substituting,” says Soph Alvarez, who speaks from direct experience of this path to full-time employment. “Either you have to sacrifice your financial stability, or you simply just have the means, and it changes the demographics of who can work there.”\u003c/p>\n\u003cfigure id=\"attachment_13954782\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954782\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED.jpg\" alt=\"two people lean over screen as one of them pulls ink down in busy shop\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Creative Growth’s Steph Kudisch, center, demonstrates screen printing to Daisy Jaberi, right, as Creative Growth United members gear up for the announcement of their union. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At stake, Alvarez says, is Creative Growth’s ability to represent the diversity of Oakland’s community and its artists.\u003c/p>\n\u003cp>Raising wages, both Alvarez and Cooper note, can also create stability for the artists, who form close bonds with instructors and facilitators. “Turnover really impacts the artists,” Alvarez says. “It can be really dysregulating, and it can really shake them up when people leave.”\u003c/p>\n\u003cp>In addition to tangible points like staff and artist representation on the board, the union aims to negotiate based on the principles of disability justice; the Boycott, Divestment, Sanctions (BDS) movement; and the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI).\u003c/p>\n\u003cp>Creative Growth workers recently joined staff at Richmond’s NIAD (Nurturing Independence through Artistic Development) and San Francisco’s Creativity Explored to form \u003ca href=\"https://www.instagram.com/pass_for_a_free_palestine/\">Progressive Art Studio Staff for a Free Palestine\u003c/a> (PASS), which calls for a permanent ceasefire in Gaza.\u003c/p>\n\u003cfigure id=\"attachment_13954780\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED.jpg\" alt=\"Red and purple buttons in a pile\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Freshly made Creative Growth United pins sit on a table at Art Hazelwood’s studio in Richmond. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The union announcement comes at a high profile time for the organization. \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/creative-growth-the-house-that-art-built/\">Creative Growth: The House That Art Built\u003c/a>\u003c/i>, opens at the San Francisco Museum of Modern Art on April 6, along with a mural by Creative Growth artist William Scott. Last fall, SFMOMA announced the acquisition of over 100 works by artists associated with Creative Growth in an “unprecedented partnership.”\u003c/p>\n\u003cp>Union members will hold a “solidarity rally” outside the museum during the April 6 opening, distributing “We Support Creative Growth United” pins and other symbols of support.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s really important for us to recognize the achievement that Creative Growth has been around for 50 years,” Alvarez says. “Hopefully through this union, we can make it last another 50.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Betty Reid Soskin’s Incredible Life Comes to the Stage in ‘Sign My Name to Freedom’",
"headTitle": "Betty Reid Soskin’s Incredible Life Comes to the Stage in ‘Sign My Name to Freedom’ | KQED",
"content": "\u003cfigure id=\"attachment_13955111\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The four Betty Reid Soskins of ‘Sign My Name to Freedom’ (L–R): Cathleen Riddley, Aidaa Peerzada, Lucca Troutman and Tierra Allen. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not one, not two, but four different Betty Reid Soskins take the stage in \u003cem>Sign My Name to Freedom\u003c/em>, the world-premiere play that opened in San Francisco Friday night. And honestly, four still seems inadequate for its fascinating, multifaceted subject.\u003c/p>\n\u003cp>As this excellent and affecting production demonstrates, \u003ca href=\"https://www.kqed.org/news/tag/betty-reid-soskin\">Betty Reid Soskin\u003c/a>, the woman best known as a \u003ca href=\"https://www.kqed.org/news/11914312/betty-reid-soskin-at-100-the-life-of-the-nations-oldest-park-ranger-in-her-own-words\">park ranger\u003c/a> at Richmond’s \u003ca href=\"https://www.nps.gov/rori/index.htm\">Rosie the Riveter National Historic Park\u003c/a>, has lived at least a dozen lives, if not more. Hers is a quintessentially Bay Area story, encompassing the Great Migration, grassroots arts and political activism, experiences of thinly veiled liberal racism, the independent hustle, the trap of the suburbs, dancing the pain away and, yes, doom-loop crime. \u003c/p>\n\u003cfigure id=\"attachment_13955110\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Little Betty (Tierra Allen) learns where life will take her from the 95-year-old Betty Reid Soskin (Cathleen Riddley) in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The play opens with a robber breaking into the modest apartment of Soskin (Cathleen Riddley) who, at 95 years of age, adroitly fends him off. Her stocktaking of stolen items with her fellow park ranger friend Renee (Jasmine Milan Williams) turns into an inventory of her life. Soon, Little Betty (Tierra Allen) shows up for a reenactment, replete with billowy blue fabric and aerial dancers, of the hurricane of 1927 that blew Soskin’s family all the way from New Orleans to Oakland.\u003c/p>\n\u003cp>Little Betty and older Betty begin talking, in awe of each other: Little Betty for the places she’ll go, and older Betty for where she’s been. Throughout the mostly chronological telling of Soskin’s life, playing out like a beautifully written memoir on the stage, we meet two more Soskins. There’s Married Betty, who overcomes constant challenges, and, occupying much of Act Two, the songwriting, speech-delivering Revolutionary Betty. \u003c/p>\n\u003cfigure id=\"attachment_13955115\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Lucca Troutman (Revolutionary Betty), Cathleen Riddley (Betty Reid Soskin), Tierra Allen (Little Betty) and Aidaa Peerzada (Married Betty) in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s an achievement by playwright Michael Gene Sullivan and director Elizabeth Carter that this approach doesn’t get too crowded, or confuse the audience. By the end of the play, when these four Bettys have told Soskin’s remarkable story, their group conversation arrives at a mutual understanding of a life and what it’s lived for. Sullivan’s dialogue is smart but not showy, thoughtfully considered and frequently very funny. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13952570']As Soskin, Riddley has her work cut out for her. Assessing her 95 years, she movingly retells prior challenges and regrets while standing strong. Allen starts out with a bit of childhood overplaying for Little Betty, but grows into the indispensable role. \u003c/p>\n\u003cp>Married Betty (Aidaa Peerzada) faces the most ups and downs, marrying music impresario Mel Reid, adopting one child and having three more, and raising them while running the family record store, \u003ca href=\"https://www.kqed.org/arts/13850266/reids-records-berkeley-gospel-mainstay-to-close-after-75-years\">Reid’s Records\u003c/a> (if you thought Too Short was the first to sell records out of the trunk, think again). Married Betty moves to Walnut Creek and fights in vain at a school board meeting to change its white supremacist culture, and eventually divorces after Mel blows their money on gambling and other women. \u003c/p>\n\u003cfigure id=\"attachment_13955117\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Jeremy Brooks (Dancer/Ensemble), Marc Cunanan Chappelle (Dancer/Ensemble), Veronica Blair (Aerialist/Dancer), Nina Sawant (Aerialist/Dancer), Ahja Henry (Dance Captain/Dancer/Ensemble) and Markaila Dyson (Dancer/Ensemble) dance at a house party in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter Revolutionary Betty (Lucca Troutman), who stands on Soskin’s kitchen table to announce her new identity: folk singing Civil Rights activist. When Married Betty explains that she moved to Walnut Creek for her family, Revolutionary Betty retorts: “If you gave a damn about your family, you wouldn’t’ve moved them out here with all these threaten-to-burn-your-house-down-’cause-they’re-suburban-crackers in the first place!”\u003c/p>\n\u003cp>Soskin’s songs — \u003ca href=\"https://www.kqed.org/arts/13952570/betty-reid-soskin-music-documentary-sign-my-name-to-freedom\">recently unearthed on reel-to-reel tapes\u003c/a> stored in a box for decades — address police brutality, Black identity, and the spate of church burnings in the South, with shades of Odetta and Nina Simone. After we learn that Soskin stops writing songs amid the crack epidemic in order to save the family record store, we hear one of her most beautiful compositions, with complex jazz chords played on guitar by Troutman.\u003c/p>\n\u003cfigure id=\"attachment_13955118\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lucca Troutman (Revolutionary Betty) plays and sings an original song by Betty Reid Soskin as Tierra Allen (Little Betty) listens in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Additional songs by the show’s music director Daniel Savio propel scenes of tragedy and joy. A lonely saxophone soundtracks a ship explosion in \u003ca href=\"https://www.kqed.org/news/142082/how-a-deadly-explosion-70-years-ago-led-to-integrating-the-navy\">Port Chicago\u003c/a> that kills 320 people, including the predominantly Black servicemen chosen to handle dangerous ammunition and torpedoes. And an upbeat jazz number enlivens a house party that allows Laura Elaine Ellis’ choreography, and standout dancers Ahja Henry and Marc Cunanan Chappelle, to shine. \u003c/p>\n\u003cp>If anyone out there wants to throw a million dollars at this play, please do; a higher production budget could give it the polish it deserves. Mikiko Uesugi’s set design is sparse, just a bed, dresser, table and door, and the offstage band does an able job with the constraints of their size. Both should have more texture. Especially because, aside from a recurring, not-fully-fleshed-out thread involving Soskin’s son David (and a tad too much interpretive aerial dance for my personal tastes), the play itself is nearly flawless. \u003c/p>\n\u003cfigure id=\"attachment_13955114\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jeremy Brooks (Dancer/Ensemble), Ahja Henry (Dance Captain/Dancer/Ensemble), Veronica Blair (Aerialist/Dancer), Aidaa Peerzada (Married Betty), Marc Cunanan Chappelle (Dancer/Ensemble), Tierra Allen (Little Betty), William Brewton Fowler Jr. (Aerialist/Dancer), Nina Sawant (Aerialist/Dancer) and Lucca Troutman (Revolutionary Betty) in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A key moment comes early, when the \u003cem>San Francisco Chronicle\u003c/em> calls the apartment, hearing of the break-in and wanting to include Soskin in a story about the uptick in Bay Area crime. “No,” Soskin says, dreaming aloud of the day the newspaper calls instead to talk about harmful toxins in Richmond’s air and water, or the income inequality between the hills and the flatlands. \u003c/p>\n\u003cp>Soskin didn’t wait for the call. She told her own story, her way. With skill and heart, \u003cem>Sign My Name to Freedom\u003c/em> brings it to a new audience that should leave the theater like I did: inspired.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Sign My Name to Freedom’ runs at Z Space (450 Florida St., San Francisco) through April 13. Tickets and details here. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The tremendous new play about Richmond’s most famous park ranger doubles as a history of the Bay Area itself.",
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"description": "The tremendous new play about Richmond’s most famous park ranger doubles as a history of the Bay Area itself.",
"title": "Betty Reid Soskin’s Incredible Life Comes to the Stage in ‘Sign My Name to Freedom’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955111\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The four Betty Reid Soskins of ‘Sign My Name to Freedom’ (L–R): Cathleen Riddley, Aidaa Peerzada, Lucca Troutman and Tierra Allen. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not one, not two, but four different Betty Reid Soskins take the stage in \u003cem>Sign My Name to Freedom\u003c/em>, the world-premiere play that opened in San Francisco Friday night. And honestly, four still seems inadequate for its fascinating, multifaceted subject.\u003c/p>\n\u003cp>As this excellent and affecting production demonstrates, \u003ca href=\"https://www.kqed.org/news/tag/betty-reid-soskin\">Betty Reid Soskin\u003c/a>, the woman best known as a \u003ca href=\"https://www.kqed.org/news/11914312/betty-reid-soskin-at-100-the-life-of-the-nations-oldest-park-ranger-in-her-own-words\">park ranger\u003c/a> at Richmond’s \u003ca href=\"https://www.nps.gov/rori/index.htm\">Rosie the Riveter National Historic Park\u003c/a>, has lived at least a dozen lives, if not more. Hers is a quintessentially Bay Area story, encompassing the Great Migration, grassroots arts and political activism, experiences of thinly veiled liberal racism, the independent hustle, the trap of the suburbs, dancing the pain away and, yes, doom-loop crime. \u003c/p>\n\u003cfigure id=\"attachment_13955110\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Little Betty (Tierra Allen) learns where life will take her from the 95-year-old Betty Reid Soskin (Cathleen Riddley) in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The play opens with a robber breaking into the modest apartment of Soskin (Cathleen Riddley) who, at 95 years of age, adroitly fends him off. Her stocktaking of stolen items with her fellow park ranger friend Renee (Jasmine Milan Williams) turns into an inventory of her life. Soon, Little Betty (Tierra Allen) shows up for a reenactment, replete with billowy blue fabric and aerial dancers, of the hurricane of 1927 that blew Soskin’s family all the way from New Orleans to Oakland.\u003c/p>\n\u003cp>Little Betty and older Betty begin talking, in awe of each other: Little Betty for the places she’ll go, and older Betty for where she’s been. Throughout the mostly chronological telling of Soskin’s life, playing out like a beautifully written memoir on the stage, we meet two more Soskins. There’s Married Betty, who overcomes constant challenges, and, occupying much of Act Two, the songwriting, speech-delivering Revolutionary Betty. \u003c/p>\n\u003cfigure id=\"attachment_13955115\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Lucca Troutman (Revolutionary Betty), Cathleen Riddley (Betty Reid Soskin), Tierra Allen (Little Betty) and Aidaa Peerzada (Married Betty) in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s an achievement by playwright Michael Gene Sullivan and director Elizabeth Carter that this approach doesn’t get too crowded, or confuse the audience. By the end of the play, when these four Bettys have told Soskin’s remarkable story, their group conversation arrives at a mutual understanding of a life and what it’s lived for. Sullivan’s dialogue is smart but not showy, thoughtfully considered and frequently very funny. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As Soskin, Riddley has her work cut out for her. Assessing her 95 years, she movingly retells prior challenges and regrets while standing strong. Allen starts out with a bit of childhood overplaying for Little Betty, but grows into the indispensable role. \u003c/p>\n\u003cp>Married Betty (Aidaa Peerzada) faces the most ups and downs, marrying music impresario Mel Reid, adopting one child and having three more, and raising them while running the family record store, \u003ca href=\"https://www.kqed.org/arts/13850266/reids-records-berkeley-gospel-mainstay-to-close-after-75-years\">Reid’s Records\u003c/a> (if you thought Too Short was the first to sell records out of the trunk, think again). Married Betty moves to Walnut Creek and fights in vain at a school board meeting to change its white supremacist culture, and eventually divorces after Mel blows their money on gambling and other women. \u003c/p>\n\u003cfigure id=\"attachment_13955117\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Jeremy Brooks (Dancer/Ensemble), Marc Cunanan Chappelle (Dancer/Ensemble), Veronica Blair (Aerialist/Dancer), Nina Sawant (Aerialist/Dancer), Ahja Henry (Dance Captain/Dancer/Ensemble) and Markaila Dyson (Dancer/Ensemble) dance at a house party in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter Revolutionary Betty (Lucca Troutman), who stands on Soskin’s kitchen table to announce her new identity: folk singing Civil Rights activist. When Married Betty explains that she moved to Walnut Creek for her family, Revolutionary Betty retorts: “If you gave a damn about your family, you wouldn’t’ve moved them out here with all these threaten-to-burn-your-house-down-’cause-they’re-suburban-crackers in the first place!”\u003c/p>\n\u003cp>Soskin’s songs — \u003ca href=\"https://www.kqed.org/arts/13952570/betty-reid-soskin-music-documentary-sign-my-name-to-freedom\">recently unearthed on reel-to-reel tapes\u003c/a> stored in a box for decades — address police brutality, Black identity, and the spate of church burnings in the South, with shades of Odetta and Nina Simone. After we learn that Soskin stops writing songs amid the crack epidemic in order to save the family record store, we hear one of her most beautiful compositions, with complex jazz chords played on guitar by Troutman.\u003c/p>\n\u003cfigure id=\"attachment_13955118\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lucca Troutman (Revolutionary Betty) plays and sings an original song by Betty Reid Soskin as Tierra Allen (Little Betty) listens in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Additional songs by the show’s music director Daniel Savio propel scenes of tragedy and joy. A lonely saxophone soundtracks a ship explosion in \u003ca href=\"https://www.kqed.org/news/142082/how-a-deadly-explosion-70-years-ago-led-to-integrating-the-navy\">Port Chicago\u003c/a> that kills 320 people, including the predominantly Black servicemen chosen to handle dangerous ammunition and torpedoes. And an upbeat jazz number enlivens a house party that allows Laura Elaine Ellis’ choreography, and standout dancers Ahja Henry and Marc Cunanan Chappelle, to shine. \u003c/p>\n\u003cp>If anyone out there wants to throw a million dollars at this play, please do; a higher production budget could give it the polish it deserves. Mikiko Uesugi’s set design is sparse, just a bed, dresser, table and door, and the offstage band does an able job with the constraints of their size. Both should have more texture. Especially because, aside from a recurring, not-fully-fleshed-out thread involving Soskin’s son David (and a tad too much interpretive aerial dance for my personal tastes), the play itself is nearly flawless. \u003c/p>\n\u003cfigure id=\"attachment_13955114\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jeremy Brooks (Dancer/Ensemble), Ahja Henry (Dance Captain/Dancer/Ensemble), Veronica Blair (Aerialist/Dancer), Aidaa Peerzada (Married Betty), Marc Cunanan Chappelle (Dancer/Ensemble), Tierra Allen (Little Betty), William Brewton Fowler Jr. (Aerialist/Dancer), Nina Sawant (Aerialist/Dancer) and Lucca Troutman (Revolutionary Betty) in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A key moment comes early, when the \u003cem>San Francisco Chronicle\u003c/em> calls the apartment, hearing of the break-in and wanting to include Soskin in a story about the uptick in Bay Area crime. “No,” Soskin says, dreaming aloud of the day the newspaper calls instead to talk about harmful toxins in Richmond’s air and water, or the income inequality between the hills and the flatlands. \u003c/p>\n\u003cp>Soskin didn’t wait for the call. She told her own story, her way. With skill and heart, \u003cem>Sign My Name to Freedom\u003c/em> brings it to a new audience that should leave the theater like I did: inspired.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sign My Name to Freedom’ runs at Z Space (450 Florida St., San Francisco) through April 13. Tickets and details here. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last week, San Francisco’s city auditor released a \u003ca href=\"https://www.sf.gov/sites/default/files/2024-03/OCII-RED%20The%20Mexican%20Museum%20Audit%20-%20Final%20Report%2003.21.24.pdf\">bombshell report\u003c/a> on San Francisco’s \u003ca href=\"https://www.mexicanmuseum.org/\">Mexican Museum\u003c/a>, claiming the 49-year-old nonprofit has misused city grant funds and made little progress on fundraising to reopen.\u003c/p>\n\u003cp>The museum, meanwhile, says it “respectfully disagrees with much of the purported conclusions.” \u003c/p>\n\u003cp>To even an average observer, the Mexican Museum has had noticeable troubles. It has been without a director since 2015, and without a home since 2018, when it left Fort Mason Center after falling behind on rent. Its new building at the corner of Third and Mission, adjacent to the Contemporary Jewish Museum, SFMOMA and other cultural institutions, remains empty. \u003c/p>\n\u003cp>The audit’s findings, based on a yearlong investigation requested by Supervisor Aaron Peskin, raise questions about the museum’s ability to fundraise for or manage planned interior improvements at 706 Mission St., a city-owned space at the base of a luxury condo building. \u003c/p>\n\u003cp>Despite the findings, and a subsequent \u003ca href=\"https://www.sfchronicle.com/sf/article/s-f-mexican-museum-audit-19324002.php\">\u003ci>San Francisco Chronicle\u003c/i> story\u003c/a>, the museum, currently without dedicated fundraising staff, is determined to open the first phase of its space by the end of 2025. To do so, its board chair Andrew M. Kluger said in an interview with KQED, requires the cooperation of the city. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Supporting and clearing a path for the museum is a no-brainer for the city,” board secretary Xóchitl Castañeda told KQED. “It’s going to be a win-win situation.”\u003c/p>\n\u003cfigure id=\"attachment_13955001\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05.jpg\" alt=\"\" width=\"1500\" height=\"1000\" class=\"size-full wp-image-13955001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the Mexican Museum’s planned interior improvements. \u003ccite>(Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The history of the Mexican Museum’s move downtown\u003c/h2>\n\u003cp>The Mexican Museum was founded in 1975 at the corner of Folsom and 15th Streets by the late artist Peter Rodriguez. In 1982, it moved to Fort Mason Center, where it remained for 36 years, amassing a collection of over 16,500 objects, mostly through donations. \u003c/p>\n\u003cp>Museum holdings span 2,500 years of history, from pre-Hispanic objects to contemporary artworks. The museum is dedicated to “the complexity and richness of Latino art and culture throughout the Americas.” \u003c/p>\n\u003cp>[aside postID='arts_13654906']The Mexican Museum has had periods of instability over the past three decades. A planned move to the Yerba Buena neighborhood to join the city’s other major cultural institutions has been in the works since 1993. In the mid-’90s, the museum was rocked by major staff turnover, accusations of misspent grant funds and lackluster fundraising for the planned move. \u003c/p>\n\u003cp>Then, in 2017, a \u003ca href=\"https://www.kqed.org/arts/13654906/mexican-museum-defends-collection-over-authenticity-concerns\">report commissioned by the museum board\u003c/a> found that only 83 of 2,000 artifacts from the museum’s pre-Hispanic collection could be authenticated. But those 80-some objects, the museum argued in a subsequent press release, are “significant and rare — one piece in the collection being so unique that nothing like it exists in Mexico.” \u003c/p>\n\u003cp>Since leaving Fort Mason in 2018, the collection has been in storage. The museum finally took possession of the first four floors of 706 Mission in July 2023. \u003c/p>\n\u003ch2>Were grant funds misused?\u003c/h2>\n\u003cp>The city audit, officially titled “The Mexican Museum Has Not Demonstrated That It Can Meet the City’s Contractual Obligations, and OCII Has Not Effectively Enforced the Museum’s Grant Agreement” has two main findings: misuse of city grant funds and fundraising shortfalls.\u003c/p>\n\u003cp>In 2010, the museum entered into a $10.6 million grant agreement with the city’s \u003ca href=\"https://sfocii.org/homepage-landing\">Office of Community Investment and Infrastructure\u003c/a> (OCII) — funds meant to go towards “predevelopment and interior improvements” at the new location. \u003c/p>\n\u003cp>Only $4 million of that grant has been spent, but the grant agreement expires June 14, 2024, leaving the museum less than three months to spend the remaining $6.6 million. (During the period of the audit, which began in March 2022, the museum says OCII paused all grant reimbursements.)\u003c/p>\n\u003cfigure id=\"attachment_13955004\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A.jpg\" alt=\"\" width=\"900\" height=\"600\" class=\"size-full wp-image-13955004\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-768x512.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of planned gallery space in the Mexican Museum. \u003ccite>(Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The audit found that the museum has spent nearly $1 million of that grant on “ineligible and questionable activities,” including duplicate expenses, artwork storage and staff salaries. But a response from OCII tempers those findings, explaining that “some level of funding for [the museum’s] current operations was necessary to ‘benefit’ the proposed project in the former Yerba Buena Center Project Area.”\u003c/p>\n\u003cp>In other words, OCII argues, the grant \u003ci>should\u003c/i> cover things like storage and some operational costs — so that there might still \u003ci>be\u003c/i> a museum to move into 706 Mission.\u003c/p>\n\u003cp>For their part, the Mexican Museum says “all budgets and scope of work were not only approved by OCII staff, but also by the OCII commission.” Its representatives refute one duplicate expense and acknowledge the other as a clerical error “out of hundreds of submittals to OCII.”\u003c/p>\n\u003ch2>Does the museum have adequate funds to reopen?\u003c/h2>\n\u003cp>The audit found that the museum has raised only 2% of the nearly $49.8 million it’s estimated to need to reopen. But the museum says this is an old number, and that the new, lower estimate for construction is actually $38 million.\u003c/p>\n\u003cp>By their calculations, the museum says it still has $19.9 million left to raise. But it has made some progress in its search for new funding sources. “We’re the only museum outside of the Republic of Mexico that was granted a tax deductible status” by Mexico, says board chair Andrew Kluger. That means Mexican companies and individuals can donate up to 7% of the taxes they owe to the museum as a write-off.\u003c/p>\n\u003cp>The museum has employed a fundraising consultant through the end of 2024, and a representative says the museum has received over $200,000 in cash contributions in the past month.\u003c/p>\n\u003cp>Castañeda admits fundraising for the museum has an uphill journey to her dream goal of $100 million. “I need an army of people to help us,” she says. “You know, how many of the museums today — and I’m not just talking about construction, but operations — are in the red area? We need 10 pesos, $10, you know? Any contribution is welcome and will add to our dream of $100 million.”\u003c/p>\n\u003cfigure id=\"attachment_13955002\" class=\"wp-caption aligncenter\" style=\"max-width: 1901px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit.jpg\" alt=\"Composite image with empty building at left and gallery renderings at right\" width=\"1901\" height=\"1814\" class=\"size-full wp-image-13955002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit.jpg 1901w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-800x763.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-1020x973.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-768x733.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-1536x1466.jpg 1536w\" sizes=\"(max-width: 1901px) 100vw, 1901px\">\u003cfigcaption class=\"wp-caption-text\">An exhibit included in the audit, showing the museum premises in July 2023 (left) and design plans (right). \u003ccite>(City Services Auditor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Why hasn’t the museum started construction?\n\u003c/h2>\u003cp>The Mexican Museum has a 66-year-lease with the city on the first four floors of 706 Mission (with the option to extend another 33 years), for what breaks down to about ¢.02 a year. But all interior improvements on the 48,000 square-foot space — turning the shell of the building into a climate-controlled art institution — are on the museum. So far, it has made no material progress on those improvements.\u003c/p>\n\u003cp>The museum received keys to the space in July 2023. That was after a lawsuit over a missing staircase was dismissed, with the museum and the city agreeing to work out their differences. The space was built without a public staircase connecting two floors of the museum, as originally planned.\u003c/p>\n\u003cp>As the \u003cem>\u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2023/07/24/mexican-museum-lawsuit-dismissed-audit-s-f.html\">San Francisco Business Times\u003c/a>\u003c/em> reported last year, the city acknowledged that it had intentionally not built the staircase, saying it “planned to sublease only half the space to the Mexican Museum due to growing concerns that the museum’s financial health would not allow it to build out the entire 48,000 square feet as envisioned.”\u003c/p>\n\u003cp>What also hindered interior improvements, the museum says, was the audit itself. “We are all prepared to construct,” says Castañeda. “This audit was impeding us from doing a lot of things … and now we are being blamed for not doing that.”\u003c/p>\n\u003cp>While museum representatives say the OCII’s pause on grant reimbursement did not prevent them from approaching donors over the past year, the audit did cast a shadow over fundraising efforts, causing some donors to put certain time and milestone requirements on their pledges.\u003c/p>\n\u003ch2>What happens now?\u003c/h2>\n\u003cp>The museum says it now needs the support of OCII. In order for their contractors to submit permit applications, it needs to know that OCII will reimburse those expenses.\u003c/p>\n\u003cp>The Controller’s Office will continue to monitor the museum’s progress, following up every six months on the implementation of their recommendations for record-keeping and grant disbursal. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Meanwhile, the Mexican Museum’s representatives affirm that its rightful place is downtown, alongside institutions like the Yerba Buena Center for the Arts and the Museum of the African Diaspora. “We want to decolonize this idea of a museum, traditionally, that is for the elite,” Castañeda says. “This museum is for everybody.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, San Francisco’s city auditor released a \u003ca href=\"https://www.sf.gov/sites/default/files/2024-03/OCII-RED%20The%20Mexican%20Museum%20Audit%20-%20Final%20Report%2003.21.24.pdf\">bombshell report\u003c/a> on San Francisco’s \u003ca href=\"https://www.mexicanmuseum.org/\">Mexican Museum\u003c/a>, claiming the 49-year-old nonprofit has misused city grant funds and made little progress on fundraising to reopen.\u003c/p>\n\u003cp>The museum, meanwhile, says it “respectfully disagrees with much of the purported conclusions.” \u003c/p>\n\u003cp>To even an average observer, the Mexican Museum has had noticeable troubles. It has been without a director since 2015, and without a home since 2018, when it left Fort Mason Center after falling behind on rent. Its new building at the corner of Third and Mission, adjacent to the Contemporary Jewish Museum, SFMOMA and other cultural institutions, remains empty. \u003c/p>\n\u003cp>The audit’s findings, based on a yearlong investigation requested by Supervisor Aaron Peskin, raise questions about the museum’s ability to fundraise for or manage planned interior improvements at 706 Mission St., a city-owned space at the base of a luxury condo building. \u003c/p>\n\u003cp>Despite the findings, and a subsequent \u003ca href=\"https://www.sfchronicle.com/sf/article/s-f-mexican-museum-audit-19324002.php\">\u003ci>San Francisco Chronicle\u003c/i> story\u003c/a>, the museum, currently without dedicated fundraising staff, is determined to open the first phase of its space by the end of 2025. To do so, its board chair Andrew M. Kluger said in an interview with KQED, requires the cooperation of the city. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Supporting and clearing a path for the museum is a no-brainer for the city,” board secretary Xóchitl Castañeda told KQED. “It’s going to be a win-win situation.”\u003c/p>\n\u003cfigure id=\"attachment_13955001\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05.jpg\" alt=\"\" width=\"1500\" height=\"1000\" class=\"size-full wp-image-13955001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the Mexican Museum’s planned interior improvements. \u003ccite>(Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The history of the Mexican Museum’s move downtown\u003c/h2>\n\u003cp>The Mexican Museum was founded in 1975 at the corner of Folsom and 15th Streets by the late artist Peter Rodriguez. In 1982, it moved to Fort Mason Center, where it remained for 36 years, amassing a collection of over 16,500 objects, mostly through donations. \u003c/p>\n\u003cp>Museum holdings span 2,500 years of history, from pre-Hispanic objects to contemporary artworks. The museum is dedicated to “the complexity and richness of Latino art and culture throughout the Americas.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Mexican Museum has had periods of instability over the past three decades. A planned move to the Yerba Buena neighborhood to join the city’s other major cultural institutions has been in the works since 1993. In the mid-’90s, the museum was rocked by major staff turnover, accusations of misspent grant funds and lackluster fundraising for the planned move. \u003c/p>\n\u003cp>Then, in 2017, a \u003ca href=\"https://www.kqed.org/arts/13654906/mexican-museum-defends-collection-over-authenticity-concerns\">report commissioned by the museum board\u003c/a> found that only 83 of 2,000 artifacts from the museum’s pre-Hispanic collection could be authenticated. But those 80-some objects, the museum argued in a subsequent press release, are “significant and rare — one piece in the collection being so unique that nothing like it exists in Mexico.” \u003c/p>\n\u003cp>Since leaving Fort Mason in 2018, the collection has been in storage. The museum finally took possession of the first four floors of 706 Mission in July 2023. \u003c/p>\n\u003ch2>Were grant funds misused?\u003c/h2>\n\u003cp>The city audit, officially titled “The Mexican Museum Has Not Demonstrated That It Can Meet the City’s Contractual Obligations, and OCII Has Not Effectively Enforced the Museum’s Grant Agreement” has two main findings: misuse of city grant funds and fundraising shortfalls.\u003c/p>\n\u003cp>In 2010, the museum entered into a $10.6 million grant agreement with the city’s \u003ca href=\"https://sfocii.org/homepage-landing\">Office of Community Investment and Infrastructure\u003c/a> (OCII) — funds meant to go towards “predevelopment and interior improvements” at the new location. \u003c/p>\n\u003cp>Only $4 million of that grant has been spent, but the grant agreement expires June 14, 2024, leaving the museum less than three months to spend the remaining $6.6 million. (During the period of the audit, which began in March 2022, the museum says OCII paused all grant reimbursements.)\u003c/p>\n\u003cfigure id=\"attachment_13955004\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A.jpg\" alt=\"\" width=\"900\" height=\"600\" class=\"size-full wp-image-13955004\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-768x512.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of planned gallery space in the Mexican Museum. \u003ccite>(Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The audit found that the museum has spent nearly $1 million of that grant on “ineligible and questionable activities,” including duplicate expenses, artwork storage and staff salaries. But a response from OCII tempers those findings, explaining that “some level of funding for [the museum’s] current operations was necessary to ‘benefit’ the proposed project in the former Yerba Buena Center Project Area.”\u003c/p>\n\u003cp>In other words, OCII argues, the grant \u003ci>should\u003c/i> cover things like storage and some operational costs — so that there might still \u003ci>be\u003c/i> a museum to move into 706 Mission.\u003c/p>\n\u003cp>For their part, the Mexican Museum says “all budgets and scope of work were not only approved by OCII staff, but also by the OCII commission.” Its representatives refute one duplicate expense and acknowledge the other as a clerical error “out of hundreds of submittals to OCII.”\u003c/p>\n\u003ch2>Does the museum have adequate funds to reopen?\u003c/h2>\n\u003cp>The audit found that the museum has raised only 2% of the nearly $49.8 million it’s estimated to need to reopen. But the museum says this is an old number, and that the new, lower estimate for construction is actually $38 million.\u003c/p>\n\u003cp>By their calculations, the museum says it still has $19.9 million left to raise. But it has made some progress in its search for new funding sources. “We’re the only museum outside of the Republic of Mexico that was granted a tax deductible status” by Mexico, says board chair Andrew Kluger. That means Mexican companies and individuals can donate up to 7% of the taxes they owe to the museum as a write-off.\u003c/p>\n\u003cp>The museum has employed a fundraising consultant through the end of 2024, and a representative says the museum has received over $200,000 in cash contributions in the past month.\u003c/p>\n\u003cp>Castañeda admits fundraising for the museum has an uphill journey to her dream goal of $100 million. “I need an army of people to help us,” she says. “You know, how many of the museums today — and I’m not just talking about construction, but operations — are in the red area? We need 10 pesos, $10, you know? Any contribution is welcome and will add to our dream of $100 million.”\u003c/p>\n\u003cfigure id=\"attachment_13955002\" class=\"wp-caption aligncenter\" style=\"max-width: 1901px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit.jpg\" alt=\"Composite image with empty building at left and gallery renderings at right\" width=\"1901\" height=\"1814\" class=\"size-full wp-image-13955002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit.jpg 1901w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-800x763.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-1020x973.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-768x733.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-1536x1466.jpg 1536w\" sizes=\"(max-width: 1901px) 100vw, 1901px\">\u003cfigcaption class=\"wp-caption-text\">An exhibit included in the audit, showing the museum premises in July 2023 (left) and design plans (right). \u003ccite>(City Services Auditor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Why hasn’t the museum started construction?\n\u003c/h2>\u003cp>The Mexican Museum has a 66-year-lease with the city on the first four floors of 706 Mission (with the option to extend another 33 years), for what breaks down to about ¢.02 a year. But all interior improvements on the 48,000 square-foot space — turning the shell of the building into a climate-controlled art institution — are on the museum. So far, it has made no material progress on those improvements.\u003c/p>\n\u003cp>The museum received keys to the space in July 2023. That was after a lawsuit over a missing staircase was dismissed, with the museum and the city agreeing to work out their differences. The space was built without a public staircase connecting two floors of the museum, as originally planned.\u003c/p>\n\u003cp>As the \u003cem>\u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2023/07/24/mexican-museum-lawsuit-dismissed-audit-s-f.html\">San Francisco Business Times\u003c/a>\u003c/em> reported last year, the city acknowledged that it had intentionally not built the staircase, saying it “planned to sublease only half the space to the Mexican Museum due to growing concerns that the museum’s financial health would not allow it to build out the entire 48,000 square feet as envisioned.”\u003c/p>\n\u003cp>What also hindered interior improvements, the museum says, was the audit itself. “We are all prepared to construct,” says Castañeda. “This audit was impeding us from doing a lot of things … and now we are being blamed for not doing that.”\u003c/p>\n\u003cp>While museum representatives say the OCII’s pause on grant reimbursement did not prevent them from approaching donors over the past year, the audit did cast a shadow over fundraising efforts, causing some donors to put certain time and milestone requirements on their pledges.\u003c/p>\n\u003ch2>What happens now?\u003c/h2>\n\u003cp>The museum says it now needs the support of OCII. In order for their contractors to submit permit applications, it needs to know that OCII will reimburse those expenses.\u003c/p>\n\u003cp>The Controller’s Office will continue to monitor the museum’s progress, following up every six months on the implementation of their recommendations for record-keeping and grant disbursal. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, the Mexican Museum’s representatives affirm that its rightful place is downtown, alongside institutions like the Yerba Buena Center for the Arts and the Museum of the African Diaspora. “We want to decolonize this idea of a museum, traditionally, that is for the elite,” Castañeda says. “This museum is for everybody.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Updated Friday 6 p.m.\u003c/em>\u003c/p>\n\u003cp>Small Press Distribution (SPD), the 55-year-old nonprofit literary distributor, has closed its doors effective immediately. A reduced team is winding down business operations.\u003c/p>\n\u003cp>“We know this news is both sudden and devastating,” read the March 28 announcement on the SPD website. “Several years of declining sales and the loss of grant support … have combined to squeeze our budget beyond the breaking point.”\u003c/p>\n\u003cp>In February, SPD completed the move of over 300,000 books from their Berkeley warehouse to facilities run by Ingram Content Group in Tennessee and Publishers Storage and Shipping in Michigan. This was part of an effort, according to Publisher’s Weekly, to cut operating costs while increasing services for the some 400 publishers who use SPD’s distribution services.\u003c/p>\n\u003cp>The nonprofit had raised more than \u003ca href=\"https://www.gofundme.com/f/help-diverse-independent-literature-in-america\">$100,000 in a GoFundMe\u003c/a> to support the move, and earlier this year SPD launched yet another fundraiser to help it focus on expanding print-on-demand, eBooks, and global distribution. Donations were still coming in this week.\u003c/p>\n\u003cp>“Despite the heroic efforts of a tireless staff to raise new funds, find new sales channels for our presses, and move from our outdated Berkeley warehouse, we are simply no longer able to make ends meet,” said Kent Watson, SPD’s executive director.\u003c/p>\n\u003cp>Founded in 1969, SPD is the only nonprofit literary distributor in the country. It distinguished itself as a place that helped indie publishers to get experimental, avant-garde works into the hands of booksellers and customers across the country.\u003c/p>\n\u003cfigure id=\"attachment_13879807\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879807\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg\" alt=\"Warehouse shelves full of boxes of books\" width=\"1920\" height=\"1095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-1020x582.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Small Press Distribution, one of the last remaining independent book distributors in the country, moved over 300,000 books into facilities owned by Ingram Content Group and Publishers Storage and Shipping. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Against all odds, a tiny distribution service in the back of Berkeley’s Serendipity Books grew to help authors attain some of the literary world’s crowning achievements,” the announcement says. “SPD-distributed authors won multiple National Book Awards, Pulitzer Prizes, MacArthur ‘Genius’ Grants, PEN Awards, Lambda Literary Awards — nearly 100 awards since 2019 alone.”\u003c/p>\n\u003cp>Poet Jean Day, who worked at SPD in the late 1970s and served as its director beginning in 1983, said the end of SPD is a blow. SPD introduced her to the poetry world during an era when the Bay Area was one of the centers of small press publishing.\u003c/p>\n\u003cp>Now, it will be a lot harder to get small presses into libraries and bookstores, Day said.\u003c/p>\n\u003cp>SPD survived for decades through shrinking arts funding, the decline in independent bookstores, the rise of the internet, and the domination of the book market by Amazon.\u003c/p>\n\u003cp>“Publishing poetry especially, but any kind of non-mainstream literature, is never going to attract the numbers that make publishing possible,” Day said. “I don’t mean profitable, I mean even possible to break even.”\u003c/p>\n\u003cp>In recent ears, SPD has been rocked by instability and controversy. Watson, the current executive director, was hired in 2022 following an 18-month period of uncertainty after the resignation of Brent Cunningham. Cunningham’s tenure was cut short after accusations of discrimination and wage theft.\u003c/p>\n\u003cp>Despite efforts to raise new funds, SPD simply couldn’t afford to go on: “SPD lost hundreds of thousands in grants in the past few years as funders moved away from supporting the arts.”\u003c/p>\n\u003cp>SPD had lost $125,000 in annual grants in the past year from half a dozen institutions, the nonprofit said, and the warehouse shift also took longer and cost more than expected, straining its financial resources even more.[aside postID=\"news_11883845\" hero='https://ww2.kqed.org/app/uploads/sites/10/2021/08/RS50285_002_Berkeley_SmallPressStory_07192021-qut-1020x680.jpg']Available tax filings from 2022 and 2021 show net losses of over $230,000 combined, and an operating budget of around $1.3 million a year.\u003c/p>\n\u003cp>In the announcement, the distributor told publishers their books were in safe hands with Ingram and PSSC, but they would need to contact them directly about distribution or the return of materials.\u003c/p>\n\u003cp>In the statement sent to publishers, Watson said SPD’s dissolution would be overseen by the California Superior Court, which would determine next steps for its remaining assets and “the extent all claims from creditors cannot be satisfied.”\u003c/p>\n\u003cp>When reached for comment from Watson, an automatic email says SPD regrets not being able to respond to individual queries.\u003c/p>\n\u003cp>It’s unclear what’s next for the hundreds of publishers who rely on SPD, or how those small presses will find their way to bookstores and libraries.\u003c/p>\n\u003cp>Poets and presses on social media have expressed disappointment, shock and frustration over the sudden closure. Many described feeling abandoned or betrayed.\u003c/p>\n\u003cp>Writer Ryan Ruby posted that the collapse of SPD is a disaster.\u003c/p>\n\u003cp>“When a magazine goes, it’s a terrible thing, but from the point of view of the magazine world it’s like losing a limb. For small press world, this is heart failure,” Ruby said.\u003c/p>\n\u003cp>Presses did not see this coming, said Josh Savory, the editor-in-chief and co-creator of Game Over Books in Boston. He said he had been in communication with SPD over print-on-demand options as recently as this week, but was not warned about the pending end to the nonprofit.\u003c/p>\n\u003cp>He worries about how, when, or if small presses distributed by SPD, which already have very small budgets, will receive their next payments.\u003c/p>\n\u003cp>“They’re going to have to go on hiatus or not sell books for a while, maybe they’ll close,” Savory said. “That’s a huge loss,”\u003c/p>\n\u003cp>\u003ca href=\"https://www.clmp.org/event/emergency-session-next-steps-for-spd-distributed-presses/\">The Community of Literary Magazines and Presses\u003c/a> organized an “emergency session” on Friday to discuss SPD’s closure and for presses to exchange advice and discuss next steps. More than 250 attendees showed up for the virtual meeting.\u003c/p>\n\u003cp>“Everyone at SPD is heartbroken at this devastating outcome, which seriously jeopardizes the ability of underrepresented literary communities to reach the marketplace,” SPD’s closing announcement concludes. “We thank you for your years of support.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated Friday 6 p.m.\u003c/em>\u003c/p>\n\u003cp>Small Press Distribution (SPD), the 55-year-old nonprofit literary distributor, has closed its doors effective immediately. A reduced team is winding down business operations.\u003c/p>\n\u003cp>“We know this news is both sudden and devastating,” read the March 28 announcement on the SPD website. “Several years of declining sales and the loss of grant support … have combined to squeeze our budget beyond the breaking point.”\u003c/p>\n\u003cp>In February, SPD completed the move of over 300,000 books from their Berkeley warehouse to facilities run by Ingram Content Group in Tennessee and Publishers Storage and Shipping in Michigan. This was part of an effort, according to Publisher’s Weekly, to cut operating costs while increasing services for the some 400 publishers who use SPD’s distribution services.\u003c/p>\n\u003cp>The nonprofit had raised more than \u003ca href=\"https://www.gofundme.com/f/help-diverse-independent-literature-in-america\">$100,000 in a GoFundMe\u003c/a> to support the move, and earlier this year SPD launched yet another fundraiser to help it focus on expanding print-on-demand, eBooks, and global distribution. Donations were still coming in this week.\u003c/p>\n\u003cp>“Despite the heroic efforts of a tireless staff to raise new funds, find new sales channels for our presses, and move from our outdated Berkeley warehouse, we are simply no longer able to make ends meet,” said Kent Watson, SPD’s executive director.\u003c/p>\n\u003cp>Founded in 1969, SPD is the only nonprofit literary distributor in the country. It distinguished itself as a place that helped indie publishers to get experimental, avant-garde works into the hands of booksellers and customers across the country.\u003c/p>\n\u003cfigure id=\"attachment_13879807\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879807\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg\" alt=\"Warehouse shelves full of boxes of books\" width=\"1920\" height=\"1095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-1020x582.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Small Press Distribution, one of the last remaining independent book distributors in the country, moved over 300,000 books into facilities owned by Ingram Content Group and Publishers Storage and Shipping. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Against all odds, a tiny distribution service in the back of Berkeley’s Serendipity Books grew to help authors attain some of the literary world’s crowning achievements,” the announcement says. “SPD-distributed authors won multiple National Book Awards, Pulitzer Prizes, MacArthur ‘Genius’ Grants, PEN Awards, Lambda Literary Awards — nearly 100 awards since 2019 alone.”\u003c/p>\n\u003cp>Poet Jean Day, who worked at SPD in the late 1970s and served as its director beginning in 1983, said the end of SPD is a blow. SPD introduced her to the poetry world during an era when the Bay Area was one of the centers of small press publishing.\u003c/p>\n\u003cp>Now, it will be a lot harder to get small presses into libraries and bookstores, Day said.\u003c/p>\n\u003cp>SPD survived for decades through shrinking arts funding, the decline in independent bookstores, the rise of the internet, and the domination of the book market by Amazon.\u003c/p>\n\u003cp>“Publishing poetry especially, but any kind of non-mainstream literature, is never going to attract the numbers that make publishing possible,” Day said. “I don’t mean profitable, I mean even possible to break even.”\u003c/p>\n\u003cp>In recent ears, SPD has been rocked by instability and controversy. Watson, the current executive director, was hired in 2022 following an 18-month period of uncertainty after the resignation of Brent Cunningham. 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"content": "\u003cdiv class=\"post-body\">\u003cp>Available tax filings from 2022 and 2021 show net losses of over $230,000 combined, and an operating budget of around $1.3 million a year.\u003c/p>\n\u003cp>In the announcement, the distributor told publishers their books were in safe hands with Ingram and PSSC, but they would need to contact them directly about distribution or the return of materials.\u003c/p>\n\u003cp>In the statement sent to publishers, Watson said SPD’s dissolution would be overseen by the California Superior Court, which would determine next steps for its remaining assets and “the extent all claims from creditors cannot be satisfied.”\u003c/p>\n\u003cp>When reached for comment from Watson, an automatic email says SPD regrets not being able to respond to individual queries.\u003c/p>\n\u003cp>It’s unclear what’s next for the hundreds of publishers who rely on SPD, or how those small presses will find their way to bookstores and libraries.\u003c/p>\n\u003cp>Poets and presses on social media have expressed disappointment, shock and frustration over the sudden closure. Many described feeling abandoned or betrayed.\u003c/p>\n\u003cp>Writer Ryan Ruby posted that the collapse of SPD is a disaster.\u003c/p>\n\u003cp>“When a magazine goes, it’s a terrible thing, but from the point of view of the magazine world it’s like losing a limb. For small press world, this is heart failure,” Ruby said.\u003c/p>\n\u003cp>Presses did not see this coming, said Josh Savory, the editor-in-chief and co-creator of Game Over Books in Boston. He said he had been in communication with SPD over print-on-demand options as recently as this week, but was not warned about the pending end to the nonprofit.\u003c/p>\n\u003cp>He worries about how, when, or if small presses distributed by SPD, which already have very small budgets, will receive their next payments.\u003c/p>\n\u003cp>“They’re going to have to go on hiatus or not sell books for a while, maybe they’ll close,” Savory said. “That’s a huge loss,”\u003c/p>\n\u003cp>\u003ca href=\"https://www.clmp.org/event/emergency-session-next-steps-for-spd-distributed-presses/\">The Community of Literary Magazines and Presses\u003c/a> organized an “emergency session” on Friday to discuss SPD’s closure and for presses to exchange advice and discuss next steps. More than 250 attendees showed up for the virtual meeting.\u003c/p>\n\u003cp>“Everyone at SPD is heartbroken at this devastating outcome, which seriously jeopardizes the ability of underrepresented literary communities to reach the marketplace,” SPD’s closing announcement concludes. “We thank you for your years of support.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Sculptor Richard Serra, the ‘Poet of Iron,’ Dies at 85",
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"content": "\u003cp>Famed American artist and sculptor Richard Serra, known for turning curving walls of rusting steel and other malleable materials into large-scale pieces of outdoor artwork that are now dotted across the world, died Tuesday at his home in Long Island, New York. He was 85.\u003c/p>\n\u003cp>Considered one of his generation’s most preeminent sculptors, the San Francisco native originally studied painting at Yale University but turned to sculpting in the 1960s, inspired by trips to Europe.\u003c/p>\n\u003cp>His death was confirmed Tuesday night by his lawyer, John Silberman, whose firm is based in New York. He said the cause of death was pneumonia.\u003c/p>\n\u003cp>Known by his colleagues as the “poet of iron,” Serra became world-renowned for his large-scale steel structures, such as monumental arcs, spirals and ellipses. He was closely identified with the minimalist movement of the 1970s.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">\u003c/a>\u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">Watch Richard Serra construct a huge sculpture in San Francisco’s Mission Bay\u003c/a> and at \u003ca href=\"https://www.youtube.com/watch?v=GnWljMmmWMw\">Sonoma County’s Oliver Ranch\u003c/a> in \u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">this KQED episode\u003c/a> of ‘Spark’.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Serra’s work started to gain public attention in 1981, when he installed a 120-foot-long (36.5-meter-long) and 12-foot-high (3.6-meter-high) curving wall of raw steel that splits the Federal Plaza in New York City. The sculpture, called “Tilted Arc,” generated swift backlash from people who work there and a fierce demand that it should be removed. The sculpture was later taken down, but Serra’s popularity in the New York art scene had been cemented.\u003c/p>\n\u003cfigure id=\"attachment_13954852\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra.jpg\" alt=\"\" width=\"1440\" height=\"960\" class=\"size-full wp-image-13954852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-768x512.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Famed American sculptor Richard Serra poses next to ‘Sequence’ during the press preview of “Richard Serra Sculpture: Forty Years” at the Museum of Modern Art, May 29, 2007, in New York. Serra, known for turning curving walls of rusting steel and other malleable materials into large-scale pieces of outdoor artwork that are now dotted across the world, died Tuesday, March 26, 2024, at his home in Long Island, N.Y. He was 85. \u003ccite>(AP Photo/Mary Altaffer, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of Serra’s large-scale works are welded in Cor-Ten steel, but he also worked with other nontraditional materials such as rubber, latex, neon — as well as molten lead, which Serra threw against a wall or floor to create his “Splash” series in his early career.\u003c/p>\n\u003cp>His works have been installed in landscapes and included in the collections of museums across the world, from The Museum of Modern Art in New York to the deserts of Qatar. From 2016 to 2018, his interactive, labyrinth-like sculpture \u003cem>Sequence\u003c/em> resided in a publicly accessible ground floor of San Francisco’s Museum of Modern Art. \u003c/p>\n\u003cp>In 2005, eight major works by Serra were installed permanently at the Guggenheim Museum in Spain. Carmen Jimenez, the exhibition organizer, said Serra was “beyond doubt the most important living sculptor.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Born to a Russian-Jewish mother and a Spanish father in San Francisco, Serra was the second of three sons in the family. He started drawing at a young age and was inspired by the time he spent at a shipyard where his father worked as a pipefitter. Before his turn to sculpting, Serra worked in steel foundries to help finance his education at the Berkeley and Santa Barbara campuses of the University of California. He then went on to Yale, where he graduated in 1964.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Famed American artist and sculptor Richard Serra, known for turning curving walls of rusting steel and other malleable materials into large-scale pieces of outdoor artwork that are now dotted across the world, died Tuesday at his home in Long Island, New York. He was 85.\u003c/p>\n\u003cp>Considered one of his generation’s most preeminent sculptors, the San Francisco native originally studied painting at Yale University but turned to sculpting in the 1960s, inspired by trips to Europe.\u003c/p>\n\u003cp>His death was confirmed Tuesday night by his lawyer, John Silberman, whose firm is based in New York. He said the cause of death was pneumonia.\u003c/p>\n\u003cp>Known by his colleagues as the “poet of iron,” Serra became world-renowned for his large-scale steel structures, such as monumental arcs, spirals and ellipses. He was closely identified with the minimalist movement of the 1970s.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">\u003c/a>\u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">Watch Richard Serra construct a huge sculpture in San Francisco’s Mission Bay\u003c/a> and at \u003ca href=\"https://www.youtube.com/watch?v=GnWljMmmWMw\">Sonoma County’s Oliver Ranch\u003c/a> in \u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">this KQED episode\u003c/a> of ‘Spark’.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Serra’s work started to gain public attention in 1981, when he installed a 120-foot-long (36.5-meter-long) and 12-foot-high (3.6-meter-high) curving wall of raw steel that splits the Federal Plaza in New York City. The sculpture, called “Tilted Arc,” generated swift backlash from people who work there and a fierce demand that it should be removed. The sculpture was later taken down, but Serra’s popularity in the New York art scene had been cemented.\u003c/p>\n\u003cfigure id=\"attachment_13954852\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra.jpg\" alt=\"\" width=\"1440\" height=\"960\" class=\"size-full wp-image-13954852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-768x512.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Famed American sculptor Richard Serra poses next to ‘Sequence’ during the press preview of “Richard Serra Sculpture: Forty Years” at the Museum of Modern Art, May 29, 2007, in New York. Serra, known for turning curving walls of rusting steel and other malleable materials into large-scale pieces of outdoor artwork that are now dotted across the world, died Tuesday, March 26, 2024, at his home in Long Island, N.Y. He was 85. \u003ccite>(AP Photo/Mary Altaffer, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of Serra’s large-scale works are welded in Cor-Ten steel, but he also worked with other nontraditional materials such as rubber, latex, neon — as well as molten lead, which Serra threw against a wall or floor to create his “Splash” series in his early career.\u003c/p>\n\u003cp>His works have been installed in landscapes and included in the collections of museums across the world, from The Museum of Modern Art in New York to the deserts of Qatar. From 2016 to 2018, his interactive, labyrinth-like sculpture \u003cem>Sequence\u003c/em> resided in a publicly accessible ground floor of San Francisco’s Museum of Modern Art. \u003c/p>\n\u003cp>In 2005, eight major works by Serra were installed permanently at the Guggenheim Museum in Spain. Carmen Jimenez, the exhibition organizer, said Serra was “beyond doubt the most important living sculptor.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Born to a Russian-Jewish mother and a Spanish father in San Francisco, Serra was the second of three sons in the family. He started drawing at a young age and was inspired by the time he spent at a shipyard where his father worked as a pipefitter. Before his turn to sculpting, Serra worked in steel foundries to help finance his education at the Berkeley and Santa Barbara campuses of the University of California. He then went on to Yale, where he graduated in 1964.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Students Protest Removal of Art Teachers to San Francisco School Board",
"headTitle": "Students Protest Removal of Art Teachers to San Francisco School Board | KQED",
"content": "\u003cp>A large crowd of high school students, parents, faculty and other supporters spilled onto the sidewalk from the entrance of the San Francisco Unified School District building on Tuesday, chanting: “When teachers are under attack, what do we do? Stand up! Fight back!”\u003c/p>\n\u003cp>Dressed in green, \u003ca href=\"https://www.instagram.com/p/C5AUTHquZVM/?img_index=10\">playing drums and cheering loudly\u003c/a> at the honks of passing cars, the \u003ca href=\"https://www.sfusd.edu/school/ruth-asawa-san-francisco-school-arts\">Ruth Asawa School of the Arts\u003c/a> (RASOTA) students had assembled to protest the March 18 removal of two faculty members from the school’s technical theater department.\u003c/p>\n\u003cp>RASOTA, San Francisco’s only dedicated public high school for the arts, admits students based on audition into one of eight subject areas, which include dance, music, visual arts, theatre and technical theater.\u003c/p>\n\u003cp>The teachers in question are Paul Kwapy, the director of the school’s technical theater program, and Annette Ribeiro, an artist in residence for the costume department. Both have taught at RASOTA for over 13 years. \u003c/p>\n\u003cfigure id=\"attachment_13954840\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000.jpg\" alt='Hand holding hand painted \"Got Tech?\" sign' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A large crowd gathered outside 555 Franklin St. in San Francisco on the evening of March 26, playing drums and chanting. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a March 25 letter to the RASOTA community, Principal Stella Kim and Assistant Superintendent Davina Goldwasser wrote, “We cannot comment on any personnel matters and need to maintain confidentiality, we are not able to provide more details, or a specific timeline.” In public statements and letters to the school board, faculty and parents have alluded to the removals as an overreach by the school district in response to the teachers’ disciplinary handling of a safety incident in class.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What was clear Tuesday evening was just how much RASOTA technical theater students value their two missing teachers — and how well they had mobilized a show of support from other departments. Over 100 people showed up in advance of the night’s school board meeting.\u003c/p>\n\u003cp>Many remained for the meeting’s open session, during which public comment was limited to remarks about third grade literacy. Some tried to comment about the RASOTA situation regardless.\u003c/p>\n\u003cp>“Our teachers cannot truly focus on our students unless they’re fully protected,” said senior technical theater student Angelina Costa to the school board. “Having the same teachers from year to year, that really makes all the difference.” She was cut off at the one-minute mark.\u003c/p>\n\u003cp>Board President Lainie Motamedi thanked the RASOTA students and supporters for their participation. “I do want to note that the board also receives your emails and reads your emails,” she said. “So you have been heard. And we do take those very, very seriously.”\u003c/p>\n\u003cfigure id=\"attachment_13954838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000.jpg\" alt='Young people hold a large painted banner reading \"SOTA needs Kwapy and Annette\"' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The two faculty members were removed from their positions on March 18; the technical theater students have been on strike ever since. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their limited access to public comment, the RASOTA protestors were able to meet with assistant superintendents, and \u003ca href=\"https://www.instagram.com/p/C5AUTHquZVM/?img_index=2\">report a scheduled meeting\u003c/a> with Superintendent Dr. Matt Wayne to discuss their concerns.\u003c/p>\n\u003cp>Since Monday, some 60 technical theater students at RASOTA have been on strike in protest of the faculty removals.\u003c/p>\n\u003cp>“Tech students will no longer be participating in any shows outside of school hours,” an Instagram account run by the students explains. “Our participation in shows will not resume until our directors Paul Kwapy and Annette Ribeiro return.”\u003c/p>\n\u003cp>[aside postID='news_11978035']That means last weekend’s orchestra performances took place unamplified, without mics or student ushers. Students in the tech department typically run a production’s lighting, sound, sets, costumes and props. The spring semester is a busy one, with dance, music and acting showcases scheduled through the end of the school year. Seniors from the costume department have opted for a photoshoot of their designs in lieu of a regularly scheduled fashion show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When we treat our educators as expendable, it’s no wonder that we have over 300 vacancies at the beginning of a school year,” Costa had planned to say to the school board. “When we fail to listen to the concerns of our students, it’s no wonder that we are being forced to close schools due to a lack of enrollment.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A large crowd of high school students, parents, faculty and other supporters spilled onto the sidewalk from the entrance of the San Francisco Unified School District building on Tuesday, chanting: “When teachers are under attack, what do we do? Stand up! Fight back!”\u003c/p>\n\u003cp>Dressed in green, \u003ca href=\"https://www.instagram.com/p/C5AUTHquZVM/?img_index=10\">playing drums and cheering loudly\u003c/a> at the honks of passing cars, the \u003ca href=\"https://www.sfusd.edu/school/ruth-asawa-san-francisco-school-arts\">Ruth Asawa School of the Arts\u003c/a> (RASOTA) students had assembled to protest the March 18 removal of two faculty members from the school’s technical theater department.\u003c/p>\n\u003cp>RASOTA, San Francisco’s only dedicated public high school for the arts, admits students based on audition into one of eight subject areas, which include dance, music, visual arts, theatre and technical theater.\u003c/p>\n\u003cp>The teachers in question are Paul Kwapy, the director of the school’s technical theater program, and Annette Ribeiro, an artist in residence for the costume department. Both have taught at RASOTA for over 13 years. \u003c/p>\n\u003cfigure id=\"attachment_13954840\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000.jpg\" alt='Hand holding hand painted \"Got Tech?\" sign' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A large crowd gathered outside 555 Franklin St. in San Francisco on the evening of March 26, playing drums and chanting. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a March 25 letter to the RASOTA community, Principal Stella Kim and Assistant Superintendent Davina Goldwasser wrote, “We cannot comment on any personnel matters and need to maintain confidentiality, we are not able to provide more details, or a specific timeline.” In public statements and letters to the school board, faculty and parents have alluded to the removals as an overreach by the school district in response to the teachers’ disciplinary handling of a safety incident in class.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What was clear Tuesday evening was just how much RASOTA technical theater students value their two missing teachers — and how well they had mobilized a show of support from other departments. Over 100 people showed up in advance of the night’s school board meeting.\u003c/p>\n\u003cp>Many remained for the meeting’s open session, during which public comment was limited to remarks about third grade literacy. Some tried to comment about the RASOTA situation regardless.\u003c/p>\n\u003cp>“Our teachers cannot truly focus on our students unless they’re fully protected,” said senior technical theater student Angelina Costa to the school board. “Having the same teachers from year to year, that really makes all the difference.” She was cut off at the one-minute mark.\u003c/p>\n\u003cp>Board President Lainie Motamedi thanked the RASOTA students and supporters for their participation. “I do want to note that the board also receives your emails and reads your emails,” she said. “So you have been heard. And we do take those very, very seriously.”\u003c/p>\n\u003cfigure id=\"attachment_13954838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000.jpg\" alt='Young people hold a large painted banner reading \"SOTA needs Kwapy and Annette\"' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The two faculty members were removed from their positions on March 18; the technical theater students have been on strike ever since. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their limited access to public comment, the RASOTA protestors were able to meet with assistant superintendents, and \u003ca href=\"https://www.instagram.com/p/C5AUTHquZVM/?img_index=2\">report a scheduled meeting\u003c/a> with Superintendent Dr. Matt Wayne to discuss their concerns.\u003c/p>\n\u003cp>Since Monday, some 60 technical theater students at RASOTA have been on strike in protest of the faculty removals.\u003c/p>\n\u003cp>“Tech students will no longer be participating in any shows outside of school hours,” an Instagram account run by the students explains. “Our participation in shows will not resume until our directors Paul Kwapy and Annette Ribeiro return.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That means last weekend’s orchestra performances took place unamplified, without mics or student ushers. Students in the tech department typically run a production’s lighting, sound, sets, costumes and props. The spring semester is a busy one, with dance, music and acting showcases scheduled through the end of the school year. Seniors from the costume department have opted for a photoshoot of their designs in lieu of a regularly scheduled fashion show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When we treat our educators as expendable, it’s no wonder that we have over 300 vacancies at the beginning of a school year,” Costa had planned to say to the school board. “When we fail to listen to the concerns of our students, it’s no wonder that we are being forced to close schools due to a lack of enrollment.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The leadership of the San Francisco Symphony has attempted to offer more transparency into its financial challenges after Esa-Pekka Salonen’s decision to step down as music director. Over the past two weeks, \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">orchestra musicians have protested\u003c/a> both Salonen’s impending departure and the Symphony’s cuts to programs. \u003c/p>\n\u003cp>In \u003ca href=\"https://www.sfsymphony.org/SanFrancisco/media/SanFrancisco/Press%20Room/Statement-on-San-Francisco-Symphony-organizational-context.pdf\">a four-page statement\u003c/a> issued Monday, the Symphony said that it “deeply values” the musicians of the orchestra, as well as its relationship with Salonen, who on March 14 said he was stepping down from the Symphony “because I do not share the same goals for the future of the institution as the Board of Governors.”\u003c/p>\n\u003cp>Those goals are widely understood to be about Salonen’s creative vision for the Symphony, which includes international tours, special concerts, commissions and community programs, which the Symphony has either canceled or postponed. (As \u003ca href=\"https://www-hs-fi.translate.goog/kulttuuri/art-2000010292468.html?_x_tr_sl=auto&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=wapp&_x_tr_hist=true&fbclid=IwAR3lLiC1drjtCx-DzU9k_ZYznsmIFuVXpQKVRwMRruugzjNels8ilQxGEi4\">Salonen explained to the Finnish newspaper \u003cem>Helsingin Sanomat\u003c/em>\u003c/a>, “The board has decided on big and dramatic cuts that affect the orchestra’s artistic profile so deeply that I don’t consider it possible to continue my contract.”)\u003c/p>\n\u003cp>“We would love nothing more than to be able to immediately restore the number of SoundBox performances, semi-staged productions, and new commissions; to resume touring; and to reinstate Concerts for Kids,” the Symphony’s statement reads. “The limiting factor prohibiting us from doing so is not a lack of desire, drive, or ambition. It is solely a lack of immediate financial resources.” \u003c/p>\n\u003cp>[aside postID='arts_13954297']The unsigned statement goes into additional detail about the Symphony’s declarations that its expenses exceed its revenue, asserting that in 2022–23, “the Symphony’s operating expenses totaled $78.6 million, while operating revenues, exclusive of extraordinary one-time contributions, totaled just $67.4 million.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Without taking action or receiving additional funding, “we anticipate that our cumulative cash losses could grow by an additional $80 million over the next five years,” the statement reads.\u003c/p>\n\u003cp>Andy Lynch, a spokesperson for the musicians, said the orchestra is still disappointed. \u003c/p>\n\u003cp>“While we are glad that the administration is responding to the overwhelming outpouring of concern regarding the departure of Esa-Pekka Salonen due to cuts to programming, education, and touring, there is still no plan nor timeline for the reinstatement of these supposedly temporary cuts. The administration claims they are committed to transparency and ensuring the Symphony remains a world-class organization, but their recent actions have driven away a world-class Music Director and left more questions than answers related to Symphony finances and endowment,” Lynch said in a statement.\u003c/p>\n\u003cp>“Despite our requests, the administration has still not provided us with audited financial statements to support their claims, which we are now only hearing about through a press release.”\u003c/p>\n\u003cp>Orchestra musicians \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">have argued\u003c/a> that the symphony should draw on its $325 million endowment — the second-largest of the country’s symphony orchestras — to keep programs afloat and, by extension, retain Salonen on the podium. \u003c/p>\n\u003cp>On this, the Symphony claims its hands are tied. \u003c/p>\n\u003cp>“There is a common misconception that endowments can be accessed like a savings account and used to support operating expenses at any time. In reality, our flexibility in spending from the endowment is limited by California law, as well as by legally binding donor applied restrictions,” the statement reads. (Restrictions on a nonprofit’s endowment can also be self-applied by the board.)\u003c/p>\n\u003cp>[aside postID='arts_13954083']Draws from the endowment provide an annual source of revenue for the organization. Musicians had provided figures to KQED showing a 4.4% draw on the endowment in 2022. The Symphony’s statement says the board has now authorized a larger draw of 6.45% for the 2024–25 season. \u003c/p>\n\u003cp>Another sticking point for the musicians has been their salaries, which have not been restored to pre-pandemic levels like those of their counterparts in other orchestras. (According to \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg\">a flyer distributed by musicians to patrons at Davies Symphony Hall\u003c/a> on March 16, Salonen has personally argued for musicians’ pay to be restored.) The Symphony statement, however, did not mention nor address musicians’ pay. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, a \u003ca href=\"https://www.change.org/p/sf-symphony-board-retain-esa-pekka-salonen-invest-in-the-symphony\">Change.org petition addressed to the Symphony board\u003c/a>, calling to retain Salonen and reinvest in Symphony programs, has received over 5,000 signatures.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The leadership of the San Francisco Symphony has attempted to offer more transparency into its financial challenges after Esa-Pekka Salonen’s decision to step down as music director. Over the past two weeks, \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">orchestra musicians have protested\u003c/a> both Salonen’s impending departure and the Symphony’s cuts to programs. \u003c/p>\n\u003cp>In \u003ca href=\"https://www.sfsymphony.org/SanFrancisco/media/SanFrancisco/Press%20Room/Statement-on-San-Francisco-Symphony-organizational-context.pdf\">a four-page statement\u003c/a> issued Monday, the Symphony said that it “deeply values” the musicians of the orchestra, as well as its relationship with Salonen, who on March 14 said he was stepping down from the Symphony “because I do not share the same goals for the future of the institution as the Board of Governors.”\u003c/p>\n\u003cp>Those goals are widely understood to be about Salonen’s creative vision for the Symphony, which includes international tours, special concerts, commissions and community programs, which the Symphony has either canceled or postponed. (As \u003ca href=\"https://www-hs-fi.translate.goog/kulttuuri/art-2000010292468.html?_x_tr_sl=auto&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=wapp&_x_tr_hist=true&fbclid=IwAR3lLiC1drjtCx-DzU9k_ZYznsmIFuVXpQKVRwMRruugzjNels8ilQxGEi4\">Salonen explained to the Finnish newspaper \u003cem>Helsingin Sanomat\u003c/em>\u003c/a>, “The board has decided on big and dramatic cuts that affect the orchestra’s artistic profile so deeply that I don’t consider it possible to continue my contract.”)\u003c/p>\n\u003cp>“We would love nothing more than to be able to immediately restore the number of SoundBox performances, semi-staged productions, and new commissions; to resume touring; and to reinstate Concerts for Kids,” the Symphony’s statement reads. “The limiting factor prohibiting us from doing so is not a lack of desire, drive, or ambition. It is solely a lack of immediate financial resources.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Without taking action or receiving additional funding, “we anticipate that our cumulative cash losses could grow by an additional $80 million over the next five years,” the statement reads.\u003c/p>\n\u003cp>Andy Lynch, a spokesperson for the musicians, said the orchestra is still disappointed. \u003c/p>\n\u003cp>“While we are glad that the administration is responding to the overwhelming outpouring of concern regarding the departure of Esa-Pekka Salonen due to cuts to programming, education, and touring, there is still no plan nor timeline for the reinstatement of these supposedly temporary cuts. The administration claims they are committed to transparency and ensuring the Symphony remains a world-class organization, but their recent actions have driven away a world-class Music Director and left more questions than answers related to Symphony finances and endowment,” Lynch said in a statement.\u003c/p>\n\u003cp>“Despite our requests, the administration has still not provided us with audited financial statements to support their claims, which we are now only hearing about through a press release.”\u003c/p>\n\u003cp>Orchestra musicians \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">have argued\u003c/a> that the symphony should draw on its $325 million endowment — the second-largest of the country’s symphony orchestras — to keep programs afloat and, by extension, retain Salonen on the podium. \u003c/p>\n\u003cp>On this, the Symphony claims its hands are tied. \u003c/p>\n\u003cp>“There is a common misconception that endowments can be accessed like a savings account and used to support operating expenses at any time. In reality, our flexibility in spending from the endowment is limited by California law, as well as by legally binding donor applied restrictions,” the statement reads. (Restrictions on a nonprofit’s endowment can also be self-applied by the board.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Draws from the endowment provide an annual source of revenue for the organization. Musicians had provided figures to KQED showing a 4.4% draw on the endowment in 2022. The Symphony’s statement says the board has now authorized a larger draw of 6.45% for the 2024–25 season. \u003c/p>\n\u003cp>Another sticking point for the musicians has been their salaries, which have not been restored to pre-pandemic levels like those of their counterparts in other orchestras. (According to \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg\">a flyer distributed by musicians to patrons at Davies Symphony Hall\u003c/a> on March 16, Salonen has personally argued for musicians’ pay to be restored.) The Symphony statement, however, did not mention nor address musicians’ pay. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, a \u003ca href=\"https://www.change.org/p/sf-symphony-board-retain-esa-pekka-salonen-invest-in-the-symphony\">Change.org petition addressed to the Symphony board\u003c/a>, calling to retain Salonen and reinvest in Symphony programs, has received over 5,000 signatures.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"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": {
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