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"title": "There’s a ‘Handmaid’s Tale’ Opera Coming to San Francisco",
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"content": "\u003cfigure id=\"attachment_13953077\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953077\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Handmaid’s Tale,’ by composer Poul Ruders and librettist Paul Bentley, makes its West Coast premiere at San Francisco Opera from Sept. 14–Oct. 1. \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Margaret Atwood’s \u003cem>The Handmaid’s Tale\u003c/em> has been turned into a film, a radio series, a stage play and a graphic novel — not to mention the smash-hit Hulu series starring Elisabeth Moss.\u003c/p>\n\u003cp>Now, the Bay Area gets to be the first California region to experience \u003cem>The Handmaid’s Tale\u003c/em>, the opera. More relevant than ever in a post-Roe v. Wade America, the opera makes its West Coast premiere on Sept. 14 at \u003ca href=\"https://www.sfopera.com/\">San Francisco Opera\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13953076\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poul Ruders’ ‘The Handmaid’s Tale.’ \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Atwood’s dystopian tale of totalitarian patriarchy was adapted to the opera stage in 1998 by Danish composer Poul Ruders, with libretto by Paul Bentley, and had its world premiere in Copenhagen. Praised for its minimalist, haunting approach to the story of women with no agency living under forced insemination by a far-right theocracy, the opera had been scheduled to run in San Francisco in 2020 before being delayed by the pandemic.\u003c/p>\n\u003cp>The timely themes in \u003cem>The Handmaid’s Tale\u003c/em> are just one part of San Francisco Opera’s newly announced 2024–25 season. Along with standby favorites like Puccini’s \u003cem>La bohème\u003c/em>, Bizet’s \u003cem>Carmen\u003c/em> and Wagner’s \u003cem>Tristan and Isolde\u003c/em>, the War Memorial Opera House will also be home to Verdi’s \u003cem>Un Ballo in Maschera\u003c/em> and Mozart’s rarely performed \u003cem>Idomeneo\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13953075\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953075\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mozart’s ‘Idomeneo.’ \u003ccite>(Charlie Kinross/Opera Australia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, while the Metropolitan Opera in New York seems to have \u003ca href=\"https://www.nytimes.com/2023/04/18/arts/music/met-opera-peter-gelb-yannick-nezet-seguin.html\">suddenly discovered the value of contemporary works\u003c/a> — among them Berkeley composer John Adams’ \u003cem>\u003ca href=\"https://www.kqed.org/arts/13919101/antony-and-cleopatra-john-adams-review\">Antony and Cleopatra\u003c/a>\u003c/em>, which premiered in San Francisco last year — a new commission by composer Huang Ruo and librettist David Henry Hwang, \u003cem>The Monkey King\u003c/em> (美猴王), is set to premiere at SF Opera sometime in 2025.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The new season also includes the annual favorite Opera in the Park (Sept. 8); a performance of Beethoven’s Symphony No. 9 conducted by Eun Sung Kim (Oct. 26); and a special San Francisco Pride concert in June of 2025. For more details, see \u003ca href=\"https://www.sfopera.com/press/press-releases/san-francisco-operas-2024-25-season-announced/\">San Francisco Opera\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Margaret Atwood's dystopian tale of totalitarian patriarchy arrives at SF Opera in September.",
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"title": "There’s a ‘Handmaid’s Tale’ Opera Coming to San Francisco | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953077\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953077\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_05-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Handmaid’s Tale,’ by composer Poul Ruders and librettist Paul Bentley, makes its West Coast premiere at San Francisco Opera from Sept. 14–Oct. 1. \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Margaret Atwood’s \u003cem>The Handmaid’s Tale\u003c/em> has been turned into a film, a radio series, a stage play and a graphic novel — not to mention the smash-hit Hulu series starring Elisabeth Moss.\u003c/p>\n\u003cp>Now, the Bay Area gets to be the first California region to experience \u003cem>The Handmaid’s Tale\u003c/em>, the opera. More relevant than ever in a post-Roe v. Wade America, the opera makes its West Coast premiere on Sept. 14 at \u003ca href=\"https://www.sfopera.com/\">San Francisco Opera\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13953076\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poul Ruders’ ‘The Handmaid’s Tale.’ \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Atwood’s dystopian tale of totalitarian patriarchy was adapted to the opera stage in 1998 by Danish composer Poul Ruders, with libretto by Paul Bentley, and had its world premiere in Copenhagen. Praised for its minimalist, haunting approach to the story of women with no agency living under forced insemination by a far-right theocracy, the opera had been scheduled to run in San Francisco in 2020 before being delayed by the pandemic.\u003c/p>\n\u003cp>The timely themes in \u003cem>The Handmaid’s Tale\u003c/em> are just one part of San Francisco Opera’s newly announced 2024–25 season. Along with standby favorites like Puccini’s \u003cem>La bohème\u003c/em>, Bizet’s \u003cem>Carmen\u003c/em> and Wagner’s \u003cem>Tristan and Isolde\u003c/em>, the War Memorial Opera House will also be home to Verdi’s \u003cem>Un Ballo in Maschera\u003c/em> and Mozart’s rarely performed \u003cem>Idomeneo\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13953075\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953075\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Idomeneo-Charlie-Kinross-HR-5350-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mozart’s ‘Idomeneo.’ \u003ccite>(Charlie Kinross/Opera Australia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, while the Metropolitan Opera in New York seems to have \u003ca href=\"https://www.nytimes.com/2023/04/18/arts/music/met-opera-peter-gelb-yannick-nezet-seguin.html\">suddenly discovered the value of contemporary works\u003c/a> — among them Berkeley composer John Adams’ \u003cem>\u003ca href=\"https://www.kqed.org/arts/13919101/antony-and-cleopatra-john-adams-review\">Antony and Cleopatra\u003c/a>\u003c/em>, which premiered in San Francisco last year — a new commission by composer Huang Ruo and librettist David Henry Hwang, \u003cem>The Monkey King\u003c/em> (美猴王), is set to premiere at SF Opera sometime in 2025.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The new season also includes the annual favorite Opera in the Park (Sept. 8); a performance of Beethoven’s Symphony No. 9 conducted by Eun Sung Kim (Oct. 26); and a special San Francisco Pride concert in June of 2025. For more details, see \u003ca href=\"https://www.sfopera.com/press/press-releases/san-francisco-operas-2024-25-season-announced/\">San Francisco Opera\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "YBCA Gallery Remains Closed; Pro-Palestinian Artists Claim Censorship",
"headTitle": "YBCA Gallery Remains Closed; Pro-Palestinian Artists Claim Censorship | KQED",
"content": "\u003cp>After a Feb. 15 protest in which artists altered their own exhibited works with pro-Palestinian messages at the Yerba Buena Center for the Arts (YBCA) in San Francisco, YBCA’s galleries remain closed with no reopening date in sight.\u003c/p>\n\u003cp>The \u003ca href=\"https://docs.google.com/document/d/1ZAoljeQycemJrzYNDyVoSN0gc6ogp5B3jUzj77qua2g/edit\">eight protesting artists\u003c/a> along with \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">15 current museum employees\u003c/a> decried YBCA’s actions as censorship in two Feb. 26 open letters, and the artists have called for a boycott of the museum. [aside label='YBCA Updates' postid='arts_13953653,arts_13952460']\u003c/p>\n\u003cp>At the demonstration, artists draped banners and painted over their own work in the museum’s \u003ci>Bay Area Now 9\u003c/i> (\u003ci>BAN 9\u003c/i>) exhibition. As they modified their pieces, Palestinian, Arab and Jewish community organizers gave speeches calling for a ceasefire in Gaza and accused YBCA of censoring pro-Palestinian messages.\u003c/p>\n\u003cp>“I refuse to be told that I cannot speak to the Palestinian struggle or genocide in my public programming, as I believe that Palestinian liberation means liberation for all,” said artist and protest co-organizer Paz G, in an interview on Monday. Paz G spray painted their ceramic sculpture with the words “Viva Palestina — Free Palestine” during the protest.\u003c/p>\n\u003cp>“Saying no to genocide does not feel radical to me, and it doesn’t feel problematic, and it doesn’t feel divisive,” Paz G added.\u003c/p>\n\u003cfigure id=\"attachment_13953034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953034\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Courtney Desiree Morris during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fellow organizer Lukaza Branfman-Verissimo, who currently has an outdoor installation on YBCA’s Third Street wall, also expressed disappointment at the museum’s decision. “So much of this action was not only to call for the museum to call for a ceasefire and to acknowledge this genocide and to end censorship, but also to demand that the museum commit to the lifelong work of standing with the Palestinian people,” Branfman-Verissimo said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Feb. 24, YBCA CEO Sara Fenske Bahat emailed the eight protesting artists to indicate that their works would be de-installed on Monday, Feb. 26, and that she would be available for “curatorial conversations” one-on-one beforehand, according to an email reviewed by KQED. The artists requested more time in order to coordinate a meeting with Fenske Bahat as a collective.\u003c/p>\n\u003cp>Though Fenske Bahat declined an interview request, she emailed KQED a statement through a spokesperson: “We are eager to meet with [the artists] to have a meaningful conversation and hear how they would like to present their works. … All of the artworks remain in the gallery as they were, as we were hoping to have a conversation with the artists before moving forward. We don’t yet have a firm date for the reopening of the galleries.”\u003c/p>\n\u003cp>On Feb. 21, YBCA published its first \u003ca href=\"https://ybca.org/statement-on-2-15-protest/\">public statement about the protest\u003c/a>, underscoring the institution’s refusal to take a public stance on Israel’s military offensive in Gaza, the death toll of which is expected to \u003ca href=\"https://www.theguardian.com/world/2024/feb/25/gaza-death-toll-set-to-pass-30000-as-israel-prepares-assault-on-rafah\">rise above 30,000 this week\u003c/a>. “If YBCA has refrained from lending its voice to any side, it has been so that our many stakeholders can hold theirs,” the statement read.\u003c/p>\n\u003cp>YBCA’s statement also referred to the artists’ protest tactics as “polarizing” and “disruptive,” and asserted that ignoring the protest would set a “dangerous precedent”: “We risk descending into a world where cooperative curation and community building is governed by chaos, and the public is left wondering if visits to view artists’ works will be marred by disruption.”\u003c/p>\n\u003cp>Paz G and Branfman-Verissimo characterized YBCA’s statement as a distraction.\u003c/p>\n\u003cp>“It’s a tactic used for political repression to paint us as these violent, dangerous protesters and not speak to the meat of the issue, which is that there is a genocide happening in Palestine,” Paz G said.\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstators chant during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ci>BAN 9\u003c/i> artists’ accusations of censorship go back to an incident from December 2023, when YBCA prevented Branfman-Verissimo from including the words “Free Palestine” on its outdoor marquee. The museum had previously used that display space for protest slogans in support of movements such as Black Lives Matter and Woman Life Freedom. Fellow \u003ci>BAN 9\u003c/i> artist Jeff Cheung also accused the museum of preventing him from using the colors of the Palestinian flag in an outdoor mural, which Fenske Bahat denied.\u003c/p>\n\u003cp>Now, the protesting artists say that YBCA’s removal of the modified artworks amounts to further censorship. Fenske Bahat did not address questions from KQED about why the institution views the pro-Palestinian movement differently from other social justice movements such as \u003ca href=\"https://ybca.org/2020-black-lives-matter/\">Black Lives Matter, which the museum endorsed\u003c/a> with an official statement on its website in 2020.\u003c/p>\n\u003cp>“They are out of touch with the community they claim to represent and serve,” Paz G said, noting that the cities of San Francisco, Oakland and Richmond have adopted resolutions calling for a ceasefire in Gaza, and that tens of thousands of Bay Area protesters have mobilized around the issue. Paz G and Branfman-Verissimo said over 2,200 people have emailed YBCA supporting the artist protest through a form that the artists set up.\u003c/p>\n\u003cfigure id=\"attachment_13953036\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953036\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg\" alt='A sign over a wool rug reads \"No More Blood Money - Ceasefire Now!\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Tracy Ren during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the Feb. 15 demonstration, protesters passed out flyers with demands, two of which called for YBCA to join the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI), and to “remove all Zionist funders and board members,” without naming specific people.\u003c/p>\n\u003cp>“Such language is neither productive nor tolerable,” reads the YBCA statement in response, which also refers to protest demands as amounting to a call for “illegal, identity-based discrimination.”\u003c/p>\n\u003cp>Protest organizers denied this charge, and pointed out that Zionism is a political ideology, not a religion or ethnicity. “This is a tactic that is being used against people fighting for a ceasefire and to end the genocide in Palestine. … We’re being essentially painted as anti-Semitic,” Paz G said.\u003c/p>\n\u003cp>“There have been hundreds of organizations nationwide that have stood with PACBI,” said Branfman-Verissimo, who is Jewish. Activists from Jewish Voice for Peace also joined the Feb. 15 demonstration among Palestinian groups such as the U.S. Palestinian Community Network.\u003c/p>\n\u003cp>Paz G and Branfman-Verissimo said the eight artists hope to meet with YBCA leadership this week. In addition to protest demands, they will ask YBCA to create an artist advisory board so that it can better serve public interests. Until then, they are asking the public not to support the institution.\u003c/p>\n\u003cp>“[It’s] a way for YBCA to move forward and to show the Bay area that they stand with us, that they care,” Paz G said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" 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\n",
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"excerpt": "Eight artists are calling for a boycott of the San Francisco museum.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a Feb. 15 protest in which artists altered their own exhibited works with pro-Palestinian messages at the Yerba Buena Center for the Arts (YBCA) in San Francisco, YBCA’s galleries remain closed with no reopening date in sight.\u003c/p>\n\u003cp>The \u003ca href=\"https://docs.google.com/document/d/1ZAoljeQycemJrzYNDyVoSN0gc6ogp5B3jUzj77qua2g/edit\">eight protesting artists\u003c/a> along with \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">15 current museum employees\u003c/a> decried YBCA’s actions as censorship in two Feb. 26 open letters, and the artists have called for a boycott of the museum. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the demonstration, artists draped banners and painted over their own work in the museum’s \u003ci>Bay Area Now 9\u003c/i> (\u003ci>BAN 9\u003c/i>) exhibition. As they modified their pieces, Palestinian, Arab and Jewish community organizers gave speeches calling for a ceasefire in Gaza and accused YBCA of censoring pro-Palestinian messages.\u003c/p>\n\u003cp>“I refuse to be told that I cannot speak to the Palestinian struggle or genocide in my public programming, as I believe that Palestinian liberation means liberation for all,” said artist and protest co-organizer Paz G, in an interview on Monday. Paz G spray painted their ceramic sculpture with the words “Viva Palestina — Free Palestine” during the protest.\u003c/p>\n\u003cp>“Saying no to genocide does not feel radical to me, and it doesn’t feel problematic, and it doesn’t feel divisive,” Paz G added.\u003c/p>\n\u003cfigure id=\"attachment_13953034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953034\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Courtney Desiree Morris during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fellow organizer Lukaza Branfman-Verissimo, who currently has an outdoor installation on YBCA’s Third Street wall, also expressed disappointment at the museum’s decision. “So much of this action was not only to call for the museum to call for a ceasefire and to acknowledge this genocide and to end censorship, but also to demand that the museum commit to the lifelong work of standing with the Palestinian people,” Branfman-Verissimo said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Feb. 24, YBCA CEO Sara Fenske Bahat emailed the eight protesting artists to indicate that their works would be de-installed on Monday, Feb. 26, and that she would be available for “curatorial conversations” one-on-one beforehand, according to an email reviewed by KQED. The artists requested more time in order to coordinate a meeting with Fenske Bahat as a collective.\u003c/p>\n\u003cp>Though Fenske Bahat declined an interview request, she emailed KQED a statement through a spokesperson: “We are eager to meet with [the artists] to have a meaningful conversation and hear how they would like to present their works. … All of the artworks remain in the gallery as they were, as we were hoping to have a conversation with the artists before moving forward. We don’t yet have a firm date for the reopening of the galleries.”\u003c/p>\n\u003cp>On Feb. 21, YBCA published its first \u003ca href=\"https://ybca.org/statement-on-2-15-protest/\">public statement about the protest\u003c/a>, underscoring the institution’s refusal to take a public stance on Israel’s military offensive in Gaza, the death toll of which is expected to \u003ca href=\"https://www.theguardian.com/world/2024/feb/25/gaza-death-toll-set-to-pass-30000-as-israel-prepares-assault-on-rafah\">rise above 30,000 this week\u003c/a>. “If YBCA has refrained from lending its voice to any side, it has been so that our many stakeholders can hold theirs,” the statement read.\u003c/p>\n\u003cp>YBCA’s statement also referred to the artists’ protest tactics as “polarizing” and “disruptive,” and asserted that ignoring the protest would set a “dangerous precedent”: “We risk descending into a world where cooperative curation and community building is governed by chaos, and the public is left wondering if visits to view artists’ works will be marred by disruption.”\u003c/p>\n\u003cp>Paz G and Branfman-Verissimo characterized YBCA’s statement as a distraction.\u003c/p>\n\u003cp>“It’s a tactic used for political repression to paint us as these violent, dangerous protesters and not speak to the meat of the issue, which is that there is a genocide happening in Palestine,” Paz G said.\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstators chant during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ci>BAN 9\u003c/i> artists’ accusations of censorship go back to an incident from December 2023, when YBCA prevented Branfman-Verissimo from including the words “Free Palestine” on its outdoor marquee. The museum had previously used that display space for protest slogans in support of movements such as Black Lives Matter and Woman Life Freedom. Fellow \u003ci>BAN 9\u003c/i> artist Jeff Cheung also accused the museum of preventing him from using the colors of the Palestinian flag in an outdoor mural, which Fenske Bahat denied.\u003c/p>\n\u003cp>Now, the protesting artists say that YBCA’s removal of the modified artworks amounts to further censorship. Fenske Bahat did not address questions from KQED about why the institution views the pro-Palestinian movement differently from other social justice movements such as \u003ca href=\"https://ybca.org/2020-black-lives-matter/\">Black Lives Matter, which the museum endorsed\u003c/a> with an official statement on its website in 2020.\u003c/p>\n\u003cp>“They are out of touch with the community they claim to represent and serve,” Paz G said, noting that the cities of San Francisco, Oakland and Richmond have adopted resolutions calling for a ceasefire in Gaza, and that tens of thousands of Bay Area protesters have mobilized around the issue. Paz G and Branfman-Verissimo said over 2,200 people have emailed YBCA supporting the artist protest through a form that the artists set up.\u003c/p>\n\u003cfigure id=\"attachment_13953036\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953036\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg\" alt='A sign over a wool rug reads \"No More Blood Money - Ceasefire Now!\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Tracy Ren during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the Feb. 15 demonstration, protesters passed out flyers with demands, two of which called for YBCA to join the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI), and to “remove all Zionist funders and board members,” without naming specific people.\u003c/p>\n\u003cp>“Such language is neither productive nor tolerable,” reads the YBCA statement in response, which also refers to protest demands as amounting to a call for “illegal, identity-based discrimination.”\u003c/p>\n\u003cp>Protest organizers denied this charge, and pointed out that Zionism is a political ideology, not a religion or ethnicity. “This is a tactic that is being used against people fighting for a ceasefire and to end the genocide in Palestine. … We’re being essentially painted as anti-Semitic,” Paz G said.\u003c/p>\n\u003cp>“There have been hundreds of organizations nationwide that have stood with PACBI,” said Branfman-Verissimo, who is Jewish. Activists from Jewish Voice for Peace also joined the Feb. 15 demonstration among Palestinian groups such as the U.S. Palestinian Community Network.\u003c/p>\n\u003cp>Paz G and Branfman-Verissimo said the eight artists hope to meet with YBCA leadership this week. In addition to protest demands, they will ask YBCA to create an artist advisory board so that it can better serve public interests. Until then, they are asking the public not to support the institution.\u003c/p>\n\u003cp>“[It’s] a way for YBCA to move forward and to show the Bay area that they stand with us, that they care,” Paz G said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Zendaya Donates $100,000 to Bay Area Theater Company",
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"content": "\u003cp>Star actress \u003ca href=\"https://www.kqed.org/arts/tag/zendaya\">Zendaya\u003c/a> has made a large donation to the California Shakespeare Theater (Cal Shakes) that’s expected to have a major impact on the company’s upcoming 50th anniversary season.\u003c/p>\n\u003cp>[aside postid='arts_13891785']\u003ca href=\"https://www.kqed.org/pop/95643/how-oaklands-zendaya-became-the-most-woke-disney-star-ever\">The Oakland-born star\u003c/a> of \u003ca href=\"https://www.kqed.org/arts/13952684/dune-part-two-sustains-the-dystopian-dream-of-part-one\">\u003cem>Dune\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13907939/hbos-euphoria-is-more-than-a-parents-worst-nightmare-its-a-creative-triumph\">\u003cem>Euphoria\u003c/em> \u003c/a>facilitated a $100,000 grant to the theater’s \u003ca href=\"https://calshakes.org/support/\">North Star Fund\u003c/a> via the Women Donors Network (WDN).\u003c/p>\n\u003cp>“We hope that our funding supports your work and helps further your strategic vision, wherever funds are most needed,” said WDN’s President and CEO Leena Barakat in a statement.\u003c/p>\n\u003cp>The North Star Fund is dedicated toward launching a development program for young acting talent, improving sound and lighting at the Bruns Amphitheater in Orinda, and upgrading Cal Shakes’ cafe facilities. The fund will also finance the theater’s \u003ca href=\"https://calshakes.org/calshakes50_pr/\">50th anniversary production of \u003c/a>\u003cem>\u003ca href=\"https://calshakes.org/calshakes50_pr/\">As You Like It\u003c/a>,\u003c/em> set to be directed by Elizabeth Carter.\u003c/p>\n\u003cp>“To me, \u003cem>As You Like It\u003c/em> is ultimately about the freedom to uncover ourselves,” Carter said when the play was announced, “being loved for our true selves, and that the least of us is the most of us.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='pop_95643']Zendaya, 27, has been closely linked to Cal Shakes since her childhood. Her mother, elementary school teacher Claire Stoermer, worked as the house manager for 12 summers. Zendaya often accompanied her mom to the theater, helping out by selling raffle tickets and handing out programs.\u003c/p>\n\u003cp>The actress began taking classes at Cal Shakes at the age of 8, encouraged by her mom. Within six years, Zendaya began starring in the Disney Channel series, \u003cem>Shake it Up\u003c/em>. In 2020, she became the youngest actor to ever win an Emmy Award for her work on \u003cem>Euphoria\u003c/em>.\u003c/p>\n\u003cp>The $100,000 donation follows a pattern of Zendaya representing her hometown of Oakland and supporting its community programs. Last year, with boyfriend Tom Holland, she \u003ca href=\"https://datebook.sfchronicle.com/movies-tv/zendaya-and-boyfriend-tom-holland-made-a-secret-trip-to-her-oakland-school\">visited her alma mater Oakland School for the Arts\u003c/a> to talk with students. In 2018, she \u003ca href=\"https://www.essence.com/celebrity/zendaya-google-computer-science-roses-oakland/\">helped fund a grant supporting computer science curriculum\u003c/a> at Oakland’s Roses In Concerete Community School.\u003c/p>\n\u003cp>Zendaya remains a regular visitor to the Cal Shakes’ theater in Orinda, and was made aware of its post-pandemic challenges in conversations with Executive Director Clive Worsley and others at Cal Shakes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are deeply grateful to Zendaya and the WDN for their partnership,” Worsley said in a statement. “This gift helps keep Cal Shakes going strong.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Star actress \u003ca href=\"https://www.kqed.org/arts/tag/zendaya\">Zendaya\u003c/a> has made a large donation to the California Shakespeare Theater (Cal Shakes) that’s expected to have a major impact on the company’s upcoming 50th anniversary season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.kqed.org/pop/95643/how-oaklands-zendaya-became-the-most-woke-disney-star-ever\">The Oakland-born star\u003c/a> of \u003ca href=\"https://www.kqed.org/arts/13952684/dune-part-two-sustains-the-dystopian-dream-of-part-one\">\u003cem>Dune\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13907939/hbos-euphoria-is-more-than-a-parents-worst-nightmare-its-a-creative-triumph\">\u003cem>Euphoria\u003c/em> \u003c/a>facilitated a $100,000 grant to the theater’s \u003ca href=\"https://calshakes.org/support/\">North Star Fund\u003c/a> via the Women Donors Network (WDN).\u003c/p>\n\u003cp>“We hope that our funding supports your work and helps further your strategic vision, wherever funds are most needed,” said WDN’s President and CEO Leena Barakat in a statement.\u003c/p>\n\u003cp>The North Star Fund is dedicated toward launching a development program for young acting talent, improving sound and lighting at the Bruns Amphitheater in Orinda, and upgrading Cal Shakes’ cafe facilities. The fund will also finance the theater’s \u003ca href=\"https://calshakes.org/calshakes50_pr/\">50th anniversary production of \u003c/a>\u003cem>\u003ca href=\"https://calshakes.org/calshakes50_pr/\">As You Like It\u003c/a>,\u003c/em> set to be directed by Elizabeth Carter.\u003c/p>\n\u003cp>“To me, \u003cem>As You Like It\u003c/em> is ultimately about the freedom to uncover ourselves,” Carter said when the play was announced, “being loved for our true selves, and that the least of us is the most of us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Zendaya, 27, has been closely linked to Cal Shakes since her childhood. Her mother, elementary school teacher Claire Stoermer, worked as the house manager for 12 summers. Zendaya often accompanied her mom to the theater, helping out by selling raffle tickets and handing out programs.\u003c/p>\n\u003cp>The actress began taking classes at Cal Shakes at the age of 8, encouraged by her mom. Within six years, Zendaya began starring in the Disney Channel series, \u003cem>Shake it Up\u003c/em>. In 2020, she became the youngest actor to ever win an Emmy Award for her work on \u003cem>Euphoria\u003c/em>.\u003c/p>\n\u003cp>The $100,000 donation follows a pattern of Zendaya representing her hometown of Oakland and supporting its community programs. Last year, with boyfriend Tom Holland, she \u003ca href=\"https://datebook.sfchronicle.com/movies-tv/zendaya-and-boyfriend-tom-holland-made-a-secret-trip-to-her-oakland-school\">visited her alma mater Oakland School for the Arts\u003c/a> to talk with students. In 2018, she \u003ca href=\"https://www.essence.com/celebrity/zendaya-google-computer-science-roses-oakland/\">helped fund a grant supporting computer science curriculum\u003c/a> at Oakland’s Roses In Concerete Community School.\u003c/p>\n\u003cp>Zendaya remains a regular visitor to the Cal Shakes’ theater in Orinda, and was made aware of its post-pandemic challenges in conversations with Executive Director Clive Worsley and others at Cal Shakes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are deeply grateful to Zendaya and the WDN for their partnership,” Worsley said in a statement. “This gift helps keep Cal Shakes going strong.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland Museum Union Announced Amid a National Wave of Museum Organizing",
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"content": "\u003cp>A group of \u003ca href=\"https://www.kqed.org/arts/tag/oakland-museum-of-california\">Oakland Museum of California\u003c/a> (OMCA) workers on Wednesday announced plans to form the museum’s first union. Representatives from OMCA Workers United said union membership would consist of approximately 90 workers across the museum, in roles including curation, ticketing and program development.\u003c/p>\n\u003cp>“We are asking management to join with us in bringing our institution into alignment with our stated values of equity, community, and humanity,” read the union’s statement.\u003c/p>\n\u003cp>Museum management is currently reviewing the union organizers’ requests, according to a statement from OMCA management provided to KQED.\u003c/p>\n\u003cp>[aside postID='news_11943906']OMCA Workers United joins a national wave of museum union organizing in the past few years, including at the Whitney Museum and the Guggenheim in New York and the Art Institute of Chicago. In California, workers at the San Francisco Museum of Modern Art, the California Academy of Sciences and the Museum of Contemporary Art in Los Angeles have all instigated union bargaining efforts. Layoffs in the pandemic era and concerns over structural racism after the murder of George Floyd are often \u003ca href=\"https://www.nytimes.com/2022/02/21/arts/design/museums-unions-labor.html\">cited as reasons for a greater investment in unions at art institutions\u003c/a>.\u003c/p>\n\u003cp>Linds Young, an OMCA Workers United organizing committee member who develops educational programming for students, said union goals include better wages and affordable healthcare. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think something that we’re all learning together is nonprofit life is a little rough sometimes,” Young told KQED over the phone. “We’re looking for folks who work on our front line and in our prep staff to have livable wages — living in the Bay Area is pretty expensive.”\u003c/p>\n\u003cp>The union also referenced the museum’s new strategic plan, which includes goals to “advance equity, transparency, and anti-racism in internal structures, culture, and practices.” Back in 2020, the museum assembled Anti-Racist Design Teams among staff to assess equity across the organization. Young says the union wants to be included in decision-making and implementation surrounding equity.\u003c/p>\n\u003cp>“In the wake of protests about the murder of George Floyd, we have gone through a lot of anti-racist design and learning.” Young said. “A lot of us here are just feeling like we need a little bit more transparency in these goals.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Union organizers tell KQED they are requesting immediate voluntary recognition of the union by OMCA, and hope to hold a union vote by March 13.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A group of \u003ca href=\"https://www.kqed.org/arts/tag/oakland-museum-of-california\">Oakland Museum of California\u003c/a> (OMCA) workers on Wednesday announced plans to form the museum’s first union. Representatives from OMCA Workers United said union membership would consist of approximately 90 workers across the museum, in roles including curation, ticketing and program development.\u003c/p>\n\u003cp>“We are asking management to join with us in bringing our institution into alignment with our stated values of equity, community, and humanity,” read the union’s statement.\u003c/p>\n\u003cp>Museum management is currently reviewing the union organizers’ requests, according to a statement from OMCA management provided to KQED.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>OMCA Workers United joins a national wave of museum union organizing in the past few years, including at the Whitney Museum and the Guggenheim in New York and the Art Institute of Chicago. In California, workers at the San Francisco Museum of Modern Art, the California Academy of Sciences and the Museum of Contemporary Art in Los Angeles have all instigated union bargaining efforts. Layoffs in the pandemic era and concerns over structural racism after the murder of George Floyd are often \u003ca href=\"https://www.nytimes.com/2022/02/21/arts/design/museums-unions-labor.html\">cited as reasons for a greater investment in unions at art institutions\u003c/a>.\u003c/p>\n\u003cp>Linds Young, an OMCA Workers United organizing committee member who develops educational programming for students, said union goals include better wages and affordable healthcare. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think something that we’re all learning together is nonprofit life is a little rough sometimes,” Young told KQED over the phone. “We’re looking for folks who work on our front line and in our prep staff to have livable wages — living in the Bay Area is pretty expensive.”\u003c/p>\n\u003cp>The union also referenced the museum’s new strategic plan, which includes goals to “advance equity, transparency, and anti-racism in internal structures, culture, and practices.” Back in 2020, the museum assembled Anti-Racist Design Teams among staff to assess equity across the organization. Young says the union wants to be included in decision-making and implementation surrounding equity.\u003c/p>\n\u003cp>“In the wake of protests about the murder of George Floyd, we have gone through a lot of anti-racist design and learning.” Young said. “A lot of us here are just feeling like we need a little bit more transparency in these goals.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Union organizers tell KQED they are requesting immediate voluntary recognition of the union by OMCA, and hope to hold a union vote by March 13.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "betty-reid-soskin-music-documentary-sign-my-name-to-freedom",
"title": "At 102 Years Old, Betty Reid Soskin Revisits Her Music From the Civil Rights Era",
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"content": "\u003cp>Betty Reid Soskin’s life story is a reminder that all of us are given just one life; and that, within it, there can be many lives lived. There’s now a film in production that’s set to drive that point home.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.signmynametofreedom.com/\" target=\"_blank\" rel=\"noopener\">Sign My Name To Freedom: The Lost Music of Betty Reid Soskin\u003c/a>\u003c/i>, directed by Bryan Gibel and co-directed by A.K. Sandhu, is a close look at how the Bay Area’s form of racism and redlining impacted Reid Soskin and her family, and how she used music to fight back.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Sign My Name to Freedom 4-Minute Work Sample\" src=\"https://player.vimeo.com/video/858289902?h=745443a01e&dnt=1&app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\">\u003c/iframe>\u003c/p>\n\u003cp>Reid Soskin has a fascinating story. She’s famously known as the woman who became the oldest United States Park Ranger in history, at age 85. This accomplishment was \u003ca href=\"https://twitter.com/BarackObama/status/1510286021182771200\" target=\"_blank\" rel=\"noopener\">celebrated by President Obama\u003c/a> on multiple occasions, including a message he sent to her in 2022 after she announced her\u003ca href=\"https://www.kqed.org/news/11910061/betty-reid-soskin-americas-oldest-park-ranger-retires-at-100\"> retirement at age 100\u003c/a>.\u003c/p>\n\u003cp>Reid Soskin, who has\u003ca href=\"https://www.wccusd.net/bettyreidsoskin\" target=\"_blank\" rel=\"noopener\"> a middle school named in her honor\u003c/a>, was also once the owner of \u003ca href=\"https://www.berkeleyside.org/2019/02/05/reids-records-californias-oldest-record-shop-to-close-in-the-fall\" target=\"_blank\" rel=\"noopener\">Reid’s Records\u003c/a> in Berkeley. A community hub and resource in the historically Black community of South Berkeley, the store operated for nearly 75 years. At the time of its closing, it was the oldest record store in California.\u003c/p>\n\u003cfigure id=\"attachment_13952585\" class=\"wp-caption aligncenter\" style=\"max-width: 2085px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952585\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-scaled.jpg\" alt=\"Betty Reid Soskin posing for a photo in the 1940s at Lake Merritt in Oakland.\" width=\"2085\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-scaled.jpg 2085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-800x982.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1020x1252.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-768x943.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1251x1536.jpg 1251w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1668x2048.jpg 1668w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1920x2357.jpg 1920w\" sizes=\"auto, (max-width: 2085px) 100vw, 2085px\">\u003cfigcaption class=\"wp-caption-text\">Betty Reid Soskin, pictured in the 1940s. \u003ccite>(Via Betty Reid Soskin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gibel and Sandhu’s film goes even further back, picking up after Reid Soskin graduated from East Oakland’s Castlemont High School and started a family with her first husband, Mel Reid. After having children, Reid Soskin and her family moved to the other side of the Caldecott Tunnel, taking up residence in Walnut Creek, where they were one of the first African American families in town.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They were soon subject to racist harassment in their immediate community as well as at work, where Reid Soskin labored in the Boilermaker union during WWII.\u003c/p>\n\u003cp>These first-person experiences, coupled with reports of racist attacks across the country and war around the world, led to Reid Soskin writing songs to fight the powers that be.\u003c/p>\n\u003cp>\u003cem>Sign My Name to Freedom \u003c/em>is the title of the film (as well as her memoir and \u003ca href=\"https://www.zspace.org/signmyname\">a stage play about her life which premieres March 28\u003c/a>); it’s also the name of her best-known song.\u003c/p>\n\u003cp>In the documentary film, Reid Soskin (who’s now 102) listens to reel-to-reel tapes excavated from an old box that had been in her closet for nearly a half-century.\u003c/p>\n\u003cp>Cameras roll as she time-travels by revisiting her old lyrics, prompting recollections about world events at the time. The film also features interviews with Reid Soskin and her family, plus beautiful archival photos and home videos.\u003c/p>\n\u003cfigure id=\"attachment_13952587\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1.jpg\" alt=\"A candid shot of Betty Reid Soskin in the 1960's holding a guitar while sitting in a music circle in the Asilomar area of Monterey Bay.\" width=\"1170\" height=\"1416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-800x968.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-1020x1234.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-768x929.jpg 768w\" sizes=\"auto, (max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">Betty Reid Soskin, in the 1960s, in a music circle in the Asilomar area of Monterey Bay. \u003ccite>(Via Betty Reid Soskin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In true Reid Soskin fashion, the film isn’t just about yesteryear, but what she’s doing now. It follows her to a 2018 performance at Oakland’s Paramount Theatre, where she, along with the Oakland Symphony and a 200-person choir, sang “Your Hand In Mine,” her tribute to the civil rights activist Fannie Lou Hamer.\u003c/p>\n\u003cp>The film is still in production, and the team is throwing events \u003ca href=\"https://seedandspark.com/fund/sign-my-name-to-freedom?fbclid=IwAR1MtauBei87wdBoF18zwG8npB9z_1Bvp5ujLomq1h1nRVf2EEtP1QhRb1I#story\" target=\"_blank\" rel=\"noopener\">to raise funds\u003c/a> for it. Upcoming events include an online screening on \u003ca href=\"https://www.signmynametofreedom.com/events/screening-discussion-the-untold-story-of-betty-reid-soskin-cbd84\" target=\"_blank\" rel=\"noopener\">Tuesday, Feb. 29\u003c/a>, in collaboration with the Zaccho Dance Company; an in-person event on \u003ca href=\"https://www.signmynametofreedom.com/events/screening-discussion-the-untold-story-of-betty-reid-soskin-tkbjh\" target=\"_blank\" rel=\"noopener\">Saturday, March 16, at the South Berkeley Library\u003c/a>; and a pop-up event held with the \u003ca href=\"https://rosietheriveter.org/\" target=\"_blank\" rel=\"noopener\">Rosie The Riveter Trust\u003c/a> on\u003ca href=\"https://www.eventbrite.com/e/sign-my-name-to-freedom-pop-up-tickets-824886566927?aff=erelexpmlt\" target=\"_blank\" rel=\"noopener\"> Friday, March 22\u003c/a> at the old Ford Assembly Plant in Richmond.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More information about ‘Sign My Name To Freedom: The Lost Music of Betty Reid Soskin’ and upcoming events \u003ca href=\"https://www.signmynametofreedom.com/\" target=\"_blank\" rel=\"noopener\">can be found here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"headline": "At 102 Years Old, Betty Reid Soskin Revisits Her Music From the Civil Rights Era",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Betty Reid Soskin’s life story is a reminder that all of us are given just one life; and that, within it, there can be many lives lived. There’s now a film in production that’s set to drive that point home.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.signmynametofreedom.com/\" target=\"_blank\" rel=\"noopener\">Sign My Name To Freedom: The Lost Music of Betty Reid Soskin\u003c/a>\u003c/i>, directed by Bryan Gibel and co-directed by A.K. Sandhu, is a close look at how the Bay Area’s form of racism and redlining impacted Reid Soskin and her family, and how she used music to fight back.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Sign My Name to Freedom 4-Minute Work Sample\" src=\"https://player.vimeo.com/video/858289902?h=745443a01e&dnt=1&app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\">\u003c/iframe>\u003c/p>\n\u003cp>Reid Soskin has a fascinating story. She’s famously known as the woman who became the oldest United States Park Ranger in history, at age 85. This accomplishment was \u003ca href=\"https://twitter.com/BarackObama/status/1510286021182771200\" target=\"_blank\" rel=\"noopener\">celebrated by President Obama\u003c/a> on multiple occasions, including a message he sent to her in 2022 after she announced her\u003ca href=\"https://www.kqed.org/news/11910061/betty-reid-soskin-americas-oldest-park-ranger-retires-at-100\"> retirement at age 100\u003c/a>.\u003c/p>\n\u003cp>Reid Soskin, who has\u003ca href=\"https://www.wccusd.net/bettyreidsoskin\" target=\"_blank\" rel=\"noopener\"> a middle school named in her honor\u003c/a>, was also once the owner of \u003ca href=\"https://www.berkeleyside.org/2019/02/05/reids-records-californias-oldest-record-shop-to-close-in-the-fall\" target=\"_blank\" rel=\"noopener\">Reid’s Records\u003c/a> in Berkeley. A community hub and resource in the historically Black community of South Berkeley, the store operated for nearly 75 years. At the time of its closing, it was the oldest record store in California.\u003c/p>\n\u003cfigure id=\"attachment_13952585\" class=\"wp-caption aligncenter\" style=\"max-width: 2085px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952585\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-scaled.jpg\" alt=\"Betty Reid Soskin posing for a photo in the 1940s at Lake Merritt in Oakland.\" width=\"2085\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-scaled.jpg 2085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-800x982.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1020x1252.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-768x943.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1251x1536.jpg 1251w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1668x2048.jpg 1668w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BettyYoungWomanPortrait1-1-1920x2357.jpg 1920w\" sizes=\"auto, (max-width: 2085px) 100vw, 2085px\">\u003cfigcaption class=\"wp-caption-text\">Betty Reid Soskin, pictured in the 1940s. \u003ccite>(Via Betty Reid Soskin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gibel and Sandhu’s film goes even further back, picking up after Reid Soskin graduated from East Oakland’s Castlemont High School and started a family with her first husband, Mel Reid. After having children, Reid Soskin and her family moved to the other side of the Caldecott Tunnel, taking up residence in Walnut Creek, where they were one of the first African American families in town.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They were soon subject to racist harassment in their immediate community as well as at work, where Reid Soskin labored in the Boilermaker union during WWII.\u003c/p>\n\u003cp>These first-person experiences, coupled with reports of racist attacks across the country and war around the world, led to Reid Soskin writing songs to fight the powers that be.\u003c/p>\n\u003cp>\u003cem>Sign My Name to Freedom \u003c/em>is the title of the film (as well as her memoir and \u003ca href=\"https://www.zspace.org/signmyname\">a stage play about her life which premieres March 28\u003c/a>); it’s also the name of her best-known song.\u003c/p>\n\u003cp>In the documentary film, Reid Soskin (who’s now 102) listens to reel-to-reel tapes excavated from an old box that had been in her closet for nearly a half-century.\u003c/p>\n\u003cp>Cameras roll as she time-travels by revisiting her old lyrics, prompting recollections about world events at the time. The film also features interviews with Reid Soskin and her family, plus beautiful archival photos and home videos.\u003c/p>\n\u003cfigure id=\"attachment_13952587\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1.jpg\" alt=\"A candid shot of Betty Reid Soskin in the 1960's holding a guitar while sitting in a music circle in the Asilomar area of Monterey Bay.\" width=\"1170\" height=\"1416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-800x968.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-1020x1234.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Betty-in-60s-Asilomar-in-music-circle-1-768x929.jpg 768w\" sizes=\"auto, (max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">Betty Reid Soskin, in the 1960s, in a music circle in the Asilomar area of Monterey Bay. \u003ccite>(Via Betty Reid Soskin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In true Reid Soskin fashion, the film isn’t just about yesteryear, but what she’s doing now. It follows her to a 2018 performance at Oakland’s Paramount Theatre, where she, along with the Oakland Symphony and a 200-person choir, sang “Your Hand In Mine,” her tribute to the civil rights activist Fannie Lou Hamer.\u003c/p>\n\u003cp>The film is still in production, and the team is throwing events \u003ca href=\"https://seedandspark.com/fund/sign-my-name-to-freedom?fbclid=IwAR1MtauBei87wdBoF18zwG8npB9z_1Bvp5ujLomq1h1nRVf2EEtP1QhRb1I#story\" target=\"_blank\" rel=\"noopener\">to raise funds\u003c/a> for it. Upcoming events include an online screening on \u003ca href=\"https://www.signmynametofreedom.com/events/screening-discussion-the-untold-story-of-betty-reid-soskin-cbd84\" target=\"_blank\" rel=\"noopener\">Tuesday, Feb. 29\u003c/a>, in collaboration with the Zaccho Dance Company; an in-person event on \u003ca href=\"https://www.signmynametofreedom.com/events/screening-discussion-the-untold-story-of-betty-reid-soskin-tkbjh\" target=\"_blank\" rel=\"noopener\">Saturday, March 16, at the South Berkeley Library\u003c/a>; and a pop-up event held with the \u003ca href=\"https://rosietheriveter.org/\" target=\"_blank\" rel=\"noopener\">Rosie The Riveter Trust\u003c/a> on\u003ca href=\"https://www.eventbrite.com/e/sign-my-name-to-freedom-pop-up-tickets-824886566927?aff=erelexpmlt\" target=\"_blank\" rel=\"noopener\"> Friday, March 22\u003c/a> at the old Ford Assembly Plant in Richmond.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More information about ‘Sign My Name To Freedom: The Lost Music of Betty Reid Soskin’ and upcoming events \u003ca href=\"https://www.signmynametofreedom.com/\" target=\"_blank\" rel=\"noopener\">can be found here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How One Outfit Changed the Life of a Former Berkeley High Teacher",
"headTitle": "How One Outfit Changed the Life of a Former Berkeley High Teacher | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> Fit Check is a series about style and personal expression in the Bay Area. See other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>One summer night three years ago, \u003ca href=\"https://www.instagram.com/the.daily.zazz/\">Zakiya Zazaboi\u003c/a>’s outfit changed her life.\u003c/p>\n\u003cp>At the time, Zazaboi was a history teacher at Berkeley High School, and her students used to tell her that she was too cool for school — literally. “‘It’s honestly really sad seeing you here,’” Zazaboi remembers a student telling her, with brutal teenage conviction.\u003c/p>\n\u003cp>[aside postID='arts_13951605']Zazaboi waved off her students’ suggestions that she should quit to do something “cooler.” But a party at Miss Ollie’s in Oakland had other plans. That night in May 2021, at a long dining table in Oakland lined with saltfish, jerk chicken and artists of all kinds, Zazaboi met fashion stylist Mai-lei Pecorari.\u003c/p>\n\u003cp>Zazaboi had shown up in cerulean vintage bell bottoms, a Danish knit sweater with enormous silver clasps, oversized white glasses and white cowboy boots. Pecorari, who’s styled the likes of NBA player Draymond Green and DJ Honey Dijon, looked Zazaboi up and down and asked her about her outfit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“‘Do you just do this as a passion project, or professionally?’” Zazaboi remembers Pecorari asking her.\u003c/p>\n\u003cfigure id=\"attachment_13939663\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939663\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED.jpg\" alt=\"A person with a leather jacket holds a circular necklace.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi shows off her collection of silver jewelry, including a necklace engraved with her late mother’s thumbprint. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then Pecorari just sort of whisked her off into the world of fashion, Zazaboi says. Just a few months later, she got a call from Pecorari about a styling job at a photoshoot, and then another, and another.\u003c/p>\n\u003cp>“I began making more than I was as a public school teacher,” she says.\u003c/p>\n\u003cp>Zazaboi has been a stylist ever since.\u003c/p>\n\u003ch2>‘It’s Very Political’\u003c/h2>\n\u003cp>Zazaboi, who was born in Daly City but now lives between Oakland and L.A., describes the style sensibility that transformed her career as bright and emotional. “It’s very queer, too, just because of the ways that I play around with my own masculine energy,” she says. “And it’s very political.”\u003c/p>\n\u003cfigure id=\"attachment_13939662\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939662\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED.jpg\" alt=\"A person dressed in black poses for a photo.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi sports a leather jacket from San Francisco vintage shop Wasteland and a skirt from Goodwill. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a sunny December day in San Francsico when I catch up with Zazaboi at a warehouse building in SOMA. Working a photoshoot for Banana Republic, she wears speed-bump yellow boots, red shorts and a leather vest with two patches — one on the front and one on the back.\u003c/p>\n\u003cp>“I tend to put a lot of different patches on my outfits to reflect things that are going on politically,” she says, her neck, wrists and fingers glimmering with a constellation of silver jewelry. “I like to keep it very pro African, a lot of poetry.”\u003c/p>\n\u003cp>Zazaboi had also printed a photo she found on Tumblr of a group of young Black boys onto a large piece of canvas. Sewn into her vest, the image is stunning and conspicuous, stretching across the length and width of Zazaboi’s back.\u003c/p>\n\u003cp>“It’s a pretty punk thing to do, very gritty DIY,” she says.\u003c/p>\n\u003cp>The front panel of the vest bears the words “I can feel you forgetting me” in medieval script, backdropped by red. (“I definitely have a bit of a sad bone to me because of my Cancer side,” she explains.)\u003c/p>\n\u003cfigure id=\"attachment_13939665\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939665\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED.jpg\" alt=\"A person long hair poses for a photo with an old photo stitched to the back of their leather vest.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi adorns her outwear with custom patches using images that speak to her. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Berkeley High, a fellow teacher let Zazaboi experiment with her garment printer, and she soon started installing patches on her clothes. They now ornament Zazaboi’s collection of outerwear and add dimension to an already distinct wardrobe.\u003c/p>\n\u003cp>She also credits her former students at Berkeley High for their influence. “They have some of the best outfits out here, and they’re very trendy and on it,” she says, “It’s probably the one thing I miss the most about teaching — I’m not constantly being inspired by a lot of our younger generations’ outfits.”\u003c/p>\n\u003cp>On the long San Francisco street outside the Banana Republic photoshoot, Zazaboi clicks the heels of her bright yellow boots — a beam of sunshine in a field of concrete.\u003c/p>\n\u003cp>“I grew up around Filipinos, and their shoe game was on top of it,” she says. “I learned a lot about shoes in Daly City.”\u003c/p>\n\u003cfigure id=\"attachment_13939666\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939666\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED.jpg\" alt=\"A person long hair and red shorts is photographed.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Color and texture are big considerations for Zakiya Zazaboi when putting together her looks. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Keeping It Attainable\u003c/h2>\n\u003cp>Zazaboi also learned about how to budget her money for clothes, and has advice for the rest of us.\u003c/p>\n\u003cp>“I definitely look at a lot of high-end fashion all the time, but babe, I don’t have high fashion money,” she says, “So I’m always keeping in mind longevity, and ‘How’s this gonna look when it’s dirty and beat up? Will it still look good?’”\u003c/p>\n\u003cp>More than anything, she wants fashion to be attainable.\u003c/p>\n\u003cp>“I know that people are going to ask me where I got my outfit from, and I’m not the type of babe that’s gonna be like ‘Valentino’ or ‘Gucci,’” she says.\u003c/p>\n\u003cp>For Zazaboi, there’s something much more valuable and lasting than access to brand names. It helps her find gems in the most random piles of clothes, and it’s accessible to others too.\u003c/p>\n\u003cp>“I just have an eye for things,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" 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\n",
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"excerpt": "Zakiya Zazaboi’s ‘gritty DIY’ fashion is informed by her former students, her zodiac sign and Daly City.",
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"description": "Zakiya Zazaboi’s ‘gritty DIY’ fashion is informed by her former students, her zodiac sign and Daly City.",
"title": "How One Outfit Changed the Life of a Former Berkeley High Teacher | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> Fit Check is a series about style and personal expression in the Bay Area. See other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>One summer night three years ago, \u003ca href=\"https://www.instagram.com/the.daily.zazz/\">Zakiya Zazaboi\u003c/a>’s outfit changed her life.\u003c/p>\n\u003cp>At the time, Zazaboi was a history teacher at Berkeley High School, and her students used to tell her that she was too cool for school — literally. “‘It’s honestly really sad seeing you here,’” Zazaboi remembers a student telling her, with brutal teenage conviction.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Zazaboi waved off her students’ suggestions that she should quit to do something “cooler.” But a party at Miss Ollie’s in Oakland had other plans. That night in May 2021, at a long dining table in Oakland lined with saltfish, jerk chicken and artists of all kinds, Zazaboi met fashion stylist Mai-lei Pecorari.\u003c/p>\n\u003cp>Zazaboi had shown up in cerulean vintage bell bottoms, a Danish knit sweater with enormous silver clasps, oversized white glasses and white cowboy boots. Pecorari, who’s styled the likes of NBA player Draymond Green and DJ Honey Dijon, looked Zazaboi up and down and asked her about her outfit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“‘Do you just do this as a passion project, or professionally?’” Zazaboi remembers Pecorari asking her.\u003c/p>\n\u003cfigure id=\"attachment_13939663\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939663\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED.jpg\" alt=\"A person with a leather jacket holds a circular necklace.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi shows off her collection of silver jewelry, including a necklace engraved with her late mother’s thumbprint. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then Pecorari just sort of whisked her off into the world of fashion, Zazaboi says. Just a few months later, she got a call from Pecorari about a styling job at a photoshoot, and then another, and another.\u003c/p>\n\u003cp>“I began making more than I was as a public school teacher,” she says.\u003c/p>\n\u003cp>Zazaboi has been a stylist ever since.\u003c/p>\n\u003ch2>‘It’s Very Political’\u003c/h2>\n\u003cp>Zazaboi, who was born in Daly City but now lives between Oakland and L.A., describes the style sensibility that transformed her career as bright and emotional. “It’s very queer, too, just because of the ways that I play around with my own masculine energy,” she says. “And it’s very political.”\u003c/p>\n\u003cfigure id=\"attachment_13939662\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939662\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED.jpg\" alt=\"A person dressed in black poses for a photo.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi sports a leather jacket from San Francisco vintage shop Wasteland and a skirt from Goodwill. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a sunny December day in San Francsico when I catch up with Zazaboi at a warehouse building in SOMA. Working a photoshoot for Banana Republic, she wears speed-bump yellow boots, red shorts and a leather vest with two patches — one on the front and one on the back.\u003c/p>\n\u003cp>“I tend to put a lot of different patches on my outfits to reflect things that are going on politically,” she says, her neck, wrists and fingers glimmering with a constellation of silver jewelry. “I like to keep it very pro African, a lot of poetry.”\u003c/p>\n\u003cp>Zazaboi had also printed a photo she found on Tumblr of a group of young Black boys onto a large piece of canvas. Sewn into her vest, the image is stunning and conspicuous, stretching across the length and width of Zazaboi’s back.\u003c/p>\n\u003cp>“It’s a pretty punk thing to do, very gritty DIY,” she says.\u003c/p>\n\u003cp>The front panel of the vest bears the words “I can feel you forgetting me” in medieval script, backdropped by red. (“I definitely have a bit of a sad bone to me because of my Cancer side,” she explains.)\u003c/p>\n\u003cfigure id=\"attachment_13939665\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939665\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED.jpg\" alt=\"A person long hair poses for a photo with an old photo stitched to the back of their leather vest.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi adorns her outwear with custom patches using images that speak to her. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Berkeley High, a fellow teacher let Zazaboi experiment with her garment printer, and she soon started installing patches on her clothes. They now ornament Zazaboi’s collection of outerwear and add dimension to an already distinct wardrobe.\u003c/p>\n\u003cp>She also credits her former students at Berkeley High for their influence. “They have some of the best outfits out here, and they’re very trendy and on it,” she says, “It’s probably the one thing I miss the most about teaching — I’m not constantly being inspired by a lot of our younger generations’ outfits.”\u003c/p>\n\u003cp>On the long San Francisco street outside the Banana Republic photoshoot, Zazaboi clicks the heels of her bright yellow boots — a beam of sunshine in a field of concrete.\u003c/p>\n\u003cp>“I grew up around Filipinos, and their shoe game was on top of it,” she says. “I learned a lot about shoes in Daly City.”\u003c/p>\n\u003cfigure id=\"attachment_13939666\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939666\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED.jpg\" alt=\"A person long hair and red shorts is photographed.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Color and texture are big considerations for Zakiya Zazaboi when putting together her looks. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Keeping It Attainable\u003c/h2>\n\u003cp>Zazaboi also learned about how to budget her money for clothes, and has advice for the rest of us.\u003c/p>\n\u003cp>“I definitely look at a lot of high-end fashion all the time, but babe, I don’t have high fashion money,” she says, “So I’m always keeping in mind longevity, and ‘How’s this gonna look when it’s dirty and beat up? Will it still look good?’”\u003c/p>\n\u003cp>More than anything, she wants fashion to be attainable.\u003c/p>\n\u003cp>“I know that people are going to ask me where I got my outfit from, and I’m not the type of babe that’s gonna be like ‘Valentino’ or ‘Gucci,’” she says.\u003c/p>\n\u003cp>For Zazaboi, there’s something much more valuable and lasting than access to brand names. It helps her find gems in the most random piles of clothes, and it’s accessible to others too.\u003c/p>\n\u003cp>“I just have an eye for things,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" 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\n\u003c/div>\u003c/p>",
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"title": "Artists Alter Their Own Work at YBCA in Pro-Palestinian Protest",
"headTitle": "Artists Alter Their Own Work at YBCA in Pro-Palestinian Protest | KQED",
"content": "\u003cp>Eight artists painted and draped pro-Palestinian messages over their own work during an event at the \u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts\u003c/a> (YBCA) on Thursday evening as part of a surprise protest to demand the museum show support, publicly and institutionally, for the people of Gaza. [aside label='YBCA Updates' postid='arts_13953653,arts_13953032']\u003c/p>\n\u003cp>At the event, titled \u003ca href=\"https://ybca.org/event/love-letter-to-soma/\">A Love Letter to SOMA\u003c/a>, protesters unfurled a sign reading “Stop Funding Genocide” as several artists currently featured in the museum’s \u003ci>Bay Area Now 9\u003c/i> group show began to alter their pieces on display.\u003c/p>\n\u003cp>Ceramic artist Paz G spray painted their sculpture \u003cem>You Have a Broken Heart\u003c/em> in bright pink letters reading “Viva Palestina — Free Palestine.” Jeffrey Cheung, whose colorful, large-scale paintings of abstracted nude forms hang in the main gallery, hung a sign reading “Ceasefire Now!” over his works.\u003c/p>\n\u003cfigure id=\"attachment_13952454\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952454\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut.jpg\" alt='A black ceramic sculpture in a shallow pool is covered with pink spray paint reading \"Viva Palestina - Free Palestine\"' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist Paz G altered their work with spray paint that says ‘Viva Palestina – Free Palestine,’ calling for a ceasefire in Gaza during a protest at the show ‘Bay Area Now’ at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The protest at YBCA comes during a week in which pro-Palestinian demonstrators \u003ca href=\"https://www.artforum.com/news/pro-palestine-demonstrators-take-message-to-museums-549239/\">disrupted programming at other high-profile arts institutions\u003c/a>. A reported 800 people flooded New York’s Museum of Modern Art with pro-Palestinian chants and flyers, causing security to shut down the galleries within 15 minutes. Other protests have occurred at the Brooklyn Museum and Jewish Museum in New York, the British Museum in London, and the Hamburger Bahnhof museum in Berlin.\u003c/p>\n\u003cp>At YBCA, the artist champoy, along with several people wearing masks and keffiyehs, turned champoy’s boat sculpture into an altar for Gazan people killed in Israeli airstrikes, with their names and ages written on notecards. Tracy Ren laid a banner on their wool rug installation that read “No more blood money — ceasefire now.”\u003c/p>\n\u003cfigure id=\"attachment_13952453\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952453\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut.jpg\" alt=\"A scultupre of a boat is covered in a drape of white and red, with notecards surrounding on the wooden floor below\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Art by champoy is altered during a protest calling for a ceasefire in Gaza at the show ‘Bay Area Now’ at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists who modified their works included Sholeh Asgary, Courtney Desiree Morris and Leila Weefur.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, protestors from several Bay Area activist groups — including Jewish Voice for Peace, Palestinian Feminist Collective, U.S. Palestinian Communities Network and Palestinian Youth Movement — addressed the crowd through a megaphone.\u003c/p>\n\u003cp>“Art is a universal language meant to speak out against injustice. The institution of art, just like every U.S. corporation, is aligned with the state of Israel,” said Palestinian American muralist Chris Gazaleh. “As an artist, I use my art to educate about my people. Artists in general — we need to speak out against what is happening. It is our duty.”\u003c/p>\n\u003cfigure id=\"attachment_13952457\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952457\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut.jpg\" alt=\"an overhead view of a museum gallery full of artworks, with a Palestinian flag hanging to the right\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators calling for a ceasefire in Gaza alter art during protest at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve come to tell San Francisco and the people of Yerba Buena that we’re not gonna stop,” said Maisa Morrar of Palestinian Feminist Collective. “We’re gonna show up in your art exhibits, at the Academy of Sciences, at the Golden Gate Bridge, at the Bay Bridge, at the Federal Building — we’re gonna be there. This genocide is one too many lives lost.”\u003c/p>\n\u003cp>The protest took place as the death toll in Gaza, according to Gaza’s Health Ministry, climbs to upwards of 28,000, including 12,300 children and 8,400 women.\u003c/p>\n\u003cp>When approached at the museum for comment, YBCA’s head of art and public programs Amy Kisch directed inquiries to Lauren Macmadu, head of external relations, in attendance nearby.\u003c/p>\n\u003cp>“We really want to be a space where we can support the community and bring people together to have open conversations,” Macmadu said, adding that she was not prepared to discuss the specifics of the protesters’ demands.\u003c/p>\n\u003cfigure id=\"attachment_13952465\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952465\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist Chris Gazaleh speaks during a protest calling for a ceasefire in Gaza at the show ‘Bay Area Now’ at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the protest, activists passed out flyers with the heading “Love Letter to Gaza” that contained a list of demands for YBCA leadership — firstly, that the museum join the Palestinian Campaign for the Academic and Cultural Boycott of Israel, which calls for international cultural institutions and universities to refrain from working with Israeli institutions. Without naming examples, the flyer also demands that YBCA “stop censoring artists’ language, work and programming that involves and centers Palestinian liberation.”\u003c/p>\n\u003cp>When reached by phone, exhibiting artist Lukaza Branfman-Verissimo — who helped coordinate the protest, but was not in attendance — told KQED that in 2023, YBCA had prevented them from including the words “Free Palestine” on the building’s orange marquee as part of their outdoor installation commissioned by the museum. YBCA has previously displayed messages on the marquee \u003ca href=\"https://www.instagram.com/ybca/p/CtkentCvY-8/\">supporting Iran’s Woman Life Freedom movement\u003c/a> and \u003ca href=\"https://ybca.org/2020-black-lives-matter/\">Black Lives Matter\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators chant during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a Dec. 20 email reviewed by KQED, Kisch told Branfman-Verissimo that YBCA “will not be able to include mention of Palestine on the marquee,” citing YBCA’s 501(c)(3) status, as well as its position in the SOMA neighborhood, directly across from the Contemporary Jewish Museum.\u003c/p>\n\u003cp>Asked for comment over email, YBCA CEO Sara Fenske Bahat replied that throughout the process with Branfman-Verissimo, “YBCA remained committed to exploring options to highlight their advocacy work through programming and/or on other platforms. Lukaza did not respond to our offer, but continued to collaborate on the installation of their mural.” (Branfman-Verissimo disputed this characterization in a follow-up interview.)\u003c/p>\n\u003cfigure id=\"attachment_13953036\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953036\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg\" alt='A sign over a wool rug reads \"No More Blood Money - Ceasefire Now!\"' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Tracy Ren during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fenske Bahat also noted that YBCA did not interrupt or attempt to stop Thursday night’s protest, and reiterated the museum’s commitment to serving as a safe gathering space for people of different identities and viewpoints. She did not address a KQED inquiry about YBCA’s decision to display marquee messages for Black Lives Matter and Iran’s Woman Life Freedom Movement while refusing a message in support of Palestinians.\u003c/p>\n\u003cp>“As you might imagine, in our own curatorial and programming decisions we need to carefully weigh whether we are in fact contributing to deeper division, something we actively seek not to do, while striving to ensure different perspectives are heard,” she wrote. “To date, we are not aware of any accusations that any \u003cem>BAN9\u003c/em> artists have been mistreated by our team.”\u003c/p>\n\u003cp>For their part, the artists who altered their own exhibition work are primarily asking YBCA to make a statement of solidarity with the Palestinian people.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We invite YBCA to join us in this fight for Palestinian liberation,” Branfman-Verissimo said. “And make sure that they know that the artists that they’re working with are keeping an eye on them.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eight artists painted and draped pro-Palestinian messages over their own work during an event at the \u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts\u003c/a> (YBCA) on Thursday evening as part of a surprise protest to demand the museum show support, publicly and institutionally, for the people of Gaza. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the event, titled \u003ca href=\"https://ybca.org/event/love-letter-to-soma/\">A Love Letter to SOMA\u003c/a>, protesters unfurled a sign reading “Stop Funding Genocide” as several artists currently featured in the museum’s \u003ci>Bay Area Now 9\u003c/i> group show began to alter their pieces on display.\u003c/p>\n\u003cp>Ceramic artist Paz G spray painted their sculpture \u003cem>You Have a Broken Heart\u003c/em> in bright pink letters reading “Viva Palestina — Free Palestine.” Jeffrey Cheung, whose colorful, large-scale paintings of abstracted nude forms hang in the main gallery, hung a sign reading “Ceasefire Now!” over his works.\u003c/p>\n\u003cfigure id=\"attachment_13952454\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952454\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut.jpg\" alt='A black ceramic sculpture in a shallow pool is covered with pink spray paint reading \"Viva Palestina - Free Palestine\"' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist Paz G altered their work with spray paint that says ‘Viva Palestina – Free Palestine,’ calling for a ceasefire in Gaza during a protest at the show ‘Bay Area Now’ at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The protest at YBCA comes during a week in which pro-Palestinian demonstrators \u003ca href=\"https://www.artforum.com/news/pro-palestine-demonstrators-take-message-to-museums-549239/\">disrupted programming at other high-profile arts institutions\u003c/a>. A reported 800 people flooded New York’s Museum of Modern Art with pro-Palestinian chants and flyers, causing security to shut down the galleries within 15 minutes. Other protests have occurred at the Brooklyn Museum and Jewish Museum in New York, the British Museum in London, and the Hamburger Bahnhof museum in Berlin.\u003c/p>\n\u003cp>At YBCA, the artist champoy, along with several people wearing masks and keffiyehs, turned champoy’s boat sculpture into an altar for Gazan people killed in Israeli airstrikes, with their names and ages written on notecards. Tracy Ren laid a banner on their wool rug installation that read “No more blood money — ceasefire now.”\u003c/p>\n\u003cfigure id=\"attachment_13952453\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952453\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut.jpg\" alt=\"A scultupre of a boat is covered in a drape of white and red, with notecards surrounding on the wooden floor below\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Art by champoy is altered during a protest calling for a ceasefire in Gaza at the show ‘Bay Area Now’ at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists who modified their works included Sholeh Asgary, Courtney Desiree Morris and Leila Weefur.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, protestors from several Bay Area activist groups — including Jewish Voice for Peace, Palestinian Feminist Collective, U.S. Palestinian Communities Network and Palestinian Youth Movement — addressed the crowd through a megaphone.\u003c/p>\n\u003cp>“Art is a universal language meant to speak out against injustice. The institution of art, just like every U.S. corporation, is aligned with the state of Israel,” said Palestinian American muralist Chris Gazaleh. “As an artist, I use my art to educate about my people. Artists in general — we need to speak out against what is happening. It is our duty.”\u003c/p>\n\u003cfigure id=\"attachment_13952457\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952457\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut.jpg\" alt=\"an overhead view of a museum gallery full of artworks, with a Palestinian flag hanging to the right\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators calling for a ceasefire in Gaza alter art during protest at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve come to tell San Francisco and the people of Yerba Buena that we’re not gonna stop,” said Maisa Morrar of Palestinian Feminist Collective. “We’re gonna show up in your art exhibits, at the Academy of Sciences, at the Golden Gate Bridge, at the Bay Bridge, at the Federal Building — we’re gonna be there. This genocide is one too many lives lost.”\u003c/p>\n\u003cp>The protest took place as the death toll in Gaza, according to Gaza’s Health Ministry, climbs to upwards of 28,000, including 12,300 children and 8,400 women.\u003c/p>\n\u003cp>When approached at the museum for comment, YBCA’s head of art and public programs Amy Kisch directed inquiries to Lauren Macmadu, head of external relations, in attendance nearby.\u003c/p>\n\u003cp>“We really want to be a space where we can support the community and bring people together to have open conversations,” Macmadu said, adding that she was not prepared to discuss the specifics of the protesters’ demands.\u003c/p>\n\u003cfigure id=\"attachment_13952465\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952465\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist Chris Gazaleh speaks during a protest calling for a ceasefire in Gaza at the show ‘Bay Area Now’ at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the protest, activists passed out flyers with the heading “Love Letter to Gaza” that contained a list of demands for YBCA leadership — firstly, that the museum join the Palestinian Campaign for the Academic and Cultural Boycott of Israel, which calls for international cultural institutions and universities to refrain from working with Israeli institutions. Without naming examples, the flyer also demands that YBCA “stop censoring artists’ language, work and programming that involves and centers Palestinian liberation.”\u003c/p>\n\u003cp>When reached by phone, exhibiting artist Lukaza Branfman-Verissimo — who helped coordinate the protest, but was not in attendance — told KQED that in 2023, YBCA had prevented them from including the words “Free Palestine” on the building’s orange marquee as part of their outdoor installation commissioned by the museum. YBCA has previously displayed messages on the marquee \u003ca href=\"https://www.instagram.com/ybca/p/CtkentCvY-8/\">supporting Iran’s Woman Life Freedom movement\u003c/a> and \u003ca href=\"https://ybca.org/2020-black-lives-matter/\">Black Lives Matter\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators chant during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a Dec. 20 email reviewed by KQED, Kisch told Branfman-Verissimo that YBCA “will not be able to include mention of Palestine on the marquee,” citing YBCA’s 501(c)(3) status, as well as its position in the SOMA neighborhood, directly across from the Contemporary Jewish Museum.\u003c/p>\n\u003cp>Asked for comment over email, YBCA CEO Sara Fenske Bahat replied that throughout the process with Branfman-Verissimo, “YBCA remained committed to exploring options to highlight their advocacy work through programming and/or on other platforms. Lukaza did not respond to our offer, but continued to collaborate on the installation of their mural.” (Branfman-Verissimo disputed this characterization in a follow-up interview.)\u003c/p>\n\u003cfigure id=\"attachment_13953036\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953036\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg\" alt='A sign over a wool rug reads \"No More Blood Money - Ceasefire Now!\"' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Tracy Ren during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fenske Bahat also noted that YBCA did not interrupt or attempt to stop Thursday night’s protest, and reiterated the museum’s commitment to serving as a safe gathering space for people of different identities and viewpoints. She did not address a KQED inquiry about YBCA’s decision to display marquee messages for Black Lives Matter and Iran’s Woman Life Freedom Movement while refusing a message in support of Palestinians.\u003c/p>\n\u003cp>“As you might imagine, in our own curatorial and programming decisions we need to carefully weigh whether we are in fact contributing to deeper division, something we actively seek not to do, while striving to ensure different perspectives are heard,” she wrote. “To date, we are not aware of any accusations that any \u003cem>BAN9\u003c/em> artists have been mistreated by our team.”\u003c/p>\n\u003cp>For their part, the artists who altered their own exhibition work are primarily asking YBCA to make a statement of solidarity with the Palestinian people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We invite YBCA to join us in this fight for Palestinian liberation,” Branfman-Verissimo said. “And make sure that they know that the artists that they’re working with are keeping an eye on them.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A New Mural at People's Park Ends In Police Intervention",
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"content": "\u003cp>On Sunday, Feb. 11, a group gathered at the site of People’s Park in Berkeley to paint a collaborative mural were derailed by sudden police intervention.\u003c/p>\n\u003cp>The mural — created in chalk, and made to be washed away — was designed by longtime muralist and organizer \u003ca href=\"https://www.instagram.com/davidsolnit/?hl=en\">David Solnit\u003c/a>, who was onsite Sunday directing a crew of helpers and community advocates.\u003c/p>\n\u003cp>Solnit’s design draws on Berkeley history, with references to the city’s “nuclear free” legacy and a depiction of a hand pushing back against imposed changes. A line from Berkeley’s well-known street poet Julia Vinograd reads: “There are many hearts buried in People’s Park, and part of my own as well.”\u003c/p>\n\u003cfigure id=\"attachment_13952200\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952200\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A mural painted along Bowditch Street on the east side of People’s Park in Berkeley on Feb. 13, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The peaceful action was first announced on \u003ca href=\"https://www.peoplespark.org/wp/\">PeoplesPark.org\u003c/a>, and drew a crowd of about 80 before the arrival of police.\u003c/p>\n\u003cp>In attendance was Lisa Teague, a formerly unhoused community member who has lived in the neighborhood since 2011, and who observed Sunday as young children, high schoolers, Cal students and adults contributed to the mural.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Public art serves such a multiplicity of purposes,” Teague tells KQED. “It’s a visual reminder that the university was over-the-top in its response to People’s Park over the years. It alleviates the wall of metal that is right there as well. It was wonderful to see everyone working together.”\u003c/p>\n\u003cfigure id=\"attachment_13952198\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952198\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People pass by mural painted along Bowditch Street on the east side of People’s Park and large shipping containers blocking public access to the area in Berkeley on Feb. 13, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After shutting down Bowditch Street, the group spent their time painting and taking drone footage of the completed work and the artists involved. At some point, a security guard called for campus police to arrive, claiming he was being surrounded. That’s when the mood shifted.\u003c/p>\n\u003cp>“The police came screaming down the street from campus,” Teague explains. “I’m sure they knew. The event was advertised with flyers; I know they look at our Instagram. They’re probably just waiting for something to happen, like, ‘Oh my God, today’s the day, we’re the guys.’”\u003c/p>\n\u003cp>San Francisco Public Press reporter \u003ca href=\"https://www.sfpublicpress.org/author/yesica-prado/\">Yesica Prado\u003c/a> posted footage from the site throughout the day. One clip shows a woman explaining to a police officer that she was almost hit by his incoming cruiser, to which he responds, “It doesn’t change my opinion about the way I responded.”\u003c/p>\n\u003cp>https://twitter.com/Prado_Reports/status/1756861878909947999\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The struggle between UC officials and local residents over People’s Park has intensified in recent months. In January, UC Berkeley erected a 17-ft. tall blockade of shipping containers around the perimeter of the park that, in the opinion of residents like Teague, is inconvenient and against the city’s municipal code.\u003c/p>\n\u003cp>“It’s so post-apocalyptic,” Teague says. “The razor wire is icing on the cake. It’s not easily visible from the street, [but it’s] against the Berkeley municipal code, and has not been taken down from in front of the apartment building on the west end of the park.”\u003c/p>\n\u003cfigure id=\"attachment_13952199\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952199\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People pass by mural painted along Bowditch Street on the east side of People’s Park in Berkeley on Feb. 13, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For now, the mural will remain as a symbol of resistance until it naturally washes off. For Teague, and others involved, making it was an expression of connectivity that extends far beyond Bowditch Street.\u003c/p>\n\u003cp>“It was just very nice to have the park’s landmarks [painted in the mural] and not on a plaque that the UC put up because they want to have a memorial for the park,” Teague says. “The killers want to plan a memorial, you know?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Sunday, Feb. 11, a group gathered at the site of People’s Park in Berkeley to paint a collaborative mural were derailed by sudden police intervention.\u003c/p>\n\u003cp>The mural — created in chalk, and made to be washed away — was designed by longtime muralist and organizer \u003ca href=\"https://www.instagram.com/davidsolnit/?hl=en\">David Solnit\u003c/a>, who was onsite Sunday directing a crew of helpers and community advocates.\u003c/p>\n\u003cp>Solnit’s design draws on Berkeley history, with references to the city’s “nuclear free” legacy and a depiction of a hand pushing back against imposed changes. A line from Berkeley’s well-known street poet Julia Vinograd reads: “There are many hearts buried in People’s Park, and part of my own as well.”\u003c/p>\n\u003cfigure id=\"attachment_13952200\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952200\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD05-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A mural painted along Bowditch Street on the east side of People’s Park in Berkeley on Feb. 13, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The peaceful action was first announced on \u003ca href=\"https://www.peoplespark.org/wp/\">PeoplesPark.org\u003c/a>, and drew a crowd of about 80 before the arrival of police.\u003c/p>\n\u003cp>In attendance was Lisa Teague, a formerly unhoused community member who has lived in the neighborhood since 2011, and who observed Sunday as young children, high schoolers, Cal students and adults contributed to the mural.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Public art serves such a multiplicity of purposes,” Teague tells KQED. “It’s a visual reminder that the university was over-the-top in its response to People’s Park over the years. It alleviates the wall of metal that is right there as well. It was wonderful to see everyone working together.”\u003c/p>\n\u003cfigure id=\"attachment_13952198\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952198\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD03-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People pass by mural painted along Bowditch Street on the east side of People’s Park and large shipping containers blocking public access to the area in Berkeley on Feb. 13, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After shutting down Bowditch Street, the group spent their time painting and taking drone footage of the completed work and the artists involved. At some point, a security guard called for campus police to arrive, claiming he was being surrounded. That’s when the mood shifted.\u003c/p>\n\u003cp>“The police came screaming down the street from campus,” Teague explains. “I’m sure they knew. The event was advertised with flyers; I know they look at our Instagram. They’re probably just waiting for something to happen, like, ‘Oh my God, today’s the day, we’re the guys.’”\u003c/p>\n\u003cp>San Francisco Public Press reporter \u003ca href=\"https://www.sfpublicpress.org/author/yesica-prado/\">Yesica Prado\u003c/a> posted footage from the site throughout the day. One clip shows a woman explaining to a police officer that she was almost hit by his incoming cruiser, to which he responds, “It doesn’t change my opinion about the way I responded.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp> \u003c/p>\n\u003cp>The struggle between UC officials and local residents over People’s Park has intensified in recent months. In January, UC Berkeley erected a 17-ft. tall blockade of shipping containers around the perimeter of the park that, in the opinion of residents like Teague, is inconvenient and against the city’s municipal code.\u003c/p>\n\u003cp>“It’s so post-apocalyptic,” Teague says. “The razor wire is icing on the cake. It’s not easily visible from the street, [but it’s] against the Berkeley municipal code, and has not been taken down from in front of the apartment building on the west end of the park.”\u003c/p>\n\u003cfigure id=\"attachment_13952199\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952199\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240213-PEOPLES-PARK-MURAL-MD04-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People pass by mural painted along Bowditch Street on the east side of People’s Park in Berkeley on Feb. 13, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For now, the mural will remain as a symbol of resistance until it naturally washes off. For Teague, and others involved, making it was an expression of connectivity that extends far beyond Bowditch Street.\u003c/p>\n\u003cp>“It was just very nice to have the park’s landmarks [painted in the mural] and not on a plaque that the UC put up because they want to have a memorial for the park,” Teague says. “The killers want to plan a memorial, you know?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" 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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Jan. 19, \u003ca href=\"https://www.headlands.org/\">Headlands Center for the Arts\u003c/a> quietly laid off over a quarter of its staff, eliminating five full-time positions from the 18-person nonprofit.\u003c/p>\n\u003cp>Known as one of the preeminent art residencies in the country, Headlands also provides grants, fellowships and studios to contemporary artists, all from their location within converted Army barracks in the Marin Headlands, a National Parks site.\u003c/p>\n\u003cp>Executive Director Mari Robles cited fundraising shortfalls, specifically the reduction of two major gifts and significantly lower-than-expected annual fundraising. “This sequence of events over the course of the second half of 2023 led Headlands into a financial position that required cuts in order to remain in operation,” Robles wrote via email.\u003c/p>\n\u003cp>“This decision was not made lightly, but it will allow Headlands to continue fulfilling its commitment to serving artists and providing a platform for creativity and expression,” she stated.\u003c/p>\n\u003cp>The eliminations included two positions from communications, one from programs and two from operations. The cuts from communications and operations represent the entirety of those departments. Robles said the organization will operate with a reduced staff for the foreseeable future.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The layoffs were not announced publicly by Headlands, but came to light in a social media post shared on Jan. 29 by one of the former employees. Robles confirmed the layoffs by email. Two employees have also resigned since the layoffs and one new hire — a director of development — has joined the staff, which now numbers 12.\u003c/p>\n\u003cp>In conversations with the five former employees, the cuts were described as sudden and unexpected. Several were senior-level staff, and the majority had worked for the nonprofit for four years or longer.\u003c/p>\n\u003cp>In 2023, Headlands’ operating budget was $5.2 million, up from $4.1 million in 2022. Robles says approximately 40% of these added expenses came from the unexpected cost of lead remediation in the studio building; they also repainted the gym last year. Both represent deferred maintenance on the campus.\u003c/p>\n\u003cp>In December 2023, after many years of negotiations, Headlands signed a new 30-year lease with the National Parks Service. The agreement includes significant financial requirements to maintain and repair the buildings the art center occupies.\u003c/p>\n\u003cp>The cuts, Robles said, had to align with the organization’s commitment to artist programming — the next cohort of residents will arrive in March, and fellowship programs are ongoing — while also allowing them to maintain their relationship with the National Parks Service. No cuts were made in January to the facilities staff, which is currently just two full-time positions responsible for campus maintenance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The duties of those eliminated will be shared among remaining Headlands employees and some contract services. Referencing the organization’s early, scrappier days, Robles referred to this current period of time as “cocooning,” as the organization works to build financial stability.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Jan. 19, \u003ca href=\"https://www.headlands.org/\">Headlands Center for the Arts\u003c/a> quietly laid off over a quarter of its staff, eliminating five full-time positions from the 18-person nonprofit.\u003c/p>\n\u003cp>Known as one of the preeminent art residencies in the country, Headlands also provides grants, fellowships and studios to contemporary artists, all from their location within converted Army barracks in the Marin Headlands, a National Parks site.\u003c/p>\n\u003cp>Executive Director Mari Robles cited fundraising shortfalls, specifically the reduction of two major gifts and significantly lower-than-expected annual fundraising. “This sequence of events over the course of the second half of 2023 led Headlands into a financial position that required cuts in order to remain in operation,” Robles wrote via email.\u003c/p>\n\u003cp>“This decision was not made lightly, but it will allow Headlands to continue fulfilling its commitment to serving artists and providing a platform for creativity and expression,” she stated.\u003c/p>\n\u003cp>The eliminations included two positions from communications, one from programs and two from operations. The cuts from communications and operations represent the entirety of those departments. Robles said the organization will operate with a reduced staff for the foreseeable future.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The layoffs were not announced publicly by Headlands, but came to light in a social media post shared on Jan. 29 by one of the former employees. Robles confirmed the layoffs by email. Two employees have also resigned since the layoffs and one new hire — a director of development — has joined the staff, which now numbers 12.\u003c/p>\n\u003cp>In conversations with the five former employees, the cuts were described as sudden and unexpected. Several were senior-level staff, and the majority had worked for the nonprofit for four years or longer.\u003c/p>\n\u003cp>In 2023, Headlands’ operating budget was $5.2 million, up from $4.1 million in 2022. Robles says approximately 40% of these added expenses came from the unexpected cost of lead remediation in the studio building; they also repainted the gym last year. Both represent deferred maintenance on the campus.\u003c/p>\n\u003cp>In December 2023, after many years of negotiations, Headlands signed a new 30-year lease with the National Parks Service. The agreement includes significant financial requirements to maintain and repair the buildings the art center occupies.\u003c/p>\n\u003cp>The cuts, Robles said, had to align with the organization’s commitment to artist programming — the next cohort of residents will arrive in March, and fellowship programs are ongoing — while also allowing them to maintain their relationship with the National Parks Service. No cuts were made in January to the facilities staff, which is currently just two full-time positions responsible for campus maintenance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The duties of those eliminated will be shared among remaining Headlands employees and some contract services. Referencing the organization’s early, scrappier days, Robles referred to this current period of time as “cocooning,” as the organization works to build financial stability.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Newly Unearthed: The First Known Photograph of the San Francisco Opera",
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"content": "\u003cp>For over a decade, the oldest known image of the \u003ca href=\"https://www.sfopera.com/\">San Francisco Opera\u003c/a> was a panoramic group photograph taken on Oct. 6, 1923 with a cryptic “Picture #2” inscribed on its lower left-hand corner. Pictured inside the Civic (now Bill Graham) Auditorium, founder and conductor Gaetano Merola, star tenor Beniamino Gigli, chorus members and orchestra musicians pose in costume and tuxes, ready for the night’s performance of \u003cem>Andrea Chénier\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13951908\" class=\"wp-caption alignright\" style=\"max-width: 1817px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2.jpg\" alt=\"\" width=\"1817\" height=\"2229\" class=\"size-full wp-image-13951908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2.jpg 1817w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-800x981.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-1020x1251.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-768x942.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-1252x1536.jpg 1252w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-1669x2048.jpg 1669w\" sizes=\"(max-width: 1817px) 100vw, 1817px\">\u003cfigcaption class=\"wp-caption-text\">Singer Chung-Wai Soong performs with a number of Bay Area choirs and companies, including the SF Opera’s extra chorus. \u003ccite>(Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But we now have what the opera believes to be a \u003ci>new\u003c/i> oldest photograph, showing members of the fledgling company earlier on the same day, in their pre-performance street clothes. \u003c/p>\n\u003cp>Credit for its discovery goes to Chung-Wai Soong, a professional opera singer who is also a member of SF Opera’s extra chorus. Soong purchased the print on a bit of a whim at the Antiquarian Book Fair “at least 10, 15, maybe even 20 years ago,” he says. “I’m not a collector, but it’s always fun to have these sort of talismanic articles.”\u003c/p>\n\u003cp>The 6-by-24-inch print Soong purchased was already mounted to cardboard, slightly warped and bent — and it remained in that state for years, sitting on top of a mirror in his home. It was always in the back of his mind, he says, that he should show it to the folks at the opera.\u003c/p>\n\u003cp>Barbara Rominski, director of the \u003ca href=\"https://www.sfopera.com/about/san-francisco-opera-archives/\">opera archives\u003c/a> since 2016, remembers the day Soong brought the photograph to her attention. “He just sort of whipped it out of his canvas grocery bag,” she says, laughing, “and he said, ‘Have you ever seen this?’”\u003c/p>\n\u003cp>Rominski initially thought it was the same image the opera proudly displays on the fourth floor of the Veterans Building — that Oct. 6, 1923 photograph from the \u003cem>Andrea Chénier\u003c/em> performance. \u003c/p>\n\u003cfigure id=\"attachment_13951907\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO.jpg\" alt=\"Large sepia-toned group photo of men, women and children on risers inside high-ceilinged space\" width=\"2000\" height=\"488\" class=\"size-full wp-image-13951907\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-800x195.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-1020x249.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-160x39.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-768x187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-1536x375.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-1920x468.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An October 1923 photograph of the San Francisco Opera company in the Civic Auditorium, discovered by opera singer Chung-Wai Soong and recently donated to the archives. \u003ccite>(San Francisco Opera Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951909\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company.jpg\" alt=\"Large black-and-white group photo of people in costumes and tuxes on risers inside high-ceilinged space\" width=\"2000\" height=\"518\" class=\"size-full wp-image-13951909\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-800x207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-1020x264.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-160x41.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-768x199.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-1536x398.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-1920x497.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The opera’s ‘Picture #2’ photograph was long thought to be the earliest image of the company’s inaugural season in 1923. \u003ccite>(San Francisco Opera Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Then I took a closer look at it and went ‘Oh — swear words — in fact, no Chung-Wai, I have \u003ci>never\u003c/i> seen this photograph \u003ci>ever\u003c/i>,’” she remembers. “It was a total surprise to everybody in the room.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The print was in ill repair. With Soong’s permission, Rominski sent it off to Berkeley art conservator Heida Shoemaker. It returned, restored and no longer attached to cardboard, just a few weeks ago; Soong has officially donated the photograph to the SF Opera archives.\u003c/p>\n\u003cp>The singer says he’s of two minds about his unexpected discovery. “[I’m] gleefully thrilled it’s finally going to a proper home, and it’s been properly taken care of,” he says. “But also slightly horrified that it’s spent all these years sitting on top of my mirror. I mean, it could have fallen down and my cat could have chewed it. Anything could have happened!”\u003c/p>\n\u003cp>To Rominski, Soong’s relationship with the photograph, its place in his home, is a testament to its special power. “You sort of think, wow, that was a 100-year-old photograph that you were fairly nonchalantly carrying it around, but it also just shows the beauty of a photograph, right? It’s just this wonderful object that we feel very close to.”\u003c/p>\n\u003cfigure id=\"attachment_13951915\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001.jpg\" alt=\"Large crowd in auditorium facing stage\" width=\"2000\" height=\"903\" class=\"size-full wp-image-13951915\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-800x361.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-1020x461.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-768x347.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-1536x694.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-1920x867.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of a packed Civic Auditorium during an SF Opera performance in 1926. \u003ccite>(San Francisco Opera Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image comes from SF Opera’s first season, when the company performed in the vast expanse of what is now the Bill Graham Civic Auditorium. Tickets were $1; box seats were $5. \u003c/p>\n\u003cp>The Civic Auditorium was not an ideal venue for opera: it seated around 5,000 people, but it had no backstage, fly galleries or dressing rooms. The company moved to its current home in the War Memorial Opera House in 1932. \u003c/p>\n\u003cp>For Soong, who is currently in rehearsals for Pocket Opera’s production of \u003ci>\u003ca href=\"https://pocketopera.org/2024-season/la-cenerentola/\">La Cenerentola\u003c/a>\u003c/i>, the group photograph captures the true community endeavor of starting an opera company from scratch. “I look at all these faces, these sort of progenitors to what I do, and some of these are well-known singers,” he says, “but some of these people … some of their grandkids probably still live in North Beach, you know?”\u003c/p>\n\u003cp>Gaetano Merola trained up his early chorus (seen in dirndl costumes in the group photograph) from local amateur singers.\u003c/p>\n\u003cp>As an archivist, Rominski gets excited about possibilities this photograph represents. “You never know what’s going to come out of the woodwork,” she says. “Now there are two photographs that we know of. Is there a third or fourth and a fifth?”\u003c/p>\n\u003cp>If this photograph managed to remain relatively unknown for over 100 years, other objects significant to the opera’s early days are out there. Rominski is certain of it: “I am going to be delighted and surprised and super happy, because there’s going to be more stuff that’s coming out of the woodwork.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "A 101-year-old photograph from the opera’s first season captures performers in street clothes.",
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"title": "The First Known Photograph of the San Francisco Opera | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For over a decade, the oldest known image of the \u003ca href=\"https://www.sfopera.com/\">San Francisco Opera\u003c/a> was a panoramic group photograph taken on Oct. 6, 1923 with a cryptic “Picture #2” inscribed on its lower left-hand corner. Pictured inside the Civic (now Bill Graham) Auditorium, founder and conductor Gaetano Merola, star tenor Beniamino Gigli, chorus members and orchestra musicians pose in costume and tuxes, ready for the night’s performance of \u003cem>Andrea Chénier\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13951908\" class=\"wp-caption alignright\" style=\"max-width: 1817px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2.jpg\" alt=\"\" width=\"1817\" height=\"2229\" class=\"size-full wp-image-13951908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2.jpg 1817w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-800x981.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-1020x1251.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-768x942.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-1252x1536.jpg 1252w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SOONG-Chung-Wai-2022_credit_Vero-Kherian2-1669x2048.jpg 1669w\" sizes=\"(max-width: 1817px) 100vw, 1817px\">\u003cfigcaption class=\"wp-caption-text\">Singer Chung-Wai Soong performs with a number of Bay Area choirs and companies, including the SF Opera’s extra chorus. \u003ccite>(Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But we now have what the opera believes to be a \u003ci>new\u003c/i> oldest photograph, showing members of the fledgling company earlier on the same day, in their pre-performance street clothes. \u003c/p>\n\u003cp>Credit for its discovery goes to Chung-Wai Soong, a professional opera singer who is also a member of SF Opera’s extra chorus. Soong purchased the print on a bit of a whim at the Antiquarian Book Fair “at least 10, 15, maybe even 20 years ago,” he says. “I’m not a collector, but it’s always fun to have these sort of talismanic articles.”\u003c/p>\n\u003cp>The 6-by-24-inch print Soong purchased was already mounted to cardboard, slightly warped and bent — and it remained in that state for years, sitting on top of a mirror in his home. It was always in the back of his mind, he says, that he should show it to the folks at the opera.\u003c/p>\n\u003cp>Barbara Rominski, director of the \u003ca href=\"https://www.sfopera.com/about/san-francisco-opera-archives/\">opera archives\u003c/a> since 2016, remembers the day Soong brought the photograph to her attention. “He just sort of whipped it out of his canvas grocery bag,” she says, laughing, “and he said, ‘Have you ever seen this?’”\u003c/p>\n\u003cp>Rominski initially thought it was the same image the opera proudly displays on the fourth floor of the Veterans Building — that Oct. 6, 1923 photograph from the \u003cem>Andrea Chénier\u003c/em> performance. \u003c/p>\n\u003cfigure id=\"attachment_13951907\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO.jpg\" alt=\"Large sepia-toned group photo of men, women and children on risers inside high-ceilinged space\" width=\"2000\" height=\"488\" class=\"size-full wp-image-13951907\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-800x195.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-1020x249.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-160x39.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-768x187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-1536x375.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_San_Francisco_OperaCompany_nformal-NEW-PHOTO-1920x468.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An October 1923 photograph of the San Francisco Opera company in the Civic Auditorium, discovered by opera singer Chung-Wai Soong and recently donated to the archives. \u003ccite>(San Francisco Opera Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951909\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company.jpg\" alt=\"Large black-and-white group photo of people in costumes and tuxes on risers inside high-ceilinged space\" width=\"2000\" height=\"518\" class=\"size-full wp-image-13951909\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-800x207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-1020x264.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-160x41.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-768x199.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-1536x398.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1923_SanFranciscoOpera_AndreaChenier_cast_and_company-1920x497.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The opera’s ‘Picture #2’ photograph was long thought to be the earliest image of the company’s inaugural season in 1923. \u003ccite>(San Francisco Opera Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Then I took a closer look at it and went ‘Oh — swear words — in fact, no Chung-Wai, I have \u003ci>never\u003c/i> seen this photograph \u003ci>ever\u003c/i>,’” she remembers. “It was a total surprise to everybody in the room.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The print was in ill repair. With Soong’s permission, Rominski sent it off to Berkeley art conservator Heida Shoemaker. It returned, restored and no longer attached to cardboard, just a few weeks ago; Soong has officially donated the photograph to the SF Opera archives.\u003c/p>\n\u003cp>The singer says he’s of two minds about his unexpected discovery. “[I’m] gleefully thrilled it’s finally going to a proper home, and it’s been properly taken care of,” he says. “But also slightly horrified that it’s spent all these years sitting on top of my mirror. I mean, it could have fallen down and my cat could have chewed it. Anything could have happened!”\u003c/p>\n\u003cp>To Rominski, Soong’s relationship with the photograph, its place in his home, is a testament to its special power. “You sort of think, wow, that was a 100-year-old photograph that you were fairly nonchalantly carrying it around, but it also just shows the beauty of a photograph, right? It’s just this wonderful object that we feel very close to.”\u003c/p>\n\u003cfigure id=\"attachment_13951915\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001.jpg\" alt=\"Large crowd in auditorium facing stage\" width=\"2000\" height=\"903\" class=\"size-full wp-image-13951915\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-800x361.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-1020x461.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-768x347.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-1536x694.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1926_MOPD-SFO143001-1920x867.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of a packed Civic Auditorium during an SF Opera performance in 1926. \u003ccite>(San Francisco Opera Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image comes from SF Opera’s first season, when the company performed in the vast expanse of what is now the Bill Graham Civic Auditorium. Tickets were $1; box seats were $5. \u003c/p>\n\u003cp>The Civic Auditorium was not an ideal venue for opera: it seated around 5,000 people, but it had no backstage, fly galleries or dressing rooms. The company moved to its current home in the War Memorial Opera House in 1932. \u003c/p>\n\u003cp>For Soong, who is currently in rehearsals for Pocket Opera’s production of \u003ci>\u003ca href=\"https://pocketopera.org/2024-season/la-cenerentola/\">La Cenerentola\u003c/a>\u003c/i>, the group photograph captures the true community endeavor of starting an opera company from scratch. “I look at all these faces, these sort of progenitors to what I do, and some of these are well-known singers,” he says, “but some of these people … some of their grandkids probably still live in North Beach, you know?”\u003c/p>\n\u003cp>Gaetano Merola trained up his early chorus (seen in dirndl costumes in the group photograph) from local amateur singers.\u003c/p>\n\u003cp>As an archivist, Rominski gets excited about possibilities this photograph represents. “You never know what’s going to come out of the woodwork,” she says. “Now there are two photographs that we know of. Is there a third or fourth and a fifth?”\u003c/p>\n\u003cp>If this photograph managed to remain relatively unknown for over 100 years, other objects significant to the opera’s early days are out there. Rominski is certain of it: “I am going to be delighted and surprised and super happy, because there’s going to be more stuff that’s coming out of the woodwork.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "The Las Vegas Tropicana Announces Closure to Make Way for the A’s",
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"content": "\u003cp>The Tropicana Las Vegas, a Sin City landmark for more than six decades, is shutting its doors in the spring to make room for the $1.5 billion MLB stadium that will be the \u003ca href=\"https://www.kqed.org/news/11967603/oakland-as-relocation-to-las-vegas-sparks-outrage-among-fans\">new home of the A’s\u003c/a>.\u003c/p>\n\u003cp>Bally’s Corp. made the announcement Monday, saying the closure on April 2 — days before the 67th anniversary of the Tropicana’s opening — marks the beginning of preparations for demolition of the resort on the Las Vegas Strip.\u003c/p>\n\u003cp>[aside postid='news_11967603']The Tropicana was dubbed the “Tiffany of the Strip,” described as the most expensive hotel-casino built in Las Vegas when it opened with three stories and 300 rooms in 1957 at a cost of $15 million.\u003c/p>\n\u003cp>Now, that parcel is the planned site of a 30,000-seat ballpark with a retractable roof. All 30 MLB owners in November gave their approval for the A’s to move to Las Vegas.\u003c/p>\n\u003cp>In a statement, Bally’s President George Papanier described the ballpark plans as a “once-in-a-lifetime opportunity.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Bally’s looks forward to the development of a new resort and ballpark that will be built in its place and will become a new landmark, paying homage to the iconic history and global appeal of Las Vegas and its nearly 50 million visitors a year,” the company said in a news release.\u003c/p>\n\u003cp>The ballpark, backed by $380 million in public funding, is expected to open in 2028, near the homes of the NFL’s Vegas Raiders, who left Oakland in 2020, and the NHL’s Golden Knights, who won the Stanley Cup last year in just their sixth season.\u003c/p>\n\u003cp>[aside postid='arts_13910698']Bally’s says it will no longer accept hotel bookings after April 2 and will relocate any customers who reserve past the closing date.\u003c/p>\n\u003cp>The company’s announcement came just a month after the Tropicana and the Culinary Workers Union, which represents about 500 workers there, reached an agreement for a new five-year contract.\u003c/p>\n\u003cp>Ted Pappageorge, the union’s secretary-treasurer, said he hopes the severance package secured in the latest contract will ease what he expects to be a difficult transition for the Tropicana’s largely senior workforce, many of whom, he said, have worked at the hotel-casino for decades.\u003c/p>\n\u003cp>Under the new union contract, the employees will receive severance pay of $2,000 for each year of work. For veteran workers at the Tropicana, Pappageorge said, that totals tens of thousands of dollars.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In Las Vegas, hotels are bought and sold on a regular basis,” Pappageorge said. “These new projects are welcome, but workers can’t be discarded like an old shoe.”\u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"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?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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