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"title": "New Art on BART Reminds Us We All Can Help End Domestic Violence",
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"content": "\u003cp>If you’ve taken BART or Muni in San Francisco or Oakland over the past week, you might have noticed the affirming messages on station walls, billboards and bus shelters in Tagalog, Spanish, Chinese and English.\u003c/p>\n\u003cp>“Love shouldn’t hurt,” reads a poster featuring an illustration of a mother kissing her smiling daughter on the forehead. “Be the friend who brings it up,” reads another depicting two friends holding each other in an emotional embrace. Colorful spring flowers surround the figures, inviting feelings of renewed hopefulness and warmth.\u003c/p>\n\u003cp>\u003ca href=\"https://www.alonglastname.com/\" target=\"_blank\" rel=\"noopener\">Amanda Phingbodhipakkiya\u003c/a> created these artworks for a new domestic violence awareness campaign in partnership with Asian Women’s Shelter and BART, \u003cem>\u003ca href=\"https://www.letstalkaboutus.org/\" target=\"_blank\" rel=\"noopener\">Let’s Talk About Us\u003c/a>\u003c/em>. Rather than positioning abuse as a private issue between partners or family members, Phingbodhipakkiya takes a different approach: calling on the public to foster more nurturing relationships and address violence in our communities.\u003c/p>\n\u003cp>“Through art, we just boldly say that domestic violence prevention is a shared responsibility, and that really everyone has a role,” Phingbodhipakkiya tells KQED.\u003c/p>\n\u003cfigure id=\"attachment_13925495\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925495\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-1536x1031.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_.jpg 1555w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Amanda Phingbodhipakkiya hugs Justine Choy of Hella Heart Oakland at the press conference for ‘Let’s Talk About Us’ on Feb. 15 at Powell Street BART Station. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in Georgia to Thai and Indonesian parents, Phingbodhipakkiya is currently in a civic practice artist residency with San Francisco’s Asian Art Museum. The Brooklyn-based artist works across mediums — murals, textiles, sculptures, public art campaigns and participatory installations — with the intention of “invoking joy and belonging in the face of grief and injustice.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“And I think my work dares us to imagine shared futures that redefine inherited narratives,” she says.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfaws.org/\">Asian Women’s Shelter\u003c/a> — a 35-year-old San Francisco organization that offers emergency shelter, case management, a crisis line and other services in multiple languages — approached Phingbodhipakkiya to collaborate after seeing her 2020 public art campaign in New York. Titled \u003ca href=\"https://www.nyc.gov/site/cchr/media/pair-believe.page\">\u003cem>I Still Believe in Our City\u003c/em>\u003c/a>, her billboards — placed on subways and in prominent locations like Times Square — depicted Asian Americans standing up against COVID scapegoating and xenophobia. An outtake from \u003cem>I Still Believe in Our City\u003c/em> even landed on a \u003ca href=\"https://time.com/5947622/time-cover-anti-asian-american-violence-atlanta-shooting/\" target=\"_blank\" rel=\"noopener\">March 2021 cover of \u003ci>TIME\u003c/i> magazine\u003c/a>, accompanying a feature about the United States’ legacy of anti-Asian violence.\u003c/p>\n\u003cp>When Asian Women’s Shelter invited Phingbodhipakkiya to collaborate, the artist didn’t just get to work behind her desktop in New York — she came to San Francisco and conducted deep listening sessions with the shelter’s multicultural, multilingual staff. Some of their insights took her creative process to places she didn’t expect.\u003c/p>\n\u003cp>“I kept on hearing stories of fraught relationships between Asian mothers and daughters and how that is filled with tension,” she says. “I wanted to honor those stories, because I think mental health is something that is still quite stigmatized within AAPI communities. And oftentimes when mental health isn’t addressed, it can manifest as harm against the ones that we love.”\u003c/p>\n\u003cfigure id=\"attachment_13925486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925486\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/respect-BART-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pieces from Amanda Phingbodhipakkiya and Asian Women’s Shelter’s ‘Let’s Talk About Us’ campaign are on view at over a dozen BART stations, aboard trains, at bus shelters and on billboards in San Francisco neighborhoods such as SoMa, Chinatown and the Mission. \u003ccite>(Florence Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other images for the campaign feature a family looking hopefully towards the future with the words “Everyone Deserves Respect,” and a woman making strong eye contact with the viewer while imploring, “Just Listen.” A joyous, collage-like assembly of babies, fathers, grandmothers and other loved ones reminds us: “Our Community Our Responsibility.” Each poster accompanies a QR code that takes viewers to \u003ca href=\"https://www.letstalkaboutus.org/art-campaign\" target=\"_blank\" rel=\"noopener\">resources from Asian Women’s Shelter\u003c/a>. [aside postid='arts_13918908,arts_13925416']\u003c/p>\n\u003cp>“One of the things I appreciate most about Asian Women’s Shelter is that when we support survivors, there’s no judgment towards the survivors, not even towards the abusers,” said Saara Ahmed, community resource coordinator at Asian Women’s Shelter, at the Feb. 15 press conference for \u003cem>Let’s Talk About Us\u003c/em> at the Powell Street BART Station. “At AWS, we recognize that each and every one of us is capable of screwing up, of making mistakes and causing harm. It doesn’t make us bad people. But if we accept that harm as a norm, if we accept the normalcy of violence and refuse to change, it’s bound to repeat itself over and over again.”\u003c/p>\n\u003cp>In light of mass shootings that shook Asian communities in Monterey Park and Half Moon Bay in January, Phingbodhipakkiya and Asian Women’s Shelter want to emphasize the connection between intimate forms of abuse and large-scale violence. “When over \u003ca href=\"https://efsgv.org/press/study-two-thirds-of-mass-shootings-linked-to-domestic-violence/\">60% of mass shooters have had a history of domestic violence\u003c/a>, it’s hard not to wonder how many people have accepted that individual’s bad behavior before,” Ahmed continued.\u003c/p>\n\u003cfigure id=\"attachment_13925494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925494\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/0N0A8390-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0N0A8390-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0N0A8390-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0N0A8390-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0N0A8390-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0N0A8390-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0N0A8390-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0N0A8390.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Posters from ‘Let’s Talk About Us’ at Powell Street BART Station. \u003ccite>(Katie Thyken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By encouraging difficult conversations and pointing people to experts who can help, \u003cem>Let’s Talk About Us\u003c/em> aims to foster the kind of frank, compassionate discussions needed to make change.\u003c/p>\n\u003cp>Now that \u003cem>Let’s Talk About Us\u003c/em> has gone up, Phingbodhipakkiya’s work in the Bay Area is not over. As part of her Asian Art Museum residency, the artist is currently working on an archive of AAPI stories called \u003cem>Let the Future Speak\u003c/em>, where she’s interviewing local Asian and Asian American residents from ages five to 95. Much like the public art campaign, it falls in line with her hopeful vision of art as a means of imagining a better future.\u003c/p>\n\u003cp>“I’ve been asking people to reflect on their inheritance — so their pasts, their histories,” Phingbodhipakkiya says, “and also thinking about how the past shapes their present, and how it can seed our shared futures.”\u003c/p>\n\u003cp>\u003cem>Kristie Song contributed reporting to this story. \u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.letstalkaboutus.org/\">Let’s Talk About Us\u003c/a>‘ is on view at over a dozen BART stations in San Francisco and Oakland, aboard trains and on Muni bus shelters and billboards in San Francisco neighborhoods such as SoMa, the Mission and Chinatown. Learn more about \u003ca href=\"https://www.sfaws.org/resources\">Asian Women’s Shelter’s resources here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve taken BART or Muni in San Francisco or Oakland over the past week, you might have noticed the affirming messages on station walls, billboards and bus shelters in Tagalog, Spanish, Chinese and English.\u003c/p>\n\u003cp>“Love shouldn’t hurt,” reads a poster featuring an illustration of a mother kissing her smiling daughter on the forehead. “Be the friend who brings it up,” reads another depicting two friends holding each other in an emotional embrace. Colorful spring flowers surround the figures, inviting feelings of renewed hopefulness and warmth.\u003c/p>\n\u003cp>\u003ca href=\"https://www.alonglastname.com/\" target=\"_blank\" rel=\"noopener\">Amanda Phingbodhipakkiya\u003c/a> created these artworks for a new domestic violence awareness campaign in partnership with Asian Women’s Shelter and BART, \u003cem>\u003ca href=\"https://www.letstalkaboutus.org/\" target=\"_blank\" rel=\"noopener\">Let’s Talk About Us\u003c/a>\u003c/em>. Rather than positioning abuse as a private issue between partners or family members, Phingbodhipakkiya takes a different approach: calling on the public to foster more nurturing relationships and address violence in our communities.\u003c/p>\n\u003cp>“Through art, we just boldly say that domestic violence prevention is a shared responsibility, and that really everyone has a role,” Phingbodhipakkiya tells KQED.\u003c/p>\n\u003cfigure id=\"attachment_13925495\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925495\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-1536x1031.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_.jpg 1555w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Amanda Phingbodhipakkiya hugs Justine Choy of Hella Heart Oakland at the press conference for ‘Let’s Talk About Us’ on Feb. 15 at Powell Street BART Station. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in Georgia to Thai and Indonesian parents, Phingbodhipakkiya is currently in a civic practice artist residency with San Francisco’s Asian Art Museum. The Brooklyn-based artist works across mediums — murals, textiles, sculptures, public art campaigns and participatory installations — with the intention of “invoking joy and belonging in the face of grief and injustice.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And I think my work dares us to imagine shared futures that redefine inherited narratives,” she says.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfaws.org/\">Asian Women’s Shelter\u003c/a> — a 35-year-old San Francisco organization that offers emergency shelter, case management, a crisis line and other services in multiple languages — approached Phingbodhipakkiya to collaborate after seeing her 2020 public art campaign in New York. Titled \u003ca href=\"https://www.nyc.gov/site/cchr/media/pair-believe.page\">\u003cem>I Still Believe in Our City\u003c/em>\u003c/a>, her billboards — placed on subways and in prominent locations like Times Square — depicted Asian Americans standing up against COVID scapegoating and xenophobia. An outtake from \u003cem>I Still Believe in Our City\u003c/em> even landed on a \u003ca href=\"https://time.com/5947622/time-cover-anti-asian-american-violence-atlanta-shooting/\" target=\"_blank\" rel=\"noopener\">March 2021 cover of \u003ci>TIME\u003c/i> magazine\u003c/a>, accompanying a feature about the United States’ legacy of anti-Asian violence.\u003c/p>\n\u003cp>When Asian Women’s Shelter invited Phingbodhipakkiya to collaborate, the artist didn’t just get to work behind her desktop in New York — she came to San Francisco and conducted deep listening sessions with the shelter’s multicultural, multilingual staff. Some of their insights took her creative process to places she didn’t expect.\u003c/p>\n\u003cp>“I kept on hearing stories of fraught relationships between Asian mothers and daughters and how that is filled with tension,” she says. “I wanted to honor those stories, because I think mental health is something that is still quite stigmatized within AAPI communities. And oftentimes when mental health isn’t addressed, it can manifest as harm against the ones that we love.”\u003c/p>\n\u003cfigure id=\"attachment_13925486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925486\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/respect-BART-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pieces from Amanda Phingbodhipakkiya and Asian Women’s Shelter’s ‘Let’s Talk About Us’ campaign are on view at over a dozen BART stations, aboard trains, at bus shelters and on billboards in San Francisco neighborhoods such as SoMa, Chinatown and the Mission. \u003ccite>(Florence Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other images for the campaign feature a family looking hopefully towards the future with the words “Everyone Deserves Respect,” and a woman making strong eye contact with the viewer while imploring, “Just Listen.” A joyous, collage-like assembly of babies, fathers, grandmothers and other loved ones reminds us: “Our Community Our Responsibility.” Each poster accompanies a QR code that takes viewers to \u003ca href=\"https://www.letstalkaboutus.org/art-campaign\" target=\"_blank\" rel=\"noopener\">resources from Asian Women’s Shelter\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One of the things I appreciate most about Asian Women’s Shelter is that when we support survivors, there’s no judgment towards the survivors, not even towards the abusers,” said Saara Ahmed, community resource coordinator at Asian Women’s Shelter, at the Feb. 15 press conference for \u003cem>Let’s Talk About Us\u003c/em> at the Powell Street BART Station. “At AWS, we recognize that each and every one of us is capable of screwing up, of making mistakes and causing harm. It doesn’t make us bad people. But if we accept that harm as a norm, if we accept the normalcy of violence and refuse to change, it’s bound to repeat itself over and over again.”\u003c/p>\n\u003cp>In light of mass shootings that shook Asian communities in Monterey Park and Half Moon Bay in January, Phingbodhipakkiya and Asian Women’s Shelter want to emphasize the connection between intimate forms of abuse and large-scale violence. “When over \u003ca href=\"https://efsgv.org/press/study-two-thirds-of-mass-shootings-linked-to-domestic-violence/\">60% of mass shooters have had a history of domestic violence\u003c/a>, it’s hard not to wonder how many people have accepted that individual’s bad behavior before,” Ahmed continued.\u003c/p>\n\u003cfigure id=\"attachment_13925494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925494\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/0N0A8390-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0N0A8390-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0N0A8390-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0N0A8390-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0N0A8390-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0N0A8390-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0N0A8390-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0N0A8390.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Posters from ‘Let’s Talk About Us’ at Powell Street BART Station. \u003ccite>(Katie Thyken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By encouraging difficult conversations and pointing people to experts who can help, \u003cem>Let’s Talk About Us\u003c/em> aims to foster the kind of frank, compassionate discussions needed to make change.\u003c/p>\n\u003cp>Now that \u003cem>Let’s Talk About Us\u003c/em> has gone up, Phingbodhipakkiya’s work in the Bay Area is not over. As part of her Asian Art Museum residency, the artist is currently working on an archive of AAPI stories called \u003cem>Let the Future Speak\u003c/em>, where she’s interviewing local Asian and Asian American residents from ages five to 95. Much like the public art campaign, it falls in line with her hopeful vision of art as a means of imagining a better future.\u003c/p>\n\u003cp>“I’ve been asking people to reflect on their inheritance — so their pasts, their histories,” Phingbodhipakkiya says, “and also thinking about how the past shapes their present, and how it can seed our shared futures.”\u003c/p>\n\u003cp>\u003cem>Kristie Song contributed reporting to this story. \u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Ear Hustle’ Podcast Co-Host Rahsaan Thomas is Free From San Quentin Prison",
"headTitle": "‘Ear Hustle’ Podcast Co-Host Rahsaan Thomas is Free From San Quentin Prison | KQED",
"content": "\u003cp>A co-host of \u003cem>Ear Hustle\u003c/em>, the Pulitzer Prize-nominated podcast produced behind bars, was released from San Quentin State Prison on Wednesday, a year after California Gov. Gavin Newsom commuted his sentence.\u003c/p>\n\u003cp>Rahsaan “New York” Thomas, 52, left the lockup near San Francisco and was greeted by his fellow podcast co-hosts Walter “Earlonne” Woods, who was freed in 2019, and Nigel Poor.\u003c/p>\n\u003cp>“We’re thrilled to welcome him home,” the podcast posted on its Twitter feed, along with photos of Thomas.\u003c/p>\n\u003cp>https://twitter.com/earhustlesq/status/1623392364394848258\u003c/p>\n\u003cp>Thomas’ sentence was commuted by Newsom in Jan. 2022 and the state parole board granted his release on parole in August.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“While in prison, Mr. Thomas has dedicated himself to his rehabilitation,” Newsom wrote in the commutation.\u003c/p>\n\u003cp>Thomas was serving a 55 1/2 years-to-life sentence for a second-degree murder conviction in 2000 and related charges after he fatally shot one victim and injured another during a drug deal. A Los Angeles County jury rejected his self-defense claim that he fatally shot a man who was trying to rob him.\u003c/p>\n\u003cp>[aside postid='arts_13847946']Since 2019, Thomas has been a co-producer and co-host of \u003cem>Ear Hustle\u003c/em>— named after prison slang for eavesdropping. He was also a regular contributor to the San Quentin News, along with publications outside prison walls. He served as chairman of the Society of Professional Journalists’ San Quentin satellite chapter and worked with several criminal justice reform groups.\u003c/p>\n\u003cp>Former governor Jerry Brown in 2018 commuted the sentence of Woods, the podcast’s co-creator, leading to his release. Woods continues to work on the outside as a full-time producer and co-host for the podcast.\u003c/p>\n\u003cp>\u003cem>Ear Hustle\u003c/em>, which began in 2017, bills itself as “the first podcast created and produced in prison, featuring stories of the daily realities of life inside California’s San Quentin State Prison, shared by those living it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, visit \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener\">the AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“While in prison, Mr. Thomas has dedicated himself to his rehabilitation,” Newsom wrote in the commutation.\u003c/p>\n\u003cp>Thomas was serving a 55 1/2 years-to-life sentence for a second-degree murder conviction in 2000 and related charges after he fatally shot one victim and injured another during a drug deal. A Los Angeles County jury rejected his self-defense claim that he fatally shot a man who was trying to rob him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Since 2019, Thomas has been a co-producer and co-host of \u003cem>Ear Hustle\u003c/em>— named after prison slang for eavesdropping. He was also a regular contributor to the San Quentin News, along with publications outside prison walls. He served as chairman of the Society of Professional Journalists’ San Quentin satellite chapter and worked with several criminal justice reform groups.\u003c/p>\n\u003cp>Former governor Jerry Brown in 2018 commuted the sentence of Woods, the podcast’s co-creator, leading to his release. Woods continues to work on the outside as a full-time producer and co-host for the podcast.\u003c/p>\n\u003cp>\u003cem>Ear Hustle\u003c/em>, which began in 2017, bills itself as “the first podcast created and produced in prison, featuring stories of the daily realities of life inside California’s San Quentin State Prison, shared by those living it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, visit \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener\">the AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Burt Bacharach, Legendary Composer of Pop Songs, Dies at 94 | KQED",
"content": "\u003cp>Burt Bacharach, the singularly gifted and popular composer and Oscar winner who delighted millions with the quirky arrangements and unforgettable melodies of “Walk on By,” “Do You Know the Way to San Jose” and dozens of other hits, has died at 94.\u003c/p>\n\u003cp>Bacharach died Wednesday at home in Los Angeles of natural causes, publicist Tina Brausam said Thursday.\u003c/p>\n\u003cp>Over the past 70 years, only Lennon-McCartney, Carole King and a handful of others rivaled his genius for instantly catchy songs that remained performed, played and hummed long after they were written. He had a run of top 10 hits from the 1950s into the 21st century, and his music was heard everywhere from movie soundtracks and radios to home stereo systems and iPods, whether “Alfie” and “I Say a Little Prayer” or “I’ll Never Fall in Love Again” and “This Guy’s in Love with You.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7Ifw8JhDBvs\u003c/p>\n\u003cp>Dionne Warwick was his favorite interpreter, but Bacharach, usually in tandem with lyricist Hal David, also created prime material for Aretha Franklin, Dusty Springfield, Tom Jones and many others. Elvis Presley, the Beatles and Frank Sinatra were among the countless artists who covered his songs, with more recent performers who sung or sampled him including White Stripes, Twista and Ashanti. “Walk On By” alone was covered by everyone from Warwick and Isaac Hayes to the British punk band the Stranglers and Cyndi Lauper.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bacharach was both an innovator and throwback, and his career seemed to run parallel to the rock era. He grew up on jazz and classical music and had little taste for rock when he was breaking into the business in the 1950s. His sensibility often seemed more aligned with Tin Pan Alley than with Bob Dylan, John Lennon and other writers who later emerged, but rock composers appreciated the depth of his seemingly old-fashioned sensibility.\u003c/p>\n\u003cp>“The shorthand version of him is that he’s something to do with easy listening,” Elvis Costello, who wrote the 1998 album “Painted from Memory” with Bacharach, said in a 2018 interview with The Associated Press. “It may be agreeable to listen to these songs, but there’s nothing easy about them. Try playing them. Try singing them.”\u003c/p>\n\u003cp>He triumphed in many artforms. He was an eight-time Grammy winner, a prize-winning Broadway composer for “Promises, Promises” and a three-time Oscar winner. He received two Academy Awards in 1970, for the score of “Butch Cassidy and the Sundance Kid” and for the song “Raindrops Keep Fallin’ on My Head” (shared with David). In 1982, he and his then-wife, lyricist Carole Bayer Sager, won Oscars for “Best That You Can Do,” the theme from “Arthur. His other movie soundtracks included “What’s New, Pussycat?”, “Alfie” and the 1967 James Bond spoof “Casino Royale.”\u003c/p>\n\u003cp>Bacharach was well rewarded, and well connected. He was a frequent guest at the White House, whether the president was Republican or Democrat. And in 2012, he was presented the Gershwin Prize by Barack Obama, who had sung a few seconds of “Walk on By” during a campaign appearance.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qo8nLMCLT60\u003c/p>\n\u003cp>In his life, and in his music, he stood apart. Fellow songwriter Sammy Cahn liked to joke that the smiling, wavy-haired Bacharach was the first composer he ever knew who didn’t look like a dentist. Bacharach was a “swinger,” as they called such men in his time, whose many romances included actor Angie Dickinson, to whom he was married from 1965-80, and Sager, his wife from 1982-1991.\u003c/p>\n\u003cp>Married four times, he formed his most lasting ties to work. He was a perfectionist who took three weeks to write “Alfie” and might spend hours tweaking a single chord. Sager once observed that Bacharach’s life routines essentially stayed the same — only the wives changed.\u003c/p>\n\u003cp>It began with the melodies — strong yet interspersed with changing rhythms and surprising harmonics. He credited much of his style to his love of bebop and to his classical education, especially under the tutelage of Darius Milhaud, the famed composer. He once played a piece for piano, violin and oboe for Milhaud that contained a melody he was ashamed to have written, as 12-point atonal music was in vogue at the time. Milhaud, who liked the piece, advised the young man, “Never be afraid of the melody.”\u003c/p>\n\u003cp>“That was a great affirmation for me,” Bacharach recalled in 2004.\u003c/p>\n\u003cp>Bacharach was essentially a pop composer, but his songs became hits for country artists (Marty Robbins), rhythm and blues performers (Chuck Jackson), soul (Franklin, Luther Vandross) and synth-pop (Naked Eyes). He reached a new generation of listeners in the 1990s with the help of Costello and others. Mike Myers would recall hearing the sultry “The Look of Love” on the radio and finding fast inspiration for his “Austin Powers” retro spy comedies, in which Bacharach made cameos.\u003c/p>\n\u003cp>In the 21st century, he was still testing new ground, writing his own lyrics and recording with rapper Dr. Dre.\u003c/p>\n\u003cp>He was married to his first wife, Paula Stewart, from 1953-58, and married for a fourth time, to Jane Hansen, in 1993. He is survived by Hansen, as well as his children Oliver, Raleigh and Cristopher, Brausam said. He was preceded in death by his daughter with Dickinson, Nikki Bacharach.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-2UpwpTAd8U\u003c/p>\n\u003cp>Bacharach knew the very heights of acclaim, but he remembered himself as a loner growing up, a short and self-conscious boy so uncomfortable with being Jewish he even taunted other Jews. His favorite book as a kid was Ernest Hemingway’s “The Sun Also Rises”; he related to the sexually impotent Jake Barnes, regarding himself as “socially impotent.”\u003c/p>\n\u003cp>He was born in Kansas City, Missouri, but soon moved to New York City. His father was a syndicated columnist, his mother a pianist who encouraged the boy to study music. Although he was more interested in sports, he practiced piano every day after school, not wanting to disappoint his mother. While still a minor, he would sneak into jazz clubs, bearing a fake ID, and hear such greats as Dizzy Gillespie and Count Basie.\u003c/p>\n\u003cp>“They were just so incredibly exciting that all of a sudden, I got into music in a way I never had before,” he recalled in the memoir “Anyone Who Had a Heart,” published in 2013. “What I heard in those clubs turned my head around.”\u003c/p>\n\u003cp>He was a poor student in high school, but managed to gain a spot at the music conservatory at McGill University in Montreal. He wrote his first song at McGill and listened for months to Mel Torme’s “The Christmas Song.” Music also may have saved Bacharach’s life. He was drafted into the Army in the late 1940s and was still on active duty during the Korean War. But officers stateside soon learned of his gifts and wanted him around. When he did go overseas, it was to Germany, where he wrote orchestrations for a recreation center on the local military base.\u003c/p>\n\u003cp>After his discharge, he returned to New York and tried to break into the music business. He had little success at first as a songwriter, but he became a popular arranger and accompanist, touring with Vic Damone, the Ames Brothers and Polly Stewart, who became his first wife. When a friend who had been touring with Marlene Dietrich was unable to make a show in Las Vegas, he asked Bacharach to step in.\u003c/p>\n\u003cp>The young musician and ageless singer quickly clicked and Bacharach traveled the world with her in the late ‘50s and early ‘60s. During each performance, she would introduce him in grand style: “I would like you to meet the man, he’s my arranger, he’s my accompanist, he’s my conductor, and I wish I could say he’s my composer. But that isn’t true. He’s everybody’s composer … Burt Bacharach!”\u003c/p>\n\u003cp>Meanwhile, he had met his ideal songwriter partner — David, as businesslike as Bacharach was mercurial, so domesticated that he would leave each night at 5 to catch the train back to his wife and children on Long Island. Working in a tiny office in Broadway’s celebrated Brill Building, they produced their first million-seller, “Magic Moments,” sung in 1958 by Perry Como. In 1962, they spotted a backup singer for the Drifters, Warwick, who had a “very special kind of grace and elegance,” Bacharach recalled.\u003c/p>\n\u003cp>The trio produced hit after hit, starting with “Don’t Make Me Over” and continuing with “Walk on By,” “I Say a Little Prayer,” “Do You Know the Way to San Jose,” “Trains and Boats and Planes,” “Anyone Who Had a Heart” and more. The songs were as complicated to record as they were easy to hear. Bacharach liked to experiment with time signatures and arrangements, such as having two pianists play on “Walk on By,” their performances just slightly out of synch to give the song “a jagged kind of feeling,” he wrote in his memoir.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XieZAjBTkr4\u003c/p>\n\u003cp>Besides Warwick, the Bacharach-David team was producing winners for other performers. Among them: “Make It Easy on Yourself” for Jerry Butler, “What the World Needs Now Is Love” for Jackie DeShannon and “This Guy’s in Love with You” for Herb Alpert.\u003c/p>\n\u003cp>The partnership ended badly with the dismal failure of a 1973 musical remake of “Lost Horizon.” Bacharach became so depressed he isolated himself in his Del Mar vacation home and refused to work.\u003c/p>\n\u003cp>“I didn’t want to write with Hal or anybody,” he told the AP in 2004. Nor did he want to fulfill a commitment to record Warwick. She and David both sued him.\u003c/p>\n\u003cp>Bacharach and David eventually reconciled. When David died in 2012, Bacharach praised him for writing lyrics “like a miniature movie.” Meanwhile, he kept working, vowing never to retire, always believing that a good song could make a difference.\u003c/p>\n\u003cp>“Music softens the heart, makes you feel something if it’s good, brings in emotion that you might not have felt before,” he told the AP in 2018. “It’s a very powerful thing if you’re able to do to it, if you have it in your heart to do something like that.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The late Associated Press writer Bob Thomas was a contributor to this report from Los Angeles.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Burt Bacharach, the singularly gifted and popular composer and Oscar winner who delighted millions with the quirky arrangements and unforgettable melodies of “Walk on By,” “Do You Know the Way to San Jose” and dozens of other hits, has died at 94.\u003c/p>\n\u003cp>Bacharach died Wednesday at home in Los Angeles of natural causes, publicist Tina Brausam said Thursday.\u003c/p>\n\u003cp>Over the past 70 years, only Lennon-McCartney, Carole King and a handful of others rivaled his genius for instantly catchy songs that remained performed, played and hummed long after they were written. He had a run of top 10 hits from the 1950s into the 21st century, and his music was heard everywhere from movie soundtracks and radios to home stereo systems and iPods, whether “Alfie” and “I Say a Little Prayer” or “I’ll Never Fall in Love Again” and “This Guy’s in Love with You.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7Ifw8JhDBvs'\n title='//www.youtube.com/embed/7Ifw8JhDBvs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dionne Warwick was his favorite interpreter, but Bacharach, usually in tandem with lyricist Hal David, also created prime material for Aretha Franklin, Dusty Springfield, Tom Jones and many others. Elvis Presley, the Beatles and Frank Sinatra were among the countless artists who covered his songs, with more recent performers who sung or sampled him including White Stripes, Twista and Ashanti. “Walk On By” alone was covered by everyone from Warwick and Isaac Hayes to the British punk band the Stranglers and Cyndi Lauper.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bacharach was both an innovator and throwback, and his career seemed to run parallel to the rock era. He grew up on jazz and classical music and had little taste for rock when he was breaking into the business in the 1950s. His sensibility often seemed more aligned with Tin Pan Alley than with Bob Dylan, John Lennon and other writers who later emerged, but rock composers appreciated the depth of his seemingly old-fashioned sensibility.\u003c/p>\n\u003cp>“The shorthand version of him is that he’s something to do with easy listening,” Elvis Costello, who wrote the 1998 album “Painted from Memory” with Bacharach, said in a 2018 interview with The Associated Press. “It may be agreeable to listen to these songs, but there’s nothing easy about them. Try playing them. Try singing them.”\u003c/p>\n\u003cp>He triumphed in many artforms. He was an eight-time Grammy winner, a prize-winning Broadway composer for “Promises, Promises” and a three-time Oscar winner. He received two Academy Awards in 1970, for the score of “Butch Cassidy and the Sundance Kid” and for the song “Raindrops Keep Fallin’ on My Head” (shared with David). In 1982, he and his then-wife, lyricist Carole Bayer Sager, won Oscars for “Best That You Can Do,” the theme from “Arthur. His other movie soundtracks included “What’s New, Pussycat?”, “Alfie” and the 1967 James Bond spoof “Casino Royale.”\u003c/p>\n\u003cp>Bacharach was well rewarded, and well connected. He was a frequent guest at the White House, whether the president was Republican or Democrat. And in 2012, he was presented the Gershwin Prize by Barack Obama, who had sung a few seconds of “Walk on By” during a campaign appearance.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qo8nLMCLT60'\n title='//www.youtube.com/embed/qo8nLMCLT60'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In his life, and in his music, he stood apart. Fellow songwriter Sammy Cahn liked to joke that the smiling, wavy-haired Bacharach was the first composer he ever knew who didn’t look like a dentist. Bacharach was a “swinger,” as they called such men in his time, whose many romances included actor Angie Dickinson, to whom he was married from 1965-80, and Sager, his wife from 1982-1991.\u003c/p>\n\u003cp>Married four times, he formed his most lasting ties to work. He was a perfectionist who took three weeks to write “Alfie” and might spend hours tweaking a single chord. Sager once observed that Bacharach’s life routines essentially stayed the same — only the wives changed.\u003c/p>\n\u003cp>It began with the melodies — strong yet interspersed with changing rhythms and surprising harmonics. He credited much of his style to his love of bebop and to his classical education, especially under the tutelage of Darius Milhaud, the famed composer. He once played a piece for piano, violin and oboe for Milhaud that contained a melody he was ashamed to have written, as 12-point atonal music was in vogue at the time. Milhaud, who liked the piece, advised the young man, “Never be afraid of the melody.”\u003c/p>\n\u003cp>“That was a great affirmation for me,” Bacharach recalled in 2004.\u003c/p>\n\u003cp>Bacharach was essentially a pop composer, but his songs became hits for country artists (Marty Robbins), rhythm and blues performers (Chuck Jackson), soul (Franklin, Luther Vandross) and synth-pop (Naked Eyes). He reached a new generation of listeners in the 1990s with the help of Costello and others. Mike Myers would recall hearing the sultry “The Look of Love” on the radio and finding fast inspiration for his “Austin Powers” retro spy comedies, in which Bacharach made cameos.\u003c/p>\n\u003cp>In the 21st century, he was still testing new ground, writing his own lyrics and recording with rapper Dr. Dre.\u003c/p>\n\u003cp>He was married to his first wife, Paula Stewart, from 1953-58, and married for a fourth time, to Jane Hansen, in 1993. He is survived by Hansen, as well as his children Oliver, Raleigh and Cristopher, Brausam said. He was preceded in death by his daughter with Dickinson, Nikki Bacharach.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-2UpwpTAd8U'\n title='//www.youtube.com/embed/-2UpwpTAd8U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bacharach knew the very heights of acclaim, but he remembered himself as a loner growing up, a short and self-conscious boy so uncomfortable with being Jewish he even taunted other Jews. His favorite book as a kid was Ernest Hemingway’s “The Sun Also Rises”; he related to the sexually impotent Jake Barnes, regarding himself as “socially impotent.”\u003c/p>\n\u003cp>He was born in Kansas City, Missouri, but soon moved to New York City. His father was a syndicated columnist, his mother a pianist who encouraged the boy to study music. Although he was more interested in sports, he practiced piano every day after school, not wanting to disappoint his mother. While still a minor, he would sneak into jazz clubs, bearing a fake ID, and hear such greats as Dizzy Gillespie and Count Basie.\u003c/p>\n\u003cp>“They were just so incredibly exciting that all of a sudden, I got into music in a way I never had before,” he recalled in the memoir “Anyone Who Had a Heart,” published in 2013. “What I heard in those clubs turned my head around.”\u003c/p>\n\u003cp>He was a poor student in high school, but managed to gain a spot at the music conservatory at McGill University in Montreal. He wrote his first song at McGill and listened for months to Mel Torme’s “The Christmas Song.” Music also may have saved Bacharach’s life. He was drafted into the Army in the late 1940s and was still on active duty during the Korean War. But officers stateside soon learned of his gifts and wanted him around. When he did go overseas, it was to Germany, where he wrote orchestrations for a recreation center on the local military base.\u003c/p>\n\u003cp>After his discharge, he returned to New York and tried to break into the music business. He had little success at first as a songwriter, but he became a popular arranger and accompanist, touring with Vic Damone, the Ames Brothers and Polly Stewart, who became his first wife. When a friend who had been touring with Marlene Dietrich was unable to make a show in Las Vegas, he asked Bacharach to step in.\u003c/p>\n\u003cp>The young musician and ageless singer quickly clicked and Bacharach traveled the world with her in the late ‘50s and early ‘60s. During each performance, she would introduce him in grand style: “I would like you to meet the man, he’s my arranger, he’s my accompanist, he’s my conductor, and I wish I could say he’s my composer. But that isn’t true. He’s everybody’s composer … Burt Bacharach!”\u003c/p>\n\u003cp>Meanwhile, he had met his ideal songwriter partner — David, as businesslike as Bacharach was mercurial, so domesticated that he would leave each night at 5 to catch the train back to his wife and children on Long Island. Working in a tiny office in Broadway’s celebrated Brill Building, they produced their first million-seller, “Magic Moments,” sung in 1958 by Perry Como. In 1962, they spotted a backup singer for the Drifters, Warwick, who had a “very special kind of grace and elegance,” Bacharach recalled.\u003c/p>\n\u003cp>The trio produced hit after hit, starting with “Don’t Make Me Over” and continuing with “Walk on By,” “I Say a Little Prayer,” “Do You Know the Way to San Jose,” “Trains and Boats and Planes,” “Anyone Who Had a Heart” and more. The songs were as complicated to record as they were easy to hear. Bacharach liked to experiment with time signatures and arrangements, such as having two pianists play on “Walk on By,” their performances just slightly out of synch to give the song “a jagged kind of feeling,” he wrote in his memoir.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XieZAjBTkr4'\n title='//www.youtube.com/embed/XieZAjBTkr4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Besides Warwick, the Bacharach-David team was producing winners for other performers. Among them: “Make It Easy on Yourself” for Jerry Butler, “What the World Needs Now Is Love” for Jackie DeShannon and “This Guy’s in Love with You” for Herb Alpert.\u003c/p>\n\u003cp>The partnership ended badly with the dismal failure of a 1973 musical remake of “Lost Horizon.” Bacharach became so depressed he isolated himself in his Del Mar vacation home and refused to work.\u003c/p>\n\u003cp>“I didn’t want to write with Hal or anybody,” he told the AP in 2004. Nor did he want to fulfill a commitment to record Warwick. She and David both sued him.\u003c/p>\n\u003cp>Bacharach and David eventually reconciled. When David died in 2012, Bacharach praised him for writing lyrics “like a miniature movie.” Meanwhile, he kept working, vowing never to retire, always believing that a good song could make a difference.\u003c/p>\n\u003cp>“Music softens the heart, makes you feel something if it’s good, brings in emotion that you might not have felt before,” he told the AP in 2018. “It’s a very powerful thing if you’re able to do to it, if you have it in your heart to do something like that.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>After several delays, Dungeness crab season is finally upon us. That’s a big deal in the Bay Area: Whether the crabs are caught on a boat or off a pier, served in cioppino or over garlic noodles, a shared love for the ingredient has long brought together folks from all different cultural backgrounds.\u003c/p>\n\u003cp>“It always is just a ritual of togetherness, of hoping that you get more than what you got,” journalist, emcee, author and activist Rocky Rivera said of her own crab fishing experiences in a \u003ca href=\"https://www.kqed.org/forum/2010101892038/its-dungeness-crab-season-and-time-to-rhapsodize-about-our-iconic-crustacean\">recent episode of All You Can Eat\u003c/a>, KQED Forum’s biweekly exploration of Bay Area food cultures. “[You’re] having a good time and spending that time together with your family, with your friends, and of course, feasting afterward. That’s a memory that everybody associated with the Bay Area.”\u003c/p>\n\u003cp>Rivera wrote about how integral Dungeness crab was to her San Francisco childhood in a \u003ca href=\"https://www.kqed.org/arts/13923127/dungeness-crab-fishing-filipino-american-treasure-island-san-francisco\">recent essay\u003c/a> for KQED, describing late nights spent fishing and cooking with friends and family in the Filipino American community. The biggest response to the article, she said, is that people from all over shared their own personal stories about Dungeness crab — the kinds of stories that formed the basis of the Forum episode.\u003c/p>\n\u003cfigure id=\"attachment_13923170\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923170\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"Rocky Rivera watches from a camping chair while her cousin-in-law prepares a crab net.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera watches while her cousin-in-law, Alyssa Tiglao (foreground), prepares a crab net during a fishing trip on Pacifica Municipal Pier. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One caller, Maury from Berkeley, said that the show gave her a sense of nostalgia for her 90s childhood, when she would travel to San Francisco from Modesto to catch crabs. “I remember — whether it be with a bunch of homies or family — we would make an adventure out to Frisco, off of the Fort Mason Pier, and just throw a few nets and play dominoes or play cards and just picnic as we waited to catch crabs,” she said. “It is such a vibe to be able to go out there, put on our favorite Bay rap music as we were journeying out there from Modesto, and then coming back, excited about eating the crabs.”\u003c/p>\n\u003cp>Other callers described Cambodian-style stir fry dishes, steamed crab paired with latkes and even a seasonal crab burrito. Indeed, it seems like everyone in the Bay Area has a Dungeness crab story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Part of the reason why Dungeness crab lends itself to so many different regional cuisines is because of the characteristics of the ingredient itself. “It’s a very luxurious crab,” said KQED food editor Luke Tsai, pointing out that it’s both sweeter and meatier than most other crabs. Charlie Chang, owner of \u003ca href=\"http://www.ppqcrab.com/\">PPQ Dungeness Island\u003c/a>, agreed: “The sweetness of the crab — I mean, you just can’t beat that.” Chang had come on the show to talk about his own restaurant’s contribution to the Bay Area Dungeness crab scene: Vietnamese-style butter-roasted crabs and peppercorn crabs, served with garlic noodles.\u003c/p>\n\u003cp>[aside postID='arts_13923127,arts_13900855,arts_13909648']Edward Wooley of \u003ca href=\"https://www.instagram.com/chefsmelly/?hl=en\">Chef Smelly’s\u003c/a> in Oakland, on the other hand, said he ate so much crab as a child that he no longer enjoys the taste. ““My mother went to an all-you-can-eat crab fest,” the chef recalled. “I just ate so much crab when I got home that I was done with crab.” That hasn’t prevented Wooley’s Oakland restaurant from becoming one of the most well known crab restaurants in the East Bay. The most popular dishes? Wooley’s garlic-butter crab with Creole lemon pepper sauce and his crab gumbo.\u003c/p>\n\u003cp>Despite Dungeness crab’s iconic status in the Bay Area food scene, the West Coast crab industry has faced its share of challenges in recent years. Climate change, dangerous weather conditions and competition from big business all impact the haul brought in by local fishermen. “We’ve seen the season just get postponed later and later each year,” Tsai added, noting that the commercial crab season didn’t start until Dec. 31 this past year — more than six weeks later than usual. He explained that these delays are usually caused by toxic domoic acid levels driven by climate change and warmer water, as well as difficult negotiations between fishermen and penny-pinching seafood distributors.\u003c/p>\n\u003cp>One local fisherman, Matt Juanes, called in to explain that the delays have been especially hard on his business. Here in the Bay Area, he said, it’s traditional to celebrate Thanksgiving and Christmas with Dungeness crab. But for the past few years the crab season has only just barely arrived in time for New Year’s.\u003c/p>\n\u003cfigure id=\"attachment_13924815\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924815\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman.jpg\" alt=\"A crab fisherman in a trucker hat smiles as he holds up a live Dungeness crab from the deck of his fishing boat.\" width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman-1536x1056.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For crab fisherman Matt Juanes, the Dungeness crab season delays of the past few years have been hard on his business. \u003ccite>(Azul Dahlstrom-Eckman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Oh, it’s definitely very difficult for all of us,” Juanes said. “But we’re just trying to work together with nature and do the best we can.”\u003c/p>\n\u003cp>For Rivera, this year’s delay was especially frustrating. “Having a birthday in between Thanksgiving and Christmas, there usually was a guarantee that I would have crab there as my birthday cake,” she said. This was one of the first years that didn’t happen.\u003c/p>\n\u003cp>Rivera’s KQED essay series, \u003ca href=\"https://www.kqed.org/arts/tag/frisco-foodies\">Frisco Foodies\u003c/a>, uses nostalgic food memories as a way to explore all of the ways the Bay Area is changing — all of the traditions that are in danger of being lost.\u003c/p>\n\u003cp>“Like many San Francisco families, especially immigrant families, we’ve incorporated traditions like cioppino and Dungeness and all types of seafood dishes into our celebrations,” Rivera said. “And to not have that for Christmas is really just an indicator of things changing deeply across the Bay Area.”\u003c/p>\n\u003cfigure id=\"attachment_13900955\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900955\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-scaled.jpg\" alt=\"Overhead view of a plate of garlic noodles and roast crab.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">One of Chef Smelly’s legendary seafood plates, piled high with garlic noodles, shrimp and, of course, Dungeness crab. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After several delays, Dungeness crab season is finally upon us. That’s a big deal in the Bay Area: Whether the crabs are caught on a boat or off a pier, served in cioppino or over garlic noodles, a shared love for the ingredient has long brought together folks from all different cultural backgrounds.\u003c/p>\n\u003cp>“It always is just a ritual of togetherness, of hoping that you get more than what you got,” journalist, emcee, author and activist Rocky Rivera said of her own crab fishing experiences in a \u003ca href=\"https://www.kqed.org/forum/2010101892038/its-dungeness-crab-season-and-time-to-rhapsodize-about-our-iconic-crustacean\">recent episode of All You Can Eat\u003c/a>, KQED Forum’s biweekly exploration of Bay Area food cultures. “[You’re] having a good time and spending that time together with your family, with your friends, and of course, feasting afterward. That’s a memory that everybody associated with the Bay Area.”\u003c/p>\n\u003cp>Rivera wrote about how integral Dungeness crab was to her San Francisco childhood in a \u003ca href=\"https://www.kqed.org/arts/13923127/dungeness-crab-fishing-filipino-american-treasure-island-san-francisco\">recent essay\u003c/a> for KQED, describing late nights spent fishing and cooking with friends and family in the Filipino American community. The biggest response to the article, she said, is that people from all over shared their own personal stories about Dungeness crab — the kinds of stories that formed the basis of the Forum episode.\u003c/p>\n\u003cfigure id=\"attachment_13923170\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923170\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"Rocky Rivera watches from a camping chair while her cousin-in-law prepares a crab net.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera watches while her cousin-in-law, Alyssa Tiglao (foreground), prepares a crab net during a fishing trip on Pacifica Municipal Pier. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One caller, Maury from Berkeley, said that the show gave her a sense of nostalgia for her 90s childhood, when she would travel to San Francisco from Modesto to catch crabs. “I remember — whether it be with a bunch of homies or family — we would make an adventure out to Frisco, off of the Fort Mason Pier, and just throw a few nets and play dominoes or play cards and just picnic as we waited to catch crabs,” she said. “It is such a vibe to be able to go out there, put on our favorite Bay rap music as we were journeying out there from Modesto, and then coming back, excited about eating the crabs.”\u003c/p>\n\u003cp>Other callers described Cambodian-style stir fry dishes, steamed crab paired with latkes and even a seasonal crab burrito. Indeed, it seems like everyone in the Bay Area has a Dungeness crab story.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part of the reason why Dungeness crab lends itself to so many different regional cuisines is because of the characteristics of the ingredient itself. “It’s a very luxurious crab,” said KQED food editor Luke Tsai, pointing out that it’s both sweeter and meatier than most other crabs. Charlie Chang, owner of \u003ca href=\"http://www.ppqcrab.com/\">PPQ Dungeness Island\u003c/a>, agreed: “The sweetness of the crab — I mean, you just can’t beat that.” Chang had come on the show to talk about his own restaurant’s contribution to the Bay Area Dungeness crab scene: Vietnamese-style butter-roasted crabs and peppercorn crabs, served with garlic noodles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Edward Wooley of \u003ca href=\"https://www.instagram.com/chefsmelly/?hl=en\">Chef Smelly’s\u003c/a> in Oakland, on the other hand, said he ate so much crab as a child that he no longer enjoys the taste. ““My mother went to an all-you-can-eat crab fest,” the chef recalled. “I just ate so much crab when I got home that I was done with crab.” That hasn’t prevented Wooley’s Oakland restaurant from becoming one of the most well known crab restaurants in the East Bay. The most popular dishes? Wooley’s garlic-butter crab with Creole lemon pepper sauce and his crab gumbo.\u003c/p>\n\u003cp>Despite Dungeness crab’s iconic status in the Bay Area food scene, the West Coast crab industry has faced its share of challenges in recent years. Climate change, dangerous weather conditions and competition from big business all impact the haul brought in by local fishermen. “We’ve seen the season just get postponed later and later each year,” Tsai added, noting that the commercial crab season didn’t start until Dec. 31 this past year — more than six weeks later than usual. He explained that these delays are usually caused by toxic domoic acid levels driven by climate change and warmer water, as well as difficult negotiations between fishermen and penny-pinching seafood distributors.\u003c/p>\n\u003cp>One local fisherman, Matt Juanes, called in to explain that the delays have been especially hard on his business. Here in the Bay Area, he said, it’s traditional to celebrate Thanksgiving and Christmas with Dungeness crab. But for the past few years the crab season has only just barely arrived in time for New Year’s.\u003c/p>\n\u003cfigure id=\"attachment_13924815\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924815\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman.jpg\" alt=\"A crab fisherman in a trucker hat smiles as he holds up a live Dungeness crab from the deck of his fishing boat.\" width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/matt-juanes-crab-fisherman_azul-dahlstrom-eckman-1536x1056.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For crab fisherman Matt Juanes, the Dungeness crab season delays of the past few years have been hard on his business. \u003ccite>(Azul Dahlstrom-Eckman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Oh, it’s definitely very difficult for all of us,” Juanes said. “But we’re just trying to work together with nature and do the best we can.”\u003c/p>\n\u003cp>For Rivera, this year’s delay was especially frustrating. “Having a birthday in between Thanksgiving and Christmas, there usually was a guarantee that I would have crab there as my birthday cake,” she said. This was one of the first years that didn’t happen.\u003c/p>\n\u003cp>Rivera’s KQED essay series, \u003ca href=\"https://www.kqed.org/arts/tag/frisco-foodies\">Frisco Foodies\u003c/a>, uses nostalgic food memories as a way to explore all of the ways the Bay Area is changing — all of the traditions that are in danger of being lost.\u003c/p>\n\u003cp>“Like many San Francisco families, especially immigrant families, we’ve incorporated traditions like cioppino and Dungeness and all types of seafood dishes into our celebrations,” Rivera said. “And to not have that for Christmas is really just an indicator of things changing deeply across the Bay Area.”\u003c/p>\n\u003cfigure id=\"attachment_13900955\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900955\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-scaled.jpg\" alt=\"Overhead view of a plate of garlic noodles and roast crab.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/016_Oakland_ChefSmellys_08072021-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">One of Chef Smelly’s legendary seafood plates, piled high with garlic noodles, shrimp and, of course, Dungeness crab. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cb>“From the Soil” is our\u003c/b>\u003ca style=\"font-weight: bold\" href=\"https://www.kqed.org/arts/13924924/rightnowish-presents-from-the-soil\"> six-part series\u003c/a>\u003cb>, about land and life in Northern California. \u003c/b>\u003c/em>\u003c/p>\n\u003cp>On a crisp afternoon at the Bouverie Preserve in Glen Ellen, a group of twenty one farmworkers suit up in firefighter gear. Women and men take turns helping each other strap on backpacks and fire helmets in preparation for another intense day of prescribed burn trainings. These are carefully planned low intensity fires set under specific environmental conditions, intended to reduce the risk of catastrophic wildfires.\u003c/p>\n\u003cp>Many of these immigrant and Indigenous farmworkers typically work in the grape fields throughout Sonoma County, but extreme drought, flooding, and massive wildfires have made these jobs more precarious.\u003c/p>\n\u003cfigure id=\"attachment_13925211\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13925211 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC04909-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jose Luis Duce, a fire training specialist, instructs the group on how to properly wrap fire hoses. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing the need for alternative jobs that provide safety training and fair wages, a coalition of organizations including \u003ca href=\"https://www.northbayjobswithjustice.org/\">North Bay Jobs with Justice\u003c/a>, \u003ca href=\"https://egret.org/\">Audubon Canyon Ranch, \u003c/a>and \u003ca href=\"https://resilienceforce.org/\">Resilience Force\u003c/a> teamed up to create paid opportunities that tackle our climate crisis head on. Part of this work includes certifying farmworkers to do prescribed burns on private lands throughout the North Bay, as a way to prevent the build up of fuel before fire season.\u003c/p>\n\u003cp>[aside postID='education_534674' label='More On Prescribed Burns']\u003c/p>\n\u003cp>Prescribed burns are not a new practice by any means. They are rooted in many cultures. Some of these farmworkers have already practiced prescribed burns in their homelands in Mexico and Central America, and bring this ancestral ecological knowledge to their new line of work.\u003c/p>\n\u003cp>In this way, farmworkers are leading the charge in climate justice organizing, championing the need for vegetation and fire management jobs.\u003c/p>\n\u003cfigure id=\"attachment_13925213\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13925213 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC04923-800x533.jpg\" alt=\"A man holds a yellow fire hose to a large container of water. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crispín López Cruz pumps water into the water tank using a fire hose. \u003ccite>(Pendarivs Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On this episode of Rightnowish, we speak with farmworkers Maria Salinas, Sandra de León, and Crispín López Cruz about what it means to create a fire resilient future, and how they are applying traditional ecological knowledge to their efforts. We also hear from North Bay Jobs with Justice organizer Aura Aguilar, on the necessity of good paying jobs for farmworkers who seek to restore ecological balance amidst climate chaos.\u003c/p>\n\u003cp>\u003ca href=\"http://bit.ly/3IsroDl\">Read the full episode transcript.\u003c/a>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7328567408&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited and translated excerpts of Marisol’s conversation with Maria Salinas, Sandra de León, and Crispín López Cruz. Listen to the podcast to hear the full conversation. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Maria Salinas:\u003c/strong>\u003cspan style=\"font-weight: 400\"> In Oaxaca, where I’m from, before we do a prescribed burn we really make sure that we clean up the area first. Then we do the burn and we use the ashes to serve as nutrients for the earth so that we can then grow other crops such as corn. After the burn, you can see that there is regrowth. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It can be really scary living here in this county with the prospect of there being wildfires. As a mother of four, I just want my children to be able to not have fear, but also to focus on mutual help with the community, taking care of one another, and having a connection with the land.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13925219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925219\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC04893-800x533.jpg\" alt=\"A farmworker learning firefighting and firelighting practices filling up the water tank on an all terrain vehicle. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Farmworkers practice filling a water tank strapped to an ATV. \u003ccite>(Pendarvis Harshaw /KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Sandra de León: \u003c/b>\u003cspan style=\"font-weight: 400\">In the grape fields, we make the land work harder than it should be working. We don’t let it just produce what it wants to produce or what it needs to produce. We push it past its limit.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What I’m learning here in this [prescribed burn] training is that fire is not bad for the land. Fire, when done thoughtfully, can actually help promote regrowth, can really take care of the land and help it stabilize. Everything that I’m learning, what I really want to do is share it with other people so that they can also know how to take care of the land. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13925221\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13925221 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC04939-800x533.jpg\" alt=\"A woman and man wearing a fire helmet and gloves connect two fire hoses together. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers connect two firehoses during a firefighting and prescribed burn training. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Crispín López Cruz:\u003c/b>\u003cspan style=\"font-weight: 400\"> In Oaxaca, my family’s farmland would often become oversaturated with water during times of heavy rain. I helped my grandpa fix the erosion that was happening. He taught me that we could cut up pieces of oak tree and put branches [in the soil] in a way that would block too much water from reaching all of the crops and ultimately washing the soil away. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">More than anything I like to take care of the earth because it is what gives life for every human being.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cb>“From the Soil” is our\u003c/b>\u003ca style=\"font-weight: bold\" href=\"https://www.kqed.org/arts/13924924/rightnowish-presents-from-the-soil\"> six-part series\u003c/a>\u003cb>, about land and life in Northern California. \u003c/b>\u003c/em>\u003c/p>\n\u003cp>On a crisp afternoon at the Bouverie Preserve in Glen Ellen, a group of twenty one farmworkers suit up in firefighter gear. Women and men take turns helping each other strap on backpacks and fire helmets in preparation for another intense day of prescribed burn trainings. These are carefully planned low intensity fires set under specific environmental conditions, intended to reduce the risk of catastrophic wildfires.\u003c/p>\n\u003cp>Many of these immigrant and Indigenous farmworkers typically work in the grape fields throughout Sonoma County, but extreme drought, flooding, and massive wildfires have made these jobs more precarious.\u003c/p>\n\u003cfigure id=\"attachment_13925211\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13925211 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC04909-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jose Luis Duce, a fire training specialist, instructs the group on how to properly wrap fire hoses. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing the need for alternative jobs that provide safety training and fair wages, a coalition of organizations including \u003ca href=\"https://www.northbayjobswithjustice.org/\">North Bay Jobs with Justice\u003c/a>, \u003ca href=\"https://egret.org/\">Audubon Canyon Ranch, \u003c/a>and \u003ca href=\"https://resilienceforce.org/\">Resilience Force\u003c/a> teamed up to create paid opportunities that tackle our climate crisis head on. Part of this work includes certifying farmworkers to do prescribed burns on private lands throughout the North Bay, as a way to prevent the build up of fuel before fire season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prescribed burns are not a new practice by any means. They are rooted in many cultures. Some of these farmworkers have already practiced prescribed burns in their homelands in Mexico and Central America, and bring this ancestral ecological knowledge to their new line of work.\u003c/p>\n\u003cp>In this way, farmworkers are leading the charge in climate justice organizing, championing the need for vegetation and fire management jobs.\u003c/p>\n\u003cfigure id=\"attachment_13925213\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13925213 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC04923-800x533.jpg\" alt=\"A man holds a yellow fire hose to a large container of water. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crispín López Cruz pumps water into the water tank using a fire hose. \u003ccite>(Pendarivs Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On this episode of Rightnowish, we speak with farmworkers Maria Salinas, Sandra de León, and Crispín López Cruz about what it means to create a fire resilient future, and how they are applying traditional ecological knowledge to their efforts. We also hear from North Bay Jobs with Justice organizer Aura Aguilar, on the necessity of good paying jobs for farmworkers who seek to restore ecological balance amidst climate chaos.\u003c/p>\n\u003cp>\u003ca href=\"http://bit.ly/3IsroDl\">Read the full episode transcript.\u003c/a>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7328567408&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited and translated excerpts of Marisol’s conversation with Maria Salinas, Sandra de León, and Crispín López Cruz. Listen to the podcast to hear the full conversation. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Maria Salinas:\u003c/strong>\u003cspan style=\"font-weight: 400\"> In Oaxaca, where I’m from, before we do a prescribed burn we really make sure that we clean up the area first. Then we do the burn and we use the ashes to serve as nutrients for the earth so that we can then grow other crops such as corn. After the burn, you can see that there is regrowth. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It can be really scary living here in this county with the prospect of there being wildfires. As a mother of four, I just want my children to be able to not have fear, but also to focus on mutual help with the community, taking care of one another, and having a connection with the land.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13925219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925219\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC04893-800x533.jpg\" alt=\"A farmworker learning firefighting and firelighting practices filling up the water tank on an all terrain vehicle. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Farmworkers practice filling a water tank strapped to an ATV. \u003ccite>(Pendarvis Harshaw /KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Sandra de León: \u003c/b>\u003cspan style=\"font-weight: 400\">In the grape fields, we make the land work harder than it should be working. We don’t let it just produce what it wants to produce or what it needs to produce. We push it past its limit.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What I’m learning here in this [prescribed burn] training is that fire is not bad for the land. Fire, when done thoughtfully, can actually help promote regrowth, can really take care of the land and help it stabilize. Everything that I’m learning, what I really want to do is share it with other people so that they can also know how to take care of the land. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13925221\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13925221 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC04939-800x533.jpg\" alt=\"A woman and man wearing a fire helmet and gloves connect two fire hoses together. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers connect two firehoses during a firefighting and prescribed burn training. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Crispín López Cruz:\u003c/b>\u003cspan style=\"font-weight: 400\"> In Oaxaca, my family’s farmland would often become oversaturated with water during times of heavy rain. I helped my grandpa fix the erosion that was happening. He taught me that we could cut up pieces of oak tree and put branches [in the soil] in a way that would block too much water from reaching all of the crops and ultimately washing the soil away. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">More than anything I like to take care of the earth because it is what gives life for every human being.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Artists Hit by Rains and Flooding Look to Emergency Relief Funds",
"headTitle": "Artists Hit by Rains and Flooding Look to Emergency Relief Funds | KQED",
"content": "\u003cp>\u003cstrong>Jump to: \u003ca href=\"#emergencyfunds\">A list of emergency relief funds for artists and venues\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>When the first wave of storms hit the Bay Area on Dec. 31, Avi Ehrlich, owner of the indie comics shop \u003ca href=\"https://www.silversprocket.net/\">Silver Sprocket\u003c/a>, believed a minor ceiling leak was the worst of it.\u003c/p>\n\u003cp>“We thought that was a big problem and we took like two hours to deal with that,” says Ehrlich. “And then we went downstairs into the basement and we’re like ‘Oh, holy shit.’”\u003c/p>\n\u003cp>Silver Sprocket’s entire Valencia Street basement was flooded, ruining some of the shop’s inventory and putting the rest of it at risk. In a video Ehrlich posted to Twitter Dec. 31, water freely pours down a basement wall. Neighbors and friends rallied to help move boxes of books to higher ground, but Ehrlich says even now there is still water coming into the basement; permanent fixes won’t be possible until it stops raining.\u003c/p>\n\u003cp>https://twitter.com/ssbcpunk/status/1609323186201718786?s=20&t=f6g79UntH-tAUyQcFKVi6w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, mold is forming where the murky rainwater once pooled. “We definitely lost a significant amount of inventory,” says Ehrlich, who threw their back out in the scramble. And sales are less than half of what they would normally be, but the shop is hesitant to do any marketing because half its space has been given over to storage; finding items is a struggle.\u003c/p>\n\u003cp>“We don’t want to leave our customers waiting for weeks to get the comics that they ordered,” Ehrlich says. “Our customers are extremely kind and patient, but there’s limits to it.”\u003c/p>\n\u003cp>Silver Sprocket is hardly the only arts venue affected by leaks and flooding — though the full extent of damaged artwork and spaces may only come to light when the storms die down, as forecasted, after Jan. 19. Artists in the Islais Creek Studios lost work on Dec. 31, as reported by the \u003ci>\u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/san-francisco-artists-space-floods-during-winter-storms-with-losses-ill-never-get-back\">San Francisco Chronicle\u003c/a>\u003c/i>, and spaces like New Conservatory Theater, Z Below and Oakland’s Lower Grand Radio are all \u003ca href=\"https://datebook.sfchronicle.com/theater/there-was-a-moat-underground-s-f-venues-bail-out-from-one-flood-prepare-for-next\">dealing with the aftermath of invasive waters\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13923645\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923645\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9.jpg\" alt=\"Two people in rain gear with sticks stand in ankle-deep water on city street corner\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9.jpg 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9-1536x1024.jpg 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Two Mission District residents work to open a clogged drain on Mission and 21st Streets in San Francisco on Jan. 10, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the storms continue to wreak havoc across the Bay Area, only one local arts funder has emerged to offer dedicated grants to affected artists. On Jan. 6, the Minnesota Street Project Foundation (the nonprofit arm of the gallery, studio and art storage complex) launched \u003ca href=\"https://minnesotastreetproject.org/artistreliefgrants\">an emergency relief grant\u003c/a> to provide immediate assistance to visual artists impacted by the rains and flooding.\u003c/p>\n\u003cp>“We went basically from idea stage to launch within about 72 hours,” says Rachel Sample, director of the foundation. “Then applications opened and within 24 hours we had over 30 applications.” Seeded with an initial amount of $20,000, the relief fund is offering grants of up to $1,000 to cover expenses related to restoration, storage and temporary studio space.\u003c/p>\n\u003cp>The fund has already contacted its first round of grantees, and hoped to distribute funds starting Jan. 11. Sample says they welcome more applications (they’ve received about 70 already), but they are also seeking additional funding. “We’re trying our very best to roll with the immediacy, but are also hoping that we will have some folks join us,” she says. “The more that we have, the more of these applications we can service.”\u003c/p>\n\u003cp>One of those initial applicants was Alex Shen, \u003ca href=\"https://www.lowergrandradio.com/\">Lower Grand Radio\u003c/a>’s founder and station manager, whose studio partner, Jeff Chung of \u003ca href=\"https://www.unityzines.com/\">Unity Press\u003c/a>, discovered the flooding at their storefront on Dec. 31. “Jeff called me while I was at work like twice in a row and I was like, ‘Uh oh, something’s up,’” Shen remembers. When Chung arrived at 4124 Broadway Ave., Shen says, water came out the front doors “like a lake.”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@lowergrandradio/video/7184197149981314350\" data-video-id=\"7184197149981314350\">\n\u003csection>\u003ca title=\"@lowergrandradio\" href=\"https://www.tiktok.com/@lowergrandradio?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@lowergrandradio\u003c/a> Nature rules all !! \u003ca title=\"rajn\" href=\"https://www.tiktok.com/tag/rajn?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#rajn\u003c/a> \u003ca title=\"bayarea\" href=\"https://www.tiktok.com/tag/bayarea?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#bayarea\u003c/a> \u003ca title=\"gonnabeok\" href=\"https://www.tiktok.com/tag/gonnabeok?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#gonnabeok\u003c/a> \u003ca title=\"♬ Digital Bath - Deftones\" href=\"https://www.tiktok.com/music/Digital-Bath-6903936808690649090?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ Digital Bath – Deftones\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>“It had basically just been free flowing from a clogged drain in the backyard,” Shen says. “Luckily, nothing majorly structurally was damaged other than a lot of printing paper and some outlets and extension cords in our radio studio.” He estimates between Unity and the station, they suffered around $500–$1,000 worth of damage.\u003c/p>\n\u003cp>“If it had happened for another hour or something, it could have been a lot worse,” he says. Friends and fans posted Lower Grand’s Venmo accounts on videos of the flooding, eliciting mutual aid that helped Shen deal with immediate damage control.\u003c/p>\n\u003cp>For businesses like Silver Sprocket, the long term financial effects of the storms are still unknown. Right now, it’s frustrating to be unable to move forward. “Our crew is amazing,” Ehrlich says, “but morale is definitely taking a hit of us just feeling like we’re not able to do our jobs.”\u003c/p>\n\u003cp>As the Bay Area looks forward to drying out and taking stock, the storms have clearly disrupted an already fragile ecosystem. Sample says about a third of the people who’ve applied for emergency grants have upcoming exhibitions. “There are businesses that have been interrupted,” she says. “The galleries that [artists] are showing with have been interrupted. The museums that they’re showing with have been interrupted. And so the ripple of the investment in this relief fund could be quite large.”\u003c/p>\n\u003cp>After all, she emphasizes, “The point of this fund is to empty it.”\u003c/p>\n\u003chr>\n\u003cp>\u003ci>\u003ca id=\"emergencyfunds\">\u003c/a>If you’re a Bay Area artist or venue that has experienced losses due to the storms, KQED has put together a list of emergency relief funds below. We will continue to add to this as opportunities emerge. \u003c/i>\u003c/p>\n\u003cp>\u003ci>Nastia Voynovskaya contributed to this reporting.\u003c/i>\u003c/p>\n\u003ch2>Discipline Non-Specific\u003c/h2>\n\u003cp>\u003ca href=\"https://www.thehavenfdn.org/application/\">The Haven Foundation \u003c/a>\u003cbr>\nThis emergency grant for freelancers (founded by Stephen King!) seeks to aid “persons connected with the artistic or entertainment industries,” including authors, actors, singers, dancers, directors, producers, choreographers, musicians, artists and screenwriters. The current application window closes March 24, 2023.\u003c/p>\n\u003ch2>For Visual Artists\u003c/h2>\n\u003cp>\u003ca href=\"https://minnesotastreetproject.org/artistreliefgrants\">Minnesota Street Project Foundation Artist Emergency Relief Grants\u003c/a>\u003cbr>\nThis emergency fund will provide grants of up to $1,000 to visual artists who suffered losses due to the Bay Area’s record-breaking rainfall and floods. Applications are being accepted on a rolling basis.\u003c/p>\n\u003cp>\u003ca href=\"https://www.gottliebfoundation.org/emergency-grant\">The Adolph and Esther Gottlieb Emergency Grant \u003c/a>\u003cbr>\nThis grant provides financial assistance to painters, printmakers and sculptors (with a minimum of 10 years of “mature” artmaking) who have experienced “an unforeseen, catastrophic incident” and do not have the resources to deal with the situation. Flooding is a specific emergency mentioned in the grant guidelines. The maximum amount that can be awarded is $15,000; a typical award is $5,000.\u003c/p>\n\u003cp>\u003ca href=\"https://pkf.org/our-grants/#pollock-krasner-foundation-grant\">The Pollock-Krasner Foundation \u003c/a>\u003cbr>\nWhile this is not an emergency grant, per se, the foundation looks at both artistic merit and financial need when making decisions. The awards are limited to painters, sculptors and artists who work on paper (including printmakers). Grant amounts can range up to $30,000.\u003c/p>\n\u003cp>\u003ca href=\"https://cerfplus.org/get-relief/apply-for-help/craft-emergency-relief-fund/\">CERF+ Emergency Assistance \u003c/a>\u003cbr>\nCERF+ provides emergency grants of $3,000 to artists working in a craft discipline (including clay, glass, textiles, wood and metal) and folk/traditional artists who have experienced a “recent, career-threatening emergency,” which includes a natural disaster.\u003c/p>\n\u003cp>\u003ca href=\"https://www.foundationforcontemporaryarts.org/grants/emergency-grants/\">Foundation for Contemporary Arts\u003c/a>\u003cbr>\nIf you’re a visual or performing artist whose progress on an upcoming project was suddenly derailed by a natural disaster, this emergency grant distributed in amounts from $500 to $3,000 can help bring the work to completion.\u003c/p>\n\u003ch2>For Writers and Authors\u003c/h2>\n\u003cp>\u003ca href=\"https://www.carnegiefundforauthors.org/\">Carnegie Fund for Authors\u003c/a>\u003cbr>\nAmerican authors with at least one full-length work of fiction or nonfiction can apply for emergency grants with documentation of demonstrated need. Fires, floods and hurricanes are all expressly mentioned. In 2020, awards ranged from $500 to $3,000.\u003c/p>\n\u003cp>\u003ca href=\"https://pen.org/us-writers-aid-initiative/\">PEN America U.S. Writers’ Aid Initiative\u003c/a>\u003cbr>\nThis grant for fiction and nonfiction authors, poets, playwrights, screenwriters, translators and journalists facing a short-term emergency situation. The initiative gives out awards of $1,000–$3,500. The next deadline is April 1, 2023.\u003c/p>\n\u003cp>\u003ca href=\"https://www.asja.org/what-we-do/weaf/\">ASJA’s Writers Emergency Assistance Fund\u003c/a>\u003cbr>\nThis fund provides grants to professional nonfiction freelance writers who are unable to work “because of illness, disability, natural disaster or extraordinary professional crisis.” The fund distributes grants of up to $3,500.\u003c/p>\n\u003ch2>For Musicians and Performers\u003c/h2>\n\u003cp>\u003ca href=\"https://www.musicares.org/get-help\">MusiCares Emergency Financial Assistance\u003c/a>\u003cbr>\nMusicians and music industry professionals experiencing unexpected financial hardships can apply to the Recording Academy’s MusiCares program. To be eligible, you must have a documented history as an industry professional for at least five years, or have contributed to six commercially released recordings or videos. MusiCares can fund basic living expenses like rent, utilities, car payments and insurance premiums.\u003c/p>\n\u003cp>\u003ca href=\"https://entertainmentcommunity.org/am-i-eligible-help\">Entertainment Assistance Program\u003c/a>\u003cbr>\nEntertainment professionals with documented financial need and a track record of specific performing arts and entertainment earnings can apply for this grant to cover immediate basic living expenses such as housing, food, utility bills or health care.\u003c/p>\n\u003ch2>For Venues\u003c/h2>\n\u003cp>\u003ca href=\"https://performingartsreadiness.org/\">Performing Arts Readiness\u003c/a>\u003cbr>\nThe pandemic (and the recent flooding of local underground venues) has made it clear that performing arts venues are especially vulnerable during hard times. This site gathers a rich collection of disaster preparedness documents, case studies and loss calculators to help venues withstand emergencies and recover more quickly.\u003c/p>\n\u003cp>\u003ca href=\"https://www.dplan.org/\">dPlan|ArtsReady\u003c/a>\u003cbr>\nThis online emergency preparedness and response tool helps arts and cultural organizations of any size minimize the risks of disaster and their own losses.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.ncaper.org/_files/ugd/4d06be_fc5a673509d54465af09440b487b0e2b.pdf\">The NCAPER Field Guide\u003c/a>\u003cbr>\nThis guide, published by the National Coalition for Arts’ Preparedness and Emergency Response, was created to “help demystify” the labyrinthine systems of federal disaster relief for the arts and culture sector.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Jump to: \u003ca href=\"#emergencyfunds\">A list of emergency relief funds for artists and venues\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>When the first wave of storms hit the Bay Area on Dec. 31, Avi Ehrlich, owner of the indie comics shop \u003ca href=\"https://www.silversprocket.net/\">Silver Sprocket\u003c/a>, believed a minor ceiling leak was the worst of it.\u003c/p>\n\u003cp>“We thought that was a big problem and we took like two hours to deal with that,” says Ehrlich. “And then we went downstairs into the basement and we’re like ‘Oh, holy shit.’”\u003c/p>\n\u003cp>Silver Sprocket’s entire Valencia Street basement was flooded, ruining some of the shop’s inventory and putting the rest of it at risk. In a video Ehrlich posted to Twitter Dec. 31, water freely pours down a basement wall. Neighbors and friends rallied to help move boxes of books to higher ground, but Ehrlich says even now there is still water coming into the basement; permanent fixes won’t be possible until it stops raining.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, mold is forming where the murky rainwater once pooled. “We definitely lost a significant amount of inventory,” says Ehrlich, who threw their back out in the scramble. And sales are less than half of what they would normally be, but the shop is hesitant to do any marketing because half its space has been given over to storage; finding items is a struggle.\u003c/p>\n\u003cp>“We don’t want to leave our customers waiting for weeks to get the comics that they ordered,” Ehrlich says. “Our customers are extremely kind and patient, but there’s limits to it.”\u003c/p>\n\u003cp>Silver Sprocket is hardly the only arts venue affected by leaks and flooding — though the full extent of damaged artwork and spaces may only come to light when the storms die down, as forecasted, after Jan. 19. Artists in the Islais Creek Studios lost work on Dec. 31, as reported by the \u003ci>\u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/san-francisco-artists-space-floods-during-winter-storms-with-losses-ill-never-get-back\">San Francisco Chronicle\u003c/a>\u003c/i>, and spaces like New Conservatory Theater, Z Below and Oakland’s Lower Grand Radio are all \u003ca href=\"https://datebook.sfchronicle.com/theater/there-was-a-moat-underground-s-f-venues-bail-out-from-one-flood-prepare-for-next\">dealing with the aftermath of invasive waters\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13923645\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923645\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9.jpg\" alt=\"Two people in rain gear with sticks stand in ankle-deep water on city street corner\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9.jpg 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9-1536x1024.jpg 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Two Mission District residents work to open a clogged drain on Mission and 21st Streets in San Francisco on Jan. 10, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the storms continue to wreak havoc across the Bay Area, only one local arts funder has emerged to offer dedicated grants to affected artists. On Jan. 6, the Minnesota Street Project Foundation (the nonprofit arm of the gallery, studio and art storage complex) launched \u003ca href=\"https://minnesotastreetproject.org/artistreliefgrants\">an emergency relief grant\u003c/a> to provide immediate assistance to visual artists impacted by the rains and flooding.\u003c/p>\n\u003cp>“We went basically from idea stage to launch within about 72 hours,” says Rachel Sample, director of the foundation. “Then applications opened and within 24 hours we had over 30 applications.” Seeded with an initial amount of $20,000, the relief fund is offering grants of up to $1,000 to cover expenses related to restoration, storage and temporary studio space.\u003c/p>\n\u003cp>The fund has already contacted its first round of grantees, and hoped to distribute funds starting Jan. 11. Sample says they welcome more applications (they’ve received about 70 already), but they are also seeking additional funding. “We’re trying our very best to roll with the immediacy, but are also hoping that we will have some folks join us,” she says. “The more that we have, the more of these applications we can service.”\u003c/p>\n\u003cp>One of those initial applicants was Alex Shen, \u003ca href=\"https://www.lowergrandradio.com/\">Lower Grand Radio\u003c/a>’s founder and station manager, whose studio partner, Jeff Chung of \u003ca href=\"https://www.unityzines.com/\">Unity Press\u003c/a>, discovered the flooding at their storefront on Dec. 31. “Jeff called me while I was at work like twice in a row and I was like, ‘Uh oh, something’s up,’” Shen remembers. When Chung arrived at 4124 Broadway Ave., Shen says, water came out the front doors “like a lake.”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@lowergrandradio/video/7184197149981314350\" data-video-id=\"7184197149981314350\">\n\u003csection>\u003ca title=\"@lowergrandradio\" href=\"https://www.tiktok.com/@lowergrandradio?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@lowergrandradio\u003c/a> Nature rules all !! \u003ca title=\"rajn\" href=\"https://www.tiktok.com/tag/rajn?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#rajn\u003c/a> \u003ca title=\"bayarea\" href=\"https://www.tiktok.com/tag/bayarea?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#bayarea\u003c/a> \u003ca title=\"gonnabeok\" href=\"https://www.tiktok.com/tag/gonnabeok?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#gonnabeok\u003c/a> \u003ca title=\"♬ Digital Bath - Deftones\" href=\"https://www.tiktok.com/music/Digital-Bath-6903936808690649090?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ Digital Bath – Deftones\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It had basically just been free flowing from a clogged drain in the backyard,” Shen says. “Luckily, nothing majorly structurally was damaged other than a lot of printing paper and some outlets and extension cords in our radio studio.” He estimates between Unity and the station, they suffered around $500–$1,000 worth of damage.\u003c/p>\n\u003cp>“If it had happened for another hour or something, it could have been a lot worse,” he says. Friends and fans posted Lower Grand’s Venmo accounts on videos of the flooding, eliciting mutual aid that helped Shen deal with immediate damage control.\u003c/p>\n\u003cp>For businesses like Silver Sprocket, the long term financial effects of the storms are still unknown. Right now, it’s frustrating to be unable to move forward. “Our crew is amazing,” Ehrlich says, “but morale is definitely taking a hit of us just feeling like we’re not able to do our jobs.”\u003c/p>\n\u003cp>As the Bay Area looks forward to drying out and taking stock, the storms have clearly disrupted an already fragile ecosystem. Sample says about a third of the people who’ve applied for emergency grants have upcoming exhibitions. “There are businesses that have been interrupted,” she says. “The galleries that [artists] are showing with have been interrupted. The museums that they’re showing with have been interrupted. And so the ripple of the investment in this relief fund could be quite large.”\u003c/p>\n\u003cp>After all, she emphasizes, “The point of this fund is to empty it.”\u003c/p>\n\u003chr>\n\u003cp>\u003ci>\u003ca id=\"emergencyfunds\">\u003c/a>If you’re a Bay Area artist or venue that has experienced losses due to the storms, KQED has put together a list of emergency relief funds below. We will continue to add to this as opportunities emerge. \u003c/i>\u003c/p>\n\u003cp>\u003ci>Nastia Voynovskaya contributed to this reporting.\u003c/i>\u003c/p>\n\u003ch2>Discipline Non-Specific\u003c/h2>\n\u003cp>\u003ca href=\"https://www.thehavenfdn.org/application/\">The Haven Foundation \u003c/a>\u003cbr>\nThis emergency grant for freelancers (founded by Stephen King!) seeks to aid “persons connected with the artistic or entertainment industries,” including authors, actors, singers, dancers, directors, producers, choreographers, musicians, artists and screenwriters. The current application window closes March 24, 2023.\u003c/p>\n\u003ch2>For Visual Artists\u003c/h2>\n\u003cp>\u003ca href=\"https://minnesotastreetproject.org/artistreliefgrants\">Minnesota Street Project Foundation Artist Emergency Relief Grants\u003c/a>\u003cbr>\nThis emergency fund will provide grants of up to $1,000 to visual artists who suffered losses due to the Bay Area’s record-breaking rainfall and floods. Applications are being accepted on a rolling basis.\u003c/p>\n\u003cp>\u003ca href=\"https://www.gottliebfoundation.org/emergency-grant\">The Adolph and Esther Gottlieb Emergency Grant \u003c/a>\u003cbr>\nThis grant provides financial assistance to painters, printmakers and sculptors (with a minimum of 10 years of “mature” artmaking) who have experienced “an unforeseen, catastrophic incident” and do not have the resources to deal with the situation. Flooding is a specific emergency mentioned in the grant guidelines. The maximum amount that can be awarded is $15,000; a typical award is $5,000.\u003c/p>\n\u003cp>\u003ca href=\"https://pkf.org/our-grants/#pollock-krasner-foundation-grant\">The Pollock-Krasner Foundation \u003c/a>\u003cbr>\nWhile this is not an emergency grant, per se, the foundation looks at both artistic merit and financial need when making decisions. The awards are limited to painters, sculptors and artists who work on paper (including printmakers). Grant amounts can range up to $30,000.\u003c/p>\n\u003cp>\u003ca href=\"https://cerfplus.org/get-relief/apply-for-help/craft-emergency-relief-fund/\">CERF+ Emergency Assistance \u003c/a>\u003cbr>\nCERF+ provides emergency grants of $3,000 to artists working in a craft discipline (including clay, glass, textiles, wood and metal) and folk/traditional artists who have experienced a “recent, career-threatening emergency,” which includes a natural disaster.\u003c/p>\n\u003cp>\u003ca href=\"https://www.foundationforcontemporaryarts.org/grants/emergency-grants/\">Foundation for Contemporary Arts\u003c/a>\u003cbr>\nIf you’re a visual or performing artist whose progress on an upcoming project was suddenly derailed by a natural disaster, this emergency grant distributed in amounts from $500 to $3,000 can help bring the work to completion.\u003c/p>\n\u003ch2>For Writers and Authors\u003c/h2>\n\u003cp>\u003ca href=\"https://www.carnegiefundforauthors.org/\">Carnegie Fund for Authors\u003c/a>\u003cbr>\nAmerican authors with at least one full-length work of fiction or nonfiction can apply for emergency grants with documentation of demonstrated need. Fires, floods and hurricanes are all expressly mentioned. In 2020, awards ranged from $500 to $3,000.\u003c/p>\n\u003cp>\u003ca href=\"https://pen.org/us-writers-aid-initiative/\">PEN America U.S. Writers’ Aid Initiative\u003c/a>\u003cbr>\nThis grant for fiction and nonfiction authors, poets, playwrights, screenwriters, translators and journalists facing a short-term emergency situation. The initiative gives out awards of $1,000–$3,500. The next deadline is April 1, 2023.\u003c/p>\n\u003cp>\u003ca href=\"https://www.asja.org/what-we-do/weaf/\">ASJA’s Writers Emergency Assistance Fund\u003c/a>\u003cbr>\nThis fund provides grants to professional nonfiction freelance writers who are unable to work “because of illness, disability, natural disaster or extraordinary professional crisis.” The fund distributes grants of up to $3,500.\u003c/p>\n\u003ch2>For Musicians and Performers\u003c/h2>\n\u003cp>\u003ca href=\"https://www.musicares.org/get-help\">MusiCares Emergency Financial Assistance\u003c/a>\u003cbr>\nMusicians and music industry professionals experiencing unexpected financial hardships can apply to the Recording Academy’s MusiCares program. To be eligible, you must have a documented history as an industry professional for at least five years, or have contributed to six commercially released recordings or videos. MusiCares can fund basic living expenses like rent, utilities, car payments and insurance premiums.\u003c/p>\n\u003cp>\u003ca href=\"https://entertainmentcommunity.org/am-i-eligible-help\">Entertainment Assistance Program\u003c/a>\u003cbr>\nEntertainment professionals with documented financial need and a track record of specific performing arts and entertainment earnings can apply for this grant to cover immediate basic living expenses such as housing, food, utility bills or health care.\u003c/p>\n\u003ch2>For Venues\u003c/h2>\n\u003cp>\u003ca href=\"https://performingartsreadiness.org/\">Performing Arts Readiness\u003c/a>\u003cbr>\nThe pandemic (and the recent flooding of local underground venues) has made it clear that performing arts venues are especially vulnerable during hard times. This site gathers a rich collection of disaster preparedness documents, case studies and loss calculators to help venues withstand emergencies and recover more quickly.\u003c/p>\n\u003cp>\u003ca href=\"https://www.dplan.org/\">dPlan|ArtsReady\u003c/a>\u003cbr>\nThis online emergency preparedness and response tool helps arts and cultural organizations of any size minimize the risks of disaster and their own losses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Governor Gavin Newsom was sworn in for the second time today. At the ceremony, his wife Jennifer Siebel Newsom read a poem co-written by two Fresno poets: Juan Felipe Herrera, former national poet laureate, and Lee Herrick, California’s new state poet laureate. Governor Newsom has called Lee Herrick’s poetry “a vivid celebration of the California experience.”\u003c/p>\n\u003cp>In the audio linked above, Herrick spoke with \u003ca href=\"https://www.kqed.org/californiareportmagazine\">The California Report Magazine\u003c/a> about growing up as a Korean adoptee in a white family, his growing awareness of race and identity as he matured, and how those experiences have shaped his poetry. He also shares some of his poems that speak to the diversity of people and landscapes in our state, including California’s dynamic street food scene.\u003c/p>\n\u003cp>In late November, Governor Newsom and Jennifer Siebel Newsom walked into professor Herrick’s class at Fresno City College, surprising him with the news that he was chosen as California’s 10th poet laureate.\u003c/p>\n\u003cp>“As a teacher, poet and father, Lee writes movingly about his identity as a Californian and encourages others to reflect on what the state means to them,” Newsom said in a news release.\u003c/p>\n\u003cp>“Lee’s dedication to highlighting the diverse experiences of Californians, and making them so accessible through his poetry, makes him a perfect candidate for Poet Laureate.”\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"arts_13915970,arts_13896077,arts_13892018\"]Herrick has taught poetry at Fresno City College for 26 years and also teaches creative writing for the low-residency MFA program at the University of Nevada Reno at Lake Tahoe.\u003c/p>\n\u003cp>Herrick, the first Asian American to hold the title, has \u003ca href=\"https://www.leeherrick.com/publications\">written three poetry books\u003c/a>: “Scar and Flower,” “Gardening Secrets of the Dead” and “This Many Miles from Desire,” and is working on a fourth, along with a memoir. He was Fresno’s poet laureate from 2015-2017 and lives in the city along with his wife and 17-year-old daughter.\u003c/p>\n\u003cp>Herrick’s two-year position is slated to be confirmed by the state Senate soon, and the role comes with a total stipend of $15,000 plus travel reimbursement, according to the California Arts Council.\u003c/p>\n\u003cp>Herrick, 52, spoke with EdSource about his plans for the position and how to get kids interested in poetry. The following interview has been edited for brevity and clarity. It was conducted by Ashleigh Panoo, who was a student in his poetry class in 2017 and would like to apologize for being late so much.\u003c/p>\n\u003cp>\u003cstrong>EdSource: When one thinks of Fresno, poetry may not be something that comes to mind. But you’re in good company: Several Fresno poets have gone on to become state or national poet laureates, such as \u003ca href=\"https://poets.org/poet/juan-felipe-herrera?gclid=CjwKCAiAs8acBhA1EiwAgRFdw741jWWluNuh95EMi6ICS1ktIjXoQR0n9ZE19i-Mk02qwiaxEmNgIRoCubUQAvD_BwE\">Juan Felipe Herrera\u003c/a> and \u003ca href=\"https://www.poetryfoundation.org/poets/philip-levine\">Philip Levine\u003c/a>. What’s the poetry scene like in Fresno?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Herrick:\u003c/strong> I always think of the poetry community in Fresno sort of like the Seattle music scene might have been in the late ’80s and early ’90s, or the Nashville music scene, where there are so many creative artists writing that it’s hard not to be inspired by and influenced by them.\u003c/p>\n\u003cp>I think there’s a hard-working, gritty, often immigrant or refugee-fueled spirit in the poetry. That might come from the natural landscape of the heat and the farms, as much as the poets who have inspired us and continue to inspire us. There’s a whole slew of Fresno poets writing here currently who are shaping American poetry: \u003ca href=\"https://poets.org/poem/yellow-rain\">Mai Der Vang\u003c/a>, \u003ca href=\"https://anthonycody.com/\">Anthony Cody\u003c/a>, \u003ca href=\"https://fresnoalliance.com/meet-marisol-baca-first-latina-poet-laureate-of-fresno/\">Marisol Baca\u003c/a>, \u003ca href=\"https://stevensanchezpoetry.com/\">Steven Sanchez\u003c/a>, \u003ca href=\"https://poets.org/poet/joseph-rios\">Joseph Rios\u003c/a>, \u003ca href=\"https://www.poetryfoundation.org/poets/david-campos\">David Campos\u003c/a>, \u003ca href=\"https://brynnsaito.com/\">Brynn Saito\u003c/a>, \u003ca href=\"http://www.saraborjas.com/\">Sarah Borjas\u003c/a>, \u003ca href=\"https://www.abebooks.com/Rummage-Oputa-Ife-Chudeni-A-Little/30048454117/bd\">I Adeficha\u003c/a>. It’s a special poetry community. And I wouldn’t want to be a poet anywhere else.\u003c/p>\n\u003cp>\u003cstrong>You’re the first Asian American to hold the position of California poet laureate. Would you speak a little about your background and growing up, and what this means to you?\u003c/strong>\u003c/p>\n\u003cp>One of the major parts of my life, and probably my politics, is being an Asian American person raised by a white family. I was born in Daejeon, South Korea, sometime in late 1970. I was adopted at 10 months of age by a white couple who were living in Danville, California, at the time, in the East Bay. They had a daughter already, my sister, who’s a little bit older, [and] she’s white also.\u003c/p>\n\u003cp>On one hand, I was raised in a very loving home, surrounded by educators and books, and encouraged. On the other hand, race was not something that I could really talk about or learn about in my family. So as I got older, you know, into maybe high school, and college, a lot of those emotions surrounding identity, race differences, racism, started to come to the surface. I played soccer all through high school and college, but as far as academics go and anything creative or intellectual, poetry was the place where I was able to put a lot of those questions and doubts and anger and hurt about my adoption, and about the racism I would experience regularly.\u003c/p>\n\u003cp>I began to learn about my Korean American culture, or Korean adoptee culture, probably in college. I started to read some great books and had great professors who showed me books and gave me opportunities to learn. That really changed my life.\u003c/p>\n\u003cp>It’s an incredible honor to be the first Asian American California poet laureate. It’s very humbling, and I don’t take it for granted. California is an incredibly diverse state, needless to say, and on the one hand, sometimes I wish I weren’t the first, but I certainly hope I won’t be the last.\u003c/p>\n\u003cp>https://twitter.com/CAgovernor/status/1594794265300770816\u003c/p>\n\u003cp>\u003cstrong>If a parent or teacher wanted to introduce poetry to their children, is there anything you would recommend?\u003c/strong>\u003c/p>\n\u003cp>I would try to find poetry that is fun and speaks to the child’s sense of the world. There are poems about sports or superheroes or science. Let the young person explore on their own terms, (and) discover the music and the language. Poetry can be about anything that the child might be interested in or might discover a love for.\u003c/p>\n\u003cp>\u003ca href=\"http://petuniasbooks.com/\">Petunia’s Place\u003c/a> is a good children’s bookstore in Fresno, and the \u003ca href=\"https://poets.org/\">Academy of American Poets\u003c/a> would be a great place for anyone to start with. [There is also a] National Young People’s Poet Laureate and a recent one is actually also from the Fresno-Clovis area. Her name is \u003ca href=\"https://www.poetryfoundation.org/poets/margarita-engle\">Margarita Engle\u003c/a>. If there’s one person I would encourage people to start with, it would be her.\u003c/p>\n\u003cp>\u003cstrong>So poet laureates are tasked with advocating and educating Californians about poetry. What are your goals for the position? What do you want to accomplish in two years?\u003c/strong>\u003c/p>\n\u003cp>My platform is called Our California, and in all of the readings that I do around the state, I hope to invite a local social justice or civic engagement organization to say a few words at the event. I hope to bridge social justice and civic engagement organizations with poetry audiences. I’d like to visit as many cities and towns as possible.\u003c/p>\n\u003cp>So that’s one part of it. The other part of it is taking shape. Currently, I’m working with the executive director of the California Arts Council. I will be inviting all Californians to write a poem about California, or their town or city — what they love about it, and what’s beautiful about it, but also what they don’t love about it, and what they would change. The plan is that they will be posted on the California Arts Council website. Further down the road, we hope to publish a print anthology of those poems as well.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/369477072?h=f25c5c6fb0&byline=0&portrait=0\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>What are you reading right now?\u003c/strong>\u003c/p>\n\u003cp>These might be somewhat obscure, but one that comes to mind is Sean Singer’s book called \u003ca href=\"https://www.seansingerpoetry.com/today-in-the-taxi\">\u003cem>Today in the Taxi\u003c/em>\u003c/a>. Another one is Sun Yung Shin. She has a new book called \u003ca href=\"https://coffeehousepress.org/products/the-wet-hex\">\u003cem>The Wet Hex\u003c/em>\u003c/a> that I’m loving; Mai Der Vang’s \u003ca href=\"https://www.pulitzer.org/finalists/mai-der-vang\">\u003cem>Yellow Rain\u003c/em>\u003c/a>. I’m rereading bell hooks’\u003ca href=\"https://www.barnesandnoble.com/w/all-about-love-bell-hooks/1111738180\"> \u003cem>All About Love\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>What or who inspires you?\u003c/strong>\u003c/p>\n\u003cp>One of the things that inspires me most is when people persevere through trauma, difficulty, setback or challenge. That can be physical, someone learning or being able to walk again, or it could be emotionally or with mental health, someone persevering through depression or grief.\u003c/p>\n\u003cp>I’m also very inspired by nature, just the natural world. The ocean or a lake or river or a creek. And music, also. I grew up listening to a lot of rap: Run DMC, Beastie Boys, Public Enemy. I love the lyricism and the wordplay and the energy of that early rap. I love classic rock like Led Zeppelin, which is probably my favorite band, Bob Marley, Janis Joplin, Jimi Hendrix. My wife and I went to see the Pixies in concert recently, and The Cure, Red Hot Chili Peppers, Pearl Jam.\u003c/p>\n\u003cp>And also stand-up comedy, which maybe is an out-of-left-field sort of thing, but I think laughter is necessary. I love Ali Wong, I love Sebastian Maniscalco, Richard Pryor, George Carlin.\u003c/p>\n\u003cp>The list is really too long, but my parents. I am inspired by and grateful for their support. My wife and daughter inspire me daily, my students, and countless poets alive and dead, whose work fuels me and lives with me.\u003c/p>\n\u003cp>\u003cstrong>How long have you been teaching, and is there anything you’ve learned along the way?\u003c/strong>\u003c/p>\n\u003cp>I started teaching in about 1995. So, what, almost 30 years? I’ve learned that collectively the students at Fresno City College are some of the most resilient, beautiful spirits I’ve had the privilege to know. I’ve learned that everyone has aspirations and sometimes those come into focus at different points in people’s lives. Sometimes they’re achieved at different times, for different reasons. But I’m convinced that education is the transformative piece to that equation.\u003c/p>\n\u003cp>I’ve had the good fortune to learn from and work alongside some remarkable educators. I do believe that writing and poetry and the arts are (not only) deeply important for any person’s education, but also their lives. I’ve learned that I love teaching time and time again.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>***\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>The following is a poem from Herrick’s book \u003cem>Gardening Secrets of the Dead\u003c/em>, titled “My California.”\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Here, an olive votive keeps the sunset lit,\u003c/em>\u003cbr>\n\u003cem>the Korean twenty-somethings talk about hyphens,\u003c/em>\u003c/p>\n\u003cp>\u003cem>graduate school and good pot. A group of four at a window\u003c/em>\u003cbr>\n\u003cem>table in Carpinteria discuss the quality of wines in Napa Valley versus Lodi.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Here, in my California, the streets remember the Chicano\u003c/em>\u003cbr>\n\u003cem>poet whose songs still bank off Fresno’s beer soaked gutters\u003c/em>\u003c/p>\n\u003cp>\u003cem>and almond trees in partial blossom. Here, in my California,\u003c/em>\u003cbr>\n\u003cem>we fish out long noodles from the pho with such accuracy\u003c/em>\u003c/p>\n\u003cp>\u003cem>you’d know we’d done this before. In Fresno, the bullets\u003c/em>\u003cbr>\n\u003cem>tire of themselves and begin to pray five times a day.\u003c/em>\u003c/p>\n\u003cp>\u003cem>In Fresno, we hope for less of the police state and more of a state of grace.\u003c/em>\u003cbr>\n\u003cem>In my California, you can watch the sun go down\u003c/em>\u003c/p>\n\u003cp>\u003cem>like in your California, on the ledge of the pregnant\u003c/em>\u003cbr>\n\u003cem>twenty-second century, the one with a bounty of peaches and grapes,\u003c/em>\u003c/p>\n\u003cp>\u003cem>red onions and the good salsa, wine and chapchae.\u003c/em>\u003cbr>\n\u003cem>Here, in my California, paperbacks are free,\u003c/em>\u003c/p>\n\u003cp>\u003cem>farmer’s markets are twenty four hours a day and\u003c/em>\u003cbr>\n\u003cem>always packed, the trees and water have no nails in them,\u003c/em>\u003c/p>\n\u003cp>\u003cem>the priests eat well, the homeless eat well.\u003c/em>\u003cbr>\n\u003cem>Here, in my California, everywhere is Chinatown,\u003c/em>\u003c/p>\n\u003cp>\u003cem>everywhere is K-Town, everywhere is Armeniatown,\u003c/em>\u003cbr>\n\u003cem>everywhere a Little Italy. Less confederacy.\u003c/em>\u003c/p>\n\u003cp>\u003cem>No internment in the Valley.\u003c/em>\u003cbr>\n\u003cem>Better history texts for the juniors.\u003c/em>\u003c/p>\n\u003cp>\u003cem>In my California, free sounds and free touch.\u003c/em>\u003cbr>\n\u003cem>Free questions, free answers.\u003c/em>\u003cbr>\n\u003cem>Free songs from parents and poets, those hopeful bodies of light.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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\u003cp>\u003ca href=\"https://edsource.org/2022/californias-new-poet-laureate-wants-to-bridge-social-justice-and-poetry/682589\">\u003cem>This story was originally published by EdSource.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003ci>A version of this story originally published on Dec. 21, 2022.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "A longtime teacher at Fresno City College, Lee Herrick is inspired by his home state — and hopes to move young people to write about it, too. ",
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"title": "California’s First Asian American Poet Laureate Wants to Bridge Social Justice and Poetry | KQED",
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"headline": "California’s First Asian American Poet Laureate Wants to Bridge Social Justice and Poetry",
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"source": "The California Report Magazine",
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"nprByline": "\u003ca href=\"https://edsource.org/author/apanoo\">Ashleigh Panoo\u003c/a> and The California Report Magazine",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Governor Gavin Newsom was sworn in for the second time today. At the ceremony, his wife Jennifer Siebel Newsom read a poem co-written by two Fresno poets: Juan Felipe Herrera, former national poet laureate, and Lee Herrick, California’s new state poet laureate. Governor Newsom has called Lee Herrick’s poetry “a vivid celebration of the California experience.”\u003c/p>\n\u003cp>In the audio linked above, Herrick spoke with \u003ca href=\"https://www.kqed.org/californiareportmagazine\">The California Report Magazine\u003c/a> about growing up as a Korean adoptee in a white family, his growing awareness of race and identity as he matured, and how those experiences have shaped his poetry. He also shares some of his poems that speak to the diversity of people and landscapes in our state, including California’s dynamic street food scene.\u003c/p>\n\u003cp>In late November, Governor Newsom and Jennifer Siebel Newsom walked into professor Herrick’s class at Fresno City College, surprising him with the news that he was chosen as California’s 10th poet laureate.\u003c/p>\n\u003cp>“As a teacher, poet and father, Lee writes movingly about his identity as a Californian and encourages others to reflect on what the state means to them,” Newsom said in a news release.\u003c/p>\n\u003cp>“Lee’s dedication to highlighting the diverse experiences of Californians, and making them so accessible through his poetry, makes him a perfect candidate for Poet Laureate.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Herrick has taught poetry at Fresno City College for 26 years and also teaches creative writing for the low-residency MFA program at the University of Nevada Reno at Lake Tahoe.\u003c/p>\n\u003cp>Herrick, the first Asian American to hold the title, has \u003ca href=\"https://www.leeherrick.com/publications\">written three poetry books\u003c/a>: “Scar and Flower,” “Gardening Secrets of the Dead” and “This Many Miles from Desire,” and is working on a fourth, along with a memoir. He was Fresno’s poet laureate from 2015-2017 and lives in the city along with his wife and 17-year-old daughter.\u003c/p>\n\u003cp>Herrick’s two-year position is slated to be confirmed by the state Senate soon, and the role comes with a total stipend of $15,000 plus travel reimbursement, according to the California Arts Council.\u003c/p>\n\u003cp>Herrick, 52, spoke with EdSource about his plans for the position and how to get kids interested in poetry. The following interview has been edited for brevity and clarity. It was conducted by Ashleigh Panoo, who was a student in his poetry class in 2017 and would like to apologize for being late so much.\u003c/p>\n\u003cp>\u003cstrong>EdSource: When one thinks of Fresno, poetry may not be something that comes to mind. But you’re in good company: Several Fresno poets have gone on to become state or national poet laureates, such as \u003ca href=\"https://poets.org/poet/juan-felipe-herrera?gclid=CjwKCAiAs8acBhA1EiwAgRFdw741jWWluNuh95EMi6ICS1ktIjXoQR0n9ZE19i-Mk02qwiaxEmNgIRoCubUQAvD_BwE\">Juan Felipe Herrera\u003c/a> and \u003ca href=\"https://www.poetryfoundation.org/poets/philip-levine\">Philip Levine\u003c/a>. What’s the poetry scene like in Fresno?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Herrick:\u003c/strong> I always think of the poetry community in Fresno sort of like the Seattle music scene might have been in the late ’80s and early ’90s, or the Nashville music scene, where there are so many creative artists writing that it’s hard not to be inspired by and influenced by them.\u003c/p>\n\u003cp>I think there’s a hard-working, gritty, often immigrant or refugee-fueled spirit in the poetry. That might come from the natural landscape of the heat and the farms, as much as the poets who have inspired us and continue to inspire us. There’s a whole slew of Fresno poets writing here currently who are shaping American poetry: \u003ca href=\"https://poets.org/poem/yellow-rain\">Mai Der Vang\u003c/a>, \u003ca href=\"https://anthonycody.com/\">Anthony Cody\u003c/a>, \u003ca href=\"https://fresnoalliance.com/meet-marisol-baca-first-latina-poet-laureate-of-fresno/\">Marisol Baca\u003c/a>, \u003ca href=\"https://stevensanchezpoetry.com/\">Steven Sanchez\u003c/a>, \u003ca href=\"https://poets.org/poet/joseph-rios\">Joseph Rios\u003c/a>, \u003ca href=\"https://www.poetryfoundation.org/poets/david-campos\">David Campos\u003c/a>, \u003ca href=\"https://brynnsaito.com/\">Brynn Saito\u003c/a>, \u003ca href=\"http://www.saraborjas.com/\">Sarah Borjas\u003c/a>, \u003ca href=\"https://www.abebooks.com/Rummage-Oputa-Ife-Chudeni-A-Little/30048454117/bd\">I Adeficha\u003c/a>. It’s a special poetry community. And I wouldn’t want to be a poet anywhere else.\u003c/p>\n\u003cp>\u003cstrong>You’re the first Asian American to hold the position of California poet laureate. Would you speak a little about your background and growing up, and what this means to you?\u003c/strong>\u003c/p>\n\u003cp>One of the major parts of my life, and probably my politics, is being an Asian American person raised by a white family. I was born in Daejeon, South Korea, sometime in late 1970. I was adopted at 10 months of age by a white couple who were living in Danville, California, at the time, in the East Bay. They had a daughter already, my sister, who’s a little bit older, [and] she’s white also.\u003c/p>\n\u003cp>On one hand, I was raised in a very loving home, surrounded by educators and books, and encouraged. On the other hand, race was not something that I could really talk about or learn about in my family. So as I got older, you know, into maybe high school, and college, a lot of those emotions surrounding identity, race differences, racism, started to come to the surface. I played soccer all through high school and college, but as far as academics go and anything creative or intellectual, poetry was the place where I was able to put a lot of those questions and doubts and anger and hurt about my adoption, and about the racism I would experience regularly.\u003c/p>\n\u003cp>I began to learn about my Korean American culture, or Korean adoptee culture, probably in college. I started to read some great books and had great professors who showed me books and gave me opportunities to learn. That really changed my life.\u003c/p>\n\u003cp>It’s an incredible honor to be the first Asian American California poet laureate. It’s very humbling, and I don’t take it for granted. California is an incredibly diverse state, needless to say, and on the one hand, sometimes I wish I weren’t the first, but I certainly hope I won’t be the last.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cstrong>If a parent or teacher wanted to introduce poetry to their children, is there anything you would recommend?\u003c/strong>\u003c/p>\n\u003cp>I would try to find poetry that is fun and speaks to the child’s sense of the world. There are poems about sports or superheroes or science. Let the young person explore on their own terms, (and) discover the music and the language. Poetry can be about anything that the child might be interested in or might discover a love for.\u003c/p>\n\u003cp>\u003ca href=\"http://petuniasbooks.com/\">Petunia’s Place\u003c/a> is a good children’s bookstore in Fresno, and the \u003ca href=\"https://poets.org/\">Academy of American Poets\u003c/a> would be a great place for anyone to start with. [There is also a] National Young People’s Poet Laureate and a recent one is actually also from the Fresno-Clovis area. Her name is \u003ca href=\"https://www.poetryfoundation.org/poets/margarita-engle\">Margarita Engle\u003c/a>. If there’s one person I would encourage people to start with, it would be her.\u003c/p>\n\u003cp>\u003cstrong>So poet laureates are tasked with advocating and educating Californians about poetry. What are your goals for the position? What do you want to accomplish in two years?\u003c/strong>\u003c/p>\n\u003cp>My platform is called Our California, and in all of the readings that I do around the state, I hope to invite a local social justice or civic engagement organization to say a few words at the event. I hope to bridge social justice and civic engagement organizations with poetry audiences. I’d like to visit as many cities and towns as possible.\u003c/p>\n\u003cp>So that’s one part of it. The other part of it is taking shape. Currently, I’m working with the executive director of the California Arts Council. I will be inviting all Californians to write a poem about California, or their town or city — what they love about it, and what’s beautiful about it, but also what they don’t love about it, and what they would change. The plan is that they will be posted on the California Arts Council website. Further down the road, we hope to publish a print anthology of those poems as well.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/369477072?h=f25c5c6fb0&byline=0&portrait=0\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>What are you reading right now?\u003c/strong>\u003c/p>\n\u003cp>These might be somewhat obscure, but one that comes to mind is Sean Singer’s book called \u003ca href=\"https://www.seansingerpoetry.com/today-in-the-taxi\">\u003cem>Today in the Taxi\u003c/em>\u003c/a>. Another one is Sun Yung Shin. She has a new book called \u003ca href=\"https://coffeehousepress.org/products/the-wet-hex\">\u003cem>The Wet Hex\u003c/em>\u003c/a> that I’m loving; Mai Der Vang’s \u003ca href=\"https://www.pulitzer.org/finalists/mai-der-vang\">\u003cem>Yellow Rain\u003c/em>\u003c/a>. I’m rereading bell hooks’\u003ca href=\"https://www.barnesandnoble.com/w/all-about-love-bell-hooks/1111738180\"> \u003cem>All About Love\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>What or who inspires you?\u003c/strong>\u003c/p>\n\u003cp>One of the things that inspires me most is when people persevere through trauma, difficulty, setback or challenge. That can be physical, someone learning or being able to walk again, or it could be emotionally or with mental health, someone persevering through depression or grief.\u003c/p>\n\u003cp>I’m also very inspired by nature, just the natural world. The ocean or a lake or river or a creek. And music, also. I grew up listening to a lot of rap: Run DMC, Beastie Boys, Public Enemy. I love the lyricism and the wordplay and the energy of that early rap. I love classic rock like Led Zeppelin, which is probably my favorite band, Bob Marley, Janis Joplin, Jimi Hendrix. My wife and I went to see the Pixies in concert recently, and The Cure, Red Hot Chili Peppers, Pearl Jam.\u003c/p>\n\u003cp>And also stand-up comedy, which maybe is an out-of-left-field sort of thing, but I think laughter is necessary. I love Ali Wong, I love Sebastian Maniscalco, Richard Pryor, George Carlin.\u003c/p>\n\u003cp>The list is really too long, but my parents. I am inspired by and grateful for their support. My wife and daughter inspire me daily, my students, and countless poets alive and dead, whose work fuels me and lives with me.\u003c/p>\n\u003cp>\u003cstrong>How long have you been teaching, and is there anything you’ve learned along the way?\u003c/strong>\u003c/p>\n\u003cp>I started teaching in about 1995. So, what, almost 30 years? I’ve learned that collectively the students at Fresno City College are some of the most resilient, beautiful spirits I’ve had the privilege to know. I’ve learned that everyone has aspirations and sometimes those come into focus at different points in people’s lives. Sometimes they’re achieved at different times, for different reasons. But I’m convinced that education is the transformative piece to that equation.\u003c/p>\n\u003cp>I’ve had the good fortune to learn from and work alongside some remarkable educators. I do believe that writing and poetry and the arts are (not only) deeply important for any person’s education, but also their lives. I’ve learned that I love teaching time and time again.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>***\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>The following is a poem from Herrick’s book \u003cem>Gardening Secrets of the Dead\u003c/em>, titled “My California.”\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Here, an olive votive keeps the sunset lit,\u003c/em>\u003cbr>\n\u003cem>the Korean twenty-somethings talk about hyphens,\u003c/em>\u003c/p>\n\u003cp>\u003cem>graduate school and good pot. A group of four at a window\u003c/em>\u003cbr>\n\u003cem>table in Carpinteria discuss the quality of wines in Napa Valley versus Lodi.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Here, in my California, the streets remember the Chicano\u003c/em>\u003cbr>\n\u003cem>poet whose songs still bank off Fresno’s beer soaked gutters\u003c/em>\u003c/p>\n\u003cp>\u003cem>and almond trees in partial blossom. Here, in my California,\u003c/em>\u003cbr>\n\u003cem>we fish out long noodles from the pho with such accuracy\u003c/em>\u003c/p>\n\u003cp>\u003cem>you’d know we’d done this before. In Fresno, the bullets\u003c/em>\u003cbr>\n\u003cem>tire of themselves and begin to pray five times a day.\u003c/em>\u003c/p>\n\u003cp>\u003cem>In Fresno, we hope for less of the police state and more of a state of grace.\u003c/em>\u003cbr>\n\u003cem>In my California, you can watch the sun go down\u003c/em>\u003c/p>\n\u003cp>\u003cem>like in your California, on the ledge of the pregnant\u003c/em>\u003cbr>\n\u003cem>twenty-second century, the one with a bounty of peaches and grapes,\u003c/em>\u003c/p>\n\u003cp>\u003cem>red onions and the good salsa, wine and chapchae.\u003c/em>\u003cbr>\n\u003cem>Here, in my California, paperbacks are free,\u003c/em>\u003c/p>\n\u003cp>\u003cem>farmer’s markets are twenty four hours a day and\u003c/em>\u003cbr>\n\u003cem>always packed, the trees and water have no nails in them,\u003c/em>\u003c/p>\n\u003cp>\u003cem>the priests eat well, the homeless eat well.\u003c/em>\u003cbr>\n\u003cem>Here, in my California, everywhere is Chinatown,\u003c/em>\u003c/p>\n\u003cp>\u003cem>everywhere is K-Town, everywhere is Armeniatown,\u003c/em>\u003cbr>\n\u003cem>everywhere a Little Italy. Less confederacy.\u003c/em>\u003c/p>\n\u003cp>\u003cem>No internment in the Valley.\u003c/em>\u003cbr>\n\u003cem>Better history texts for the juniors.\u003c/em>\u003c/p>\n\u003cp>\u003cem>In my California, free sounds and free touch.\u003c/em>\u003cbr>\n\u003cem>Free questions, free answers.\u003c/em>\u003cbr>\n\u003cem>Free songs from parents and poets, those hopeful bodies of light.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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\u003cp>\u003ca href=\"https://edsource.org/2022/californias-new-poet-laureate-wants-to-bridge-social-justice-and-poetry/682589\">\u003cem>This story was originally published by EdSource.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003ci>A version of this story originally published on Dec. 21, 2022.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Storm drains: Much like garbage disposals or, say, the human digestive system, they’re the kind of thing you don’t really think about until they stop working. And \u003cem>stop working they have\u003c/em> over the past week, as \u003ca href=\"https://www.kqed.org/news/11936812/evacuation-orders-issued-as-storm-barrels-down-on-bay-area\">record-breaking rainfall has contributed to flooded streets\u003c/a> in many Bay Area cities.\u003c/p>\n\u003cp>But in San Francisco, at least, the flooding also seems to have brought some positive attention to one normally unsexy aspect of our civic infrastructure. Via the city’s \u003ca href=\"https://adoptadrain.sfwater.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Adopt-a-Drain\u003c/a> program, passionate citizen volunteers get sweet neon vests, equipment for clearing debris and, notably, naming rights over the storm drain of their choice. That’s how it came to be that there are drains scattered throughout San Francisco with official names like “Thirsty Boi,” “You’re So Drain,” “Here Comes the Drain Again,” “Drainmond Green” and — simply, beautifully — “Mac Drain.”\u003c/p>\n\u003cp>https://twitter.com/theurv/status/1610702283364511745\u003c/p>\n\u003cp>San Francisco Public Utilities Commission spokesperson Sabrina Suzuki \u003ca href=\"https://www.sfgate.com/local/article/Adopt-a-Drain-program-SF-16641794.php\">told SFGATE in 2021\u003c/a> that the initiative, launched by SFPUC’s Water Power Sewer division in 2016, was born of the fact that the crews employed to do so simply couldn’t keep up maintenance of the city’s more than 25,000 storm drains. Which seems … not great! Your tax dollars at work, etc. (Though, given the past couple years of \u003ca href=\"https://www.kqed.org/news/11849113/u-s-attorney-charges-san-francisco-department-head-with-fraud-in-connection-to-bribery-scheme\">headlines coming out of the SFPUC\u003c/a>, perhaps leaves gunking up the city’s drainage system begins to seem like small potatoes.)\u003c/p>\n\u003cp>In any event, what’s now my second-favorite community engagement effort from a San Francisco public utility to date — it will be tough to top this \u003ca href=\"https://www.youtube.com/watch?v=uYJ7aTkEh4A\">BAYCAT-produced music video from 2015\u003c/a> — appears to have been a moderate success, with more than 4,000 drains currently enjoying regular cleanup by local good Samaritans.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z1Vjrx3IAH0\u003c/p>\n\u003cp>That means there are more than 20,000 drains still available for adopting in San Francisco: Visit \u003ca href=\"https://adoptadrain.sfwater.org/\">www.adoptadrain.sfwater.org\u003c/a> for more info or to sign up, or to simply peruse the names and drains that are already taken. (Note that after going viral yesterday, the website is crashing intermittently.)\u003c/p>\n\u003cp>Meanwhile, \u003ca href=\"https://www.cityofsanmateo.org/3715/Adopt-A-Drain\">San Mateo\u003c/a>, \u003ca href=\"https://www.oaklandca.gov/services/adopt-a-drain\">Oakland\u003c/a> and \u003ca href=\"https://www.burlingame.org/departments/public_works/stormwater_management/adoptadrain.php\">Burlingame\u003c/a> all have their own adopt-a-drain programs, though none of those systems seems to have inspired the level of celebrity tribute nor punnery present here in the city. Perhaps it’s time to get \u003ca href=\"https://www.kqed.org/arts/13922616/too-short-way-street-sign-unveiled-oakland\">Too $hort on the case\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Help prevent flooding and make some jokes while you’re at it, because ‘Mac Drain’ and ‘Drainmond Green’ need friends. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Storm drains: Much like garbage disposals or, say, the human digestive system, they’re the kind of thing you don’t really think about until they stop working. And \u003cem>stop working they have\u003c/em> over the past week, as \u003ca href=\"https://www.kqed.org/news/11936812/evacuation-orders-issued-as-storm-barrels-down-on-bay-area\">record-breaking rainfall has contributed to flooded streets\u003c/a> in many Bay Area cities.\u003c/p>\n\u003cp>But in San Francisco, at least, the flooding also seems to have brought some positive attention to one normally unsexy aspect of our civic infrastructure. Via the city’s \u003ca href=\"https://adoptadrain.sfwater.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Adopt-a-Drain\u003c/a> program, passionate citizen volunteers get sweet neon vests, equipment for clearing debris and, notably, naming rights over the storm drain of their choice. That’s how it came to be that there are drains scattered throughout San Francisco with official names like “Thirsty Boi,” “You’re So Drain,” “Here Comes the Drain Again,” “Drainmond Green” and — simply, beautifully — “Mac Drain.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>San Francisco Public Utilities Commission spokesperson Sabrina Suzuki \u003ca href=\"https://www.sfgate.com/local/article/Adopt-a-Drain-program-SF-16641794.php\">told SFGATE in 2021\u003c/a> that the initiative, launched by SFPUC’s Water Power Sewer division in 2016, was born of the fact that the crews employed to do so simply couldn’t keep up maintenance of the city’s more than 25,000 storm drains. Which seems … not great! Your tax dollars at work, etc. (Though, given the past couple years of \u003ca href=\"https://www.kqed.org/news/11849113/u-s-attorney-charges-san-francisco-department-head-with-fraud-in-connection-to-bribery-scheme\">headlines coming out of the SFPUC\u003c/a>, perhaps leaves gunking up the city’s drainage system begins to seem like small potatoes.)\u003c/p>\n\u003cp>In any event, what’s now my second-favorite community engagement effort from a San Francisco public utility to date — it will be tough to top this \u003ca href=\"https://www.youtube.com/watch?v=uYJ7aTkEh4A\">BAYCAT-produced music video from 2015\u003c/a> — appears to have been a moderate success, with more than 4,000 drains currently enjoying regular cleanup by local good Samaritans.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Z1Vjrx3IAH0'\n title='//www.youtube.com/embed/Z1Vjrx3IAH0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That means there are more than 20,000 drains still available for adopting in San Francisco: Visit \u003ca href=\"https://adoptadrain.sfwater.org/\">www.adoptadrain.sfwater.org\u003c/a> for more info or to sign up, or to simply peruse the names and drains that are already taken. (Note that after going viral yesterday, the website is crashing intermittently.)\u003c/p>\n\u003cp>Meanwhile, \u003ca href=\"https://www.cityofsanmateo.org/3715/Adopt-A-Drain\">San Mateo\u003c/a>, \u003ca href=\"https://www.oaklandca.gov/services/adopt-a-drain\">Oakland\u003c/a> and \u003ca href=\"https://www.burlingame.org/departments/public_works/stormwater_management/adoptadrain.php\">Burlingame\u003c/a> all have their own adopt-a-drain programs, though none of those systems seems to have inspired the level of celebrity tribute nor punnery present here in the city. Perhaps it’s time to get \u003ca href=\"https://www.kqed.org/arts/13922616/too-short-way-street-sign-unveiled-oakland\">Too $hort on the case\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Pelé, Brazil’s Mighty King of ‘Beautiful Game,’ Dies at 82",
"headTitle": "Pelé, Brazil’s Mighty King of ‘Beautiful Game,’ Dies at 82 | KQED",
"content": "\u003cp>Pelé, the Brazilian king of soccer who won a record three World Cups and became one of the most commanding sports figures of the last century, died Thursday. He was 82.\u003c/p>\n\u003cp>The standard-bearer of “the beautiful game” had undergone treatment for colon cancer since 2021. He had been hospitalized for the last month with multiple ailments.\u003c/p>\n\u003cp>His agent Joe Fraga confirmed his death.\u003c/p>\n\u003cp>Widely regarded as one of soccer’s greatest players, Pelé spent nearly two decades enchanting fans and dazzling opponents as the game’s most prolific scorer with Brazilian club Santos and the Brazil national team.\u003c/p>\n\u003cp>His grace, athleticism and mesmerizing moves transfixed players and fans. He orchestrated a fast, fluid style that revolutionized the sport — a samba-like flair that personified his country’s elegance on the field.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He carried Brazil to soccer’s heights and became a global ambassador for his sport in a journey that began on the streets of Sao Paulo state, where he would kick a sock stuffed with newspapers or rags.\u003c/p>\n\u003cp>In the conversation about soccer’s greatest players, only the late Diego Maradona, Lionel Messi and Cristiano Ronaldo are mentioned alongside Pelé.\u003c/p>\n\u003cfigure id=\"attachment_13923122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Pele.obit_-800x450.jpg\" alt=\"A man is hoisted above his teammates on the field after victory\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13923122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Pele.obit_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Pele.obit_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Pele.obit_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Pele.obit_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Pele.obit_.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edson Arantes Do Nascimento Pele of Brazil celebrates the victory after winnings the 1970 World Cup in Mexico match between Brazil and Italy at Estadio Azteca on June 21 in Città del Messico, Mexico. \u003ccite>(Alessandro Sabattini/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Different sources, counting different sets of games, list Pelé’s goal totals anywhere between 650 (league matches) and 1,281 (all senior matches, some against low-level competition.)\u003c/p>\n\u003cp>The player who would be dubbed “The King” was introduced to the world at 17 at the 1958 World Cup in Sweden, the youngest player ever at the tournament. He was carried off the field on teammates’ shoulders after scoring two goals in Brazil’s 5-2 victory over the host country in the final.\u003c/p>\n\u003cp>Injury limited him to just two games when Brazil retained the world title in 1962, but Pelé was the emblem of his country’s World Cup triumph of 1970 in Mexico. He scored in the final and set up Carlos Alberto with a nonchalant pass for the last goal in a 4-1 victory over Italy.\u003c/p>\n\u003cp>The image of Pelé in a bright, yellow Brazil jersey, with the No. 10 stamped on the back, remains alive with soccer fans everywhere. As does his trademark goal celebration — a leap with a right fist thrust high above his head.\u003c/p>\n\u003cp>Pelé’s fame was such that in 1967 factions of a civil war in Nigeria agreed to a brief cease-fire so he could play an exhibition match in the country. He was knighted by Britain’s Queen Elizabeth II in 1997. When he visited Washington to help popularize the game in North America, it was the U.S. president who stuck out his hand first.\u003c/p>\n\u003cp>“My name is Ronald Reagan, I’m the president of the United States of America,” the host said to his visitor. “But you don’t need to introduce yourself because everyone knows who Pelé is.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bUTRZGCiiFs\u003c/p>\n\u003cp>Pelé was Brazil’s first modern Black national hero but rarely spoke about racism in a country where the rich and powerful tend to hail from the white minority.\u003c/p>\n\u003cp>Opposing fans taunted Pelé with monkey chants at home and all over the world.\u003c/p>\n\u003cp>“He said that he would never play if he had to stop every time he heard those chants,” said Angelica Basthi, one of Pelé’s biographers. “He is key for Black people’s pride in Brazil, but never wanted to be a flagbearer.”\u003c/p>\n\u003cp>Pelé’s life after soccer took many forms. He was a politician — Brazil’s Extraordinary Minister for Sport — a wealthy businessman, and an ambassador for UNESCO and the United Nations.\u003c/p>\n\u003cp>He had roles in movies, soap operas and even composed songs and recorded CDs of popular Brazilian music.\u003c/p>\n\u003cp>As his health deteriorated, his travels and appearances became less frequent. He was often seen in a wheelchair during his final years and did not attend a ceremony to unveil a statue of him representing Brazil’s 1970 World Cup team. Pelé spent his 80th birthday isolated with a few family members at a beach home.\u003c/p>\n\u003cp>Born Edson Arantes do Nascimento, in the small city of Tres Coracoes in the interior of Minas Gerais state on Oct. 23, 1940, Pelé grew up shining shoes to buy his modest soccer gear.\u003c/p>\n\u003cp>Pelé’s talent drew attention when he was 11, and a local professional player brought him to Santos’ youth squads. It didn’t take long for him to make it to the senior squad.\u003c/p>\n\u003cp>Despite his youth and 5-foot-8 frame, he scored against grown men with the same ease he displayed against friends back home. He debuted with the Brazilian club at 16 in 1956, and the club quickly gained worldwide recognition.\u003c/p>\n\u003cp>The name Pelé came from him mispronouncing the name of a player called Bilé.\u003c/p>\n\u003cp>He went to the 1958 World Cup as a reserve but became a key player for his country’s championship team. His first goal, in which he flicked the ball over the head of a defender and raced around him to volley it home, was voted as one of the best in World Cup history.\u003c/p>\n\u003cp>The 1966 World Cup in England — won by the hosts — was a bitter one for Pelé, by then already considered the world’s top player. Brazil was knocked out in the group stage and Pelé, angry at the rough treatment, swore it was his last World Cup.\u003c/p>\n\u003cp>He changed his mind and was rejuvenated in the 1970 World Cup. In a game against England, he struck a header for a certain score, but the great goalkeeper Gordon Banks flipped the ball over the bar in an astonishing move. Pelé likened the save — one of the best in World Cup history — to a “salmon climbing up a waterfall.” Later, he scored the opening goal in the final against Italy, his last World Cup match.\u003c/p>\n\u003cp>In all, Pelé played 114 matches with Brazil, scoring a record 95 goals, including 77 in official matches.\u003c/p>\n\u003cp>His run with Santos stretched over three decades until he went into semi-retirement after the 1972 season. Wealthy European clubs tried to sign him, but the Brazilian government intervened to keep him from being sold, declaring him a national treasure.\u003c/p>\n\u003cp>On the field, Pelé’s energy, vision and imagination drove a gifted Brazilian national team with a fast, fluid style of play that exemplified “O Jogo Bonito” — Portuguese for “The Beautiful Game.” His 1977 autobiography, “My Life and the Beautiful Game,” made the phrase part of soccer’s lexicon.\u003c/p>\n\u003cp>In 1975, he joined the New York Cosmos of the North American Soccer League. Although 34 and past his prime, Pelé gave soccer a higher profile in North America. He led the Cosmos to the 1977 league title and scored 64 goals in three seasons.\u003c/p>\n\u003cp>Pelé ended his career on Oct. 1, 1977, in an exhibition between the Cosmos and Santos before a crowd in New Jersey of some 77,000. He played half the game with each club. Among the dignitaries on hand was perhaps the only other athlete whose renown spanned the globe — Muhammad Ali.\u003c/p>\n\u003cp>Pelé would endure difficult times in his personal life, especially when his son Edinho was arrested on drug-related charges. Pelé had two daughters out of wedlock and five children from his first two marriages, to Rosemeri dos Reis Cholbi and Assiria Seixas Lemos. He later married businesswoman Marcia Cibele Aoki.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Azzoni reported from Madrid.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>___\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pelé, the Brazilian king of soccer who won a record three World Cups and became one of the most commanding sports figures of the last century, died Thursday. He was 82.\u003c/p>\n\u003cp>The standard-bearer of “the beautiful game” had undergone treatment for colon cancer since 2021. He had been hospitalized for the last month with multiple ailments.\u003c/p>\n\u003cp>His agent Joe Fraga confirmed his death.\u003c/p>\n\u003cp>Widely regarded as one of soccer’s greatest players, Pelé spent nearly two decades enchanting fans and dazzling opponents as the game’s most prolific scorer with Brazilian club Santos and the Brazil national team.\u003c/p>\n\u003cp>His grace, athleticism and mesmerizing moves transfixed players and fans. He orchestrated a fast, fluid style that revolutionized the sport — a samba-like flair that personified his country’s elegance on the field.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He carried Brazil to soccer’s heights and became a global ambassador for his sport in a journey that began on the streets of Sao Paulo state, where he would kick a sock stuffed with newspapers or rags.\u003c/p>\n\u003cp>In the conversation about soccer’s greatest players, only the late Diego Maradona, Lionel Messi and Cristiano Ronaldo are mentioned alongside Pelé.\u003c/p>\n\u003cfigure id=\"attachment_13923122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Pele.obit_-800x450.jpg\" alt=\"A man is hoisted above his teammates on the field after victory\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13923122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Pele.obit_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Pele.obit_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Pele.obit_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Pele.obit_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Pele.obit_.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edson Arantes Do Nascimento Pele of Brazil celebrates the victory after winnings the 1970 World Cup in Mexico match between Brazil and Italy at Estadio Azteca on June 21 in Città del Messico, Mexico. \u003ccite>(Alessandro Sabattini/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Different sources, counting different sets of games, list Pelé’s goal totals anywhere between 650 (league matches) and 1,281 (all senior matches, some against low-level competition.)\u003c/p>\n\u003cp>The player who would be dubbed “The King” was introduced to the world at 17 at the 1958 World Cup in Sweden, the youngest player ever at the tournament. He was carried off the field on teammates’ shoulders after scoring two goals in Brazil’s 5-2 victory over the host country in the final.\u003c/p>\n\u003cp>Injury limited him to just two games when Brazil retained the world title in 1962, but Pelé was the emblem of his country’s World Cup triumph of 1970 in Mexico. He scored in the final and set up Carlos Alberto with a nonchalant pass for the last goal in a 4-1 victory over Italy.\u003c/p>\n\u003cp>The image of Pelé in a bright, yellow Brazil jersey, with the No. 10 stamped on the back, remains alive with soccer fans everywhere. As does his trademark goal celebration — a leap with a right fist thrust high above his head.\u003c/p>\n\u003cp>Pelé’s fame was such that in 1967 factions of a civil war in Nigeria agreed to a brief cease-fire so he could play an exhibition match in the country. He was knighted by Britain’s Queen Elizabeth II in 1997. When he visited Washington to help popularize the game in North America, it was the U.S. president who stuck out his hand first.\u003c/p>\n\u003cp>“My name is Ronald Reagan, I’m the president of the United States of America,” the host said to his visitor. “But you don’t need to introduce yourself because everyone knows who Pelé is.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bUTRZGCiiFs'\n title='//www.youtube.com/embed/bUTRZGCiiFs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Pelé was Brazil’s first modern Black national hero but rarely spoke about racism in a country where the rich and powerful tend to hail from the white minority.\u003c/p>\n\u003cp>Opposing fans taunted Pelé with monkey chants at home and all over the world.\u003c/p>\n\u003cp>“He said that he would never play if he had to stop every time he heard those chants,” said Angelica Basthi, one of Pelé’s biographers. “He is key for Black people’s pride in Brazil, but never wanted to be a flagbearer.”\u003c/p>\n\u003cp>Pelé’s life after soccer took many forms. He was a politician — Brazil’s Extraordinary Minister for Sport — a wealthy businessman, and an ambassador for UNESCO and the United Nations.\u003c/p>\n\u003cp>He had roles in movies, soap operas and even composed songs and recorded CDs of popular Brazilian music.\u003c/p>\n\u003cp>As his health deteriorated, his travels and appearances became less frequent. He was often seen in a wheelchair during his final years and did not attend a ceremony to unveil a statue of him representing Brazil’s 1970 World Cup team. Pelé spent his 80th birthday isolated with a few family members at a beach home.\u003c/p>\n\u003cp>Born Edson Arantes do Nascimento, in the small city of Tres Coracoes in the interior of Minas Gerais state on Oct. 23, 1940, Pelé grew up shining shoes to buy his modest soccer gear.\u003c/p>\n\u003cp>Pelé’s talent drew attention when he was 11, and a local professional player brought him to Santos’ youth squads. It didn’t take long for him to make it to the senior squad.\u003c/p>\n\u003cp>Despite his youth and 5-foot-8 frame, he scored against grown men with the same ease he displayed against friends back home. He debuted with the Brazilian club at 16 in 1956, and the club quickly gained worldwide recognition.\u003c/p>\n\u003cp>The name Pelé came from him mispronouncing the name of a player called Bilé.\u003c/p>\n\u003cp>He went to the 1958 World Cup as a reserve but became a key player for his country’s championship team. His first goal, in which he flicked the ball over the head of a defender and raced around him to volley it home, was voted as one of the best in World Cup history.\u003c/p>\n\u003cp>The 1966 World Cup in England — won by the hosts — was a bitter one for Pelé, by then already considered the world’s top player. Brazil was knocked out in the group stage and Pelé, angry at the rough treatment, swore it was his last World Cup.\u003c/p>\n\u003cp>He changed his mind and was rejuvenated in the 1970 World Cup. In a game against England, he struck a header for a certain score, but the great goalkeeper Gordon Banks flipped the ball over the bar in an astonishing move. Pelé likened the save — one of the best in World Cup history — to a “salmon climbing up a waterfall.” Later, he scored the opening goal in the final against Italy, his last World Cup match.\u003c/p>\n\u003cp>In all, Pelé played 114 matches with Brazil, scoring a record 95 goals, including 77 in official matches.\u003c/p>\n\u003cp>His run with Santos stretched over three decades until he went into semi-retirement after the 1972 season. Wealthy European clubs tried to sign him, but the Brazilian government intervened to keep him from being sold, declaring him a national treasure.\u003c/p>\n\u003cp>On the field, Pelé’s energy, vision and imagination drove a gifted Brazilian national team with a fast, fluid style of play that exemplified “O Jogo Bonito” — Portuguese for “The Beautiful Game.” His 1977 autobiography, “My Life and the Beautiful Game,” made the phrase part of soccer’s lexicon.\u003c/p>\n\u003cp>In 1975, he joined the New York Cosmos of the North American Soccer League. Although 34 and past his prime, Pelé gave soccer a higher profile in North America. He led the Cosmos to the 1977 league title and scored 64 goals in three seasons.\u003c/p>\n\u003cp>Pelé ended his career on Oct. 1, 1977, in an exhibition between the Cosmos and Santos before a crowd in New Jersey of some 77,000. He played half the game with each club. Among the dignitaries on hand was perhaps the only other athlete whose renown spanned the globe — Muhammad Ali.\u003c/p>\n\u003cp>Pelé would endure difficult times in his personal life, especially when his son Edinho was arrested on drug-related charges. Pelé had two daughters out of wedlock and five children from his first two marriages, to Rosemeri dos Reis Cholbi and Assiria Seixas Lemos. He later married businesswoman Marcia Cibele Aoki.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Azzoni reported from Madrid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Starline Social Club to Close at the End of the Year",
"headTitle": "Starline Social Club to Close at the End of the Year | KQED",
"content": "\u003cp>The Starline Social Club in Oakland will close at the end of 2022, according to the club’s Sam White.\u003c/p>\n\u003cp>“We are sad to announce that Starline Social Club is going up for sale and will cease current operations Jan 1st,” White \u003ca href=\"https://www.instagram.com/p/CmPseQ_PW0j/\">announced in an Instagram post\u003c/a> on Friday afternoon. “We have had an amazing run but it is time for new operators to take over the space and create something new for Oakland.”\u003c/p>\n\u003cp>The nightclub’s final event, a New Year’s Eve party headlined by local Panamanian hip-hop duo Los Rakas, is scheduled for Dec. 31. Several other shows after Jan. 1 have been rescheduled at other Bay Area venues, including Cornerstone, the Ivy Room, Cafe du Nord and the Chapel.\u003c/p>\n\u003cfigure id=\"attachment_13897242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-3-800x600.jpg\" alt=\"The outside of the shuttered Starline Social Club in Oakland\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13897242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Starline Social Club sits closed in 2021, during the pandemic. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Starline Social Club opened in 2015 and quickly established itself as an eclectic, unpretentious home for both local and touring artists. A former Odd Fellows hall built in 1893, it has hosted local DJ nights, art shows, and the \u003ca href=\"https://www.youtube.com/watch?v=KbtKceoVkNA\">occasional music video shoot\u003c/a> alongside national acts like \u003ca href=\"https://www.kqed.org/arts/12495357/live-review-solange-at-the-starline-social-club-oakland\">Solange\u003c/a>, PinkPantheress, Hannibal Burress and \u003ca href=\"https://www.kqed.org/arts/11794501/live-review-mitski-kills-em-softly-at-the-starline-in-oakland\">Mitski\u003c/a>.\u003c/p>\n\u003cp>Friday’s statement is not the first time the Starline has announced its closure. In late 2020, during the pandemic, the Starline’s ownership reported its plans to sell the building and the business. The 8,520-square-foot building, which includes a bar, lounge, kitchen and upstairs ballroom, \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\">went on the market for $3.2 million\u003c/a>. \u003c/p>\n\u003cp>[aside postID='arts_13897239']Months later, however, the club announced that it would instead reopen as a worker-owned co-op — a move that appeared to be a renaissance for the venue, but that \u003ca href=\"https://www.kqed.org/arts/13897239/former-employees-call-co-op-plans-into-question-at-starline-social-club\">“blindsided” some former employees\u003c/a>, who had been laid off since March 2020. Several told KQED that the owners had not reached out to them personally, and were using their likeness to rebuild their image within the community. Others questioned the $711,514 that the club had received in Payroll Protection Program loans in 2020 and 2021.\u003c/p>\n\u003cp>In his closing announcement on Friday, White appeared to acknowledge the tumult of the past couple years.\u003c/p>\n\u003cp>“A special thanks to our incredible management team and staff who stuck together through all the twists and turns of reopening,” White wrote. “It has been an honor working with all of you. Your generosity and strength has been humbling.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Starline Social Club in Oakland will close at the end of 2022, according to the club’s Sam White.\u003c/p>\n\u003cp>“We are sad to announce that Starline Social Club is going up for sale and will cease current operations Jan 1st,” White \u003ca href=\"https://www.instagram.com/p/CmPseQ_PW0j/\">announced in an Instagram post\u003c/a> on Friday afternoon. “We have had an amazing run but it is time for new operators to take over the space and create something new for Oakland.”\u003c/p>\n\u003cp>The nightclub’s final event, a New Year’s Eve party headlined by local Panamanian hip-hop duo Los Rakas, is scheduled for Dec. 31. Several other shows after Jan. 1 have been rescheduled at other Bay Area venues, including Cornerstone, the Ivy Room, Cafe du Nord and the Chapel.\u003c/p>\n\u003cfigure id=\"attachment_13897242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-3-800x600.jpg\" alt=\"The outside of the shuttered Starline Social Club in Oakland\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13897242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Starline Social Club sits closed in 2021, during the pandemic. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Starline Social Club opened in 2015 and quickly established itself as an eclectic, unpretentious home for both local and touring artists. A former Odd Fellows hall built in 1893, it has hosted local DJ nights, art shows, and the \u003ca href=\"https://www.youtube.com/watch?v=KbtKceoVkNA\">occasional music video shoot\u003c/a> alongside national acts like \u003ca href=\"https://www.kqed.org/arts/12495357/live-review-solange-at-the-starline-social-club-oakland\">Solange\u003c/a>, PinkPantheress, Hannibal Burress and \u003ca href=\"https://www.kqed.org/arts/11794501/live-review-mitski-kills-em-softly-at-the-starline-in-oakland\">Mitski\u003c/a>.\u003c/p>\n\u003cp>Friday’s statement is not the first time the Starline has announced its closure. In late 2020, during the pandemic, the Starline’s ownership reported its plans to sell the building and the business. The 8,520-square-foot building, which includes a bar, lounge, kitchen and upstairs ballroom, \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\">went on the market for $3.2 million\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Months later, however, the club announced that it would instead reopen as a worker-owned co-op — a move that appeared to be a renaissance for the venue, but that \u003ca href=\"https://www.kqed.org/arts/13897239/former-employees-call-co-op-plans-into-question-at-starline-social-club\">“blindsided” some former employees\u003c/a>, who had been laid off since March 2020. Several told KQED that the owners had not reached out to them personally, and were using their likeness to rebuild their image within the community. Others questioned the $711,514 that the club had received in Payroll Protection Program loans in 2020 and 2021.\u003c/p>\n\u003cp>In his closing announcement on Friday, White appeared to acknowledge the tumult of the past couple years.\u003c/p>\n\u003cp>“A special thanks to our incredible management team and staff who stuck together through all the twists and turns of reopening,” White wrote. “It has been an honor working with all of you. Your generosity and strength has been humbling.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Artists Allege ‘Indentured Servant’ Treatment at Former Ghost Town",
"headTitle": "Artists Allege ‘Indentured Servant’ Treatment at Former Ghost Town | KQED",
"content": "\u003cp>Ricky Ybarra was looking for a fresh start. He’d been laid off and ended a long-term relationship, and needed a new place to live. In June, after a call with Betsy Ann Cowley, he thought his luck might turn around. Cowley offered the 40-year-old chef work on her property, a former ghost town in the Sierra Nevada called Pulga.\u003c/p>\n\u003cp>A mining settlement established in 1906 near Chico, Pulga is located at the edge of the Plumas National Forest in rural Butte County — the site of the deadly \u003ca href=\"https://www.kqed.org/arts/13845139/inside-pulga-artist-refuge-at-center-of-the-camp-fire\" target=\"_blank\" rel=\"noopener noreferrer\">2018 Camp Fire\u003c/a>. With the help of her stepfather, Cowley, 35, acquired the 64-acre former town in 2015, and began running it as a rustic resort, renting 11 cabins on Airbnb and hosting weddings, corporate retreats and events.\u003c/p>\n\u003cp>Ybarra says Cowley verbally offered him — and, later, his girlfriend, sous-chef Sosha Young — cooking gigs for her summer events. As musicians, the two found Cowley’s vision of an intentional community attractive. Pulga had a reputation as a refuge for creatives: Cowley was once a resident of Oakland’s Fifth Avenue Marina artist enclave, and a glowing \u003ca href=\"https://bust.com/living/196913-pulga-woman-made-town.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bust\u003c/em> Magazine profile\u003c/a> portrayed her as an eccentric frontierswoman running a “feminist haven” orbited by writers and architects. Young and Ybarra were sold.\u003c/p>\n\u003cfigure id=\"attachment_13922722\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1067192124-800x570.jpg\" alt=\"A woman with short hair in a patterned sweater looks to the right with her palm on her cheek\" width=\"800\" height=\"570\" class=\"size-medium wp-image-13922722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1067192124-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1067192124-1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1067192124-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1067192124-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1067192124.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Betsy Ann Cowley, owner of the Town of Pulga, pictured here in 2018, shortly after the Camp Fire. \u003ccite>(Karl Mondon/Digital First Media/The Mercury News via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shortly after their arrival, however, the two say they found something more sinister. As they tell it, Cowley began assigning additional work without pay, and invaded their privacy in ways that made them feel violated. After they left Pulga in August, Young and Ybarra both filed separate \u003ca href=\"https://www.dir.ca.gov/dlse/howtofilewageclaim.htm\" target=\"_blank\" rel=\"noopener noreferrer\">wage claims with the California Labor Commissioner’s Office\u003c/a>.\u003c/p>\n\u003cp>“She essentially began treating us like her personal indentured servants, so we left without payment,” Young, 31, wrote in her complaint to the state, which she shared with KQED. \u003c/p>\n\u003cp>KQED spoke with six people who worked in Pulga between 2019 and 2022, most of whom are artists from the Bay Area. In interviews, several accused Cowley of wage theft, and said they’re still dealing with setbacks after their time in Pulga.\u003c/p>\n\u003cp>Taken together, their accounts demonstrate the lengths to which artists will go for opportunity and income, particularly during the pandemic. The workers claim that Cowley enticed them with flexible jobs, access to nature and space to create, but then withheld pay, leaving them broke, desperate and, in some cases, fearing for their safety.\u003c/p>\n\u003cfigure id=\"attachment_13922750\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/sosha-pulga.1-1020x1020.jpg\" alt=\"A young woman in a black apron plates food at a long wooden table adjacent to a dirt road in rural California\" width=\"640\" height=\"640\" class=\"size-large wp-image-13922750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/sosha-pulga.1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/sosha-pulga.1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/sosha-pulga.1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/sosha-pulga.1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/sosha-pulga.1.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sosha Young (right) worked as a chef for Betsy Cowley at her resort, Pulga, in the summer of 2022. She’s one of four workers accusing Cowley of wage theft and other labor violations. \u003ccite>(Courtesy Sosha Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a series of interviews, emails and text message exchanges with KQED, Cowley denied nearly every allegation made by her former workers, and frequently changed the subject by accusing them of damaging property or violating rules. \u003c/p>\n\u003cp>Amid a string of sometimes erratic communications, Cowley emailed text message screenshots to KQED in which her friend appeared to threaten one of the sources in this story. (“I’m gonna make their lives hell … I just enjoy making people cry,” the text read.) She also claimed the Labor Commissioner’s Office told her “there is nothing there” regarding the wage disputes. But according to a department spokesperson, the cases are pending review.\u003c/p>\n\u003cp>“She just counts on people going, ‘I don’t want to lose this opportunity,’ that’s why they’ll do whatever for her,” says Ybarra. “But we just said, ‘We quit.’ She’s like, ‘No, that’s not how this game is played. I accuse you of some dumb shit, you grovel and you do the thing for me,’ and then it goes on and on. And we didn’t play that game with her.”\u003c/p>\n\u003ch2>‘We were on eggshells’\u003c/h2>\n\u003cp>In June, Cowley hired Ybarra and Young to cook for her summer events at a rate of $200 per day, the two say. According to their account, she also offered a cabin and access to utility vehicles, and a space to practice and record music in their spare time. The couple says they trusted Cowley because, at the time, she was married to Ybarra’s former boss at Oakland’s Starline Social Club, Adam Hatch. (Hatch, who recently stepped down as a managing owner of Starline, declined to be interviewed for this story.) [pullquote align='right' size='medium' citation='Danny Wills']‘From an outsider’s perspective, it’s a really amazing place. Like the fact that this is a 150-year-old railroad and mining town turned into this artist village where you can play music as long as you want into the night.’[/pullquote]\u003c/p>\n\u003cp>Soon after they cooked for an event in late June, however, Cowley began assigning Young and Ybarra additional work. They showed KQED screenshots of text messages and a shared Notes app to-do list where Cowley and Hatch delegated them to clean cabins, take out garbage and take care of animals. Ybarra and Young kept logs of their hours and completed tasks, reviewed by KQED. In an estimate to the labor board, they claimed hundreds of unpaid hours beyond their cooking shifts from late June to early August. They say that Cowley promised to pay the couple for their additional work, but repeatedly stalled. Eventually, Young and Ybarra gave up and left Pulga.\u003c/p>\n\u003cp>The two chefs say they had grown tired of tiptoeing around Cowley’s angry, erratic moods. Like other sources KQED spoke with, Young and Ybarra had given up their housing back in the Bay Area, and they feared that advocating for themselves could leave them homeless and jobless, stranded hours from home. Pulga is an isolated mountain community more than a 30-minute drive from the nearest town, with limited cell service.\u003c/p>\n\u003cp>“I was afraid — she has guns,” Young says. “We felt like we were on eggshells.”\u003c/p>\n\u003cp>Guns are common in rural Northern California, and Cowley says she’s never used hers to hurt anyone. “I have guns out here in the middle of the national forest,” Cowley says. “Has it ever been a threat to anything beyond livestock? No.”\u003c/p>\n\u003cfigure id=\"attachment_13922698\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13922698\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/IMG_2901.jpeg\" alt=\"A man and woman pose on a river bank, and the woman carries a guitar case.\" width=\"640\" height=\"662\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_2901.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_2901-160x166.jpeg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sosha Young (left) and Ricky Ybarra (right) are chefs and musicians currently pursuing wage claims against Betsy Cowley of Pulga. \u003ccite>(Sosha Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Young and Ybarra say it was common for Cowley to cross personal boundaries. Young recalls an instance when Cowley made her feel “extremely uncomfortable” by walking in on her naked in the shower and looking at her for around a minute while carrying on a conversation.\u003c/p>\n\u003cp>They say there was another incident late at night, after a discussion about money, when Cowley entered the couple’s cabin while they were in bed and partially undressed. Young and Ybarra say Cowley “threw” a $50 bill at them and asked if they were “good” for the unpaid wages. They felt humiliated and degraded.\u003c/p>\n\u003cp>In an interview, Cowley denied Young and Ybarra’s claims about the shower and cabin incidents.\u003c/p>\n\u003cp>Cowley says that the additional jobs she assigned Young and Ybarra were for a work trade for their cabin, which she values at $550 a month. (Young and Ybarra say Cowley never gave them a straight answer about how much the cabin rent was.) Cowley also says that she didn’t want Ybarra and Young to move in for the summer, and that she asked them to leave — a claim the couple denies. “And even on top of that, I allowed them to set up a recording studio,” Cowley says. “I overprovided and extended myself to people that I cared for and wanted to help. And it was a constant struggle with those two.”\u003c/p>\n\u003cp>According to California law, if an employer requires workers to live on a worksite, they must obtain workers’ written consent to deduct meals and lodging from their paychecks — something Young and Ybarra say Cowley did not do.\u003c/p>\n\u003cp>In Pulga, business transactions were often handshake deals. But attorney Kim Ouillette of the nonprofit organization \u003ca href=\"https://legalaidatwork.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Legal Aid at Work\u003c/a> says that workers can assert their rights even without a written contract.\u003c/p>\n\u003cp>“There’s all kinds of industries where it’s fairly common for people not to have a written work contract because an employer says, ‘Here’s the rate, here’s the job,’ and they get hired to work,” says Ouillette. But, she adds, “they still have the same rights to receive minimum wage, to receive overtime — all of that.”\u003c/p>\n\u003cfigure id=\"attachment_13845128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/11/Loft-house-in-Pulga-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Loft House in Pulga in 2018. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Turning Pulga into an arts destination\u003c/h2>\n\u003cp>Young and Ybarra are not the first workers to accuse Cowley of wage theft. In August 2021, architect Danny Wills, 35, was looking for a scenic location to host arts events and workshops. He got in touch with Cowley, and she and Hatch emailed him a job description and a salary offer of $1,400 per month for four months of work. According to emails reviewed by KQED, Cowley recruited Wills not just as help, but as someone who could expand Pulga’s impact as an arts destination with a residency program, events and educational workshops.\u003c/p>\n\u003cp>In September 2021, Wills relocated to Pulga from Ohio. Over the next three months, he served as Pulga’s financial manager. He interfaced with the county about building permits, managed Pulga’s Airbnb listings and developed a business plan for the enterprise. According to his work logs, shared with KQED, he also took care of animals, deep-cleaned cabins, dug trenches and laid pipes.\u003c/p>\n\u003cp>“I’d wake up every day in the freezing pitch black before the sun came up. And then I’d go to sleep late at night. And between those two moments, I [was] working nonstop,” Wills says of his experience.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/Cddg6KZjL01/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.14-PM-1020x1063.png\" alt=\"\" width=\"600\" height=\"625\" class=\"aligncenter size-large wp-image-13922772\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.14-PM-1020x1063.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.14-PM-800x834.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.14-PM-160x167.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.14-PM-768x800.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.14-PM.png 1230w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003c/p>\n\u003cp>Wills says Cowley never paid him his salary. Looking back, he says he stayed with the hope of shaping the town into an arts destination. “From an outsider’s perspective, it’s a really amazing place. Like the fact that this is a 150-year-old railroad and mining town turned into this artist village where you can play music as long as you want into the night,” he says. “There’s a certain mystical kind of magic to that.”\u003c/p>\n\u003cp>Wills eventually became frustrated and returned home to Ohio. To recoup his pay, he attempted to file a mechanic’s lien on Cowley’s property. But Wills says that Cowley became contentious when he sent her a certified letter with a preliminary notice. He was daunted by the prospect of fighting a legal battle, especially from eight states away, and ultimately didn’t file the lien with Butte County.\u003c/p>\n\u003cp>[aside postid='arts_13857471']“I was like, ‘OK, I can’t mentally go through this right now … I just want to put this behind me and move on,” he says.\u003c/p>\n\u003cp>In an interview, Cowley said she “absolutely” paid Wills for all three months. To support her claim, she sent KQED a screenshot of a PayPal transaction with the date cropped out. Wills says this payment occurred in September 2021, at the start of his time in Pulga, and covered work expenses related to the property, not his salary. He showed KQED additional PayPal requests to Cowley for his salary, which she canceled on the platform, according to documents he shared.\u003c/p>\n\u003ch2>Friend or worker?\u003c/h2>\n\u003cp>Zoe Clisham, 35, arrived in Pulga in November 2021, shortly after Wills left. COVID-19 had wreaked havoc on the hospitality industry, and the bar manager of 10 years yearned for stability. She knew Cowley through mutual friends, and reached out to see if she needed help on her property. Clisham says that Cowley verbally offered her a caretaker position, and then later told her that she’d need Clisham’s help with her events, promising to pay her.\u003c/p>\n\u003cp>“When I first met people on the property, they were like, ‘Oh, are you the new indentured servant?’” Clisham says. “And then everybody would chuckle.”\u003c/p>\n\u003cfigure id=\"attachment_13922727\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/PulgaBridges.July2021.jpg\" alt=\"Two bridges span a river, surrounded by trees and mountains\" width=\"600\" height=\"900\" class=\"size-full wp-image-13922727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/PulgaBridges.July2021.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/PulgaBridges.July2021-160x240.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A Union Pacific rail line on the Pulga Bridge just outside the Town of Pulga in Butte County. \u003ccite>(Frank Schulenburg/CC 4.0)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Clisham, the two women had an understanding that Cowley would pay Clisham an undetermined stipend for daily tasks such as caring for animals, cleaning cabins and making repairs. Cowley didn’t assign shifts, but if Clisham wasn’t busy between 5 a.m. and 11 p.m., Cowley would start an argument with her, Clisham says. She found it difficult to advocate for herself: She had already given up her apartment in Oakland and had nowhere else to go.\u003c/p>\n\u003cp>“How relentless it was was the worst part. It was the fatigue of just every day dealing with a level-10 situation,” says Clisham. “I’m her therapist, personal assistant, maid, groundskeeper. I did everything.”\u003c/p>\n\u003cp>Cowley paints a different picture. She says that Clisham never worked for her at all, and that she was letting her stay in Pulga as a friend because Clisham wanted to learn about animal husbandry. Indeed, while in Pulga, Clisham purchased six goats that she kept on Cowley’s property — she was interested in fiber arts. After she got the goats, Clisham says, Cowley backtracked on her offer to pay.\u003c/p>\n\u003cp>“There was never a work-trade agreement. She was here solely as who I thought was a new friend,” Cowley says.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/Cd_4bhDvGAu/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.29-PM-1020x1058.png\" alt=\"\" width=\"600\" height=\"623\" class=\"aligncenter size-large wp-image-13922771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.29-PM-1020x1058.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.29-PM-800x830.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.29-PM-160x166.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.29-PM-768x797.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.29-PM.png 1224w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003c/p>\n\u003cp>Others with knowledge of the situation dispute Cowley’s characterization. Wills says that before he left Pulga, Cowley spoke about Clisham as a new worker who’d soon arrive to help him. Kevin Pennick, whom Clisham was dating at the time, visited Clisham in Pulga. Pennick says he often saw Clisham wake up early in the morning to take care of Cowley’s livestock and clean cabins, and that he perceived Cowley to be Clisham’s boss.\u003c/p>\n\u003cp>“That was the whole reason she was there, to work,” Pennick says. “It wasn’t a friendly invitation.”\u003c/p>\n\u003cp>Clisham says that a few weeks into her stay, her relationship with Cowley deteriorated. In text messages shared with KQED, Clisham regularly vented to Pennick about Cowley’s treatment of her, and planned her departure in secret. “I’m scared to be alone with her out here,” she wrote in a text message to Pennick in January 2022, shortly before she left for good.\u003c/p>\n\u003cfigure id=\"attachment_13845137\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/11/Cowley-repairs-waterline-800x533.jpg\" alt=\"Cowley repairs a waterline ruptured by the fire.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13845137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Betsy Cowley repairs a waterline ruptured by the Camp Fire in 2018. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Life after Pulga\u003c/h2>\n\u003cp>The workers interviewed for this story say they’ve dealt with a multitude of financial, emotional and mental-health setbacks after leaving Pulga. Clisham went to Oregon to stay with her aunt, and still hasn’t gotten back on her feet. “I was doing pretty well financially and professionally before. And now I’m back to working a minimum wage part-time job and struggling to cover rent,” she says.\u003c/p>\n\u003cp>[pullquote align='right' size='medium' citation='Betsy Cowley']‘The handshake deals don’t tend to work with city people [like] they do out here.’[/pullquote] Wills says it’s been hard for him to move on from feeling exploited. “It’s the one thing I kind of keep in the back and don’t want to deal with or confront,” he says. \u003c/p>\n\u003cp>Young and Ybarra’s lives were derailed for months: after leaving Pulga in a car damaged from the wear-and-tear of the job, they crashed with Young’s mother in a housing facility for low-income seniors. In September, Young and Ybarra both filed complaints with the California Labor Commissioner’s Office. The Department of Industrial Relations told KQED that their claims are in the queue to be reviewed by a deputy labor commissioner. They will most likely be called to a settlement conference with Cowley.\u003c/p>\n\u003cp>Cowley continues to deny Young and Ybarra’s allegations. “I tend to deal with this stuff sometimes. The handshake deals don’t tend to work with city people [like] they do out here,” she says.\u003c/p>\n\u003cp>Young and Ybarra say they decided to speak out about Pulga to warn other workers.\u003c/p>\n\u003cp>“When she came back that last weekend [we were there], she brought two people that seemed like acquaintances that she was about to set up as caretakers of the town,” Young says. “And we were like, ‘Holy shit … Looks like two new chumps are showing up for the next two or three free months of work for Betsy.’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "At the bohemian resort of Pulga, workers say they were left unpaid, desperate and far from home.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ricky Ybarra was looking for a fresh start. He’d been laid off and ended a long-term relationship, and needed a new place to live. In June, after a call with Betsy Ann Cowley, he thought his luck might turn around. Cowley offered the 40-year-old chef work on her property, a former ghost town in the Sierra Nevada called Pulga.\u003c/p>\n\u003cp>A mining settlement established in 1906 near Chico, Pulga is located at the edge of the Plumas National Forest in rural Butte County — the site of the deadly \u003ca href=\"https://www.kqed.org/arts/13845139/inside-pulga-artist-refuge-at-center-of-the-camp-fire\" target=\"_blank\" rel=\"noopener noreferrer\">2018 Camp Fire\u003c/a>. With the help of her stepfather, Cowley, 35, acquired the 64-acre former town in 2015, and began running it as a rustic resort, renting 11 cabins on Airbnb and hosting weddings, corporate retreats and events.\u003c/p>\n\u003cp>Ybarra says Cowley verbally offered him — and, later, his girlfriend, sous-chef Sosha Young — cooking gigs for her summer events. As musicians, the two found Cowley’s vision of an intentional community attractive. Pulga had a reputation as a refuge for creatives: Cowley was once a resident of Oakland’s Fifth Avenue Marina artist enclave, and a glowing \u003ca href=\"https://bust.com/living/196913-pulga-woman-made-town.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bust\u003c/em> Magazine profile\u003c/a> portrayed her as an eccentric frontierswoman running a “feminist haven” orbited by writers and architects. Young and Ybarra were sold.\u003c/p>\n\u003cfigure id=\"attachment_13922722\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1067192124-800x570.jpg\" alt=\"A woman with short hair in a patterned sweater looks to the right with her palm on her cheek\" width=\"800\" height=\"570\" class=\"size-medium wp-image-13922722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1067192124-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1067192124-1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1067192124-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1067192124-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1067192124.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Betsy Ann Cowley, owner of the Town of Pulga, pictured here in 2018, shortly after the Camp Fire. \u003ccite>(Karl Mondon/Digital First Media/The Mercury News via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shortly after their arrival, however, the two say they found something more sinister. As they tell it, Cowley began assigning additional work without pay, and invaded their privacy in ways that made them feel violated. After they left Pulga in August, Young and Ybarra both filed separate \u003ca href=\"https://www.dir.ca.gov/dlse/howtofilewageclaim.htm\" target=\"_blank\" rel=\"noopener noreferrer\">wage claims with the California Labor Commissioner’s Office\u003c/a>.\u003c/p>\n\u003cp>“She essentially began treating us like her personal indentured servants, so we left without payment,” Young, 31, wrote in her complaint to the state, which she shared with KQED. \u003c/p>\n\u003cp>KQED spoke with six people who worked in Pulga between 2019 and 2022, most of whom are artists from the Bay Area. In interviews, several accused Cowley of wage theft, and said they’re still dealing with setbacks after their time in Pulga.\u003c/p>\n\u003cp>Taken together, their accounts demonstrate the lengths to which artists will go for opportunity and income, particularly during the pandemic. The workers claim that Cowley enticed them with flexible jobs, access to nature and space to create, but then withheld pay, leaving them broke, desperate and, in some cases, fearing for their safety.\u003c/p>\n\u003cfigure id=\"attachment_13922750\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/sosha-pulga.1-1020x1020.jpg\" alt=\"A young woman in a black apron plates food at a long wooden table adjacent to a dirt road in rural California\" width=\"640\" height=\"640\" class=\"size-large wp-image-13922750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/sosha-pulga.1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/sosha-pulga.1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/sosha-pulga.1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/sosha-pulga.1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/sosha-pulga.1.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sosha Young (right) worked as a chef for Betsy Cowley at her resort, Pulga, in the summer of 2022. She’s one of four workers accusing Cowley of wage theft and other labor violations. \u003ccite>(Courtesy Sosha Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a series of interviews, emails and text message exchanges with KQED, Cowley denied nearly every allegation made by her former workers, and frequently changed the subject by accusing them of damaging property or violating rules. \u003c/p>\n\u003cp>Amid a string of sometimes erratic communications, Cowley emailed text message screenshots to KQED in which her friend appeared to threaten one of the sources in this story. (“I’m gonna make their lives hell … I just enjoy making people cry,” the text read.) She also claimed the Labor Commissioner’s Office told her “there is nothing there” regarding the wage disputes. But according to a department spokesperson, the cases are pending review.\u003c/p>\n\u003cp>“She just counts on people going, ‘I don’t want to lose this opportunity,’ that’s why they’ll do whatever for her,” says Ybarra. “But we just said, ‘We quit.’ She’s like, ‘No, that’s not how this game is played. I accuse you of some dumb shit, you grovel and you do the thing for me,’ and then it goes on and on. And we didn’t play that game with her.”\u003c/p>\n\u003ch2>‘We were on eggshells’\u003c/h2>\n\u003cp>In June, Cowley hired Ybarra and Young to cook for her summer events at a rate of $200 per day, the two say. According to their account, she also offered a cabin and access to utility vehicles, and a space to practice and record music in their spare time. The couple says they trusted Cowley because, at the time, she was married to Ybarra’s former boss at Oakland’s Starline Social Club, Adam Hatch. (Hatch, who recently stepped down as a managing owner of Starline, declined to be interviewed for this story.) \u003c/p>\u003c/div>",
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"content": "‘From an outsider’s perspective, it’s a really amazing place. Like the fact that this is a 150-year-old railroad and mining town turned into this artist village where you can play music as long as you want into the night.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Soon after they cooked for an event in late June, however, Cowley began assigning Young and Ybarra additional work. They showed KQED screenshots of text messages and a shared Notes app to-do list where Cowley and Hatch delegated them to clean cabins, take out garbage and take care of animals. Ybarra and Young kept logs of their hours and completed tasks, reviewed by KQED. In an estimate to the labor board, they claimed hundreds of unpaid hours beyond their cooking shifts from late June to early August. They say that Cowley promised to pay the couple for their additional work, but repeatedly stalled. Eventually, Young and Ybarra gave up and left Pulga.\u003c/p>\n\u003cp>The two chefs say they had grown tired of tiptoeing around Cowley’s angry, erratic moods. Like other sources KQED spoke with, Young and Ybarra had given up their housing back in the Bay Area, and they feared that advocating for themselves could leave them homeless and jobless, stranded hours from home. Pulga is an isolated mountain community more than a 30-minute drive from the nearest town, with limited cell service.\u003c/p>\n\u003cp>“I was afraid — she has guns,” Young says. “We felt like we were on eggshells.”\u003c/p>\n\u003cp>Guns are common in rural Northern California, and Cowley says she’s never used hers to hurt anyone. “I have guns out here in the middle of the national forest,” Cowley says. “Has it ever been a threat to anything beyond livestock? No.”\u003c/p>\n\u003cfigure id=\"attachment_13922698\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13922698\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/IMG_2901.jpeg\" alt=\"A man and woman pose on a river bank, and the woman carries a guitar case.\" width=\"640\" height=\"662\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_2901.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_2901-160x166.jpeg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sosha Young (left) and Ricky Ybarra (right) are chefs and musicians currently pursuing wage claims against Betsy Cowley of Pulga. \u003ccite>(Sosha Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Young and Ybarra say it was common for Cowley to cross personal boundaries. Young recalls an instance when Cowley made her feel “extremely uncomfortable” by walking in on her naked in the shower and looking at her for around a minute while carrying on a conversation.\u003c/p>\n\u003cp>They say there was another incident late at night, after a discussion about money, when Cowley entered the couple’s cabin while they were in bed and partially undressed. Young and Ybarra say Cowley “threw” a $50 bill at them and asked if they were “good” for the unpaid wages. They felt humiliated and degraded.\u003c/p>\n\u003cp>In an interview, Cowley denied Young and Ybarra’s claims about the shower and cabin incidents.\u003c/p>\n\u003cp>Cowley says that the additional jobs she assigned Young and Ybarra were for a work trade for their cabin, which she values at $550 a month. (Young and Ybarra say Cowley never gave them a straight answer about how much the cabin rent was.) Cowley also says that she didn’t want Ybarra and Young to move in for the summer, and that she asked them to leave — a claim the couple denies. “And even on top of that, I allowed them to set up a recording studio,” Cowley says. “I overprovided and extended myself to people that I cared for and wanted to help. And it was a constant struggle with those two.”\u003c/p>\n\u003cp>According to California law, if an employer requires workers to live on a worksite, they must obtain workers’ written consent to deduct meals and lodging from their paychecks — something Young and Ybarra say Cowley did not do.\u003c/p>\n\u003cp>In Pulga, business transactions were often handshake deals. But attorney Kim Ouillette of the nonprofit organization \u003ca href=\"https://legalaidatwork.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Legal Aid at Work\u003c/a> says that workers can assert their rights even without a written contract.\u003c/p>\n\u003cp>“There’s all kinds of industries where it’s fairly common for people not to have a written work contract because an employer says, ‘Here’s the rate, here’s the job,’ and they get hired to work,” says Ouillette. But, she adds, “they still have the same rights to receive minimum wage, to receive overtime — all of that.”\u003c/p>\n\u003cfigure id=\"attachment_13845128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/11/Loft-house-in-Pulga-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Loft-house-in-Pulga.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Loft House in Pulga in 2018. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Turning Pulga into an arts destination\u003c/h2>\n\u003cp>Young and Ybarra are not the first workers to accuse Cowley of wage theft. In August 2021, architect Danny Wills, 35, was looking for a scenic location to host arts events and workshops. He got in touch with Cowley, and she and Hatch emailed him a job description and a salary offer of $1,400 per month for four months of work. According to emails reviewed by KQED, Cowley recruited Wills not just as help, but as someone who could expand Pulga’s impact as an arts destination with a residency program, events and educational workshops.\u003c/p>\n\u003cp>In September 2021, Wills relocated to Pulga from Ohio. Over the next three months, he served as Pulga’s financial manager. He interfaced with the county about building permits, managed Pulga’s Airbnb listings and developed a business plan for the enterprise. According to his work logs, shared with KQED, he also took care of animals, deep-cleaned cabins, dug trenches and laid pipes.\u003c/p>\n\u003cp>“I’d wake up every day in the freezing pitch black before the sun came up. And then I’d go to sleep late at night. And between those two moments, I [was] working nonstop,” Wills says of his experience.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/Cddg6KZjL01/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.14-PM-1020x1063.png\" alt=\"\" width=\"600\" height=\"625\" class=\"aligncenter size-large wp-image-13922772\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.14-PM-1020x1063.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.14-PM-800x834.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.14-PM-160x167.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.14-PM-768x800.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.14-PM.png 1230w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003c/p>\n\u003cp>Wills says Cowley never paid him his salary. Looking back, he says he stayed with the hope of shaping the town into an arts destination. “From an outsider’s perspective, it’s a really amazing place. Like the fact that this is a 150-year-old railroad and mining town turned into this artist village where you can play music as long as you want into the night,” he says. “There’s a certain mystical kind of magic to that.”\u003c/p>\n\u003cp>Wills eventually became frustrated and returned home to Ohio. To recoup his pay, he attempted to file a mechanic’s lien on Cowley’s property. But Wills says that Cowley became contentious when he sent her a certified letter with a preliminary notice. He was daunted by the prospect of fighting a legal battle, especially from eight states away, and ultimately didn’t file the lien with Butte County.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I was like, ‘OK, I can’t mentally go through this right now … I just want to put this behind me and move on,” he says.\u003c/p>\n\u003cp>In an interview, Cowley said she “absolutely” paid Wills for all three months. To support her claim, she sent KQED a screenshot of a PayPal transaction with the date cropped out. Wills says this payment occurred in September 2021, at the start of his time in Pulga, and covered work expenses related to the property, not his salary. He showed KQED additional PayPal requests to Cowley for his salary, which she canceled on the platform, according to documents he shared.\u003c/p>\n\u003ch2>Friend or worker?\u003c/h2>\n\u003cp>Zoe Clisham, 35, arrived in Pulga in November 2021, shortly after Wills left. COVID-19 had wreaked havoc on the hospitality industry, and the bar manager of 10 years yearned for stability. She knew Cowley through mutual friends, and reached out to see if she needed help on her property. Clisham says that Cowley verbally offered her a caretaker position, and then later told her that she’d need Clisham’s help with her events, promising to pay her.\u003c/p>\n\u003cp>“When I first met people on the property, they were like, ‘Oh, are you the new indentured servant?’” Clisham says. “And then everybody would chuckle.”\u003c/p>\n\u003cfigure id=\"attachment_13922727\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/PulgaBridges.July2021.jpg\" alt=\"Two bridges span a river, surrounded by trees and mountains\" width=\"600\" height=\"900\" class=\"size-full wp-image-13922727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/PulgaBridges.July2021.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/PulgaBridges.July2021-160x240.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A Union Pacific rail line on the Pulga Bridge just outside the Town of Pulga in Butte County. \u003ccite>(Frank Schulenburg/CC 4.0)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Clisham, the two women had an understanding that Cowley would pay Clisham an undetermined stipend for daily tasks such as caring for animals, cleaning cabins and making repairs. Cowley didn’t assign shifts, but if Clisham wasn’t busy between 5 a.m. and 11 p.m., Cowley would start an argument with her, Clisham says. She found it difficult to advocate for herself: She had already given up her apartment in Oakland and had nowhere else to go.\u003c/p>\n\u003cp>“How relentless it was was the worst part. It was the fatigue of just every day dealing with a level-10 situation,” says Clisham. “I’m her therapist, personal assistant, maid, groundskeeper. I did everything.”\u003c/p>\n\u003cp>Cowley paints a different picture. She says that Clisham never worked for her at all, and that she was letting her stay in Pulga as a friend because Clisham wanted to learn about animal husbandry. Indeed, while in Pulga, Clisham purchased six goats that she kept on Cowley’s property — she was interested in fiber arts. After she got the goats, Clisham says, Cowley backtracked on her offer to pay.\u003c/p>\n\u003cp>“There was never a work-trade agreement. She was here solely as who I thought was a new friend,” Cowley says.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/Cd_4bhDvGAu/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.29-PM-1020x1058.png\" alt=\"\" width=\"600\" height=\"623\" class=\"aligncenter size-large wp-image-13922771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.29-PM-1020x1058.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.29-PM-800x830.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.29-PM-160x166.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.29-PM-768x797.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-15-at-2.45.29-PM.png 1224w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003c/p>\n\u003cp>Others with knowledge of the situation dispute Cowley’s characterization. Wills says that before he left Pulga, Cowley spoke about Clisham as a new worker who’d soon arrive to help him. Kevin Pennick, whom Clisham was dating at the time, visited Clisham in Pulga. Pennick says he often saw Clisham wake up early in the morning to take care of Cowley’s livestock and clean cabins, and that he perceived Cowley to be Clisham’s boss.\u003c/p>\n\u003cp>“That was the whole reason she was there, to work,” Pennick says. “It wasn’t a friendly invitation.”\u003c/p>\n\u003cp>Clisham says that a few weeks into her stay, her relationship with Cowley deteriorated. In text messages shared with KQED, Clisham regularly vented to Pennick about Cowley’s treatment of her, and planned her departure in secret. “I’m scared to be alone with her out here,” she wrote in a text message to Pennick in January 2022, shortly before she left for good.\u003c/p>\n\u003cfigure id=\"attachment_13845137\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/11/Cowley-repairs-waterline-800x533.jpg\" alt=\"Cowley repairs a waterline ruptured by the fire.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13845137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cowley-repairs-waterline.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Betsy Cowley repairs a waterline ruptured by the Camp Fire in 2018. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Life after Pulga\u003c/h2>\n\u003cp>The workers interviewed for this story say they’ve dealt with a multitude of financial, emotional and mental-health setbacks after leaving Pulga. Clisham went to Oregon to stay with her aunt, and still hasn’t gotten back on her feet. “I was doing pretty well financially and professionally before. And now I’m back to working a minimum wage part-time job and struggling to cover rent,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "‘The handshake deals don’t tend to work with city people [like] they do out here.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp> Wills says it’s been hard for him to move on from feeling exploited. “It’s the one thing I kind of keep in the back and don’t want to deal with or confront,” he says. \u003c/p>\n\u003cp>Young and Ybarra’s lives were derailed for months: after leaving Pulga in a car damaged from the wear-and-tear of the job, they crashed with Young’s mother in a housing facility for low-income seniors. In September, Young and Ybarra both filed complaints with the California Labor Commissioner’s Office. The Department of Industrial Relations told KQED that their claims are in the queue to be reviewed by a deputy labor commissioner. They will most likely be called to a settlement conference with Cowley.\u003c/p>\n\u003cp>Cowley continues to deny Young and Ybarra’s allegations. “I tend to deal with this stuff sometimes. The handshake deals don’t tend to work with city people [like] they do out here,” she says.\u003c/p>\n\u003cp>Young and Ybarra say they decided to speak out about Pulga to warn other workers.\u003c/p>\n\u003cp>“When she came back that last weekend [we were there], she brought two people that seemed like acquaintances that she was about to set up as caretakers of the town,” Young says. “And we were like, ‘Holy shit … Looks like two new chumps are showing up for the next two or three free months of work for Betsy.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Bob McGrath, Longtime Star of 'Sesame Street,' Dies at 90",
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"content": "\u003cfigure id=\"attachment_13922328\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-1020x1178.jpg\" alt=\"A man in a suit and bowtie waves to the camera in a dark room\" width=\"640\" height=\"739\" class=\"size-large wp-image-13922328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-1020x1178.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-800x924.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-768x887.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-1330x1536.jpg 1330w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-1774x2048.jpg 1774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-1920x2217.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bob McGrath is seen at the 2010 AFTRA AMEE Awards in 2010. McGrath, the longtime, original cast member of the iconic children’s show ‘Sesame Street,’ died on Sunday. \u003ccite>(Larry Busacca/Getty Images for AFTRA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bob McGrath, an actor and recording artist who was an original cast member on \u003cem>Sesame Street\u003c/em>, died on Sunday. He was 90.\u003c/p>\n\u003cp>McGrath died of complications from a stroke, his daughter Cat McGrath confirmed to NPR.\u003c/p>\n\u003cp>The actor’s death was announced by family members on social media: “He died peacefully at home, surrounded by his family,” read the post on McGrath’s \u003ca href=\"https://www.facebook.com/bob.mcgrath.7165/posts/pfbid09EXZXQucDg3iyoGrSGkKe85JpsYsGTztXkvrZyVJPvD5NDw8U67T6fcNSvzfSxa6l\">Facebook page\u003c/a>.\u003c/p>\n\u003cp>McGrath, one of \u003cem>Sesame\u003c/em> \u003cem>Street\u003c/em>‘s first human cast members who starred in the children’s television show 1969 pilot, became a show regular for nearly five decades, playing the friendly neighbor character Bob Johnson, alongside Big Bird and a host of other beloved Muppets.\u003c/p>\n\u003cp>[aside postID='arts_11867386']Sesame Workshop shared a statement on social media mourning “a beloved member of the Sesame Street family for over 50 years.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Bob embodied the melodies of Sesame Street like no one else, and his performances brought joy and wonder to generations of children around the world, whether teaching them the ABCs, the people in their neighborhood, or the simple joy of feeling music in their hearts,” the \u003ca href=\"https://twitter.com/SesameWorkshop/status/1599557469113843712?s=20&t=R0_Yt6RkyIwYUKeNJTclBQ\">Workshop said on Twitter\u003c/a>.\u003c/p>\n\u003cp>Born in Ottawa, Ill., McGrath studied music at the University of Michigan and, later, the Manhattan School of Music. McGrath was a veteran performer by the time Sesame Street recruited him. In 1962, NBC brought on the tenor singer to perform as part of Mitch Miller’s family-friendly ensemble TV show, \u003cem>Sing Along With Mitch\u003c/em>. After the show was canceled two years later, McGrath continued to sing with the group, holding down a residency at Las Vegas’ Desert Inn. He took his talents on tour in Japan, where he found a fervent teenage fanbase, \u003ca href=\"https://bob-mcgrath.com/bob/\">according to the biography page on his website\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13922332\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/BobMcGrath.Parade.jpg\" alt=\"A parade float with a Sesame Street theme moves down Broadway in New York City \" width=\"800\" height=\"593\" class=\"size-full wp-image-13922332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BobMcGrath.Parade.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BobMcGrath.Parade-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BobMcGrath.Parade-768x569.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sesame Street’s Bob McGrath waves to the crowd while riding on a float during the 2009 Macy’s Thanksgiving Day parade in New York City. The longtime, original cast member of the iconic children’s show died on Sunday.\u003cbr> \u003ccite>(Michael Loccisano/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was Dave Connell, a fellow University of Michigan alum who worked as a producer for \u003cem>Captain Kangaroo\u003c/em> before executive producing \u003cem>Sesame Street\u003c/em>, who approached McGrath about auditioning for the kids show. \u003c/p>\n\u003cp>McGrath, who hoped instead to break into the U.S. teenage market with his own show, according to his site, had no interest in working on a children’s program at first. \u003c/p>\n\u003cp>But after he was shown tapes of Muppets creator Jim Henson’s work, he \u003ca href=\"https://www.youtube.com/watch?v=AYv83c2ZYXA\">told a crowd at a 2016 convention in Florida\u003c/a>, he was “totally blown away.”\u003c/p>\n\u003cp>“I thought, to heck with that teenage thing, this is what I want to do,” he said. “Because it was obvious from the very, very beginning this was going to be a very unique and incredible show.”\u003c/p>\n\u003cp>[aside postID='arts_11864851']In 2017, \u003ca href=\"https://www.npr.org/2016/08/03/488548572/c-is-for-contract-longtime-actors-in-grown-up-dispute-with-sesame-street\">Sesame Workshop cut McGrath\u003c/a> and two other longtime cast members from the show, deciding not to renew their contracts. In response to the cast shakeup, the \u003ca href=\"https://www.kqed.org/arts/11864851/sesame-street-lets-go-longtime-cast-members-bob-gordon-and-luis\">Workshop had pointed\u003c/a> to its need to constantly adapt its content to children’s educational needs.\u003c/p>\n\u003cp>Although McGrath ended his run on the show that year, he continued to make public appearances tied to Sesame Street, including his feature in the 2021 HBO documentary \u003cem>Street Gang: How We Got to Sesame Street\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McGrath, a father to five children and a grandfather to eight, is survived by his wife Ann Sperry. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bob+McGrath%2C+longtime+star+of+%27Sesame+Street%2C%27+has+died+at+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13922328\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-1020x1178.jpg\" alt=\"A man in a suit and bowtie waves to the camera in a dark room\" width=\"640\" height=\"739\" class=\"size-large wp-image-13922328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-1020x1178.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-800x924.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-768x887.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-1330x1536.jpg 1330w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-1774x2048.jpg 1774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-96966020_custom-9999609f027c2d488b7aed9124f07b042df59b4c-1920x2217.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bob McGrath is seen at the 2010 AFTRA AMEE Awards in 2010. McGrath, the longtime, original cast member of the iconic children’s show ‘Sesame Street,’ died on Sunday. \u003ccite>(Larry Busacca/Getty Images for AFTRA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bob McGrath, an actor and recording artist who was an original cast member on \u003cem>Sesame Street\u003c/em>, died on Sunday. He was 90.\u003c/p>\n\u003cp>McGrath died of complications from a stroke, his daughter Cat McGrath confirmed to NPR.\u003c/p>\n\u003cp>The actor’s death was announced by family members on social media: “He died peacefully at home, surrounded by his family,” read the post on McGrath’s \u003ca href=\"https://www.facebook.com/bob.mcgrath.7165/posts/pfbid09EXZXQucDg3iyoGrSGkKe85JpsYsGTztXkvrZyVJPvD5NDw8U67T6fcNSvzfSxa6l\">Facebook page\u003c/a>.\u003c/p>\n\u003cp>McGrath, one of \u003cem>Sesame\u003c/em> \u003cem>Street\u003c/em>‘s first human cast members who starred in the children’s television show 1969 pilot, became a show regular for nearly five decades, playing the friendly neighbor character Bob Johnson, alongside Big Bird and a host of other beloved Muppets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sesame Workshop shared a statement on social media mourning “a beloved member of the Sesame Street family for over 50 years.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Bob embodied the melodies of Sesame Street like no one else, and his performances brought joy and wonder to generations of children around the world, whether teaching them the ABCs, the people in their neighborhood, or the simple joy of feeling music in their hearts,” the \u003ca href=\"https://twitter.com/SesameWorkshop/status/1599557469113843712?s=20&t=R0_Yt6RkyIwYUKeNJTclBQ\">Workshop said on Twitter\u003c/a>.\u003c/p>\n\u003cp>Born in Ottawa, Ill., McGrath studied music at the University of Michigan and, later, the Manhattan School of Music. McGrath was a veteran performer by the time Sesame Street recruited him. In 1962, NBC brought on the tenor singer to perform as part of Mitch Miller’s family-friendly ensemble TV show, \u003cem>Sing Along With Mitch\u003c/em>. After the show was canceled two years later, McGrath continued to sing with the group, holding down a residency at Las Vegas’ Desert Inn. He took his talents on tour in Japan, where he found a fervent teenage fanbase, \u003ca href=\"https://bob-mcgrath.com/bob/\">according to the biography page on his website\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13922332\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/BobMcGrath.Parade.jpg\" alt=\"A parade float with a Sesame Street theme moves down Broadway in New York City \" width=\"800\" height=\"593\" class=\"size-full wp-image-13922332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BobMcGrath.Parade.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BobMcGrath.Parade-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/BobMcGrath.Parade-768x569.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sesame Street’s Bob McGrath waves to the crowd while riding on a float during the 2009 Macy’s Thanksgiving Day parade in New York City. The longtime, original cast member of the iconic children’s show died on Sunday.\u003cbr> \u003ccite>(Michael Loccisano/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was Dave Connell, a fellow University of Michigan alum who worked as a producer for \u003cem>Captain Kangaroo\u003c/em> before executive producing \u003cem>Sesame Street\u003c/em>, who approached McGrath about auditioning for the kids show. \u003c/p>\n\u003cp>McGrath, who hoped instead to break into the U.S. teenage market with his own show, according to his site, had no interest in working on a children’s program at first. \u003c/p>\n\u003cp>But after he was shown tapes of Muppets creator Jim Henson’s work, he \u003ca href=\"https://www.youtube.com/watch?v=AYv83c2ZYXA\">told a crowd at a 2016 convention in Florida\u003c/a>, he was “totally blown away.”\u003c/p>\n\u003cp>“I thought, to heck with that teenage thing, this is what I want to do,” he said. “Because it was obvious from the very, very beginning this was going to be a very unique and incredible show.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 2017, \u003ca href=\"https://www.npr.org/2016/08/03/488548572/c-is-for-contract-longtime-actors-in-grown-up-dispute-with-sesame-street\">Sesame Workshop cut McGrath\u003c/a> and two other longtime cast members from the show, deciding not to renew their contracts. In response to the cast shakeup, the \u003ca href=\"https://www.kqed.org/arts/11864851/sesame-street-lets-go-longtime-cast-members-bob-gordon-and-luis\">Workshop had pointed\u003c/a> to its need to constantly adapt its content to children’s educational needs.\u003c/p>\n\u003cp>Although McGrath ended his run on the show that year, he continued to make public appearances tied to Sesame Street, including his feature in the 2021 HBO documentary \u003cem>Street Gang: How We Got to Sesame Street\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McGrath, a father to five children and a grandfather to eight, is survived by his wife Ann Sperry. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bob+McGrath%2C+longtime+star+of+%27Sesame+Street%2C%27+has+died+at+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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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": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"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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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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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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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"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.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
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},
"reveal": {
"id": "reveal",
"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.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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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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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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